The Man and Matter Series:

The Man and Matter series consist of 12 steel sculptures installed along the Kangaroo Point Cliffs Boardwalk. Originally, these sculptures were commissioned for the riverside promenade of Brisbane’s World Expo '88.

Referencing the World Expo '88 theme of ‘Leisure in the Age of Technology’, Cole considers the relationships between humans and technology through simple visual symbology and the redressing of traditional limitations of sculpture.

The iconic red figures are a lasting homage to World Expo '88, and a recognition of Brisbane’s advancement into the 21st century.

This artwork has recently been restored, as part of Council’s artwork restoration and relocations works for the 30th anniversary.

The Kangaroo Point Cliffs:

The Kangaroo Point Cliffs below Main Street, River Terrace, and Lower River Terrace, Kangaroo Point, are the remnant evidence of extensive non-indigenous quarrying over 150 years (1826 - 1976). They have played a significant role in the development of the city and port of Brisbane, the capital of Queensland, since the 1820s. They are a distinctive landscape feature which, along with the Story Bridge and the Brisbane City Hall, has acquired iconoclastic status in the Brisbane townscape. The cliffs contain the best known outcrop of Brisbane Tuff, the distinctive pink and green building stone used in some of Brisbane's earliest (1820s and 1830s) public buildings; in base courses, retaining walls, side walls, and cellars of 19th century free settlement buildings; and in later municipal and government works such as roadmaking, kerbing, wharves, and marine walls.

The Kangaroo Point 'Cliffs' which Aborigines knew prior to European settlement, were steep rocky slopes with boulder outcrops and vegetation. The earliest identified historical reference to the Kangaroo Point Cliffs was made by New South Wales Surveyor-General John Oxley, during his exploration of the Brisbane River in early December 1823, when he noted in his field book a "high, rocky bank" below what is now River Terrace, Kangaroo Point. An 1844 survey plans prepared by surveyor James Warner, the high ground of Kangaroo Point was described as a "bold rocky ridge", much of which is still evident in late 19th century photographs of Kangaroo Point.

Following the removal of the Moreton Bay Penal Settlement from Red Cliff Point to the Brisbane River (North Brisbane) around May 1825, the river flats at the northern end of Kangaroo Point were cleared and planted with wheat and maize to supply food for the new settlement, and 1826 Commandant Logan opened a quarry at the base of the Kangaroo Point Cliffs, to supply stone for his building works at North Brisbane. According to Allan Cunningham's August 1829 survey of Brisbane Town, this early quarry was located opposite the Botanical Gardens, at the "highest point of a wooded ridge", in the vicinity of the later Naval Stores. The rock was punted across the river to Stone Wharf, about 150 metres upstream from the present Edward Street ferry landing.

The stone quarried from the Kangaroo Point Cliffs was known as 'porphyry (later Brisbane Tuff), a consolidated volcanic ash or rhyolitic ignimbrite deposited during the late Triassic age following a Nuee Ardent (glowing cloud) eruption. These eruptions are generally violent and voluminous and the erupted body moves with great speed for long distances, up to 100km if the relief is sufficient. The Kangaroo Point Cliffs are made up of such a flow or of two almost consecutive flows. These volcanic rocks are of the same age and chemical composition as the more coarsely crystallized Enoggera Granite and other granite bodies north-west of Brisbane. All may have originated from the same parent meltrock and magma in the final stages of consolidation of the eastern Australian mountain belt, 230 - 220 million years ago.

During the 1820s and 1830s stone from the Kangaroo Point quarry was used to construct a number of government buildings at the Moreton Bay Penal Settlement, including the Commissariat Store (1828-1829) and its William Street retaining wall.

Following the closure of the penal colony and the opening of Moreton Bay to free settlement in February 1842, Brisbane's earliest suburb, Kangaroo Point, was surveyed into suburban allotments, auctioned in December 1843. The lower areas of the Point, which had been cleared during the convict era for cropping purposes, and which had easy access to the river, attracted various early industries, including a boiling down works, a soap and candle factory, ship building, foundries, and sawmills. By the 1850s, there were some 80 to 90 houses on the peninsula, including several fine residences along Main Street.

From 1842 the Kangaroo Point Quarry was rented to private builders, including John Petrie, until placed under the control of the newly established (September 1859) Brisbane Municipal Council in 1860. By this date, however, only two small quarry faces had been opened - one below Saint Mary's Church and the other below the later TAFE college (now demolished). The Municipal Council continued to sub-lease the quarry to private builders, under whom the quarry mainly supplied stone ballast to ships. This wasteful use of the stone and the manner in which it was quarried was of particular concern to the Rector of Saint Mary's Church located on the cliff above, resulting in the Colonial Government resuming control of the quarry in 1864. By the mid-1880s the quarry face extended a little over 100 metres, or about one-eighth the length of the present worked-out quarry face.

In 1880 the entire length of the Kangaroo Point Cliffs below River Terrace from Leopard Street to Saint Mary's Church was placed under control of the Brisbane Municipal Council as a Temporary Reserve for Public Purposes subject to the right of the Government to use it for works in progress and to resume any land it might require for wharfage, railway and quarrying purposes (QGG 26 June 1880). This heralded Government construction in the early 1880s of new coal wharves at the foot of the southern end of the Kangaroo Point Cliffs, adjacent to the South Brisbane Dry Dock. The new wharves were serviced by a branch rail line and siding, which necessitated the cutting back of the Kangaroo Point Cliffs below Lower River Terrace.

Until the mid-1880s the export of coal from the West Moreton district was frustrated by a lack of direct access to deep water wharves for bunkering of coal onto ships for export from Brisbane. Coal came into Brisbane and was loaded onto drays for transport to the wharves. To facilitate the more efficient handling of coal for export, various extensions to the railway system were proposed and in 1880 an extension to the Ipswich-Brisbane lin,e branching off at South Brisbane Junction (later known as Corinda) between Sherwood and Oxley, and coming around to Woolloongabba and South Brisbane via Yeerongpilly, was approved. The project included a sidings branch to new coal wharves adjacent to the Dry Dock at South Brisbane. The contract for the wharves and sidings branch was awarded to Acheson Overend & Co. After a number of delays, the line was finally opened in 1884.

After construction of the wharf, it was found necessary to remove a bar of rock in the river which prevented the proper use of the two 4.5 tonne (10-ton) steam cranes installed on the wharf. Overend & Co. undertook the removal of the rock bar and constructed an additional 18mx12m (60ft x 40ft) jetty with a 6.8 tonne (15-ton) steam crane for coaling large ocean vessels. Coal traffic from the wharf at South Brisbane flourished and in 1900 additional siding accommodation was constructed and a travelling crane installed replacing crane number 4. This travelling crane dominated the South Brisbane vista along the river for many years. By the mid-20th century oil fuel was replacing coal and the bunkering of coal declined. In 1960 the rails were removed from the wharf and the wharf was demolished in 1974.

In 1886 - 1888, as part of Queensland's marine defence strategy, the Colonial Government constructed a depot for the Queensland Marine Defence Force at the foot of the northern end of the Kangaroo Point Cliffs, on the floor of the earlier Kangaroo Point Quarry. Established to provide storage, repair, and training facilities for the colony's modest but growing fleet of marine defence vessels and newly established Naval Brigade, the Depot originally comprised two two-storeyed timber buildings roofed with galvanized corrugated iron and resting on stone foundation walls with concrete footings. These buildings contained lecture rooms; a gun battery for training; store rooms; carpenters' shops; workshops for ship repairs; and a torpedo storeroom/workshop. A wharf was erected in 1887 - 1888, and a flight of timber stairs was constructed 1890 to provide access up the cliff to Amesbury Street and Saint Mary's Church, which served as the Naval Chapel for many years. A concrete boatslip was constructed 1900.

The Depot remained the operational base of the Queensland Marine Defence Force until the formation of the Royal Australian Navy (RAN) after Federation in 1901. The Kangaroo Point Depot remained the principal training facility for Queensland naval reservists until the construction of a depot at Alice Street in the 1920s. On the 31st of October 1959 the RAN handed over the Kangaroo Point Depot to the Australian Army, which used it to accommodate its 32nd Small Ships Squadron. In 1984 the Army removed its Small Ships Squadron to Bulimba, and the Kangaroo Point Depot was vacated. In 1986/87 the site was transferred to the Brisbane City Council.

Only one of the former Naval Depot buildings (No.2 Store) survives. The former Naval Brigade Depot was entered permanently in the Queensland Heritage Register in October 1992.

In 1898 the Marine Department opened a new quarry south of the Naval Depot, about halfway along River Terrace, to supply rock for river walls at Hamilton. This was the start of the scheme of dredging and training walls devised by EA Cullen, appointed Engineer of Harbours and Rivers in 1902, to complete the development of the river port of Brisbane. The Department of Harbours and Rivers (later the Department of Harbours and Marine) used the Kangaroo Point Cliffs quarry for marine work until 1976. In the period 1898 to 1919, this work included: the training walls or revetments which contain the dredgings of the reclamation of the tidal flats for industry at Hamilton (1898 - 1900), Doughboy (1900), Coxen Point, and Lytton; the training walls which regulate tidal flow and link Parker, Bulwer, Gibson, and other estuarine islands with the mainland; and the stone pitching of the river banks at the City Botanic Gardens. By 1919, more than half a million tones of stone for these walls had been removed from the Kangaroo Point Quarry. In 1928, stone from the Kangaroo Point Quarry was used to double the height of the Lytton training wall and to shape and maintain other early 20th century training walls. Other Harbours and Marine projects utilising stone from Kangaroo Point included the Manly Boat Harbour and the new port at Fisherman Islands in the 1970s.

The rock for these projects was loaded onto punts at the quarry and towed to the work sites. Extensive quarrying by the Marine Department opened the rock face of the Kangaroo Point Cliffs between the Naval Stores at the northern end of the site and the coal wharves at the southern end, creating the dramatic length of perpendicular drop that distinguishes the Kangaroo Point Cliffs today. By 1976, when control of the Brisbane River passed to the Port of Brisbane Authority, most of the available Kangaroo Point rock had been exploited and the quarry was closed.

Brisbane Tuff is now exposed along the cliff face, providing an important source of geological information. The quarry floors and ridge of the cliffs are now important public park reserves and enjoyed as places of informal recreation. The cliffs are popular for abseiling and rock climbing, and are valued as a riverside walkway, picnic area, and vantage point - especially for Brisbane River and Southbank festivities.

Scout Place, the lookout on the top of the cliffs adjacent to River Terrace, between Llewellyn and Bell Streets, was erected in 1982 to designs prepared by the Brisbane City Council's Landscape Architecture Section, to commemorate seventy-five years of scouting in Queensland.

Source: Brisbane City Council World Expo '88 Public Art Trail & Queensland Heritage Register.

French postcard by Edycard, no. 29. Photo: Tom Cruise in Top Gun (Tony Scott, 1986).

American actor and producer Tom Cruise (1962) became with his charismatic smile the most successful member of Hollywood's Brat Pack, the golden boys and girls of the 1980s. Top Gun (1986) made him an action star, but with his roles in The Color of Money (1986), Rain Man (1988) and Born on the Fourth of July (1989) he proved himself to be an all-round star and excellent actor. During the 1990s, he continued to combine action blockbusters like Mission Impossibe (1996) with highly acclaimed dramas like A Few Good Men (1992), Eyes Wide Shut (1999) and Magnolia (1999). He received more praise for his roles in Minority Report (2000) and Collateral (2002) and was for years one of the highest paid actors in the world. Although he continued to score major box office hits with the Mission Impossible franchise, his later work was overshadwowed by his outspoken attitude about Scientology which alienated him from many of his viewers.

Tom Cruise was born Thomas Cruise Mapother IV in 1962 in Syracuse, NY. He is the only son of Mary Lee (Pfeiffer), a special education teacher, and Thomas Cruise Mapother III, an electrical engineer. He has three sisters: Marian, Lee Anne De Vette and Cass. In 1974, when Cruise was 12, his parents divorced. Young Tom spent his boyhood always on the move, and by the time he was 14 he had attended 15 different schools in the U.S. and Canada. He finally settled in Glen Ridge, New Jersey, with his mother and her new husband. Deeply religious, he enrolled in a Franciscan seminary with the ambition to join the priesthood. He dropped out after one year. At high-school, he was a wrestler until he was sidelined by a knee injury. Soon taking up acting, he found that the activity served a dual purpose: performing satiated his need for attention, while the memorisation aspect of acting helped him come to grips with his dyslexia. Moving to New York in 1980, he studied drama at the prestigious Neighborhood Playhouse, in conjunction with the Actors Studio, New School University, New York. He signed with CAA (Creative Artists Agency) and began acting in films. His film debut was a small part in Endless Love (Franco Zeffirelli, 1981), starring Brooke Shields. It was followed by a major supporting role as a crazed military academy student in Taps (Harold Becker, 1981), starring George C. Scott and Timothy Hutton. In 1983, Cruise was part of the ensemble cast of The Outsiders (Francis Ford Coppola, 1983). The Hollywood press corps began touting Cruise as one of the 'Brat Pack', a group of twenty-something actors who seemed on the verge of taking over the movie industry in the early 1980s. Cruise's first big hit was the coming-of-age comedy Risky Business (Paul Brickman, 1983), in which he entered film-trivia infamy with the scene wherein he celebrates his parents' absence by dancing around the living room in his underwear. From the outset, he exhibited an undeniable box office appeal to both male and female audiences. Cruise played the male lead in the dark fantasy Legend (Ridley Scott, 1985) and the action film Top Gun (Tony Scott, 1986) with Kelly McGillis and Val Kilmer. Top Gun (1986) established Cruise as an action star. However, he refused to be pigeonholed, and followed it up with a solid characterszation of a fledgling pool shark in The Color of Money (Martin Scorsese, 1986), for which co-star Paul Newman earned an Academy Award. In 1988, he played the brother of an autistic savant played by Dustin Hoffman in the drama Rain Man (Barry Levinson, 1988). However, Cruise had not yet totally convinced critics he was more than a pretty face while he also starred in Cocktail (Roger Donaldson, 1988), which earned him a nomination for the Razzie Award for Worst Actor. His chance came when he played paraplegic Vietnam vet Ron Kovic in Born on the Fourth of July (Oliver Stone, 1989). For his role, he won a Golden Globe Award and received a nomination for the Academy Award for Best Actor.

In 1990 Tom Cruise renounced his devout Catholic beliefs and embraced The Church Of Scientology claiming that Scientology teachings had cured him of the dyslexia that had plagued him all of his life. He was introduced to Scientology by his ex-wife Mimi Rogers. Though Cruise's bankability faltered a bit with the expensive disappointment Far and Away (Ron Howard, 1990) with his-then wife Nicole Kidman, A Few Good Men (Rob Reiner, 1992) brought him back into the game. By 1994, the star was undercutting his own leading man image with the role of the slick, dastardly vampire Lestat in the long-delayed film adaptation of the Anne Rice novel Interview with the Vampire (Neil Jordan, 1994), opposite Brad Pitt and Antonio Banderas. Although the author was vehemently opposed to Cruise's casting, Rice famously reversed her decision upon seeing the actor's performance, and publicly praised Cruise's portrayal. In 1996, Cruise scored financial success with the reboot of Mission: Impossible (Brian De Palma, 1996), but it was with his multilayered performance in Jerry Maguire (Cameron Crowe, 1996), that Cruise proved once again why he is considered a major Hollywood player. For Jerry Maguire, he won another Golden Globe and received his second Oscar nomination. According to IMDb, Cruise is the first actor in history to star in five consecutive films that grossed $100 million in the United States: A Few Good Men (1992), the thriller The Firm (Sydney Pollack, 1993), Interview with the Vampire: The Vampire Chronicles (1994), Mission: Impossible (1996) and Jerry Maguire (1996). 1999 saw Cruise reunited onscreen with Kidman in a project of a very different sort, Eyes Wide Shut (Stanley Kubrick, 1990). Hal Erickson at AllMovie: "The film, which was the director's last, had been the subject of controversy, rumour, and speculation since it began filming. It opened to curious critics and audiences alike across the nation, and was met with a violently mixed response. However, it allowed Cruise to once again take part in film history, further solidifying his position as one of Hollywood's most well-placed movers and shakers. Cruise's enviable position was again solidified later in 1999, when he earned a third Golden Globe and a nomination for the Academy Award for Best Supporting Actor for his role as a loathsome 'sexual prowess' guru in Magnolia (Paul Thomas Anderson, 1999)."

In 2000, Tom Cruise scored again when he returned as international agent Ethan Hunt in Mission: Impossible II (John Woo, 2000), which proved to be one of the summer blockbusters. Like its predecessor, it was the highest-grossing film of the year, and had a mixed critical reception. He then reteamed with Jerry Maguire director Cameron Crowe for a remake of the Spanish film Abre los Ojos/Open Your Eyes (Alejandro Amenábar, 1997) titled Vanilla Sky (Cameron Crowe, 2001) with Cameron Diaz and Penelope Cruz. Though Vanilla Sky's sometimes surreal trappings found the film receiving a mixed reception at the box office, the same could not be said for the following year's massively successful Sci-Fi chase film Minority Report (Steven Spielberg, 2001), or of the historical epic The Last Samurai (Edward Zwick, 2003). For his next film, Cruise picked a role unlike any he'd ever played; starring as a sociopathic hitman in the psychological thriller Collateral (Michael Mann, 2004). He received major praise for his departure from the good-guy characters he'd built his career on, and for doing so convincingly. He teamed up with Spielberg again for the second time in three years with an epic adaptation of the H.G. Wells alien invasion story War of the Worlds (Steven Spielberg, 2005). The summer blockbuster was in some ways overshadowed, however, by a cloud of negative publicity. It began, when Cruise became suddenly vocal about his beliefs in Scientology, the religion created by science fiction author L. Ron Hubbard. Cruise publicly denounced actress Brooke Shields for taking medication to combat her postpartum depression, going so far as to call the psychological science a "Nazi science" in an Entertainment Weekly interview. In 2005, he was interviewed by Matt Lauer for The Today Show during which time he appeared to be distractingly argumentative in his insistence that psychiatry is a "pseudoscience," and in a Der Spiegel interview, he was quoted as saying that Scientology has the only successful drug rehabilitation program in the world. This behaviour caused a stirring of public opinion about Cruise, as did his relationship with 27-year-old actress Katie Holmes. The two announced their engagement in the spring of 2005, and Cruise's enthousiasm for his new romantic interest created more curiosity about his mental stability. He appeared on The Oprah Winfrey Show, where he jumped up and down on the couch, professing his love for the newly-Scientologist Holmes. The actor's new public image alienated many of his viewers. As he geared up for the spring release of Mission: Impossible III (J.J. Abrams, 2006), his ability to sell a film based almost purely on his own likability was in question for the first time in 20 years. Despite this, the film was more positively received by critics than the previous films in the series, and grossed nearly $400 million at the box office. Cruise moved on to making headlines on the business front, when he and corporate partner Paula Wagner in 2006 officially "took over" the United Artists studio, which was all but completely defunct. One of the first films to be produced by the new United Artists was the tense political thriller Lions for Lambs (Robert Redford, 2007), with Redford, Cruise and Meryl Streep. The film took an earnest and unflinching look at the politics behind the Iraq war but was a commercial disappointment. This was followed by the World War II thriller Valkyrie (Bryan Singer, 2008) with kenneth Branagh and Carice van Houten.

Tom Cruise would find a solid footing as the 2010s progressed, with blockbusters like Mission: Impossible - Ghost Protocol (Brad Bird, 2011) and Mission: Impossible - Rogue Nation (Christopher McQuarrie, 2015). He is known for doing many of his own stunts in these films, even exceptionally dangerous ones. The Mission Impossible franchise earned a total of 3 billion dollars worldwide. Cruise reteamed with Cameron Diaz in the action-comedy Knight and Day (James Mangold, 2010). He starred as Jack Reacher in the film adaptation of British author Lee Child's 2005 novel One Shot (Christopher McQuarrie, 2012). He also starred in big budget fantasy projects like Oblivion (Joseph Kosinski, 2013) and Edge of Tomorrow (Doug Liman, 2014). Tom Cruised was married three times. His first wife was actress Mimi Rogers, with whom he was married from 1987 till their divorce in 1990. His second marriage with Nicole Kidman from 1990 till 2001. They adopted two children Isabella Jane Cruise (1992) and Connor Antony Cruise (1995). he lived together with Vanilla Sky (2001) co-star Penélope Cruz from 2001 - 2004. His 2006 marriage to Katie Holmes ended in a divorce in 2012. They have one daughter, Surie Cruise (2006). Recently, Cruise returned on the screen as Ethan Hunt in the sixth installment of the Mission Impossible series, Mission: Impossible – Fallout (Christopher McQuarrie, 2018). In 2020, he will also return as Pete "Maverick" Mitchell in Top Gun: Maverick (Joseph Kosinski, 2020), in which Val Kilmer will also reprise his role from the first film.

Sources: Hal Erickson (AllMovie), Wikipedia and IMDb.

And, please check out our blog European Film Star Postcards.

357 festival

ok so i took this on my daughters laptop. it is a sl snapshot i then saved so it's lost a lot of finer detail but dammit, i didn't realize sl could be so crisp.

emberrandt.blogspot.ca/2015/12/flower-child.html

Pose used ~ Something New, Blog my pose.

Lotus Exige

Volvo V50

Volvo FH16

Jeep Grand Cherokee (updated)

Koenigsegg CCXR edition

Rock and Trike

From my recent shoot with Nicolette and Andy Virus. Both such good sports!

Railway station

Time seems to play no role here. Only slowly awakens the north from his decades of exhaustion.

The train station of Jaffna was in 2013 still in ruins, was destroyed during the long civil war, mined the tracks. In 1990, the railways north of Vavuniya was discontinued.

The reconstruction was completed in 2014. The tracks were renewed.

I was inspired to start posting to Flickr last last year by Tomas as well as Dovegirl... here's Dovegirl's picture of Roler Boy...

French postcard by Viny, no. 49. Photo: Warner Bros.

Australian-born actor Errol Flynn (1909-1959) achieved fame in Hollywood with his suave, debonair, devil-may-care attitude. He was known for his romantic Swashbuckler roles in films like Captain Blood (1935) and The Adventures of Robin Hood (1938), often co-starring Olivia de Havilland. In 1942, the tall, athletic and exceptionally handsome, Flynn became an American citizen. He developed a reputation for womanising, hard-drinking, and for a time in the 1940s, narcotics abuse. He was linked romantically with Lupe Vélez, Marlene Dietrich, and Dolores del Río, among many others.

Errol Leslie Thomson Flynn was born in a suburb of Hobart, Tasmania, in 1909. His father, Theodore, was a lecturer and later professor of biology at the University of Tasmania. His mother was Lily Mary Young. After early schooling in Hobart, from 1923 to 1925 Flynn was educated at the South West London College, a private boarding school in Barnes, London, and in 1926 returned to Australia to attend Sydney Church of England Grammar School (Shore School) where he was the classmate of a future Australian prime minister, John Gorton. His formal education ended with his expulsion from Shore for theft. After being dismissed from a job as a junior clerk with a Sydney shipping company for pilfering petty cash, he went to Papua New Guinea at the age of eighteen, seeking his fortune in tobacco planting and metals mining. He spent the next five years oscillating between the New Guinea frontier territory and Sydney. In early 1933, Flynn appeared as an amateur actor in the low-budget Australian film In the Wake of the Bounty (Charles Chauvel, 1933), in the lead role of Fletcher Christian. Later that year he returned to Britain to pursue a career in acting and soon secured a job with the Northampton Repertory Company at the town's Royal Theatre, where he worked and received his training as a professional actor for seven months. In 1934 Flynn was dismissed from Northampton Rep. reportedly after he threw a female stage manager down a stairwell. He returned to Warner Brothers' Teddington Studios in Middlesex where he had worked as an extra in the film I Adore You (George King, 1933) before going to Northampton. With his newfound acting skills, he was cast as the lead in Murder at Monte Carlo (Ralph Ince, 1935), now considered a lost film. During its filming, he was spotted by a talent scout for Warner Bros. and Flynn emigrated to the U.S. as a contract actor.

In Hollywood, Errol Flynn was first cast in two insignificant films, but then he got his great chance. He could replace Robert Donat in the title role of Captain Blood (Michael Curtiz, 1935). Flynn's natural athletic talent and good looks rocketed him overnight to international stardom. Over the next six years, he was typecast as a dashing adventurer in The Charge of the Light Brigade (Michael Curtiz, 1936), The Prince and the Pauper (William Keighley, 1937), The Adventures of Robin Hood (Michael Curtiz, William Keighley, 1938; his first Technicolor film), The Dawn Patrol (Edmund Goulding, 1938) with David Niven, Dodge City (Michael Curtiz, 1939), The Private Lives of Elizabeth and Essex (Michael Curtiz, 1939) and The Sea Hawk (Michael Curtiz, 1940). His striking good looks and screen charisma won him millions of fans. Flynn played an integral role in the re-invention of the action-adventure genre. In collaboration with Hollywood's best fight arrangers, Flynn became noted for fast-paced sword fights. He demonstrated an acting range beyond action-adventure roles in light, contemporary social comedies, such as The Perfect Specimen (Michael Curtiz, 1937) and Four's a Crowd (Michael Curtiz, 1938), and melodrama The Sisters (Anatole Litvak, 1938). During this period Flynn published his first book, 'Beam Ends' (1937), an autobiographical account of his sailing experiences around Australia as a youth. He also travelled to Spain, in 1937, as a war correspondent during the Spanish Civil War. Flynn co-starred with Olivia de Havilland a total of eight times, and together they made the most successful on-screen romantic partnership in Hollywood in the late 1930s-early 1940s in eight films. Flynn's relationship with Bette Davis, his co-star in The Private Lives of Elizabeth and Essex (Michael Curtiz, 1939), was quarrelsome. Davis allegedly slapped him across the face far harder than necessary during one scene.

In 1940, at the zenith of his career, Erroll Flynn was voted the fourth most popular star in the US. Flynn became a naturalised American citizen in 1942. As the United States had by then entered the Second World War, he attempted to enlist in the armed services but failed the physical exam due to multiple heart problems and other diseases. This created an image problem for both Flynn, the supposed paragon of male physical prowess, and for Warner Brothers, which continued to cast him in athletic roles, including such patriotic productions as Dive Bomber (Michael Curtiz, 1941), Desperate Journey (Raoul Walsh, 1942) and Objective, Burma! (Raoul Walsh, 1945). His womanizing lifestyle caught up with him in 1942 when two underage girls, Betty Hansen and Peggy Satterlee, accused him of statutory rape at the Bel Air home of Flynn's friend Frederick McEvoy, and onboard Flynn's yacht, respectively. The scandal received immense press attention. Many of Flynn's fans, assuming that his screen persona was a reflection of his actual personality, refused to accept that the charges were true. Flynn was acquitted, but the trial's widespread coverage and lurid overtones permanently damaged his carefully cultivated screen image as an idealised romantic leading player. In 1946, Flynn published an adventure novel, 'Showdown', and earned a reported $184,000. In 1947 he signed a 15-year contract with Warner Bros. for $225,000 per film. After the Second World War, the taste of the American film-going audience changed from European-themed material and the English history-based escapist epics in which Flynn excelled to more gritty, urban realism and film noir, reflecting modern American life. Flynn tried unsuccessfully to make the transition in Uncertain Glory (Raoul Walsh, 1944) with Paul Lukas and Cry Wolf (Peter Godfrey, 1947) with Barbara Stanwyck, and then increasingly passé Westerns such as Silver River (Raoul Walsh, 1948) and Montana (Ray Enright, 1950). Flynn's behaviour became increasingly disruptive during filming; he was released from his contract in 1950 by Jack L. Warner as part of a stable-clearing of 1930s glamour-generation stars. His Hollywood career over at the age of 41, Flynn entered a steep financial and physical decline.

In the 1950s, Errol Flynn became a parody of himself. He lost his savings from the Hollywood years in a series of financial disasters, including The Story of William Tell (Jack Cardiff, 1954) with Waltraut Haas. Aimlessly he sailed around the Western Mediterranean aboard his yacht Zaca. Heavy alcohol abuse left him prematurely aged and overweight. He staved off financial ruin with roles in forgettable productions such as Hello God (William Marshall, 1951), Il maestro di Don Giovanni/Crossed Swords (Milton Krims, 1954) opposite Gina Lollobrigida and King's Rhapsody (Herbert Wilcox, 1955) with Anna Neagle. He performed in such also-ran Hollywood films as Mara Maru (Gordon Douglas, 1952) and Istanbul (Joseph Pevney, 1957) with Cornell Borchers, and made occasional television appearances. As early as 1952 he had been seriously ill with hepatitis resulting in liver damage. In 1956 he presented and sometimes performed in the television anthology series The Errol Flynn Theatre which was filmed in Britain. He enjoyed a brief revival of popularity with The Sun Also Rises (Henry King, 1957); The Big Boodle (Richard Wilson, 1957), filmed in Cuba; Too Much, Too Soon (Art Napoleon, 1958); and The Roots of Heaven (John Huston, 1958) with Juliette Gréco. In these films, he played drunks and washed-out bums and brought a poignancy to his performances that had not been there during his glamorous heydays. He met with Stanley Kubrick to discuss a role in Lolita, but nothing came of it. Flynn went to Cuba in late 1958 to film the self-produced B film Cuban Rebel Girls (Barry Mahon, 1959), where he met Fidel Castro and was initially an enthusiastic supporter of the Cuban Revolution. He wrote a series of newspaper and magazine articles for the New York Journal American and other publications documenting his time in Cuba with Castro. Many of these pieces were lost until 2009 when they were rediscovered in a collection at the University of Texas at Austin's Center for American History. He narrated a short film titled Cuban Story: The Truth About Fidel Castro Revolution (1959), his last known work as an actor. He published his autobiography, My Wicked Wicked Ways. In 1959, Errol Flynn died of a heart attack in Vancouver, Canada. Flynn was married three times. His first wife was actress Lili Damita (1935-1942). They had one son, actor and war correspondent Sean Flynn (1941-1971). Sean and his colleague Dana Stone disappeared in Cambodia in 1970, during the Vietnam War, while both were working as freelance photojournalists for Time magazine. It is generally assumed that they were killed by Khmer Rouge guerrillas. Errol was married a second time to Nora Eddington from 1943 to 1949. They had two daughters, Deirdre (1945) and Rory (1947). His third wife was actress Patrice Wymore from 1950 until his death. They had one daughter, Arnella Roma (1953–1998). In 1980, author Charles Higham published a controversial biography, 'Errol Flynn: The Untold Story', in which he alleged that Flynn was a fascist sympathiser who spied for the Nazis before and during the Second World War and that he was bisexual and had multiple gay affairs. Later Flynn biographers were critical of Higham's allegations and found no evidence to corroborate them.

Sources: Charles Culbertson (IMDb), Wikipedia, and IMDb.

And, please check out our blog European Film Star Postcards.

Jhoselyn Sardinas in “The Dolls”

The Dolls talk.

They speak of your sins to the innocent, then they tell of what should be done to make the world pure.

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Model:

Jhoselyn Sardinas

Instagram

@jhoselynsardinas

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Disclaimers:

** Warning ** These are shots used for giving starting actors and models a look to get roles in many genres.

** Disclaimer ** No Children ( Or Parents ) were harmed in this photoshoot, all prop use, Outfits, and poses was done with strict parental supervision.

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#casting #actor #actorslife #actress #model #movie #film #filmmaking #cinematography #star

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#dolls #dollcollector #toys #barbie

#kids #demo #reel #acting

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Drivers Photography

Our focus is actors.

We provide themed character shots and video demo reels to Actors who want to land projects.

Actors that are tired of paying out big money for “Industry Standard” Photographers and “Acting Lessons” just to get no real results?

Are you tired of having no tools to show your character to casting people and film makers?

At Drivers Photography, our goal create those tools.

Tools which show character. Characters that land roles.

Directors and filmmakers are NOT looking to cast “industry standard” headshots.

They are looking for characters! Characters that fit the ones in their scripts.

This is Simple and Easy.

The book “Think and Grow Rich”; says the route to success is to find a need and fill it.

Casting and filmmakers are looking for and NEED “Characters”.

Let’s give them what they are looking for.

In things related to kids casting Actor Demo Reels or Acting Reels will give your actor an advantage in auditions.

These will allow casting people and filmmaker to see and hear the performance of your actor.

Many Casting Directors and film makers to not even look at actors who lack Actor Demo Reels.

They want to work with professionals, not people who are deciding if this is something they want to do.

Would you use a plumber to fix something in your house if they looked at plumbing as a interesting hobby?

OF course not! You would want a Pro!

So, Child actors with talent need ways to showcase their skill.

Actor Demo Reels are proven to give child actors a method to do that when it comes to kids casting.

For most young actors do not have demo reels.

Contact us for booking and consultation:

Email: info@driversphotography.com

www.Driversphotography.com/

It is also known as wandering, how far I go, it is always with me.

Dead and decaying wood plays an extremely important role in forest ecosystems because it provides habitat and food for many species from plants to fungi to animals.

©Jim Cooper

British postcard.

American film actress Carole Lombard (1908–1942) was the highest-paid star in Hollywood in the late 1930s. She was particularly noted for her energetic, ditzy, and often off-beat roles in screwball comedies of the 1930s.

Carole Lombard was born as Jane Alice Peters into a wealthy family in Fort Wayne, Indiana, in 1908. In 1916 the family decided to settle down in the Los Angeles area. She attended Virgil Junior High School. Described by her biographer Wes Gehring as 'a free-spirited tomboy', the young Lombard was passionately involved in sports and enjoyed watching films. While playing baseball in the street with the neighbourhood boys, she was spotted by film director Allan Dwan. This led to her screen debut at 12, a small role in Dwan's A Perfect Crime (1921), playing the sister of Monte Blue. Although she tried for other acting jobs, she would not be seen onscreen again for four years. She returned to a normal life, going to school and participating in athletics, excelling in track and field. In 1924 or 1925 (the sources differ, she passed a screen test and was signed to a contract with Fox Films. Her first role as a Fox player was Hearts and Spurs (W.S. Van Dyke, 1925), in which she had the female lead opposite Buck Jones. She got her first break the following year in another leading role opposite Edmund Lowe in the successful drama Marriage in Transit (Roy William Neill, 1925). She was credited now as 'Carol Lombard'. After a car accident in 1926 that left a scar on the left side of her face, she was dropped by Fox. The 17-year-old had an early plastic surgery procedure to make it less visible. For the remainder of her career, Lombard learned to hide the mark with make-up and careful lighting. After a year without work, Lombard obtained a screen test for the 'King of Comedy' Mack Sennett. He offered her a contract, and although she initially had reservations about performing in slapstick comedies, the actress joined his company as one of the 'Bathing Beauties'. Lombard appeared in 15 short Sennett productions between September 1927 and March 1929. When sound film was introduced, her light, breezy, sexy voice perfectly suited the talkies. Her first sound film was High Voltage (Howard Higgin, 1929), soon followed by another crime film The Racketeer (Howard Higgin, 1929). After a successful one-off appearance opposite Warner Baxter in Fox's The Arizona Kid (Alfred Santell, 1930), she signed a contract with Paramount Pictures who cast her in the Buddy Rogers comedy Safety in Numbers (Victor Schertzinger, 1930). For her second assignment, the romantic comedy Fast and Loose (Fred C. Newmeyer, 1930) with Miriam Hopkins, Paramount mistakenly credited the actress as 'Carole Lombard'. She decided she liked this spelling and it became her permanent screen name.

Carole Lombard began appearing in comedies with William Powell such as Man of the World (Richard Wallace, 1931) and Ladies Man (Lothar Mendes, 1931), and married him in June 1931. The marriage to Powell, Paramount's top male star, increased Lombard's fame. Although they divorced in 1933, the two would continue to occasionally star together throughout the 1930s. Lombard starred for the first and only time alongside Clark Gable (they married in 1939) in the romantic drama No Man of Her Own (Wesley Ruggles, 1932). For Bolero (Wesley Ruggles, 1934), The successful screwball comedy Twentieth Century (Howard Hawks, 1934) with John Barrymore, showed her true comedic talents and proved to the world what a fine actress she really was. It was followed by the hit comedies Hands Across the Table (Mitchell Leisen, 1935) with Fred MacMurray, The Princess Comes Across (William K. Howard, 1936), My Man Godfrey (Gregory LaCava, 1936), which won her an Academy Award nomination opposite Powell, Swing High, Swing Low (Mitchell Leisen, 1937), and Nothing Sacred (William Wellman, 1937). By then Lombard had become the highest-paid actress in Hollywood and one of its most popular stars. Eager to win an Oscar, by the end of the decade she began to move away from comedies towards more serious roles, appearing opposite James Stewart in the drama Made for Each Other (John Cromwell, 1939) and alongside Cary Grant in the romance In Name Only (John Cromwell, 1939). Her role as a nurse in Vigil in the Night (George Stevens, 1940) was her most notable attempt to win an Oscar but didn't receive a nomination. Lombard returned to comedy in Alfred Hitchcock's Mr. & Mrs. Smith in 1941. Lombard's career was cut short when she died at the age of 33 in an aircraft crash. On January 16, 1942, Carole, her mother, and 20 other people were flying back to California when the plane went down outside of Las Vegas, Nevada. All aboard perished. Her final film, Ernst Lubitsch's To Be or Not to Be (1942), a satire about Nazism and the war, was in post-production at the time of her death. Wikipedia: "Today she is remembered as one of the definitive actresses of the screwball comedy genre and American comedy and ranks among the American Film Institute's greatest stars of all time."

Sources: Wikipedia and IMDb.

And, please check out our blog European Film Star Postcards.

West of Hudson train 53 makes its daily appearance in Ho-Ho-Kus. What's interesting to note is this is the same consist from two weeks earlier, but reversed. 4210 had just been out-shopped and was teamed with 4910, which is common when repairs are made at the MMC. Now the reverse has taken place with 4910 in the lead.

53 from June 1st, 2017:

www.flickr.com/photos/bobbyallard/35001282916/in/dateposted/

OTAN/NATO * AIRBUS A330-243 MRTT * T-054 * SEVILLA-SAN PABLO (SVQ/LEZL) * MULTINATIONAL MULTI-ROLE TANKER AND TRANSPORT FLEET (MMF)

The newest NSPA multinational programme, the Multinational Multi-Role Tanker and Transport Fleet (MMF), stands out as a unique example of successful cooperation among NATO and EU Agencies and nations, enabling participating nations to be flexible and to rapidly respond to emergencies in multiple capability domains.

The MMF, managed by the NATO Support and Procurement Agency (NSPA) with the strong support of the Organisation for Joint Armament Cooperation (OCCAR), under the ownership of NATO and operated by an international unit, will provide its six participating nations (Belgium, Czech Republic, Germany, Luxembourg, Norway and the Netherlands) with strategic tanker and transport capabilities.

The Netherlands and Luxembourg initially launched the programme in July 2016, with The Netherlands as the lead nation for the project. Germany and Norway joined in 2017, Belgium followed in early 2018 and Czech Republic lastly joined the MMF programme in October 2019.

Based on the participating nations requirements, eight Airbus A330 MRTT aircraft were procured by OCCAR, on behalf of NSPA. These state of the art aircraft are configured for a variety of missions, from air-to-air refueling (both boom and hose and drogue), to troop transport, VIP transport, cargo/freight transport and they can also be re-configured for aeromedical evacuation.

The 111 tonnes basic fuel capacity enables the aircraft to excel in air-to-air refueling missions without the need for any additional fuel tanks. Moreover it can provide, a maximum fuel flow rate of approximately 2,200 litres a minute, using a boom and a hose and drogue mechanism, can quickly fuel all of the aircraft in inventory with the MMF nations ( F-16, F-35, C-17, Eurofighters, Tornado and Gripen ) and most of the other aircraft used within NATO.

NSPA's role as MMF System Manager

To satisfy the mission assigned by the MMF participants, NSPA created the MMF System Management Office, with the objective of acquiring, managing and supporting the fleet of MRTT aircraft and related assets.

The involvement of other Agencies was key to the success of the MMF initiative. The European Defence Agency (EDA) played a critical role in the early stages of the programme and the close cooperation with OCCAR is still essential during the acquisition phase.

The many actors involved in the success of the MMF act under the direction and supervision of the NSPA's MMF System Manager, who manages and coordinates the programme of behalf of the nations. The core team of the MMF is based at the NSPA headquarters in Capellen (Luxembourg) but others provide support from other locations (Eindhoven, Cologne-Wahn, Bonn and Getafe).

This organization is unique in the Agency and could be a template for other initiatives in the future, aiming at procuring complex weapon systems for NATO Nations through a cooperative approach.

The MMF aircraft is led by an international MMF Military Unit based in two permanent locations in Eindhoven (The Netherlands) and Cologne-Wahn (Germany), with the capacity to deploy for short and long assignments globally, in support of national tasks, NATO, the EU and other multi-national commitments. The MMF Initiative is still open to new partners and is expected to grow in the near future. Following the guidance received from the MMF Nations, NSPA actively seeks cooperation with other MRTT users around the world to enhance opportunities and maximize the positive synergies identified in the programme.

lá no Alto da Lapa

DS IF

British postcard in the Picturegoer Series, London, no. 348b. Photo: Radio.

Don Alvarado (1900-1967) was one of Hollywood's Latin Lovers in the mould of Rudolph Valentino. Suave and swarthy, he played a number of starring roles that relied on his Latin good looks and masculine build. His career like those of so many other silent actors suffered from the sound film. He continued to act, but in supporting roles and had a long career as an assistant director.

Don Alvarado was born José Ray Paige in 1904 in Albuquerque, New Mexico. He first studied agriculture on his father's sheep and cattle ranch. In 1922, at just age 18 he ran away from home and went to Los Angeles, hoping to find acting work in the fledgling silent film industry. He secured work in a sweet factory before getting into the films working as an extra. While in Los Angeles, he became close friends with the México-born actor, Luis Antonio Dámaso de Alonso, who would later be known as Gilbert Roland. The struggling young actors shared a place for a time. Alvarado soon met and fell in love with an aspiring actress, sixteen-year-old Ann Boyar, the daughter of Russian Jewish immigrants. They married in 1924. Later that year they had a daughter, actress Joy Page. Don Alvarado got his first uncredited silent film part in the 1924 film, Mademoiselle Midnight (Robert Z. Leonard, 1924) starring Mae Murray. Jose Paige was given the screen name Don Alvarado by studio chief Jack L. Warner while they purportedly were driving past the Los Angeles street Alvarado. With the studio capitalising on his "Latin Lover" looks, Alvarado was quickly cast in secondary and then leading roles in such films as The Loves of Carmen (Raoul Walsh, 1927) with Dolores del Rio, Drums of Love (D.W. Griffith, 1928) opposite Mary Philbin, and The Scarlet Lady (Alan Crosland, 1928), starring Lya de Putti. Hans J. Wollstein at AllMovie: "Like the similar Rod La Rocque, Alvarado (born Josè Paige) was perhaps a bit too American; in other words: not perceived as dangerous enough. Best remembered for the two films he did for D.W. Griffith (Drums of Love and The Battle of the Sexes [both 1928]), Alvarado was usually mere fodder for such high-powered female stars as Constance Talmadge, Dolores Del Rio, and Lya De Putti, none of whom found it difficult to steal the limelight from their co-star. "

With the advent of talkies, Don Alvarado's starring roles ended. He did, however, manage to work regularly, usually cast in secondary Spanish character roles, such as in the Thornton Wilder adaptation of The Bridge of San Luis Rey (Charles Brabin, 1929) with Lili Damita and the pre-code musical comedy Rio Rita (Luther Reed, 1929) starring Bebe Daniels and John Boles. After six years of marriage Alvorado's wife, Ann fell in love with the studio head, Jack L. Warner,. In 1932, she filed for divorce from Alvarado using what used to be called a "quickie divorce" conveniently available in Mexico. Ann moved in with Warner perhaps as early as September 1933. Warner waited several more years until his parents died before he divorced his wife, Irma, and married Ann in 1936. Alvarado appeared on stage in 'Dinner At Eight' at the Belasco Theatre in Los Angeles in 1933. In 1939, using the name "Don Page" for screen credit purposes, he began working as an assistant director for Warner Bros. and a few years later as a production manager. In these capacities, he was part of the team that made a number of highly successful films including The Treasure of the Sierra Madre (John Huston, 1948), East of Eden (Elia Kazan, 1955), Rebel Without a Cause (Nicholas Ray, 1955), and his final film work, The Old Man and the Sea (John Sturges, 1958), in which he also appeared in his final, uncredited role as a waiter. In 1932, Alvarado was briefly engaged to the musical-comedy star Marilyn Miller, but the marriage did not take place. He and his ex-wife Ann remained friends and after a long career as an assistant director, Paige was asked by his former wife if he might like to manage the 80,000-acre Arizona cattle ranch she had purchased with Warner. Page had grown up in cattle country, was an experienced horseman and spoke Spanish. He accepted the job and by all accounts was a respected and much-liked manager. Don Alvarado died of cancer in 1967, aged 62, in Hollywood, Los Angeles, California and was interred in the Forest Lawn Memorial Park Cemetery in Hollywood Hills. His gravesite has him interred under the name "Joseph Page". For his contributions to the film industry, Alvarado has a star on the Hollywood Walk of Fame at 6504 Hollywood Boulevard.

Sources: Hans J. Wollstein (AllMovie), Aeri Amadis-Noel (Find a Grave), Gregory Orr (IMDb), Wikipedia and IMDb.

And, please check out our blog European Film Star Postcards.

www.birkenheuerphotography.com/

third time is the charm! collaborating once again with doug, my good friend, and a great photographer!! ...our only agenda, to have fun!

During the late 1930s:

Ever since matinee idol Trent Osborne had seen Vivien Leigh when she came to Hollywood to audition for the role of Scarlett O'Hara in "Gone with the Wind," he was obsessed. Trent was convinced that there had never been a more beautiful woman --nor could there ever be.

"I will have her. She just doesn't know it yet," he determined.

Trent's strong will, however, had met its match. Though a fling with Trent was irrestible to her, she made clear to him in no uncertain terms:

"When I return to England, I'm going to be with Larry forever. You mustn't take any of this between us very seriously."

Though he simply brushed off such declarations as if he accepted that their affair was simply a short-term matter, in his heart he felt more and more tormented by the idea of losing her.

"I must find a way to keep her. Money, Hollywood connections, a life of luxury--certainly this Larry can't compete with all of these things I can offer," he thought. Yet, he felt an increasing dread of her rejecting him for someone who--he told himself--could only be a two-bit English fop, someone so...unknown in Hollywood compared to the massively popular Trent Osborne.

As Vivien prepared to leave Trent's home to attend a premiere, he begged her to stay.

"Trent, don't be silly. After all. I'm not going to the moon. I'll be back, soon enough" she reassured him in a dispassionate tone.

"Darling," he said as he took her hand, "when you see this, think of me."

With that, he put a diamond bracelet on her wrist.

"I won't forget you, Trent," she reassured him.

The time for forgetting him would come later, when she returned to England and her love, Laurence Olivier.

Old School Cut & Paste (Scissors & Glue) Collage created for the weekly themed blog:

The Kollage Kit

www.kollagekit.blogspot.com

This week's theme: Include at least one bird in your collage.

The real photo of "Dora" was purchased in a lot of antique images of actresses. I have no idea who the beauty was! Also starring in the role of The Loch Ness monster is a "Lufengosaurus" one of the oldest Chinese dinosaurs.

Last day of the trip and made a return visit to the 760mm gauge line in the hills above Budapest. Known as the Gyermekvasút (Children's Railway) the service runs hourly during the day. Children carry out many of the non-safety critical roles under the supervision of adults.

Seen arriving in is loco Mk45-2004 on two coaches on train 117, 09:10 Hűvösvölgy to Széchenyi-hegy on 19 April 2023.

rolê

The Typhoon FGR.Mk 4 is a highly capable and extremely agile fourth-generation multi-role combat aircraft, capable of being deployed for the full spectrum of air operations, including air policing, peace support and high-intensity conflict. Initially deployed in the air-to-air role as the Typhoon F.Mk 2, the aircraft now has a potent, precision multi-role capability as the FGR4. The pilot performs many essential functions through the aircraft’s hands on throttle and stick (HOTAS) interface which, combined with an advanced cockpit and the Helmet Equipment Assembly (HEA), renders Typhoon superbly equipped for all aspects of air operations.

Although Typhoon has flown precision attack missions in all its combat deployments to date, its most essential role remains the provision of quick reaction alert (QRA) for UK and Falkland Islands airspace. Detachments have also reinforced NATO air defence in the Baltic and Black Sea regions.

© Crown Copyright 2018

Photographer: RAF Photographer

Image from www.defenceimages.mod.uk

This image is available for high resolution download at www.defenceimagery.mod.uk subject to the terms and conditions of the Open Government License at www.nationalarchives.gov.uk/doc/open-government-licence/.

For latest news visit www.gov.uk/government/organisations/ministry-of-defence

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British postcard in the 'Film Shots' series by Film Weekly. Photo: Paramount. Sylvia Sidney and Donald Cook in Jennie Gerhardt (Marion Gering, 1933).

Sylvia Sidney (1910-1999) was an American stage, screen, and film actress whose career spanned over 70 years. She rose to prominence in dozens of leading roles in the 1930s, such as An American Tragedy (1931), City Streets (1931), Alfred Hitchcock's Sabotage (1936), and Fritz Lang's Fury (1936) and You Only Live Once (1937). She later gained attention for her role as Juno, a caseworker in the afterlife, in Tim Burton's film Beetlejuice (1988), and she was nominated for the Oscar for Best Supporting Actress for Summer Wishes, Winter Dreams (1973).

Sylvia Sidney was born Sophia Kosow in 1910 in the Bronx, New York. She was the daughter of Rebecca (née Saperstein), a Romanian Jew, and Victor Kosow, a Russian Jewish immigrant who worked as a clothing salesman. Her parents divorced by 1915, and she was adopted by her stepfather Sigmund Sidney, a dentist. Her mother became a dressmaker and renamed herself, Beatrice Sidney. Now using the surname Sidney, Sylvia became an actress at the age of 15 as a way of overcoming shyness. She became a student of the Theater Guild's School for Acting. One school production was held at a Broadway theatre and in the audience, there was a critic from the New York Times who had nothing but rave reviews for the young Miss Sidney. On the strength of her performance in New York, Sylvia appeared in a play at the famed Poli Theater in Washington, D.C. More stage productions followed. In 1926, she was seen by a Hollywood talent scout in the production 'Crime' and made her first film appearance later that year in Broadway Nights (1927). During the Depression, she appeared in a string of films, often playing the girlfriend or sister of a gangster. 1931 saw her appear in five films, of which, City Streets (Rouben Mamoulian, 1931), made her a star. The sad-eyed Sylvia made a tremendous impact and her screen career was off a running. Among her other films, that year were: An American Tragedy (Josef von Sternberg, 1931), and Street Scene (King Vidor, 1931). She co-starred with Fredric March in Merrilly We Go To Hell (1932). Her other films included Alfred Hitchcock's Sabotage (1936), Fritz Lang's Fury (1936) and You Only Live Once (1937), Dead End (William Wyler, 1937), and The Trail of the Lonesome Pine (Henry Hathaway, 1936), an early three-strip Technicolor film. She appeared with Gary Cooper, Spencer Tracy, Henry Fonda, Joel McCrea, Fredric March, George Raft, and Cary Grant. During this period, she developed a reputation for being difficult to work with. At the time of making Sabotage with Alfred Hitchcock, Sidney was one of the highest-paid actresses in the industry, earning $10,000 per week—earning a total of $80,000 for Sabotage.

During the 1940s, the career of Sylvia Sidney diminished somewhat. In The Searching Wind (William Dieterle, 1946), Sidney played a newspaper reporter with convictions who was the alter ego of playwright Lillian Hellman. The film was based on a Broadway play but it just didn't transfer well onto the big screen. The film was widely considered to be too serious and flopped. The following year, she appeared in another flop, Love From A Stranger (Richard Whorf, 1947). In 1949, exhibitors voted her "box-office poison". In 1952, she played the role of Fantine in Les Misérables (Lewis Milestone, 1952), and her performance was praised and allowed her opportunities to develop as a character actress. Only three more films followed that decade. There were no films throughout the 1960s. On TV, she appeared three times on the anthology drama series Playhouse 90 (1956-1960). In 1957, she appeared as Lulu Morgan, mother of singer Helen Morgan in the episode The Helen Morgan Story (George Roy Hill, 1957) featuring Polly Bergen. Four months later, Sidney rejoined her former co-star Bergen on the premiere of the short-lived The Polly Bergen Show (1957-1958). She also worked in television during the 1960s on such programs as Route 66 (1961-1964), The Defenders (1962), and My Three Sons (1969). In 1973, Sylvia returned to the big screen in Summer Wishes, Winter Dreams (Gilbert Cates, 1973), starring Joanne Woodward. She received an Academy Award nomination for her supporting role. As an elderly woman, Sidney continued to play supporting screen roles and was identifiable by her husky voice, the result of cigarette smoking. She was the formidable Miss Coral in the film version of I Never Promised You a Rose Garden (Anthony Page, 1977) and later was cast as Aidan Quinn's grandmother in the television production of An Early Frost (John Erman, 1985) for which she won a Golden Globe Award. She played Aunt Marion in Damien: Omen II (Don Taylor, 1978) opposite William Holden and Lee Grant. Sidney also had key roles as Juno in the mega-hit Beetlejuice (1988) directed by longtime Sidney fan Tim Burton, and Used People (Beeban Kidron, 1992). Her final role was in Mars Attacks! (1996), another film by Tim Burton, in which she played an elderly woman whose beloved records by Slim Whitman help stop an alien invasion from Mars.

On television, Sylvia Sidney appeared in the pilot episode of WKRP in Cincinnati (1978) as the imperious owner of the radio station, and she appeared in a memorable episode of Thirtysomething (1989) as Melissa's tough grandmother, who wanted to leave her granddaughter the family dress business, though Melissa (Melanie Mayron) wanted a career as a photographer. She also was featured on Starsky & Hutch (1976), The Love Boat (1981), Magnum, P.I. (1983), and Trapper John, M.D.(1984). Her Broadway career spanned five decades, from her debut performance as a graduate of the Theatre Guild School in 1926 at age 15, in the three-act fantasy Prunella to the Tennessee Williams play Vieux Carré in 1977. In 1982, Sidney was awarded the George Eastman Award by George Eastman House for distinguished contribution to the art of film. In 1998 she appeared as the crotchety travel clerk Clia at the beginning of each episode in the short-lived revival of the classic TV series Fantasy Island. Sylvia Sidney died in 1999, from esophageal cancer at the Lenox Hill Hospital in Manhattan, a month before her 89th birthday. Her remains were cremated. Sidney was married three times. She first married publisher Bennett Cerf in 1935, but the couple divorced six months later in 1936. She later married actor and acting teacher Luther Adler in 1938, by whom she had her only child, a son Jacob (1939–1987), who died of Lou Gehrig's disease while his mother was still alive. Adler and Sidney divorced in 1946. In 1947, she married radio producer and announcer Carlton Alsop. They divorced in 1951.

Sources: Wikipedia and IMDb.

And, please check out our blog European Film Star Postcards.

Makeup has played a dispensable role in most women's life. In their opinion, they should make up well to look much more beautiful.

Glamour's Suze Yalof Schwartz went behind the scenes at Fashion Week to find out how they do it. Now she's giving you lessons!

1 Easter egg colors are your friend.

We're loving this cheery remix of the smoky eye. Just swap your charcoal shadow for the grown-up pastels makeup artist Dick Page used on models at Michael Kors. He lined their eyes with black pencil, then added gold shimmer in the inner corners. Next, he applied light blue or purple shadow along the lower curve of the eyes and from the lash line to just above the crease, then smudged, smudged, smudged. He finished with black mascara.

2 Pretty eye shadows to try.

Shiseido Makeup Luminizing Satin Eye Color in Bone, Fondant and Provence.

3 Fab skin and lip savers.

A one-minute way to glow?

Darphin Aromatic Renewing Balm. For a cheaper moisturizer alternative that's easy to track down, check your medicine cabinet - a bit of petroleum jelly works too.

4 Orange is the new red (lipstick).

We saw this again and again backstage and learned the trick to pulling it off: Just pick one spot to play up. Makeup pro Lucia Pica chose the cheeks at the Erin Fetherston show. She rubbed creamy orange blush onto the models' cheekbones with her fingers - a nice, bright contrast to their smoky brown eyeshadow.

5 A lipstick to love.

At Rebecca Taylor, makeup artist Rie Omoto used MAC Lipstick in Lady Danger on the models' lips. Apply it with a lip brush for more control.

6 A cure for tarantula lashes.

In between primping models at BCBG, vice president of MAC makeup artistry Gordon Espinet taught me his secret for keeping lashes defined and clump-free: Apply mascara with a fan brush, left. Just rub it over your mascara wand, then brush it onto your lashes—the stiff bristles are great for separating. How genius is that?

7 Try a textured mani.

Think of your nails as a showpiece accessory (they're jewelry, but cheaper), and apply a polish with sparkle - like chunky glitter or gold flecks - built in. "It's all about texture," manicurist Elle told me at the Reem Acra show. Another way to wear the trend: Try a dark, opaque shade, with a sheer, shimmery layer on top.

8 Do an unboring decorated bun.

Classic chignons are a runway staple, but the best ones this year got dressed up with fabric. At the Tibi show, hairstylists Kevin Ryan and Frank Rizzieri confessed that they used leftover fabric to frame the models' updos. And at Jason Wu, hair pro Odile Gilbert used sheer black cloth to add drama to the models' hair. "It's fresh and spontaneous," she said. To DIY, twist your hair into a bun, wrap fabric around it and make big loops with the material, pinning them into place as you go.

9 Vampy lips done right.

The super-intense lipstick combo MAC artist Romero Jennings used for the Jason Wu show made me want to take a temporary hiatus from my usual nudes - it's that gorgeous. First he applied a deep berry matte lipstick with a lip brush to create a base. Then he added a creamy eggplant shade on top, pressing it in with his fingers for a modern, stained effect. You can perfect the line with a cotton swab or a lip brush (no liner needed). As for your eyes, keep them simple like Jennings did. Apply bronzy shadow and brown liner, then curl your lashes. So fresh!

10 Add texture to your ponytail.

Why Ted Gibson loves the roughed up look: "You get a really interesting ponytail rather than the same old version you always wear." At Lela Rose, Gibson spritzed sections of the models' wet hair with hairspray, then rolled the pieces with his fingers while blow-drying for messiness. Laurent Philippon used a crimper to go punk at Monique Lhuillier. Crimp a big front section and pull your hair back, keeping the sides of the pony slick. Secure with an elastic, then crimp down along the tail.

Get more details from my blog.

In need of a stroke!

First time modeling my breakdancing for a friend. Its really odd being in front of the camera then being behind it. It was an awesome photo shoot, and we got some stellar shots. Its really awesome when two photographers work together. Thanks Jerry Tam for the shots. Photos were edited by me.

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

Some background:

Clarence L. "Kelly" Johnson, vice president of engineering and research at Lockheed's Skunk Works, visited USAF air bases across South Korea in November 1951 to speak with fighter pilots about what they wanted and needed in a fighter aircraft. At the time, the American pilots were confronting the MiG-15 with North American F-86 Sabres, and many felt that the MiGs were superior to the larger and more complex American design. The pilots requested a small and simple aircraft with excellent performance, especially high speed and altitude capabilities. Armed with this information, Johnson immediately started the design of such an aircraft on his return to the United States.

In the course of the ongoing withdrawal, a lot of German aircraft with sufficiently enough flying hours left were transferred to other NATO partners like Norway, Greece, Turkey and Italy, and two were sold to the NASA. One specific Starfighter was furthermore modified into a CCV (Control-Configured Vehicle) experimental aircraft under control of the German Industry, paving the way to aerodynamically unstable aircraft like the Eurofighter/Typhoon. The last operational German F-104 made its farewell flight on 22. Mai 1991, and the type’s final flight worldwide was in Italy in October 2004.

General characteristics:

Crew: 1

Length: 54 ft 8 in (16.66 m)

Wingspan: 21 ft 9 in (6.63 m)

Height: 13 ft 6 in (4.11 m)

Wing area: 196.1 ft² (18.22 m²)

Airfoil: Biconvex 3.36 % root and tip

Empty weight: 14,000 lb (6,350 kg)

Max takeoff weight: 29,027 lb (13,166 kg)

Powerplant:

1× General Electric J79 afterburning turbojet,

10,000 lbf (44 kN) thrust dry, 15,600 lbf (69 kN) with afterburner

Performance:

Maximum speed: 1,528 mph (2,459 km/h, 1,328 kn)

Maximum speed: Mach 2

Combat range: 420 mi (680 km, 360 nmi)

Ferry range: 1,630 mi (2,620 km, 1,420 nmi)

Service ceiling: 50,000 ft (15,000 m)

Rate of climb: 48,000 ft/min (240 m/s) initially

Lift-to-drag: 9.2

Wing loading: 105 lb/ft² (510 kg/m²)

Thrust/weight: 0.54 with max. takeoff weight (0.76 loaded)

Armament:

1× 20 mm (0.787 in) M61A1 Vulcan six-barreled Gatling cannon, 725 rounds

7× hardpoints with a capacity of 4,000 lb (1,800 kg), including up to four AIM-9 Sidewinder, (nuclear)

bombs, guided and unguided missiles, or other stores like drop tanks or recce pods

The kit and its assembly:

A relatively simple what-if project – based on the question how a German F-104 interceptor might have looked like, had it been operated for a longer time to see the Luftwaffe’s low-viz era from 1981 onwards. In service, the Luftwaffe F-104Gs started in NMF and then carried the Norm 64 scheme, the well-known splinter scheme in grey and olive drab. Towards the end of their career the fighter bombers and recce planes received the Norm 83 wraparound scheme in green and black, but by that time no dedicated interceptors were operational anymore, so I stretched the background story a little.

The model is the very nice Italeri F-104G/S model, which is based on the ESCI molds from the Eighties, but it comes with recessed engravings and an extra sprue that contains additional drop tanks and an Orpheus camera pod. The kit also includes a pair of Sidewinders with launch rails for the wing tips as well as the ventral “catamaran” twin rail, which was frequently used by German Starfighters because the wing tips were almost constantly occupied with tanks.

Fit and detail is good – the kit is IMHO very good value for the money. There are just some light sinkholes on the fuselage behind the locator pins, the fit of the separate tail section is mediocre and calls for PSR, and the thin and very clear canopy is just a single piece – for open display, you have to cut it by yourself.

Since the model would become a standard Luftwaffe F-104G, just with a fictional livery, the kit was built OOB. The only change I made are drooped flaps, and the air brakes were mounted in open position.

The ordnance (wing tip tanks plus the ventral missiles) was taken from the kit, reflecting the typical German interceptor configuration: the wing tips were frequently occupied with tanks, sometimes even together with another pair of drop tanks under the wings, so that any missile had to go under the fuselage. The instructions for the ventral catamaran launch rails are BTW wrong – they tell the builder to mount the launch rails onto the twin carrier upside down! Correctly, the carrier’s curvature should lie flush on the fuselage, with no distance at all. When mounted as proposed, the Sidewinders come very close to the ground and the whole installation looks pretty goofy! I slightly modified the catamaran launch rail with some thin styrene profile strips as spacers, and the missiles themselves, AIM-9Bs, were replaced with more modern and delicate AIM-9Js from a Hasegawa air-to-air weapons set. Around the hull, some small blade antennae, a dorsal rotating warning light and an angle-of-attack sensor were added.

Painting and markings:

The exotic livery is what defined this what-if build, and the paint scheme was actually inspired by a real world benchmark: some Dornier Do-28D Skyservants of the German Marineflieger received, late in their career, a wraparound scheme in three shades of grey, namely RAL 7030 (Steingrau), 7000 (Fehgrau) and 7012 (Basaltgrau). I thought that this would work pretty well for an F-104G interceptor that operates at medium to high altitudes, certainly better than the relatively dark Norm 64 splinter scheme or the Norm 83 low-altitude pattern.

The camouflage pattern was simply adopted from the Starfighter’s Norm 83 scheme, just the colors were exchanged. The kit was painted with acrylic paints from Revell, since the authentic tones were readily available, namely 75, 57 and 77. As a disrupting detail I gave the wing tip tanks the old Norm 64 colors: uniform Gelboliv from above (RAL 6014, Revell 42), Silbergrau underneath (RAL 7001, Humbrol’s 127 comes pretty close), and bright RAL 2005 dayglo orange markings, the latter created with TL Modellbau decal sheet material for clean edges and an even finish.

The cockpit interior was painted in standard medium grey (Humbrol 140, Dark Gull Grey), the landing gear including the wells became aluminum (Humbrol 56), the interior of the air intakes was painted with bright matt aluminum metallizer (Humbrol 27001) with black anti-icing devices in the edges and the shock cones. The radome was painted with very light grey (Humbrol 196, RAL 7035), the dark green anti-glare panel is a decal from the OOB sheet.

The model received a standard black ink washing and some panel post-shading (with Testors 2133 Russian Fulcrum Grey, Humbrol 128 FS 36320 and Humbrol 156 FS 36173) in an attempt to even out the very different shades of grey. The result does not look bad, pretty worn and weathered (like many German Starfighters), even though the paint scheme reminds a lot of the Hellenic "Ghost" scheme from the late F-4Es and the current F-16s?

The decals for the subdued Luftwaffe markings were puzzled together from various sources. The stencils were mostly taken from the kit’s exhaustive and sharply printed sheet. Tactical codes (“26+40” is in the real Starfighter range, but this specific code was AFAIK never allocated), iron crosses and the small JG 71 emblems come from TL Modellbau aftermarket sheets. Finally, after some light soot stains around the gun port, the afterburner and some air outlets along the fuselage with graphite, the model was sealed with matt acrylic varnish.

A simple affair, since the (nice) kit was built OOB and the only really fictional aspect of this model is its livery. But the resulting aircraft looks good, the all-grey wraparound scheme suits the slender F-104 well and makes an interceptor role quite believable. Would probably also look good on a German Eurofighter? Certainly more interesting than the real world all-blue-grey scheme.

In the beauty pics the scheme also appears to be quite effective over open water, too, so that the application to the Marineflieger Do-28Ds made sense. However, for the real-world Starfighter, this idea came a couple of years too late.

Meadowdolls Chara Twinkle

The combat-proven F-16 has proven itself as the world’s most capable 4th Generation multi-role fighter, serving as the workhorse of the fighter fleet for 28 customers around the world.

The F-16A, a single-seat model, first flew in December 1976. The first operational F-16A was delivered in January 1979 to the 388th Tactical Fighter Wing at Hill Air Force Base, Utah.

All F-16s delivered since November 1981 have built-in structural and wiring provisions and systems architecture that permit expansion of the multirole flexibility to perform precision strike, night attack, and beyond-visual-range interception missions. This improvement program led to the F-16C and F-16D aircraft, which are the single- and two-place counterparts to the F-16A/B, and incorporate the latest cockpit control and display technology. All active units and many Air National Guard and Air Force Reserve units have converted to the F-16C/D.

U.S. Air Force F-16 multirole fighters were deployed to the Persian Gulf in 1991 in support of Operation Desert Storm; where more sorties were flown than with any other aircraft. These fighters were used to attack airfields, military production facilities, Scud missiles sites and a variety of other targets.

During Operation Allied Force, U.S. Air Force F-16 multirole fighters flew a variety of missions to include; suppression of enemy air defense, offensive counter air, defensive counter air, close air support and forward air controller missions. Mission results were outstanding as these fighters destroyed radar sites, vehicles, tanks, MiGs and buildings.

Since Sept. 11, 2001, the F-16 has been a major component of the combat forces committed to the war on terrorism flying thousands of sorties in support of operations Noble Eagle (Homeland Defense), Enduring Freedom in Afghanistan and Iraqi Freedom.

The F-16s are an integral part of the Pacific Air Forces power projection based at Osan Air Base Korea and Eielson Air Force Base, Alaska.

-- Technical Information (or Nerdy Stuff) --

‧ Camera - Nikon D7200 (handheld)

‧ Lens – Nikkor 18-300mm Zoom

‧ ISO – 1250

‧ Aperture – f/7.1

‧ Exposure – 1/200 second

‧ Focal Length – 18mm

The original RAW file was processed with Adobe Camera Raw and final adjustments were made with Photoshop CS6.

"For I know the plans I have for you,” declares the LORD, “plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11

The best way to view my photostream is through Flickriver with the following link: www.flickriver.com/photos/photojourney57/

Olympus digital camera. En souvenir d’une belle journée avec J Luc et Franky.

ROSE DUGDALE came from a wealthy English background and her journey into the Irish republican struggle stems from her inherent interest in the world around her. From her idyllic childhood on a farm in Devon, to her nine-year prison sentence and finally her progression into Sinn Féin, Rose’s contribution to republicanism is being honoured at this year’s annual Dublin Volunteers Dinner Dance in November.

» BY SORCHA BERRY

BORN into a wealthy family in Devon, in the south-west of England, Rose Dugdale’s childhood was idyllic and she spent her early years surrounded by wildlife. She was a keen hunter and was a self-proclaimed ‘Tom Boy’. She spent some holidays in Scotland where she went stalking, shooting grouse and salmon fishing. Rose talks fondly of her upbringing:

“I had a marvellous life. It’s certainly safe to say that money was never a great shortage.”

She went to the magnificently-named Miss Ironside’s School for Girls in Kensington and her family home was in Chelsea.

In 1959, she studied at St Anne’s College, University of Oxford, where she says she was surrounded by “brilliant” tutors.

“University was a time to relax, learn, think and talk with people. My tutors were wonderful but they didn’t politicise me; I was just always very enthusiastic to learn something about the world.”

After studying in America for a Master’s Degree, Rose returned to England where she taught economics and obtained a doctorate in Philosophy.

She was heavily involved in the demonstrations against the Vietnam War and it was this that led her to visit Cuba for summer camps that were set up by Fidel Castro to attract Vietnam War activists.

“It was in Cuba that I saw the possibility of socialism in the making. Academic life was dominated by great new theorists such as Marx and Mao and it really felt possible to change the world.”

Rose became involved in working-class movements in Tottenham, north London, a community with high poverty rates and a huge Irish population. It was around this time (1972) that Bloody Sunday happened and that event had a profound effect on Rose and spurred her decision to join the republican armed struggle.

“There was a struggle going on right on my doorstep in Ireland and there was never any doubt that I had to be involved. When I got off the boat in Belfast, I saw the British Army on the streets in their uniforms with their high-tech weapons. I saw British troops raid a set of flats and I found it horrifying. I became anxious to get involved in the armed struggle.”

In June 1974, Rose was sentenced to nine years in prison by a Dublin court for her role in IRA operations and months into her sentence in Limerick Prison she discovered she was pregnant.

“I wasn’t scared at all. Being pregnant felt nice. I was delighted.”

Her main concern in prison had to do with the ordinary prisoners.

“They lived in appalling circumstances and we could do very little to help them. The authorities treated them terribly and drove some to suicide. For them a prison sentence of a few months was horrible; as republican prisoners, we knew why we were there — we were prepared for it.”

Her time in prison shaped her participation in the movement upon her release.

“The fact that I was an ex-prisoner gave me a certain status within the Republican Movement. There had always been an attitude that I was from a strange background, from the monied classes. I was considered an oddball and a maverick. Some would have said that I belonged with the Stickies because I wasn’t the ‘typical’ republican.”

Soon after being released from prison, Rose joined Sinn Féin.

“My background had me believe that armed struggle was the only way forward but the revolutionary army that was the IRA had achieved its principal objective, which was to get your enemy to negotiate with you. They did that with amazing skill and ability and I can’t help but respect what was done in terms of the Good Friday Agreement.”

Coming from such a wealthy background, Rose has no regrets about her decision to leave everything behind her and take part in the Irish struggle.

“I did what I wanted to do. I am proud to have been part of the Republican Movement and I hope that I have played my very small part in the success of the armed struggle.”