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Sirya is a very young talented artist with Vietnamese origins. She was born in Turin on January 23rd 2002, she has been practising artistic gymnastics the age of four. She has already achieved very good results both in Italy and internationally, also in circus arts and particularly in aerial acrobatics.
Sirya, together with her family, is a street artist: she dances, recites and amuses passers-by with her amazing acrobatics. Sirya became aware very quickly that being an artist is really what she wants to be in her life. What she desires most is “delivering” her art in the streets, theatres, circuses of the whole world, with the aim of making people smile. When she was nine, she took part in the second edition of the Italian television program “Italia’s Got Talent”. After having gone through all the preliminary steps she eventually got to the final. Sirya, thanks to this television program lept to fame for some time and this gave her the possibility to meet important people in this field.
In December 2002, Sirya was admitted to “L’Accademia di Arte Circense” in Verona, where she attended with very good results. Despite her young age she decided to take on a big challenge, and moved to a new and far away town, miles away from her family, though she still managed to often meet her sister Nicole and her mother Marja for street art events.
Sirya’s specialised in different fields: acrobatics, handstand, aerial, dance and contortion. But she has also took part in the 2013 “European Juggling Convention” in Toulose, as a juggling performer.
On the street, unfortunately, “ tools” are very rarely available when you need them, therefore with a wheel on the ground and a crowd in a circle, the show can begin...
Sirya is young but a very determined artist, very mature for her age, but above all, very sentitive towards those who are less lucky then herself. In fact, The “Tip hat” money, apart from little expenses, goes entirely to local charities in Vietnam, where Sirya lived and performed for a year and had the opportunity to witness poverty and misery and to support the project
"Il Sogno di Marja".
Sirya is ambitious: her dream is to develop her skills as an artist and eventually join a big companies like the “Cirque du Soleil”. This will also hopefully enable her to help, in a more substantial way, her Vietnamese friends.
Being an artist means being part of a magical world, a world that you can create and edit according to your likings. It allows you to paint your days with the colours of your mood, to dance and sing at work, to play the music you like and to be yourself. It sounds so incredible, doesn’t it? Yes, it is. And every artist has their own story, here is mine... TBC
~ Sirya Luongo (Sya)
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London 🇬🇧 June 2018
Although the Industrial Revolution increased life expectancy, it also produced many negative consequences. As a result, we live in a society that has lost much of its roots and moral grounding. Therefore, we live unfulfilling lives. As technology continues to advance, we will witness more social disruption. We now live in an industrial-technological system, which we will not be able to turn back. As this system marches forward, we will lose our dignity and freedom—even our humanity.
We have become a society of leisure; we have become decadent. As a result, we have become bored, hedonistic, and demoralized. An individual must have meaningful goals in life, which they can ‘autonomously’ work toward—goals with real adversity and reward. In accomplishing such goals, a person finds fulfillment. In our modern society, we have lost much of our autonomy. We have been trained to be obedient to the system. We must follow ever-increasing bureaucratic rules and regulations. Nowadays, experts tell us what to do and how to think. We are cogs of the machine—we are under the direction and control of the system. Yet this is not healthy for human beings. We must have our own independence, so that we can build our lives by our own initiative. If there is little room for a person to exercise autonomy, they will feel insignificant. If they have the autonomy to attain meaningful goals, they will gain self-confidence. A society that cannot make/create/set or fulfill meaningful goals will become demoralized; they will suffer from low self-esteem and feelings of inferiority; they will suffer from depression, anxiety, and guilt; they will become frustrated, hostile, and unfriendly; they will become bored and pursue hedonistic pleasures in order to cope.
Many young people today lack goals. They cannot see themselves attaining enough financial stability to marry a spouse or raise a family. They cannot see themselves owning a house or having a future to look forward to. This results in demoralization and defeatism.
In the past, people had to truly survive. This took serious effort. They had to make tools and weapons. They had to hunt down an animal, kill it, butcher it, get it home, cook it, and eat it. How manly and satisfying! A man would find fulfillment in a lifetime of roaming and exploring the land, hunting wild game for his family. He would have many adventures. Yet in our modern society, it takes minimal effort to attain one’s basic needs. Today, we work dead-end jobs that are unsatisfying. They provide us with a paycheck, but they don’t provide us with real fulfillment. We then try to find fulfillment in hobbies and other leisure activities, which will not bring us real fulfillment. What is worse, we spend our spare time sitting around staring at screens. The human body is not built to live a sedentary life. The human brain is not built to doomscroll. Living sedentary lives and doomscrolling obviously leads to unhappiness. Such activities are less satisfying than accomplishing meaningful goals such as buying land, clearing the land of trees by hand, using the trees to build a house by hand, carrying ones wife over the threshold, raising a family, working the land and raising livestock, thus conquering the land and continuing ones posterity. This in itself is Biblical. Why do you think, when Christ returns, He will divide up the land among the people (as it was done in the Old Testament)? It is so that man will work his ‘own’ land. Then man will work in nature, where he will be happiest. God made nature for man, not man for nature. The goal of the globalist agenda is to further divide man from nature; it is an antichrist agenda. Their goal is transhumanism, which will dehumanize mankind and further divide him from nature. Moreover, transhumanism will divide man from God.
A pre-industrial society is predominantly rural. With the advent of the Industrial Revolution, the population of cities vastly increased. A technological society changes rapidly, thus there is less stability. These changes affect all aspects of society and cause the breakdown of traditional values. Breaking down traditional values causes the breakdown of societal bonds. An individual’s loyalty changes: it must not be first to their family or community, but first and foremost to the system. Indeed, individuals must be tools of the system. This makes us less independent and autonomous, because we become reliant on the system. The system is constantly changing, and we are taught to obey its changing rules and regulations. Yet these regulations are laid down by others. We have little to no input in the making of these rules. They are made by corrupt politicians and bureaucrats, corporations and organizations. This makes us feel powerless, which gives us a sense of hopelessness. Can you see why society has become so frustrated, insecure, humiliated, and angry? The more unfulfilled a society becomes, the more restless it becomes. Restlessness causes friction, and friction causes factions. Thus, a society breaks into factions. A society of impoverished relationships makes for a toxic society. Science will give us the tools to alter the material world, but our relationships with one another and with nature will be destroyed.
As society advances technologically, we lose more freedoms. People can’t even put down their phones, let alone toss them away to fight the system. People don’t want to sacrifice what they have become addicted to and dependent on. Yet they will replace their current technology with something more advanced. They will go from cell phones to wearable technology to microchips. With the promise of eliminating diseases and gaining super intelligence, much of society will give up freedom to be genetically engineered and microchipped. Even though, such a step will never be reversed. Humans will be modified to suit the needs of the system. They will become one with robotic technology.
Many people are not concerned about these dystopian scenarios. Yet technologies such as robotics, genetic engineering, and nanotechnology pose a great threat to humanity. These technologies will be used as tools to redesign the world. Self-replicating technologies will cause great damage to the biosphere. In the end, self-replicating technology will be impossible to control.
Artificial Intelligence will replace human creativity. In the future, the internet will be accessed only by your personal AI assistant. You will ask your AI assistant questions, and it will surf the internet for you. You will not go on Youtube to watch videos. You will ask AI to make the kind of videos you desire to watch. There will be no human content creators. Get used to AI art, AI videos, AI music, AI articles, AI slop! That is what you will be fed. Many who want to fight the system will eventually become passive, and they will no longer resist. They will be sucked into the system and become zombified. They will become docile slaves of the system. It desires complete control over everything on earth, both man and nature. Humanity will then be reduced to the status of domestic animals. Of course, this will be for the good of the planet!
If university students are using AI to write papers, AI will replace them in their future jobs. If teachers and professors are using AI to write curriculum and mark papers, AI will replace them. If the younger generation has no work ethic, they will be replaced by subsidized foreign workers, then both will be replaced by AI. If generation Alpha can’t read, then AI will replace them. The (dangerous) foreign semi-truck drivers on our roads will be replaced by AI self-driving trucks. AI in the schools, AI in the hospitals, replace, replace, replace. The politicians make many terrible decisions, thus they will be replaced by AI.
Moving on! The more society moves away from the traditions of marriage and family, the more unfulfilled and unhappy society will become. Radical leftists feel the least fulfillment, because they long to destroy society and its traditions. How happy can one be if they want to destroy their roots? They are constantly deconstructing themselves, it’s the Maoist way—how else can you brainwash yourself? Therefore, they feel guilt and self-hatred. They gain an inferiority complex. They have a love-hate relationship with themselves. On one hand they loathe themselves, but on the other hand they selfishly desire power. For this reason, they are self-loathing narcissists. They feel unfulfilled and powerless. Therefore, they seek power to bring about fulfillment. They feel weak and helpless, so they desire to feel strong and competent. It’s a coping mechanism. They also hate anything that appears strong, moral, and successful. They hate America, Western civilization, capitalism, the family, patriarchy, whites, males, heterosexuals, the rich, the middleclass, and even rationality. They despise all who are more beautiful, talented, intelligent, or successful than them. Envy does not equate to fulfillment or happiness. Side note: social media causes much envy and unhappiness.
The far left wants society to take care of them, because they are lazy and lack confidence. They feel strong only as a member of a large group or movement. They like to be abusive to those who disagree with them, because they have masochistic tendencies. The Marxist ideology is an authoritarian ideology, which is masochistic in nature, because it revolves around revolution. The far left may act empathetic, but they are apathetic. Indeed, a study on this topic found that radical leftists were apathetic and narcissistic. Their goals revolve around revolution and power. Their insecurity causes them to feel hostile, and their revolution helps them to vent their hostility. They don’t care about diplomacy, so they act hostile. With them, it is all or nothing: they want revolution, they want power. How can you have a rational conversation with individuals who don’t want dialogue? They use minorities as an excuse for revolution. They hide behind minorities, using them to shield their intentions of revolution. They go into poor black communities to fight for poor black people, yet they burn down black businesses and ruin their local economy. The communist must fight for the revolution, for everything opposed to the revolution is a sin. The communist tries to find fulfillment in the act of rebellion; he tries to find fulfillment in the act of revolution. He, however, is never satisfied. Thus, the revolution moves onward.
For the radical, activism is a vent for their pent-up emotions. Activism produces unity among the young militants, creating a bond between like-minded people. Losers can feel accepted, like they belong. Many of these communist agitators are from middle and upper middleclass homes. They have had an easy but unfulfilling life. They are the most radicalized, because they feel the most unfulfilled. They have become so demoralized that they have become nihilistic. Their life seems to have no meaning. They have lost their moral compass. They rely on emotions rather than on reason. They rely on feelings rather than on facts. “Their political activism is thus only a reaction to the more basic fear that the times are against them, that a new world is emerging without either their assistance or their leadership.” These activists will gradually accept more deviant subcultures as they further divorce themselves from reality. “The supreme irony of that loose and volatile sociopolitical phenomenon of contemporary middleclass America named the New Left is that it is itself the creation of the technetronic revolution as well as a reaction against it.” “The New Left was able to draw on the deep-rooted traditions of American populism, Quaker pacifism, and the pre-World War II largely immigrant-imported socialism and communism.” (The ‘New Left’ refers to the leftist movement of the 60s).
Paying for your child’s first car, college tuition, wedding, or house down payment will give them little sense of accomplishment. Giving children everything not only spoils them but also makes life boring. There must be ups and downs for life to be interesting. Bad times can produce growth and maturity, that is, if a person desires to learn from life. Especially if they want to build a strong moral character. The rewards of being cogs in the system produce great boredom. These middleclass kids have a self-indulgent lifestyle that contradicts their professed anti-materialism. Their material existence tends to depend on their parents. Their ideological infantilism stems from obsolete nineteenth-century criticisms of capitalism. They are spoiled kids who are rebelling against middleclass society. These activists offer no real response to the dilemmas of our age. Their revolutionary movement is really an escapist movement. It is a way of coping with their unfulfilled lives. They supposedly desire to change society, but they really want to create a refuge (safe space) from society. Their activism is a psychological safety valve, in which they can blow off steam. They escape their boring lives through activism, so they can feel a sense of freedom and self-gratification. They pat each other on the back, because they are supposedly fighting against their capitalist enemy. However, this is really a form of group therapy.
The woke activists on the ground are the canaries in the coal mine. They are indicators of the problems of our society as a whole. Through them, we have the best lens on society’s anxiety, uncertainty, vulnerability, and dissatisfaction. Side note: we can see the incoming collectivist system through the lens of the United Nations. They want to eradicate poverty. Yet they hide behind poverty, using it to shield their intentions of ruling the world. With communism, it’s all about gaining power. Communism is meant to go worldwide. Collectivism seeks to bind together the entire world (both man and nature) into a unified whole.
Neo-Marxism went through the dialectic with postmodernism and produced wokeism. Some think that post-postmodernism will have a more spiritual element to it. I think that wokeism will go through the dialectic with some sort of religious spiritualism, which will produce antichristism. Wokeism is authoritarian in nature, yet it has a quasi-religious character. Post-postmodernism will lead to an authoritarian system with a spiritual flavour. Man must be grounded to a one-world religion to be grounded to a one-world government. Woke socialism must have a spiritual awakening, so to speak. Wokeism must awaken further in its social enlightenment in order to transcend to the next level of social consciousness. This dialectic enlightenment will mix socialism with a spiritual experience. It will lead to transhumanism. The coming socialist leader—the antichrist—will combine socialism, religion, and transhumanism. Modernity, with its globalization, technology, and social(ist) change, has produced a society that lacks fulfillment. Although technology will bring less fulfillment to humanity, the technological system will lead it forward on a leash. I can see one of the marketing strategies for the Mark of the Beast: we live in stressful times, take the microchip and become numb to the stresses of reality. The soma of the Brave New World Order will give you fulfillment. You will be modified to suit the needs of the system. Warning: do not follow the world system!
Revelation 18:4 “Then I heard another voice from heaven say: ‘Come out of her, My people, so that you will not share in her sins or contract any of her plagues.’”
1 John 4:4 “Little children (believers, dear ones), you are of God and you belong to Him and have [already] overcome them [the agents of the antichrist]; because He who is in you is greater than he (Satan) who is in the world [of sinful mankind].”
1 John 2:15-17 “Do not love the world or anything in the world. If anyone loves the world, the love of the Father is not in him. For all that is in the world—the lust of the flesh, the lust of the eyes, and the pride of life—is not from the Father but from the world. The world is passing away, along with its desires; but whoever does the will of God remains forever.”
Proverbs 3:5-6 “Trust in the Lord with all your heart and lean not on your own understanding; in all your ways submit to Him, and He will make your paths straight.”
Romans 8:7 “For the mind that is set on the flesh is hostile to God, for it does not submit to God’s law; indeed, it cannot.”
Galatians 5:25 “Since we live by the Spirit, let us keep in step with the Spirit.”
Matthew 5:6 “Blessed are those who hunger and thirst for righteousness, for they will be satisfied.”
In a sinful world, no individual can experience perfect fulfillment. When I’m in eternity with the Lord, I’ll know perfect fulfillment!
Meet the lovely and talented Jenna Ponraj. She is an incredible and faithful young lady who has a music CD coming out. Here is a link to her web page and sample song:
We took some photos for her and the local park and had such a fun afternoon. Thank you for your kind visits my friends!
Surfing is Poetry in Motion! Beautiful & Talented Professional Surf Girl Goddess! Alana Blanchard! Athletic Bikini Swimsuit Wetsuit Models Surfing Trestles Beach, San Clemente California! Nikon D810 + Tamron SP 150-600mm f/5-6.3 Di VC USD G2! Catching Waves Surf's Up!
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Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
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A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All my photography celebrates the physics of light! dx4/dt=ic! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical: geni.us/Fa1Q
Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
The beautiful and talented entertainer Jill Anne Jack of Tartanic, posing with renown fantasy artist Parry Morton as Anubis.
Arizona Renaissance Festival
Time Travel Weekend
Apache Junction, AZ.,
Photos by RaVen - 2014 - 2016.
Sitting in a tree beside a hotel serenading the guests and decorating their cars in the parking lot below. In Addison, Texas
The wonderfully talented (and drop dead gorgeous) Inna Modja from her gig in the Big Red Tent at this year's WOMAD Festival at Charlton Park.
You can see more pics of her in my Inna Modja set.
My sincere thanks are due to Inna Modja for giving her permission for me to photograph all of her set. I so enjoyed shooting this gig. :-)
Check out the videos for some of her songs here: www.innamodja.com/Videos#content
You can see my WOMAD 2016 shots here: WOMAD 2016
You can see my WOMAD 2015 shots here: WOMAD 2015
You can see my WOMAD 2014 shots here: WOMAD 2014
You can see my WOMAD 2013 shots here: WOMAD 2013
You can see my WOMAD 2012 shots here: WOMAD 2012
You can see my WOMAD 2011 shots here: WOMAD 2011
You can see my WOMAD 2010 shots here: WOMAD 2010
You can see my WOMAD 2009 shots here: WOMAD 2009
My thanks are also due to Dee McCourt of Borkowski PR for arranging my photo pass.
Tried out the new 9mm Viltrox ultrawide lens on the A6700 down at Yankalilla Show....It's going to take some getting used to!
Salon owner, Georgia, worked on my hair while Marianne McCann was having hers set under a dryer behind us.
Georgia's Beauty Parlor is located in Bay City -
Imaginario (204, 118, 25). It is owned and operated by the talented Georgia Florence Sipe (lilaskyheart).
Portrait of the uber talented Andre Rieu when he was performing at the SSE Hydro in Glasgow 24.03.17
Pretty Venus Ballerina Dancing Classical Ballet at the Los Angeles LACMA Urban Lights & Levitated Mass! Nikon D810 & Sigma 50mm f/1.4 EX DG HSM Lens for Nikon! Gorgeous Athletic Talented Ballerinas Dancing Classical Ballet in Pointe Shoes Ballet Slippers & Leotard!
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
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Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
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Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All my photography celebrates the physics of light! dx4/dt=ic! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical: geni.us/Fa1Q
Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
Picture taken by the talented and lovely Miss Evangeline Milles, for some more of her amazing work, please look here:
www.flickr.com/photos/eviescloset
Thank you so much Evie, for helping to save this precious memories and for allowing me to use some of them!!
We had an amazing evening, everyone looked gorgeous and enjoyed the music and the mood. Angel Manor, our home, this is what we can experience there, and everyone is welcome at all times. Come and visit!
Czech postcard by UPTF / Pressfoto, Praha (Prague), no. C 199, 1965. Photo: G.B. Poletto. Alain Delon in Il Gattopardo/The Leopard (Luchino Visconti, 1963).
In the late 1950s and early 1960s, Alain Delon (1935) was the breathtakingly good-looking James Dean of the French cinema. The 'male Brigitte Bardot' soon proved to be a magnificent actor in masterpieces by Luchino Visconti and Michelangelo Antonioni. In the late sixties, Delon came to epitomise the calm, psychopathic hoodlum in the 'Policiers' of Jean-Pierre Melville, staring into the camera like a cat assessing a mouse.
Alain Fabien Maurice Marcel Delon was born in Sceaux, a suburb of Paris in 1935. His parents, Édith Arnold and Fabien Delon divorced when Delon was four. He had a stormy childhood and was six times expelled from different schools. At 14, Delon left school and worked for a brief time at his stepfather Paul Boulogne's butcher shop. Three years later, the 17-year-old enlisted in the French Marines, serving in 1953-1954 in Indochina as a parachutist. In 1956, after being dishonourably discharged from the military, he returned to France. He had little money and worked at various odd jobs, including as a waiter, salesman, and porter in the Les Halles market. During this time he became friends with the actress Brigitte Auber and joined her on a trip to the Cannes Film Festival, where his film career would begin with a screentest for David O'Selznick. He didn't go to Hollywood but decided to stay in France. He made his film debut in Quand la femmes s'en mele/Send a Woman When the Devil Fails (Yves Allégret, 1957). In 1958, during the making of the love story Christine (Pierre Gaspard-Huit, 1959), Delon met Romy Schneider. They would be engaged until 1964. Delon’s first outstanding success came with the role of the parasite Tom Ripley in the sun-drenched thriller Plein soleil/Purple Noon (René Clément, 1960), based on the crime novel The Talented Mr. Ripley by Patricia Highsmith. Delon presented a psychological portrait of a murderous young cynic who attempts to take on the identity of his victim. The critics liked his performance. According to Wikipedia, Patricia Highsmith herself was also a fan of his portrayal.
Luchino Visconti offered Alain Delon a totally different role in Rocco e i suoi fratelli/Rocco and His Brothers (Luchino Visconti, 1960). In this film, he plays the devoted Sicilian immigrant Rocco, who accepts the greatest sacrifices to save his characterless brother Simone, played by Renato Salvatori. Delon received international recognition for this role. The following year Alain Delon made his stage debut in Paris in Dommage qu'elle soit une putain/'Tis Pity She’s a Whore, alongside Romy Schneider. The play, written by John Ford, was directed by Luchino Visconti. The production cost a reported 60 million francs and broke box office records. It ran for more than 8 months. Delon also gave tremendous performances in L'Eclisse/The Eclipse (Michelangelo Antonioni, 1962) opposite Monica Vitti, and the epic Il Gattopardo/The Leopard (Luchino Visconti, 1963) starring opposite Burt Lancaster and Claudia Cardinale. L’Eclisse won the Special Prize of the jury at the Cannes Film Festival, and the following year Il Gattopardo won the Golden Palm in Cannes. After these acclaimed Italian films, Alain Delon returned to France and to the crime film in Mélodie en sous-sol/The Big Snatch (Henri Verneuil, 1963), with Jean Gabin. This classic genre film was distinguished by a soundly worked-out screenplay, by careful production and by excellent performances of both Gabin and Delon.
By now Hollywood studios were very interested in Alain Delon and he decided to make a bid for American stardom. In 1965, MGM signed him to a five-picture contract. The first movie of this deal was Les Félins/Joy House (René Clément, 1964), shot in France with Jane Fonda. He followed it up with two more films for the studio: the all-star The Yellow Rolls Royce (Anthony Asquith, 1965), in which Delon had a relatively small role, and Once a Thief (Ralph Nelson, 1965), where he co-starred with Ann-Margret. Delon then signed a three-picture deal with Columbia. He appeared for this studio in the big-budget action film Lost Command (Mark Robson, 1966) with Anthony Quinn. Universal Studios used Delon in the Western Texas Across the River (Michael Gordon, 1966), opposite Dean Martin. For Seven Arts, Delon starred in Paris brûle-t-il?/Is Paris Burning? (René Clément, 1966) about the liberation of Paris in August 1944 by the French Resistance and the Free French Forces. This was a massive hit in France but it performed disappointingly at the US box office - as did all of Delon's Hollywood financed films. So after six Hollywood movies, Delon returned to France. In the late sixties, Delon came to epitomise the calm, psychopathic hoodlum, staring into the camera like a cat assessing a mouse. His tough, ruthless side was used to grand effect in Le Samouraï/The Godson (Jean-Pierre Melville, 1967), maybe Delon’s finest moment. Later Melville directed him again in the crime films Le Cercle Rouge/The Red Circle (1970) with Bourvil and Yves Montand, and Un Flic/A Cop (1972) with Catherine Deneuve. In 1968 Delon also in real life got involved in a murder scandal when one of his bodyguards was found shot dead on a garbage dump nearby Delon's house. Eventually, Delon was cleared of all charges. In the cinema, Alain Delon had a huge success in the bloodstained Borsalino (Jacques Deray, 1970). He and Jean-Paul Belmondo played small-time gangsters who become kings of the Marseilles underworld of the 1930s. He also produced Borsalino, and the film became one of France’s highest-grossing films of the time. Between 1968 and 1990 he went on to produce 26 films.
In later years, Alain Delon won critical acclaim for roles against type. In the Kafkaesque thriller Mr. Klein (Joseph Losey, 1976) he was brilliant as the icily sinister art trader in German-occupied France. In 1985 he was awarded the César Award as Best Actor for his role as an alcoholic in Notre histoire/Our Story (Bertrand Blier, 1984). Another acclaimed role was the homosexual Baron de Charlus in the fine Marcel Proust adaptation Un amour de Swann/Swann in Love (Volker Schlöndorf, 1984). And in 1990, Delon worked with New Wave auteur Jean-Luc Godard on Nouvelle vague/New Wave (1990), in which he played twins. He also directed two films himself, Pour la peau d'un flic/For a Cop's Hide (1981) and Le Battant/The Fighter (1983). A string of box office disasters in the next years culminated in 1998 in the unexpected failure of Une chance sur deux/Half a Chance (Patrice Leconte, 1998) in which Alain Delon was reunited with Jean-Paul Belmondo. Delon announced that he would give up acting. For his impressive film career, he received the Legion d'Honneur, the highest French decoration. Alain Delon returned in the cinema as Julius Cesar in Astérix aux Jeux Olympiques/Asterix at the Olympic Games (Frederic Forestier, Thomas Langmann, 2008), and he reunited with former girlfriend Mireille Darc in a stage adaptation of The Bridges of Madison County by Robert James Waller at the Marigny Theatre in Paris.
Alain Delon has a son, Christian Aaron Boulogne 'Ari' Päffgen (1962), from a relationship with German singer/supermodel Nico. The child was raised mostly by Delon's mother and stepfather. He broke the relationship with his mother after she insisted on taking care of Ari. They spoke again when his step-father died in 1988, the same year Nico died. From his first marriage to Nathalie Delon (Nathalie Barthélemy), he has another son, Anthony Delon (1964), who also acted in a number of films. Then he was a longtime companion of actress Mireille Darc from 1968 to 1982. Then he had a relationship with Anne Parillaud. From his second marriage with former Dutch model Rosalie van Breemen, he has a son Alain-Fabien (1990) and a daughter Anouchka (1994). Rosalie was 21 when she met Alain who was 52. They lived together from 1987 till 2001. Today, Alain Delon lives in Geneva, Switzerland. He acquired Swiss citizenship in 1999, and the company managing products sold under his name is based in Geneva. Since the formation of a perfume label in his name, Delon has had a variety of products sold under his name including wristwatches, clothing, eyewear, stationery, and cigarettes. His most recent film appearances were in the Russian comedy S Novym godom, mamy!/Happy New Year, Mommies! (Artyom Aksyonenko, Sarik Andreasyan, Anton Bormatov, Dmitriy Grachev, Klim Poplavskiy, 2012), and in the French comedy-drama Toute ressemblance/Disclaimer (Michel Denisot, 2019) with Sylvie Testud.
Sources: Alain Delon.ch, Wikipedia, Sarah (IMDb), and IMDb.
And, please check out our blog European Film Star Postcards.
Black Friday when we lost this beautiful talented singer
Selena as her fans knew her by. Terrible tragedy but
remembered by all who loved her and still listen to her music.
April 16, 1971 – March 31, 1995
Selena Quintanilla - Como la flor - Acapulco 1994
www.youtube.com/watch?v=OHV19QL8HcA
Selena Quintanilla - Si una vez - Padrisimo 1995
www.youtube.com/watch?v=-NePA1TAS_U
The tragic news arrived the way tragic news often does: by phone. The call came just after lunch from my friend David Bennett, a reporter at the San Antonio Express-News. “Selena has been shot. In Corpus Christi at a Days Inn motel. The woman who did it is sitting in a pickup in the parking lot, holding a gun to her head.” I waited for Bennett, a font of sick jokes about current events, to deliver the punch line. It was, after all, March 31 — the day before April Fool’s. But no punch line came when he called back a few minutes later: “She’s dead. She passed away at 1:05 p.m. at Memorial Medical Center.”
I had met her only once, but it was as though someone close to me was suddenly gone. Selena Quintanilla Perez was a 23-year-old Grammy award-winning singer and the undisputed queen of Tejano music, a Texas specialty that is enjoying unprecedented popularity around the country and the world. A year ago, I’d talked with her on a tour bus in Austin for a Texas Monthly story. For most of the interview, she sat next to her mother, Marcella, who often traveled with her band, Los Dinos, and her father, Abraham, the band’s manager. At one point, her husband, Chris Perez—who was also her lead guitarist—stopped by to say hello. Around midnight, Selena’s sister, Suzette—her drummer—and her brother, A.B.—her bass player, chief composer, and producer—would join her and the rest of the band onstage.
Selena’s family crossed my mind when I heard about her death. She may have dressed provocatively onstage, but after sitting face to face with her in the company of her kin, seeing her without makeup or her sexy costumes, I pegged her as a good girl—not the sort of person who would be involved in a shooting, especially a shooting involving a jealous woman in a crime of passion.
That, of course, was what the early rumors suggested. A radio deejay somewhere wisecracked that the assailant was “Emilio’s wife”—the spouse of Emilio Navaira, the popular Tejano singer who was Selena’s only real box office competition. That scurrilous suggestion spread so fast that Navaira’s office and home were besieged with death threats. To get the truth, I tuned in two of San Antonio’s Spanish-language stations, KXTN-FM (Tejano 107) and KEDA-AM (Radio Jalapeño), and stayed close to the phone. Soon, another friend called to say that Ramiro Burr, the Express-News‘ syndicated Tejano columnist, had heard from Selena’s record company, that the woman in the pickup was Yolanda Saldivar, a 34-year-old nurse whom everyone knew as Selena’s number one fan.
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By five that afternoon, San Antonio TV stations—including the affiliates for the Spanish-language Telemundo and Univision networks—had reporters and satellite uplinks at the crime scene. Selena y los Dinos songs were all over the radio. Grieving callers to radio stations read poems on the air. Other Tejano artists, such as Stefani, the All-American Sweetheart, phoned in to share memories. Dances at Tejano venues were called off in cities across Texas.
When I heard that Tejano 107 would be holding a candlelight vigil at the open-air Sunken Gardens Theatre in San Antonio at seven that night, I jumped into the car. My first stop was Selena’s boutique and salon, Selena Etc., on a tiny strip of Broadway by Brackenridge Park. Last year, Selena had opened this boutique and one in Corpus Christi; music may have been her living, but fashion was her life. When I pulled into the parking lot, four other cars were there. Two had messages painted on their windshields in white shoe polish: One read “Selena Lives On,” the other, “Missing You Selena.” A bouquet of flowers had been placed by the door of the boutique, alongside a picture of a smiling Selena and several notes. A few adults, four teenage girls, three younger boys, and an abuela (“grandmother”) were milling about, studying the flowers, reading the notes, peering in the boutique’s window at the photos and posters of Selena that hung among the designer outfits. Their faces were not animated or emotional but solemn and blank. They wanted to see, to touch, to connect somehow.
Across the park, Sunken Gardens was filling up fast. A small truck, the Tejano 107 mobile studio, was parked in the middle of the stage. Two life-size cutouts of Selena holding a Coca Cola were placed nearby. The event had been haphazardly organized—when someone from the station began handing out candles, a small stampede broke out—and at first, it seemed as though it might never come together. Then disc jockey Jonny Ramírez emerged from the truck to tell the nearly five thousand people in attendance that they were there because “somebody stupid had a gun.” A few people laughed when he recounted first meeting Selena (“I said to myself, ‘Yes! This lady makes me want to go home and take a cold shower!’”). Then he said what almost everyone else who had ever known her had said: “She never behaved like a superstar.”
By seven-thirty, candlelight illuminated the whole place. Kids still skittered under their parents’ legs, and friends still greeted friends with smiles. But a sober, respectful serenity prevailed. Facing the stage, a teenage boy and girl (brother and sister? boyfriend and girlfriend?) stood rigidly, holding a candle and clutching a white banner that read “Honk If You Love Selena.” I didn’t realize it then, but the veneration had begun.Selena is Dead - 0009
Who She Was
On Saturday Selena’s death came up during a conversation with a neighbor in my predominantly Anglo Central Texas community. “I never heard of her,” she told me, “and I’m from Refugio. I grew up around those people.” Her reaction echoed that of many Texans, who saw this as just another senseless shooting.
Yet to “those people”—the five million Texans of Mexican descent—March 31 was a darker day than November 22, 1963. To “those people,” Selena was more than a celebrity. She was an icon. Her status as an entertainer who was a millionaire at age nineteen; her positive personality; her devotion to God, family, and home; and her willingness to talk to kids about staying in school and avoiding drugs made her a hero to brown-skinned people—especially Hispanic girls—who had precious few role models.
Her music validated the cultural duality of the majority of her fans, proving you could embrace the traditions of the land you came from while still being hip and modern. Like most Mexican Americans who have assimilated into the mainstream, Selena’s first language was English—and yet she opted to sing in the native language of her parents, proving that who you are and where your family came from are sources of pride, not sources of shame.
Selena was a total package. She could work a crowd. She could dance. She was sexy. She knew how to make time for industry types backstage. And, of course, she could sing. She was equally comfortable with the fancy streamlined polkas that are the backbone of all Tex-Mex music, the histrionic boleros from Northern Mexico (such as the “Que Creias,” in which she scorches a lover who has taken her for granted), and the mambo-derived cumbias popular throughout Latin America. She reinterpreted the sixties-era Japanese pop song “Sukiyaki” into a sentimental Spanish-language version. She re-worked the Pretenders’ eighties rock classic “Back on the Chain Gang” into “Fotos y Recuerdos” on her latest album, Amor Prohibido. She was savvy enough to write and record the nonsensical but eminently hummable, “Bidi Bidi Bom Bom,” which received heavy airplay here and in Latin America last year but would have been a hit in any language.
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Despite those accomplishments, it was the forthcoming release of Selena’s first English-language album that had her fans and business associates giddy with anticipation. Instead of competing with Emilio Navaira (Tejano’s George Strait), La Mafia, Grupo Mazz, La Diferenzia, or Gary Hobbs (Tejano’s Vince Gill), she would be taking on the likes of Whitney Houston, Gloria Estefan, and Madonna. Her rivals were cheering her on. She was going to lift all of Tejano with her.
Then the dream ended—at the hands of the one person outside her family who stood to benefit most from her success.
The Killer
Yolanda Saldivar fit the classic stereotype of la dueña, the faithful chaperone or assistant. Neither attractive nor charismatic, the short, pudgy registered nurse from San Antonio was Selena’s constant companion. Her devotion and loyalty were beyond question. With the Quintanilla family’s blessings, Yolanda founded the Selena Fan Club in 1991. Whenever Selena y los Dinos played San Antonio or nearby communities, Yolanda was at Selena’s side. She was Selena’s eyes and ears, friends said—so trusted that she gave up her fan club position last fall to run Selena’s boutiques.
But some members of Selena’s circle spoke of another Yolanda. She was possessive and controlling, says Martin Gomez, who designed fashions for Selena until, he claims, Yolanda’s obsessiveness drove him to quit. She was a loner who had lived with her mother until recently and had few friends. She had once been accused of embezzling funds from a previous employer, and she had defaulted on a student loan. A woman who moved into an apartment with Yolanda discovered that Yolanda didn’t just have pictures of Selena on her walls—the whole place was “like a shrine.” Spooked, the woman moved out after two weeks.
Word reached Abraham Quintanilla in January that something had been amiss with the fan club. Several fans had complained that they had sent in their $22 but had never received the promised T-shirt, CD, picture or biography. About the same time, employees at the boutiques began to raise questions about Yolanda’s actions. Abraham began quietly investigating the matter and didn’t inform Selena until he felt he had concrete evidence.
In early march, Abraham, Selena, and Suzette met with Yolanda and demanded a full accounting. Yolanda denied the accusations and said that others were intent on making her look bad. Still, she must have seen what was coming. The person she had devoted her life to was going to cut her loose.
On March 13, after undergoing a background check, Yolanda bought a snub-nosed .38-caliber pistol from a San Antonio gun dealer. She then traveled to Monterrey, Mexico, where Selena planned to open a boutique, taking Selena’s business records with her. At some point during Yolanda’s trip, Selena phoned her and told her to bring the records back.
Subsequently, Yolanda resurfaced in Corpus Christi. On the night of Thursday, March 30, Selena and her husband, Chris, went to room 158 at the Days Inn, where Yolanda was staying, to pick up the records from her—despite the fact that Yolanda had asked Selena to come alone. When Selena got home, she realized some bank statements were missing, and she made arrangements with Yolanda to pick up the remaining records Friday morning.
On the morning of March 31, Yolanda asked Selena to accompany her to Doctor’s Regional Medical Center, claiming to that she had been raped in Monterrey. When test results were inconclusive, Yolanda changed her story: She hadn’t been raped after all. Selena and Yolanda then drove back to the motel.
Once again, Selena asked for the bank statements. Apparently, she also attempted to sever their professional relationship. Harsh words were exchanged. Yolanda demanded that Selena return a ring she’d given her as a gift from her employees. As Selena removed the ring, Yolanda pulled out the gun. When Selena ran out the door and yelled for help, Yolanda screamed, “You bitch!” and shot her in the back.
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Selena crossed the courtyard and collapsed. The bullet had entered her right shoulder and severed an artery. By 11:49, when she crawled to the lobby door, she was bleeding to death.
“I’ve been shot,” she cried.
“Who shot you?” asked a motel employee.
“Yolanda.” Selena said. Then she passed out, clutching the ring in her hand.
An ambulance arrived within three minutes to take her to Memorial Medical Center. Notified almost immediately that Selena had been in “an accident,” Abraham and his family raced to the hospital, but the message had gotten confused: They thought she had been in a car wreck. A doctor met them in a waiting area near the emergency room and told them she had been shot. When he said he had administered four units of blood and had been able to restart her heart, Abraham became frantic and interrupted him. Because of her religious beliefs, he said, Selena would have objected to the transfusions.
But it was too late. The transfusions hadn’t helped, the doctor said. Selena was dead.
The Crime Scene
I woke up early on the morning of Sunday, April 2, with an urge to be in Corpus Christi. The outpouring of emotion on the news the night before was unlike anything I’d ever seen.
On the way to pick up David Bennet, who would come along for the ride, I tuned in KEDA-AM’s weekly Spanish-language mass from San Fernando Cathedral in downtown San Antonio. The priest was talking about Selena. “It isn’t the woman who senselessly killed her,” he said. “It is the whole culture of death we’re promoting.” He criticized the urge to retaliate. He begged the congregation to “say no to the spirit of getting even.”
When we got to the Days Inn in Corpus, we met up with about one hundred people, almost all of them Hispanic. Some were taking photos of themselves in front of the motel’s marquee, which read “We Will Miss You Selena.” Others were hanging around the lobby, where Selena spoke her last words. Still others were standing stoically near room 158, posing for cameras and video recorders. At the foot of the door were a bouquet of carnations, some roses, a pink oleander blossom, a votive candle, and several notes.
Many people seemed to be combing the site for something—evidence, perhaps, or a memento. Several young men hovered around the wooden trash container by the lobby, inspecting every square inch for flecks of dried blood. Two teenage boys in Dallas Cowboy jerseys ran their fingers through the thick blades of grass in the courtyard, where Selena had collapsed. Near room 158, three boys carefully picked up wood chips from the flower bed, studying each one for traces of blood.
Retracing Selena’s final steps, I felt the same cold chill I’d felt at Dealey Plaza in Dallas. I looked around for David, who had wandered off. I found him kneeling near the lobby, joining two men in silent detective work. After peering underneath an empty planter, he rose, his face paler than before. “I think I’m going to lose it,” he said. He had found a rust-colored spot that the cleanup crew had missed.
Selena is Dead - 0010Home
From the motel, we drove south on Navigation Boulevard to Bloomington Street, where the Quintanilla clan lived. Traffic was stalled for five blocks as motorists lined up to cruise by. The three modest brick homes, surrounded by a single chain-link fence, were among the newest structures in the blue-collar, largely Hispanic neighborhood, and each had a paved driveway that took up most of the front yard. The house on the corner was Chris and Selena’s. It was small and unassuming — not the sort of place you would identify as the domicile of a superstar. The two-story house next door was Abraham and Marcella’s. The next house belonged to A.B. and his wife, Vangie.
Scores of fans stood in front of the fence, which had turned into a canvas of poster boards, banners, photos, flowers, colored ribbons, balloons, and teddy bears. There were flags of the United States, Mexico, and El Salvador. There were messages from Puerto Rico and Wisconsin, Dallas and Deer Park, Laredo and Three Rivers, and La Feria. One especially touching note was simply addressed, “To: Heaven, From: Houston.”
Staring at a picture of Selena on the fence, a toddler gleefully tugged at his mother’s skirt: “Look, Mommy. Bidi Bidi Bom Bom.”
The Long Good-bye
Downtown, for nearly a mile, people lined the sidewalk of Shoreline Boulevard on their way to Bayfront Plaza Auditoruim. They were waiting to see Selena’s closed casket, which was surrounded by five thousand white roses—Selena’s favorite.
The fans started showing up as early as four in the morning, though the doors didn’t open until nine. Still, things went smoothly until a rumor spread through the crowd late in the afternoon: The coffin was empty; Selena’s death was a publicity stunt. To calm the well-wishers, the family had the casket opened. The body was Selena’s. Her hands, folded across her chest, clutched a single red rose. By ten, when the doors finally closed, almost 60,000 people had paid their respects.
I drove home that night but the next morning impulsively decided to drive back to Corpus. It was too late to attend the private funeral service, but since it was being broadcast live by San Antonio TV and radio stations, I listened while driving down the highway—with my headlights on. Minister Sam Wax, a Jehovah’s Witness, preached in English about the resurrection of Jesus according to the faith. “Jesus said, ‘Do not marvel at this.’” The service lasted less than twenty minutes. At the family’s request, each of the six hundred mourners placed a white rose on the coffin. Before long, a two-foot pile of roses rested atop the casket, which was eventually cleared and lowered into the ground.
I pulled into the parking lot of the Days Inn precisely 24 hours after my first visit. Just as many people were walking the grounds and searching for traces of the crime, but the façade of room 158 had been transformed. Messages scribbled in ink, pencil, and felt-tip marker covered the door, the window, the sidewalk, even the limestone block interior. From a distance, room 158 looked like an altar.
When I first heard Selena had been shot, I thought I was witnessing the end of an era and the shattering of the great American crossover dream. Now I wasn’t so sure. At the very least, my Anglo friends finally knew how to properly pronounce “Tejano.” And I was getting a life’s education in the art of grieving, the power of family, and the cycle of life and death. How sad it all was—and yet how vibrant and full of life this send-off was. These people, most of them strangers to Selena, had gathered to say their good-byes. I heaved a deep sigh, wiped the tears from my eyes, and took one last look around.
The Wisdom of Abraham
It was midafternoon when I arrived at Q Productions, an old auto body shop along Corpus Christi’s Leopard Street industrial strip that the Quintanillas had transformed into a company office and recording facility. Most of the mourners had already cleared out, and Eddie Quintanilla, Selena’s uncle, was happy to regale me with tales of his childhood and of his brother Abraham’s high school group, Los Dinos. Abraham loved street corner doo-wop music and rhythm and blues, Eddie said, but he played traditional Tex-Mex fare—polkas and waltzes with Spanish lyrics—to pay the bills. He recalled how Abraham took a good job, working for Dow Chemical in Lake Jackson, to support his family. With money he saved, he opened a nice Mexican restaurant, quit the plant, and re-formed Los Dinos with his older children. Selena began singing in the restaurant when she was eight. Then oil prices slumped, people quit eating out, and the restaurant went under.
In 1982, Eddie said, Abraham moved the family back to Corpus Christi. Music provided them with sustenance as they traveled across Texas and the United States in a battered van pulling a broken-down trailer. “That was a long, long time ago,” Eddie added with a smile.
I found Abraham Quintanilla sitting in a chair in the studio control room while a TV crew packed up its gear. A broad bull of a man, Abraham had impressed me as a classic band manager, a streetwise type who instantly sends the message that he’s not to be trifled with. He certainly knows the rules of survival on the tejano dance hall circuit: how money at this level of show business is generated (in gate receipts and merchandising, not CDs and cassettes), who was most likely to steal it from you, which disc jockeys can sell an extra 10,000 copies of an album, which promoters skim off the door.
Above all, he knows talent. Even when the shy Selena was singing country music in English or, later, when the members of Los Dinos were jumping around in shiny space suits, Abraham saw something. And, indeed, in 1989 he managed to sign a breakthrough six-figure deal for the band to cut Spanish-language records for EMI’s new Latin division. Then came last year’s English-language contract with SBK records. The beat-up van and rickety trailer were replaced by a tour bus, and a semi full of production and staging equipment. Selena y los Dinos had become a mini-empire. I couldn’t help but wonder then if Selena would someday ditch her father and sign with a big-time management firm in New York or Los Angeles. Now, that was beside the point.
Since Selena’s death, Abraham had been on automatic pilot—talking to reporters, overseeing funeral plans, conceding that he had always been wary of Yolanda Saldivar, even lamenting the death threats that Emilio Navaira’s wife had received. But as the crowd began to leave, he spoke with dread abut the future. “When I see that empty place and I know she’s not there, I’m going to start missing her,” he said. “It’s a tragic thing that happened. It’s a reality.”
We talked of respect, of family, and of the senselessness of the crime. Abraham railed against the concealed-weapons bill that the Texas Legislature would likely pass: “We live in a dangerous world. Why make it worse? My God, everyone’s armed to the teeth. Anybody is liable to kill you for a minute thing.”
But life would go on, he vowed. He manages six other bands, and his other children are certainly gifted enough to perform on their own. Selena had already recorded four tracks for her English-language debut, and four more songs in English are on the sound track of the new movie, Don Juan DeMarco, in which she has a cameo appearance. There was enough material for a new album. “Of course, it would never be the same,” he said. “There will never be another Selena. But we’ll go forward with it.”
I told him what I had seen, how people were looking for answers. Were there any lessons they could take from the tragedy?
He paused deliberately. “Parents, it’s time to go back to the old-fashioned way of teaching our children,” he said. “About morals, about the dangers of life. They’re too trusting. They don’t think there are bad things out there. I hope that a lot of young people see this and grow cautious. I don’t think Selena knew how popular she was getting. I would tell her, ‘Mi hijita, don’t go to the store by yourself at night. Don’t go to the mall alone. There are people who will kill you for no reason, just because you are famous.’”
Abraham Quintanilla knew all that, but he also knew his daughter was old enough to make her own decisions. She would listen, then tell him, “Dad, you think all people are bad. I can take care of myself.”
Abraham talked about the band’s first Mexican tour. The promoter warned them that the media there thrived on sensationalism. Yet Selena disarmed everyone at Los Dinos’ first Mexican press conference by walking in and hugging every single journalist. “By the time she started doing interviews, they were in the palm of her hand,” Abraham said, smiling. “The next day, all the articles praised her. They said she wasn’t some prefabricated blonde. Several remarked about the color of her skin.” It was the brown tone of the masses not the pale white of the Castillian Spanish. “They called her una mujer del pueblo—a woman of the people. She never forgot where she came from.”
You may soon have a problem, I told him. The veneration of Selena was taking on a life of its own.
He shook his head. “Selena wouldn’t want that. She believed worship should go only to the Creator. Just remember her as a good person who loved people and loved life. I don’t think Selena would be pleased to be part of any form of idolatry.”
I told him how sorry I was for him and his family and hugged him in an abrazo.
Moments later, I was back on the highway, holding back sniffles, ready for the long weekend to end. I turned on KEDT-FM to listen to the news when an announcer broke in, saying there had just been a shooting at a refinery inspection company in Corpus Christi. Five people were shot by a former employee with a pistol. The company was only about five miles from Q Productions. It happened at the same moment Abraham Quintanilla and I were talking about guns and violence.
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A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
Smug Since recognizing his passion for Graffiti, He has quickly become one of the most talented street artists around.
Sam Bates known as Smug has high-quality murals demonstrate a photo-realistic style, and a careful and precise attitude to his work. Smug is inspired by the people he knows and whomever comes into contact with, creating thoroughly unique pieces that have been exhibited globally.
This mural took about a week to paint and thought to represent Mungo in modern-day clothes. Mungo is Glasgow’s patron saint, born in the 6th century. The story goes that when he was young, some boys from his village started throwing stones at robins that were pecking on the ground for scraps.One bird was hit and fell to the ground. The boys ran away. Mungo ran, too, but he ran to the fallen bird. Picking it up he smoothed and caressed its feathers and prayed over it. After a little while it revived and flew away. Perhaps it was only stunned. The villagers called it a miracle and so it was that a small boy should want to help a fallen bird in trouble.
Cameron is the coolest, most talented busker in the world! I think it's great that a young person would take up an old-time instrument like the accordion. Cameron is a multi-talented musician and visual artist, and I hope to see him busking again!
This is the 20th photo of my 100 strangers project.
Find out more about the project and see pictures taken by other photographers at: www.flickr.com/groups/100strangers/
Pretty Venus Ballerina Dancing Classical Ballet at the Los Angeles LACMA Urban Lights & Levitated Mass! Nikon D810 & Sigma 50mm f/1.4 EX DG HSM Lens for Nikon! Gorgeous Athletic Talented Ballerinas Dancing Classical Ballet in Pointe Shoes Ballet Slippers & Leotard!
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
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Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
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Some of my epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All my photography celebrates the physics of light! dx4/dt=ic! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical: geni.us/Fa1Q
Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
French postcard by Editions d'art Yvon, Paris, no. 40-110-07. Photo: Parc Film / KIM. Micheline Presle and Jacques Perrin in Peau d'âne/Donkey Skin (Jacques Demy, 1970). Caption: Donkey Skin. A Tale by Charles Perrault. A film written and directed by Jacques Demi. My mother, I want Donkey Skin to make me a cake.
On Thursday 21 April 2022, French actor Jacques Perrin (1941-2022) passed away. Handsome and talented, Perrin started his career as the romantic hero in the films of Italian director Valerio Zurlini. Later he made powerful films with Costa-Gravas and played the adult Salvatore in the international hit Cinema Paradiso (1988). With his studio, he produced successful political films such as Z (1969) and nature documentaries as Microcosmos (1996).
Jacques Perrin was born Jacques André Simonet in Paris in 1941. Occasionally, he is credited as Jacques Simonet. Perrin was his mother's name. His father, Alexandre Simonet, was a theatre director. In 1946, the five years old made his uncredited film debut in Les Portes de la nuit/Gates of the Night (1946, Marcel Carné), starring Serge Reggiani and Yves Montand. Perrin was trained as an actor at the Conservatoire National Supérieur d'Art Dramatique. On stage, he gave over 400 performances of L'Année du bac in a Paris theatre. In the cinema he played his first major juvenile parts in Italy for director Valerio Zurlini. He played Claudia Cardinale’s boyfriend in the romantic comedy La Ragazza con la valigia/Girl with a Suitcase (1961, Valerio Zurlini) and Marcello Mastroianni’s younger brother in Cronaca familiar/Family Diary (1962, Valerio Zurlini). In France he acted with Brigitte Bardot in La Vérité/The Truth (1960, Henri-Georges Clouzot), with Anna Karina in Le Soleil dans l'oeil/Sun in Your Eyes (1962, Jacques Bourdon), and with Bruno Cremer in the war film La 317ème section/317th Platoon (1965, Pierre Schoendoerffer). He also worked on the thriller film Compartiment tueurs/The Sleeping Car Murders (1965, Costa-Gravas). Hames Travers at Films de France: “Costa-Gavras made his directoral debut with this fast-moving, convoluted but magnificently assembled crime thriller. The film reflects the director’s interest for American film noir and, thanks largely to an impressive cast, is one of his most entertaining films.” It was the start of a long-time cooperation between actor and director. In 1966, Perrin won two Best Actor awards at the Venice Film Festival or the Italian film Un uomo a metà/Almost a Man (1966, Vittorio De Seta), and the Spanish film La busca/The Search (1966, Angelino Fons). The next year he co-starred in the musical Les demoiselles de Rochefort/The Young Girls of Rochefort (1967, Jacques Demy) with Catherine Deneuve and Françoise Dorleac. He would cooperate again with Demy and Deneuve on the fairytale Peau d'âne/Donkey Skin (1970, Jacques Demy) in which he played an appealing Prince Charming. Craig Butler at AllMovie: “Donkey Skin is a strange but utterly captivating little fantasy, and one that, despite its fairy tale origins, is really aimed more at adults than at children. Jacques Demy has directed with an eye toward whimsy, but whimsy mixed both with magic and subtle disorientation.”
At 27, Jacques Perrin created his own studio. He produced and acted in Z (1969), directed by Costa Gavras and starring Jean-Louis Trintignant, Yves Montand, and Irene Papas. The film presents a thinly fictionalized account of the events surrounding the assassination of democratic Greek politician Grigoris Lambrakis in 1963. Dan Pavlides at AllMovie: “Z is one of the most politically insightful films ever made, exposing government hypocrisy and cover-up in the wake of a political assassination.” The production had nearly 4 million admissions in France and was the 4th highest grossing film of the year. It was also the 10th highest grossing film of 1969 in the United States. Z is also one of the few films to be nominated for both the Academy Award for Best Foreign Language Film and Best Picture. Perrin worked with Costa-Gavras again on État de Siège/State of Siege (1972, Costa-Gavras) and Section special/Special Section (1975, Costa-Gavras). Both films had political themes, and Perrin continued this trend with La guerre d'Algérie (1975, Yves Courrière, Philippe Monnier), a documentary on the Algerian uprising, and La Spirale (1976, Armand Mattelart, Valérie Mayoux, Jacqueline Meppiel), a film on the Chilean presidency of Salvador Allende . In 1976, Perrin produced another Oscar-winning film in La Victoire en chantant/Black and White in Color (1976, Jean-Jacques Annaud). That year, he also embarked on Il deserto dei Tartari/Le Désert des Tartares/ The Desert of the Tartars (1976, Valerio Zurlini), with a cast filled with such big-name actors as Jean-Louis Trintignant, Vittorio Gassman, Max von Sydow, Francisco Rabal, Helmut Griem, Giuliano Gemma, Philippe Noiret, Fernando Rey, Laurent Terzieff and Jean-Louis Trintignant. The film, based on the Dino Buzzati's novel The Tartar Steppe, tells the story of a young officer, Giovanni Drogo (Jacques Perrin), and the time that he spent guarding the Bastiani Fortress, an old, unmaintained border fortress. Although the film won the Grand Prix du Cinéma Français and three David di Donatello Awards 1977, it was not very successful and left Perrin with debts.
Jacques Perrin had a huge success with the Italian drama Nuovo Cinema Paradiso/Cinema Paradiso (1988, Giuseppe Tornatore). He played a famous film director remembers his childhood at the Cinema Paradiso where Alfredo, the projectionist (Philippe Noiret), first brought about his love of films. Cinema Paradiso was a critical and box-office success and won many awards including the Golden Globe, the BAFTA and the Oscar for Best Foreign Film. Two years later, he also appeared in Tornatore’s Stanno tutti bene/Everybody’s Fine (1990, Giuseppe Tornatore) starring Marcello Mastroianni. As a producer Perrin changed direction when he decided that the natural life around us could tell stories as fascinating and varied as anything dreamt up by a scriptwriter. He produced nature documentaries that transformed the scope of wildlife films, from Microcosmos (1996, Claude Nuridsany, Marie Pérennou), in which ants performed the starring role, to the austere travelogue Himalaya (1999, Eric Valli), nominated for an Oscar, and Le Peuple Migrateur/Winged Migration (2001, Jacques Cluzaud, Michel Debats, Jacques Perrin), which followed some 50 species of birds across 30 countries. All were filmed by Perrin’s studio Galatée Films. Another successful production was Les choristes/The Chorus (2004, Christophe Barratier). In this drama Perrin played the narrator, the old orchestra conductor Pierre Morhange, who reminisces about his childhood inspirations through the pages of a diary kept by his old music teacher. The young Pépinot was played by Perrin’s son Maxence. Other films in which he played were the historical horror film Le pacte des loups/Brotherhood of the Wolf (2001, Christophe Gans), and the crime drama Le petit lieutenant/The Young Lieutenant (2005, Xavier Beauvois) with Nathalie Baye. In 1985, Perrin was made Knight of the Ordre national du Mérite, in 1997 he was promoted to Officer and in 2003 to Commander. He was also made Knight of the Légion d'honneur in 1990 and promoted to Officer in 2007. Jacques Perrin has three sons, actor MathieuPerrin (1975), actor Maxence Perrin (1995), and Lancelot Perrin (2000). His most recent film production is Océans/Oceans (2009, Jacques Perrin, Jacques Cluzaud). Tracie Cooper at AllMovie: “Narrated by Pierce Brosnan, Oceans is made up of a compilation of underwater photography from over 75 diving expeditions that took place over a period of four years, and captures an astoundingly intimate glimpse into the lives of a wide array of sea life”.
Sources: James Travers (Films de France), Craig Butler (AllMovie), Dan Pavlides (AllMovie), Tracie Cooper (AllMovie), John Whitley (The Telegraph), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Dance music has no excuse for being a boys' club. Though they don’t always get their due in a patriarchal industry, there’s no shortage of talented women who can hold their own behind the turntables. From seasoned veterans to rising stars, here are the Top 10 Female DJ's 2015 you can’t afford to be clueless about.
The moment you walk into a party or a nightclub, it is the music that takes you by surprise. It defines the theme of the party. The beats either turn you on or energizes the mood at the party. But, what gives the party an extra zing is when the DJ is no ordinary person but someone who is well dressed and looks incredibly stunning and hot.
Let’s find out who made the list of Top 10 Female DJ's 2015.
#10 - Maya Jane Coles
At number 10 on the Top 10 Female DJ's 2015 list is Maya Jane Coles. Life has been changing quite dramatically for a 25 year old British-Japanese, producer/dj by the name of Maya Jane Coles and having recently released her biggest body of work to date; her debut album “Comfort” things look set to keep on changing...
Born and bred in London, by any standards Maya has enjoyed a rather unique start to her career; from global spectacles like playing under the World’s largest mirror ball at the Tate Modern (UK) or charting internationally with her DJ Kicks mix for K7! to making the Resident Advisor top 10 DJ Chart 2011 & 2012.
In the last 24 months alone, Maya has already graced the cover of over 14 magazines in 8 different countries including Mixmag (UK), Village Voice (USA), Trax (France), Groove (Germany) and Vicious (Spain), alongside coverage in magazine’s as diverse as Vogue and Nylon through to Rolling Stone and Men’s Health with the likes of KCRW, BBC Radio 1, Per Se playing her tracks on radio.
#9 - Tenashar
Next on the Top 10 Female DJ's 2015 List, from Europe to Asia and beyond, the Tenashar bombshell is a force to be reckoned with, with a desire to shake up the world. Chaining a galaxy of EDM to her belt from electro, trance, progressive to big room house, this model and DJ’s raging energy and musical sass has shone dynamically. With energy to spark any party and epic excitement from her thousands of fans, the Singaporean starlet will turn any dance floor she touches to gold.
Currently based in Hong Kong, Tenashar has occupied the studio as of late, where her mashups and mixes have attracted over 300,000 fans to her Facebook page, over 450,000 views on YouTube and claimed the #1 most downloaded Podcast on iTunes. As one of Asia’s most sought after cover models for FHM, Playboy and Hypertune, its without a doubt beauty mingles so well with a beat, lining up Playboy next. Sitting pretty at #1 on Starcount and ranked #5 globally in one of Malaysia’s top nightlife websites, not only does she radiate but also attracts a magnetic clique like no other- a crowd pleasing phenomena.
#8 - Magda
Coming into the mix under the encouragement and instruction of Dan Bell and Claude Young, Magda began djing in 1996 working her way through the underground party circuit, via promoters, such as: Syst3m, and joining the all female dj collective: Women on Wax, it was only a short while before she began appearing regularly at Detroit area events and clubs.
1999 saw Magda’s initial forays into techno, electro and house evolve. Her dj sets were becoming increasingly minimal and the records in her box reflected a love of weird, challenging music. Invited by Richie Hawtin to open for him at his millennium celebration: Epok, Magda was entering a new phase in her career.
In the time since, Magda has expanded her work with Hawtin, becoming his sole choice to open many of his recent Detroit and international events, including: Jak DEMF weekend :2001, Control. labor day weekend: 2001, as well as earning an envious position on the line up of “From Our Minds To Yours” the Plus 8 ten year anniversary party.
The next few months will see Magda going on her third european tour alongside Richie Hawtin and making the jump from dj to producer, releasing music under the moniker: Run/Stop Restore on the Minus label.
#7 - Nicole Moudaber
A true force to be reckoned with as a DJ and producer, Nicole Moudaber's rise through the ranks of the DJ elite has been swift, purposeful and striking. Propelled by her flawlessly executed, sleazy, edgy house and tough, soulful techno sound, she picked up no less than Carl Cox and Steve Lawler as early fans.
Carl snapped up her early tracks for INTEC and Steve featured her music on VIVa & iVAV. Since then she's supplied killer tracks for labels like 8Sided Dice, Kling Klong, Monique Musique and Waveform Recordings, while remixing names including Santos, Martin Eyer, Mauro Picotto and Fergie.
Pretty much a perfect start to an artist career that began relatively recently.
#6 - Mari Ferrari
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Starting way back in ‘07 when she started touring extensively around the world, mentioning countries like: America (Las Vegas, Los Angeles,Dallas, Miami, Honduras, Brazil etc.), Europe (Switzerland, France, Germany, Spain, Portugal, Finland, Italy, Iceland, etc.), Asia and the Middle East (UAE, Malaysia, Singapore, Indonesia, Thailand, Vietnam, Turkey,etc.).
Mari Ferrari nowadays works with the prestigious promoters and producers in San Tropez, Papagayo, VIP room. Besides her charm, this talented DJ is certainly known, respected and liked in the world of clubs life for her skills on the decks. She already attracted thousands of fans all over the world and her fame always keeps on rising. Coming in at number six on the Top 10 Female DJ's 2015 list.
#5 - Miss K8
Miss K8 is mixing up a storm around the world and number 5 on our Top 10 Female DJ's 2015 list. There aren’t many female DJ's in the DJ Mag Top 100 – and there aren’t many Ukrainians for that matter, either. One such lady clearly keen to ruffle a few feathers and do things a bit differently, however, is Miss K8. A native of Kiev, this hardcore techno loving temptress is more than capable with mixing it with the best in the business.
The so-called ‘Goddess of Hardcore’ has had a pretty spellbinding year too – as is evidenced by performances on influential hardcore techno stages a la Masters of Hardcore, Dominator, Syndicate and Defqon.1. Something tells us this lady is just getting started…
#4 - Nina Kraviz
As an artist, Nina Kraviz is the complete package. She sings, she produces, she DJs, and it’s for that reason that she is one of the most influential voices in the underground electronic world. Since breaking through with standout releases on Underground Quality, she has become an essential member of the Rekids family, releasing a string of EPs and a very personal debut album on the long running label. Coming in at number four on the Top 10 Female DJ's 2015 list.
There are hypnotic and sensuous qualities to all the music this Siberian makes: it stems from the way she works, using her voice as an instrument and preferring to ”record from the first take, because that is how I can capture the moment. The vibe. The feeling.” Listen to deep, stripped back but emotionally resonant tracks like those that made up her self titled debut album and you will find it hard to disagree. There sure is something in Nina’s music that stands it out from the crowd – an intimacy and honesty maybe, but always is it unique and creative.
#3 - Krewella
Jahan Yousaf, Yasmine Yousaf, and Kris Trindl (aka Rain Man) formed the EDM trio Krewella in Chicago, Illinois. At number three on the Top 10 Female DJ's 2015 list they got together in 2007 but didn’t release their first material until 2011, when they uploaded a handful of songs — including the jagged, celebratory “Life of the Party” — to their Soundcloud page. In 2012, they self-released their first two EPs: Play Hard (June), featuring the reggae-flavored “Killin It,” and Play Harder (December). The former reached number ten on Billboard’s Top Dance/Electronic Albums chart. The same year, the trio became a staple of the festival circuit, including New York’s Electric Zoo and Texas’ Meltdown. 2013 saw the release of the groups first full-length, the bombastic Get Wet. The album spawned several singles and videos, including the sensational underground anthem “Live for the Night.”
“There is no bigger compliment than to have our amazing support system, our KREW, vote for us without even being asked to do so. THAT is real love”. So says Krewella – and to give the guys their dues you would indeed be hard pressed to find a more loved female duo in the EDM world right now. Consisting of sisters Jahan and Yasmine Yousaf, this all-conquering pair have a style that’s very much their own. And in spite of Kristopher "Rain Man" Trindl’s much publicised resignation, the Krewella party rolls with distinction…
#2 - Hannah Wants
A child of the garage generation Hannah Wants has validated herself as a world renowned DJ with some serious credentials.
In 2014 alone Hannah picked up the Best Breakthrough DJ title at the DJ Mag awards and became Mixmag’s Best Breakthrough DJ and Star Of The Year. Armed with an innate desire and passion to practice the art of DJ’ing from a young age Hannah has worked tirelessly for over a decade to pursue her DJ dream. Throughout this journey Wants has acquired an individual hard-hitting style and true competence behind the decks.
Nourishing her addiction to music the Birmingham (UK) born DJ dedicated the summer of 2010 to Ibiza. Following a number competition wins, an unexpected headline opportunity at Es Paradis and an invitation to run her own weekly night at Viva, it was there on the White Isle that Hannah really started to make a name for herself. Hannah’s main aim is to build a solid yet unique reputation for her live DJ sets and after a record amount of sell out events over the last twelve months she has dramatically risen from self-taught DJ to an unquestionable worldwide name on the house and bass music scene.
#1 - Nervo
At number one on the Top 10 Female DJ's 2015 list is Australian sisters NERVO are big news. While some have questioned the lack of women in the DJ Mag Top 100 DJ's poll, these DJ and production siblings have consistently placed in the upper reaches. Starting out as songwriters for everyone from Britney Spears to Kelly Rowland and Armin van Buuren, they’ve a natural knack for well-placed hooks, which pepper their productions.
In July 2015, they finally released their debut album ‘Collateral’, which features music royalty of the calibre of Chic’s Nile Rodgers and Kylie Minogue just for starters.
And while a clever pop sensibility is evident in their style, they’re not afraid of getting a little deeper musically, throwing in some groovier house during their DJ sets, which are clearly in high demand. They’ll play London, Las Vegas, Zurich and Sao Paulo before the year is out. dancegeo.com/top-10-female-djs-2015/
All these gorgeous photographs belong to the talented people who are linked to below. Do visit their photostreams for more!
1. The love of christmas, 2. HBW!, 3. The Bribe, HBW 12.17.08, 4. Candy Cane Lane, 5. Have Yourself a Merry Little Christmas..., 6. Baking candy canes, 7. Candy canes, 8. Candy cane bokeh, 9. candy cane hot chocolate, 10. Peppermint cane, 11. 24 Days of Christmas - 12/24, 12. The Real Beauty Of The Candy Cane...., 13. Candy cane cookies
This is Asya, a young talented actress. Asya wrote this text two weeks ago. So the dates are a bit off. Asya recently had a performance at the White Theatre. Asya is also beautiful, smart and very cheerful, although she is a little sad inside. This generation has had to grow up quickly. I really want to be friends with them. "My name is Asya, I'm 20 years old, in a week it will be exactly a year since I live in Israel.
I came in July for a summer student program. I came with a return ticket to Moscow, because the plans were to finish my studies at the institute. I studied at the theater and really wanted to finish it, and then leave.
My return ticket was the day after the start of mobilization, and I still remember this moment: I’m sitting on the sea and crying about as hard as on February 24, I’m crying, realizing that I can’t go back, I just can’t.
It’s hard for me to call my emigration prepared, super conscious, I just felt inside that it’s better for me now.
My parents remained in Russia, there were almost no closest friends left, and the theater completely disappeared, the theater of freedom, which cannot exist where it does not exist.
In Israel, I started learning the language, I started learning to live an “adult life”, where you have to think about banks, an apartment and a job. And in general, I feel like this year I have matured 10 years ahead.
A lot of talented children of creative professions have now arrived in Israel, so it was not very difficult to find their people. All year we thought up, created, played something together.
In a couple of days I have a premiere of a big performance, so far in Russian, but it will also be in Hebrew.
I really want to have at least some kind of work in my profession, because of course you can hardly earn a lot of money with creativity, you have to have about 4 more jobs,
but when there are people nearby who share with you the love of your interest, this gives a huge amount of inner strength.
Life is hard now
unpredictable, but interesting, no matter how strange and scary it sounds against the backdrop of all the terrible events.
I don’t know where I’ll be in a year, but what really, in a couple of months, but I want to always have the strength to create and invent, help people and believe that the war will definitely end"
A talented artisan bringing culture and creativity to life, with a touch of the beautiful game.
Nanyuki is a delightful town brimming with charm and creativity. The area is known for its vibrant arts and crafts scene, with wood carving being a particularly cherished tradition among local artisans.
The souvenir shops around Nanyuki are often adorned with beautifully handcrafted wooden items, from intricate animal sculptures to household decorations. These artisans typically use locally sourced wood, infusing each piece with a sense of place and a touch of the artist's unique style. The process of wood carving is a labour of love, requiring skill, patience, and a deep understanding of the material.
Walking through these shops, you can often witness the artisans at work, chiselling away at blocks of wood to reveal the stunning creations within. It’s a beautiful testament to the enduring legacy of traditional craftsmanship and the community's rich cultural heritage.
If the cooking kitty in the pink kitchen doesn't make you smile, you have a heart of ice. Go check out these talented photographers and add them to your contacts!
1. Dish of the day~, 2. Under The Rain, 3. Obsession, 4. to lose control, 5. Somewhere in Between, 6. 2011 Soulpancake Bubba Bonita Blast Sunset Tiki Beach Jam, 7. Untitled, 8. :..::..:.::...:.:...::.:, 9. 9/52: Illusion., 10. Tip of the hat, 11. sometimes things, 12. Untitled, 13. First Kiss
The unbelievably talented and beautiful Sanni performing at the Radio Aalto Helsinki Day concert in Kaisaniemi park today. This was my ever try at proper concert photography and I think I did an ok job.
This photo features the beautiful and talented Carol Persons and Stephen Maycock who are two of the kindest I've ever met. Both of them were some of the first people who made me feel right at home in New Hampshire so I'm glad I was able to get a photo of them. And whenever I was too short for climbing into buildings, up or down hills, or over rocky surfaces, Stephen was right there to pick me up and carry me to locations. He was always watching out for each and every one of us, and that's where the title for this came from.
I shot this on the second day of the Northeast Flickr Gathering when we hiked to a waterfall, and although I fell behind and nearly died while trying to keep up, this location was amazing. I knew I had to do something over in this little area away from the waterfall. Being around 20 talented and warm hearted people for a week was so inspiring. They all left their own impact on me, and I have come home feeling more happy and inspired and ready to take on the world than ever before.
Getting excited for the 2018 Vans US Open of Surfing in Hunting Beach! Here's a warm up!
Talented & Beautiful Athletic Surf Girl Goddesses! Professional Women's Surf Girl Goddesses! Lakey Peterson & Alana Blanchard! Natural Swimsuit Bikini Wetsuit Models! Canon 1DX Mark III & Super Telephoto | EF 600mm f/4L IS II USM | Canon USA Sports Action Photography!
All my photography celebrates the physics of light! dx4/dt=ic! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical: geni.us/Fa1Q
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Follow me my good friends!
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Some of my epic books, prints, & more!
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.
My amazingly talented and dear childhood buddy and photographer Akash had posted a superb composition of this cute guy on his stream. Because of the amazing framing and the feelings in this photograph, I loved it so much that I asked him for the full sized copy so that I could get a chance to process the amazing image. Heres the result. I hope he likes this. This is for you buddy and to our friendhsip. :)
You did an amazing job with the original image and only then could I process it. So kudos to you.
The original photo and the link to his stream is in the first comment. Do check it out.
Hope all of you like this too.
Have an amazing weekend. Sorry I haven't been too lively here. But I do come b ack to read all your amazingly touching comments and mails.
Loads of love,
2k
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French postcard by La Roue Tourne, Paris.
Gérard Depardieu (1948) with his trademark bulbous nose is France’s biggest male film star. He developed from France’s young male sensation in 1974 into a bulging and controversial but very talented character actor. Since 1967, he completed over 240 films and received more César nominations than anyone else. Since the critical acclaim for his role as Cyrano de Bergerac, he achieved worldwide stardom.
Gérard Xavier Marcel Depardieu was born in working-class Châteauroux, France in 1948. He is one of five children of Anne Depardieu-Marillier called ‘la Liette’ and René ‘le Dédé’ Depardieu, a metal worker and volunteer fireman. As a boy, Depardieu spent more time on the street than in the classroom. According to Tracie Cooper at AllMovie: “at twelve years old, he dropped out of school and hitchhiked across Europe on an informal tour funded primarily by the profits of stolen cars and assorted black-market products. Depardieu would likely have continued in his juvenile delinquency were it not for a friend who was attending drama school in Paris.” So in 1966, Depardieu decided to enrol at the École d'art dramatique too. He began acting in the new comedy theatre Café de la Gare, where he met actors Patrick Dewaere, Coluche, and Miou-Miou. He made his film debut in the short Le beatnik et le minet/The beatnik and pussy (Roger Leenhardt, 1967). More minor film parts followed. In 1970, he married Élisabeth Guignot, with whom he had two children, actor Guillaume (1971–2008) and actress Julie (1973). In 1972, he appeared in Nathalie Granger (Marguerite Duras, 1972) with Lucia Bosé. The following year he played in the horror film Au rendez-vous de la mort joyeuse/At the Meeting with Joyous Death (1973), directed by Juan Luis Buñuel, the son of Luis Buñuel. His breakout film was Bertrand Blier's comedy Les valseuses/Going Places (1974), in which he co-starred with Patrick Dewaere and Miou-Miou. Les valseuses was the 3rd highest-grossing film of the year in France, and his part as a whimsical, aimless thug turned him into France’s young male sensation. In the following years, he went on to become one of France's most renowned actors with films like Vincent, François, Paul... et les autres/Vincent, François, Paul and the Others (Claude Sautet, 1974) with Yves Montand, Sept morts sur ordonnance/Seven Deaths by Prescription (Jacques Rouffio, 1975) starring Michel Piccoli, and Maîtresse/mistress (Barbet Schroeder, 1976) starring Bulle Ogier. The latter provoked controversy in the United Kingdom and the United States because of its graphic depictions of sadomasochism. Then he was the co-star of Robert de Niro in the Italian epic film Novecento/1900 (Bernardo Bertolucci, 1976). The film chronicles the lives of two men during the political turmoil that took place in Italy in the first half of the 20th century. Also remarkable was La Dernière femme/The Last Woman (Marco Ferreri, 1976) starring Ornella Muti, in which his character mutilates himself. Another success was the gritty romantic comedy Préparez vos mouchoirs/Get Out Your Handkerchiefs (Bertrand Blier, 1978), which received the Academy Award for Best Foreign Language Film. Other memorable films were Mon oncle d'Amérique/My American Uncle (Alain Resnais, 1980), which won the Grand Prix and the FIPRESCI prizes at the 1980 Cannes Film Festival, the drama Loulou (Maurice Pialat, 1980) with Isabelle Huppert, and Le Dernier Métro/The Last Metro (François Truffaut, 1980) starring Catherine Deneuve. The latter film, set in a small Parisian theatre during the time of the French received Oscar and Golden Globe nominations for Best Foreign Film and won ten Césars. Depardieu himself was awarded for his performance as a resistance fighter. Le Dernier Métro was one of the most popular films of the year in France and one of Truffaut's most successful productions abroad.
During the 1980s Gérard Depardieu’s star continued to rise. Among his most memorable films are Truffaut's final film La femme d'à côté/The Woman Next Door (François Truffaut, 1981), the farce La chèvre/The Goat (Francis Veber, 1981) with Pierre Richard, the medieval drama Le retour de Martin Guerre/The Return of Martin Guerre (1982), and the historical biopic Danton (Andrzej Wajda, 1983). Ginette Vincendeau writes in Encyclopedia of European Cinema: “Apart from exceptional talent and energy, a key to Depardieu’s success is his versatility. Equally at ease in broad farce and romantic leads, he has been a mainstay of popular cinema.” His international fame grew as a result of his performance as a doomed, hunchbacked farmer in Jean de Florette (Claude Berri, 1986) and Manon des sources (Claude Berri, 1986). Five years later, he won a César and an Oscar nomination for his starring role in Cyrano de Bergerac (Jean-Paul Rappeneau, 1990). He did not win the Oscar, presumably because Time magazine had run a profile that mistakenly suggested that Depardieu might have ‘participated’ in a rape at the age of nine. The claim was based on an interview carried out 13 years earlier and was the result of an incorrect translation. However, Depardieu crossed over into the American film market by co-starring in Green Card (Peter Weir, 1990). Ginette Vincendeau: “Like Jean Gabin before him, Depardieu sums up an idealised French masculinity, merging working-class virility with romanticism. Exporting himself has meant losing some of these complexities, since Depardieu’s global stardom is, so far, dependent (as was Maurice Chevalier’s) on playing a rather clichéd Frenchness as in Green Card, or even Europeanness, as in Ridley Scott’s 1492 Conquest of Paradise (1992).” In 1992, while separated from Élisabeth Guignot, he had a daughter, Roxanne, with the model Karine Sylla. In 1996 he divorced Élisabeth and began a relationship with actress Carole Bouquet, who was his partner from 1997 to 2005. Remarkable films from this period include Tous les matins du monde/All the mornings of the World (Alain Corneau, 1991), Una pura formalità/A Pure Formality (Giuseppe Tornatore, 1994), and Hamlet (Kenneth Branagh, 1996).
In 1999, Gérard Depardieu played for the first time Obélix in the live-action film Astérix et Obélix contre César/Asterix and Obelix vs. Caesar (Claude Zidi, 1999) with Christian Clavier as Asterix. The film, based on the comic book by René Goscinny, was tremendously successful at the European box offices. There would be three sequels: Astérix & Obélix: Mission Cléopâtre/Asterix & Obelix: Mission Cleopatra (Alain Chabat, 2002), Astérix aux jeux olympiques/Asterix at the Olympic Games (Frédéric Forestier, Thomas Langmann, 2008) and Astérix et Obélix: Au service de Sa Majesté/Astérix and Obélix: God Save Britannia (Laurent Tirard, 2012). In between he appeared in films as the comedy Le placard/The Closet (Francis Veber, 2001) with Daniel Auteuil, Tais-toi!/Shut Up (Francis Veber, 2003) with Jean Reno, the crime drama 36 Quai des Orfèvres/36 (Olivier Marchal, 2004), the Edith Piaf biopic La môme/La vie en rose (Olivier Dahan, 2007) featuring Marion Cotillard, the crime film L'instinct de mort/Mesrine: Part 1 - Killer Instinct (Jean-François Richet, 2008) and the follow-up L'ennemi public n°1/Mesrine: Part II - Public Enemy #1 (Jean-François Richet, 2008) both starring Vincent Cassel, and the drama À l'origine/In the Beginning (Xavier Giannoli, 2009). Depardieu attracted attention from the media and legal authorities for his sometimes stormy behaviour. He made a concerted effort to cut back on his alcohol consumption following a heart attack and an emergency quintuple bypass operation, in 2000. In 2003, he officially cut off contact with his son, Guillaume Depardieu when the young man threatened him with a gun and received a suspended prison sentence. Since 2005, he has lived with novelist Clémentine Igou, but in 2006, he had a son, Jean, with Hélène Bizot. Meanwhile Guillaume made headlines for drug abuse, a motorbike crash and a hospital infection contracted during the post-accident operations, eventually leading to the amputation of his leg. At 37, Guillaume died from complications linked to a sudden case of pneumonia. In August 2012, Depardieu was accused of assault and battery for punching a motorist in Paris. In November 2012, he was arrested for driving while intoxicated after he fell from his scooter. He has been an official resident of Néchin, Belgium since December 2012. French prime minister Jean-Marc Ayrault claimed the reason for the move was to avoid a looming 75% top rate of tax. Depardieu reacted with a public statement he was handing back his French passport. In January 2013, Russian President Vladimir Putin signed an Executive Order granting Russian citizenship to Depardieu. Depardieu soon returned the favour by attacking Putin's critics. More importantly, he continues to make good films. In La tête en friche/My Afternoons with Margueritte (Jean Becker, 2010) he played an illiterate and lonely man who bonds with an older and well-read woman (Gisèle Casadesus). The comedy Potiche/Trophy Wife (François Ozon, 2010) reunited him with Catherine Deneuve. And he played the cook in Life of Pi (Ang Lee, 2012). During his career, Gérard Depardieu has been nominated 15 times for the César for Best Actor and won it twice, in 1981 and 1991. He was also nominated for an Oscar in 1990 for his role in Cyrano de Bergerac. He is a Chevalier of the Légion d'honneur, Chevalier of the Ordre national du Mérite.
Sources: Ginette Vincendeau (Encyclopedia of European Cinema), Tracie Cooper (AllMovie), Yuri German (IMDb), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
I normally don't post portrait photos but this time I wanted to make an exception because I want to honor a very special man. Yesterday after a very long illness my friend Stuart King passed away and the world is a sadder place for it. Stuart was a very talented musician and I am so happy that I had the chance to take a few photos of him and this one is my favourite. Why? because it shows the pure joy he felt playing his guitar. Stuart will live on through his music and so will never be forgotten ❤️
Surfing is Poetry in Motion! Athletic & Talented Professional Women Surfers Ripping & Shredding at the Huntington Beach Pier Surf City USA! Athletic Bikini Swimsuit Wetsuit Models Surfing! Nikon D4 & Nikon AF-S FX NIKKOR 600mm f/4G ED VR Front Lens
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Lucius Annaeus Seneca: On entering a temple we assume all signs of reverence. How much more reverent then should we be before the heavenly bodies, the stars, the very nature of God!
John Muir: All the wild world is beautiful, and it matters but little where we go, to highlands or lowlands, woods or plains, on the sea or land or down among the crystals of waves or high in a balloon in the sky; through all the climates, hot or cold, storms and calms, everywhere and always we are in God's eternal beauty and love. So universally true is this, the spot where we chance to be always seems the best.
All the these photographs are the property of the talented photographers listed and linked below. I hope you take the time to explore their photostreams because they are chock full of incredible photos. Enjoy.
1. Every Beautiful Creature, 2. Untitled, 3. Madaha*, 4. Cotton Facecloths, 5. green thursday............lol..., 6. drop, 7. Flowers really do intoxicate me, 8. tranquil, 9. AYP0721424, 10. Hang in there.., 11. Fresh Cup, 12. White Lantana, 13. oh won't you please take me, 14. Vine, 15. New Leaves, 16. Lily of the Valley Detail, 17. vintage buttons, 18. Astilbe, 19. Untitled, 20. In the fields, 21. Have a Heart or 3 or 4, 22. Untitled, 23. Cirrus beauty, 24. from my garden, 25. garden angel
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Alana Blanchard & Lakey Peterson! Huntington Pier Vans US Open of Surfing Huntington Beach Surf City USA! Pro Woman's Surfing Surf Girls! Talented Athletic Pro Shredders! Nikon D800 E & AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR! Swimsuit Bikini Wetsuit Models! Beautiful Professional Surfers!
These were shot with the Nikon D800 E & AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR from Nikon which I keep slung around my neck to capture "behind the scenes" action on the beach! I use a second Nikon D800E with a 600mm TAMRON | SP 150-600mm F/5-6.3 Di VC USD G2 zoom to shoot the surfing action! It's on a Gitzo monopod!
Pro surfers Lakey Peterson, Sally Fitzgibbons, Bianca Buitendag & Alana Blanchard!
Vans US Open of Surfing Huntington Beach Surf City USA! Pro Woman's Surfing Surf Girls! Talented Athletic Pro Shredders! Nikon D800 E & AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR from Nikon! Swimsuit Bikini Wetsuit Models!
Surfing is Poetry in Motion! Beautiful & Talented Professional Surf Girl Goddess! Alana Blanchard! Athletic Bikini Swimsuit Wetsuit Models Surfing Trestles Beach, San Clemente California! Nikon D810 + Tamron SP 150-600mm f/5-6.3 Di VC USD G2! Catching Waves Surf's Up!
Support epic fine art! 45surf ! Bitcoin: 1FMBZJeeHVMu35uegrYUfEkHfPj5pe9WNz
Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
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Some of my epic books, prints, & more!
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
All my photography celebrates the physics of light! dx4/dt=ic! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical: geni.us/Fa1Q
Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.