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Italian postcard by Bromostampa, Torino, no. 124. Photo: Macari.
Erminio Macario (1902-1980), best known as Macario, was an Italian film actor and comedian. His comical style was a mixture between Charlie Chaplin and the Marx Brothers. He appeared in 42 films between 1933 and 1975.
Born in Turin in 1902, Erminio Macario made his debut at a young age in the amateur dramatics company Don Bosco Oratory in Valdocco. Then he was part of some small amateur companies of his hometown until 1924 when he was cast in the company of dancing and pantomime of Giovanni Molasso. Soon after, he entered the company of Wanda Osiris, the undisputed queen of the revue of that time in Italy. Between the two wars, he became in a short time one of the most popular comedians of the revue theater. Macario made his film debut with Aria di paese/Country Air (Eugenio de Liguoro, 1933). He played an unemployed drifter takes a series of jobs, each one of which he quickly loses. He then goes to the countryside for a while where he falls in love with a woman (Laura Adani). His breakthrough came six years later with two comedy films directed by Mario Mattoli and co-written by a young Federico Fellini, Imputato alzatevi!/Defendant, Stand Up! (Mario Mattoli, 1939) and Lo vedi come sei... lo vedi come sei?/Do you see how you are ... do you see how you are? (Mario Mattoli, 1939).
Erminio Macario starred in the comedy ll fanciullo del West/The Boy of the West (Giorgio Ferroni, 1943), named after Puccini's opera 'La fanciulla del West' (The Girl of the West). It is considered the first western parody in Italian cinema. Then followed a series of successful comedies directed by Carlo Borghesio, including Come persi la guerra/How I Lost the War (Carlo Borghesio, 1947) with Vera Carmi, and Come scopersi l'America/How I Discovered America (Carlo Borghesio, 1949) with Carlo Ninchi and Delia Scala. Since the early fifties Macario appeared in short characterisations in anthology films and was the sidekick of Totò in such films as La cambiale/The bill (Camillo Mastrocinque, 1959), and Totòsexy/Sexy Toto (Mario Amendola, 1963). Starting from the mid-sixties he finally focused on television and theatre. One of his last films was the comedy Due sul pianerottolo/Two on the landing (Mario Amendola, 1976) with Rita Pavone. At the age of 77, Macario passed away in 1980 in Turin.
Sources: Wikipedia and IMDb.
For more postcards, a bio and clips check out our blog European Film Star Postcards.
This comical looking creature with the oversized wings is another member of the planthopper family, this time in a sub-family with the tongue-twisting name "Dictyopharidae".
...
Dictyopharidae is a family of bugs in the suborder Auchenorrhyncha belonging to the suborder Fulgoromorpha.
Technical info:
Canon 100mm f2.8 L macro lens + 20mm ET + Raynox DCR-250
1/80
f16
ISO200
pop-up flash + DIY diffuser
Ah ha ha these comical dormers interrupt the gutter and necessitate multiple downspouts haha.
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In East Lansing, Michigan, on April 11th, 2020, a student rental on the west side of Kedzie Street between Albert Street and Grand River Avenue, built in 1937 and owned by "GTW Investment Properties LLC."
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Getty Thesaurus of Geographic Names terms:
• East Lansing (7013674)
• Ingham (county) (1002502)
Art & Architecture Thesaurus terms:
• brick (clay material) (300010463)
• chimneys (architectural elements) (300003933)
• Colonial Revival (300018146)
• downspouts (300052560)
• gable dormers (300002247)
• gutters (building drainage components) (300052565)
• houses (300005433)
• overhangs (300002713)
• rental housing (300000312)
• shutters (opening covers) (300003173)
• siding (300014861)
• side gables (300164837)
• tan (color) (300266248)
• two-story (300163703)
• university towns (300387527)
Wikidata items:
• 11 April 2020 (Q57396701)
• 1930s in architecture (Q16482516)
• 1937 in architecture (Q2811680)
• April 11 (Q2501)
• April 2020 (Q55020106)
• Central Michigan (Q2945568)
• Lansing – East Lansing metropolitan area (Q6487493)
• roof drainage (Q41902561)
• Treaty of Saginaw (Q1572601)
Library of Congress Subject Headings:
• Dwellings—Michigan (sh94006015)
German postcard by Rotophot in the Film Sterne series, no. 505/1. Photo: Oliver-Film. Paul Heidemann in Die Liebesfalle (N.N., 1917).
Paul Heidemann (1884-1968) was a German stage and screen actor, and also a film director and producer. In the silent period, he was famous for his comical parts.
Paul Heidemann was born in Cologne, Germany, in 1884. After an initial career in the tobacco branch he took acting lessons at the Meiningen based court actor Leopold Teller. In 1906 he debuted in Hanau as Prince Karl-Heinz in the operetta Alt-Heidelberg. In 1909 he joined the Theatre of Breslau, where he sang in Bruno Granichstaedten’s operetta Bub oder Mädel. Here Heidemann created his reputation as a talented comedian. On the recommendation of composer Jean Gilbert, he moved to Berlin in 1911, where he debuted in Gilbert’s play Die keusche Susanne. Franz Porten discovered Heidemann for the cinema, where he played his first lead in Das Brandmal ihrer Vergangenheit (1912), followed by films such as Ihr Unteroffizier (1914), Ein nettes Pflänzchen (1916) und Der Diplomatensäugling (1919). From 1913 to 1915 he played the character Teddy in countless comical shorts, such as Teddy ist herzkrank (1914), Teddys Geburtstagsgeschenk (1915) and Teddy züchtet Notkartoffeln (1915); sometimes he directed these as well. Between 1919 and 1923, Heidemann had his own production company, Paul Heidemann-Film GmbH in Berlin, where he played the lead in films initially mostly directed by Erich Schönefelder and later on rather by Georg Schubert and Heidemann himself. A late example is Eine kleine Freundin braucht ein jeder Mann (Paul Heidemann, 1927), starring Heidemann but also Julius Falkenstein, Hans Albers, Siegfried Arno, and Charlotte Ander.
In the 1920s, Paul Heidemann became an important supporting actor and sometimes leading actor in all kinds of films, in particular comedies, such as Die Bergkatze (Ernst Lubitsch, 1921) with Pola Negri, So sind die Männer (Georg Jacoby, 1922) with Harry Liedtke, Der Sprung ins Leben (Johannes Guter, 1923) with Xenia Desni, Das süsse Mädel (Manfred Noa, 1926) with Mary Nolan and Mary Parker, Die dritte Eskadron (Carl Wilhelm, 1926) with Claire Rommer, Flucht aus der Hölle (Georg Asagaroff, 1928) with Heidemann, Jean Murat and Agnes Esterhazy, and Flucht vor der Liebe (Hans Behrendt, 1928) with Jenny Jugo and Enrico Benfer. Simultaneously Heidemann acted on the Berlin stages, mainly in operettas. When in the early 1930s military comedies were popular, Heidemann acted in various military farces such as Wenn die Soldaten... (Luise & Jakob Fleck, 1931) with Otto Walburg, Schön ist die Manöverzeit (Erich Schönfelder, 1931) with Ida Wüst, Die Mutter der Kompanie (Franz Seitz senior, 1931), Drei von der Kavallerie (Carl Boese, 1932) with Paul Hörbiger and Fritz Kampers, and Liebe in Uniform (Georg Jacoby, 1932). Heidemann also acted in many successful films of the 1930s, often as sidekick of the favourite actor Hans Albers. Among the most well-known productions are Die grosse Sehnsucht (Stefan Szekelty, 1930) with Camilla Horn and Theodor Loos, Ihre Hoheit befielt (Hanns Schwarz, 1930-1931), Der tolle Bomberg (Georg Asagaroff, 1932) with Heidemann in the lead, Ganovenehre (Richard Oswald, 1932) with Fritz Kampers, Paprika (Carl Boese, 1932) with Franziska Gaal, Narren im Schnee (Hans Deppe, 1938) with Anny Ondra, and Schneider Wibbel (Viktor de Kowa, 1939) with Erich Ponto.
During the Second World War, Paul Heidemann worked again as film director and staged some film comedies, such as Mein Mann darf es nicht wissen (1940) with Mady Rahl, Krach im Vorderhaus (1941) again with Rahl, Weisse Wäsche (1942) with Harald Paulsen, and Floh im Ohr (1943), even if the films were not huge hits. In the 1950s he acted both in BDR and DDR films, playing Presskopp in the old Berlin farce Ein Polterabend (Curt Bois, 1955) and the mayor in Bärenburger Schnurre (Ralf Kirsten, 1957). He also acted then in films like Torreani (Gustav Fröhlich, 1951), Der keusche Josef (Carl Boese 1953), Rittmeister Wronski (Ulrich Erfurth, 1954), Der Mustergatte (Erik Ode, 1956) and Jede Nacht in einem anderen Bett (Paul Verhoeven 1956-1957). Paul Heidemann died in Berlin in 1968.
Sources: Thomas Staedeli (Cyranos), Filmportal.de, Defa-sternstunden.de, Wikipedia (German), and IMDb.
And, please check out our blog European Film Star Postcards.
www.eurobricks.com/forum/index.php?/forums/topic/182444-f...
The darkness of the temple was all-encompassing. Their hololamps felt like comically weak attempts to fight back, as dim and small as they were. The huge, empty halls seemed to call out to them as they passed. More than once, Nathan thought he’d heard someone.
“What was that?” he’d asked Ozz, who stared at him with concern.
“Nothing, kid. Just like last time. Get a grip, would ya?”
Something glinted in Ozz’s light. He peered at it, trying to get a closer look.
Eefo, their guide, (and current victim of blackmail) led from the front.
“Come,” she said. “The deep archives are this way. If there are any records related to Balaam’s Heart, we will find them there.” Then she added, more bitterly, “We can only hope this excursion does not doom the known galaxy.”
Nathan frowned over at her. “Or maybe it’ll keep it safe. If we don’t find the Heart, Pyerce might. It’s worth the risk.”
“Woah, woah, woah!” Ozz exclaimed, and his excited cry echoed in the tunnel. He hurried over to what he’d found—a pile of artifacts, gleaming beneath the dust and sand. “These babies look valuable!”
Eefo and Nathan stood in the entrance of another hall, pausing to look back at him. Eefo couldn’t hide her disgust with his priorities.
“Artifacts for processing, not what you seek.”
“Yeah, not what we came here for,” Nathan said. “Come on, Ozz. Sooner we get out of here, the better.”
Of course, Nathan should never have said that, because that’s the exact kind of thing that leads to ironic catastrophe. And so it did.
The rumbling began quietly, but was deafening before they had a chance to react. The walls were trying to shake apart. The ground bucked underneath them. The tunnel was filled with the cacophony of shouting and the crashing of rock as they all dodged rubble dropping from overhead and dived for cover. What felt like forever was over in just a few seconds.
Nathan pushed himself off the ground and looked frantically for his friend.
“Ozz, Ozz!”
“Nerd?” came the weak reply, through a layer of fallen rock.
“Ozz!” Nathan shouted again, trying to pull away rubble. His efforts were in vain.
“I’m alright, kid! Just…in a different room. You got our bounty?”
Nathan felt a mixture of relief and annoyance surge through him, and he took several deep breaths. Eefo was getting to her feet nearby.
“You okay?” he asked. She replied with a thumbs up.
“Yeah, she’s okay,” he told Ozz. “Hey, we’re gonna make it out of this. Listen, try and go back the way we came, or find another path out. We’ll all join back up at the entrance, got it?”
“Sure, sure. Me, worried? About the dark? Nah. See ya in a bit, no problem.”
Nathan took a moment to rest after the stress of the cave-in. “He’ll be fine,” he told himself.
“Perhaps he will,” Eefo replied dryly. “Forgive me for my lack of concern.”
“Okay, Ozzie, okay. You’re gonna be okay,” Ozz whispered, casting his hololamp around the rubble to find a good path out. The way they’d come in was blocked, so he chose the next best doorway and started trudging along. “No worries, no worries. Think happy thoughts. You’ll get paid! Oh—“ he turned back and—at least something was going right—a few of the gleaming artifacts were strewn across the floor.
“Ooh-hoo-hoo-hoo!” Ozz hooted in glee, scooping up a few golden discs to stuff into his jacket. “Come to Ozzie! Now we just gotta find a way outta this pit, and Papa Ozzie can find a nice fence to hock to you to!”
He was glad Nathan wasn’t here to see him talk to treasure.
Now weighed down with future fortunes, Ozz trudged ahead into the dark tunnels and empty halls of the temple, all by his lonesome. He hummed to himself to ward off any fears. He really needed to start carrying a blaster. Nothing like a blaster to make you feel safe.
“Your pockets are heavy, thief.”
Ozz spun around, looking for the source of the voice. “Whosaidthat!” he cried, brandishing one of the discs.
“A denizen of this sacred place,” said the voice from nowhere.
“Oh…oh great, now I’m really going crazy. Amazing. Just ignore it, Ozzie, keep walkin’…”
“Ignoring a thing does not make it go away. Your name is Ozzie?”
“What? No, it’s…Ozzamandes. Hey, I’m not talkin’ to you. You’re just a voice in my head. Guy might look crazy talkin’ to himself like that.”
“I am not a manifestation of insanity, but of the force.”
“Ha, the force! Good one, brain.”
Suddenly, a creature appeared before him, a woman who seemed both there and not there at the same time, who shone with a ghostly blue glow. Ozz froze in place and stared at her, stunned.
She spoke with power and grace, and her face was severe. “A faith is a necessity for a creature, Ozzamandes. Woe to them who believes nothing. Woe to you, for I sense this void...within you.”
Shocked, Ozz’s grip went limp. A disc fell to the floor with a ‘clang’.
“Follow me,” Eefo said. “I will find us a way out of the tunnels.”
Nathan stopped in his tracks. “Wait a second. I want to get out too, but not before we find what we came for.”
Eefo’s face twitched. “Don’t you want to find your friend?”
“Yeah, but he’ll be fine, and ticked off at me if we leave this place with nothing to show for it. Can we still get to the archives after the cave-in?”
Eefo had been caught trying to wiggle out of showing him the archives, and she looked accordingly hateful.
“…Yes,” she spat. “Come, do not lose the way.”
As they walked, Nathan questioned her.
“The Scriptist’s madness, or whatever…he mentioned spirits. That’s just you, right? You’re gaslighting your mentor?”
“The spirits are real. The sabotage is mine, but the drain on his mind…the spirits are real. Dark things.”
This was not exactly the answer Nathan had wanted to hear while spelunking in a pitch-black tunnel.
“Oh, I see,” he said, shining his light behind him and hurrying to catch up.
“So what was your life like around here, huh? See any good holos?”
“As a Jedi scholar, I forbade myself from material pleasures, if that is what you ask.”
“Sheesh, aren’t you a bucket of fun.”
Ozz now continued his journey through the tunnels with the ghost woman at his side.
"You scoff. There is moral grandeur in this, no? The renunciation, the sacrifice this station requires? The self-exile, the remembrance of mortality, the committing of one's spirit to mystery and thought rather than toil?"
"Hah, I'd love to see you tell that to my pops. He loved toil."
"You use the past-tense. Your father is one with the force?"
"He's dead, if that's what you're askin'. We didn't see eye-to-eye, so wouldn't make much of a difference if he wersen't."
“But now you have another family? One of your own?”
“Hah! A family, nah. Just this kid mooching off my ship.”
“You have a child?”
Ozz shook his head, muttering to himself before replying. “No, no. Human’s name is Nathan, we’ve been working together for a few weeks. Can’t stand the guy, honestly. Always going on about safety and stuff. Takes himself too seriously. Got me fired once! For something I didn’t do, I’ll have you know.”
The woman smiled softly. “I sense care in your voice.”
“Pah! You’re hearin’ things too, then.”
“Love finds us in unlikely places. When it crosses our path, we are often slow to embrace it. We deny ourselves the comforts of familial care in order to protect our vulnerable, fragile egos.”
Ozz raised an eyebrow up at her and grimaced. “Geez, you get personal, lady. Bet you were a weirdo as a kid.”
They were stopped by sounds up ahead, strange howls and whispers that seemed to slither by in a tunnel before them. The woman flew in front of Ozz, her expression stern.
“What the keff was that!” Ozz cried, covering his head and looking around for danger.
“Dark spirits. My counterparts. The other side.”
“Well geez, terrible roommates! You just all hang out in the temple together? Just a big spirit party, good and bad?”
“I do not wish it to be this way. Their presence is a desecration.”
“Okay, okay…why don’t you evict ‘em then? You’re all glowly, I bet you could get rid of ‘em.”
“It’s not a question of my power, but of my purpose. I pledged myself in life to study and knowledge, it is not my place to raise hands against evil, but to equip those who do. I put them out of mind, and avoid their distraction.”
“Hm, couldn’t you make, like, an exception?”
She rounded on him, her expression fierce, her eyes wide.
“Does my life sound like one of exceptions, Ozzamandes?”
Ozz shrunk back from the frightful display. “Well, no. No, that’s a good point. But…”
The look on her pale face told him not to continue, but he was never good at listening to warnings.
“Well, you don’t really have a life, anymore. You’re—sorry if I’m the first one to tell you this—but you’re dead, lady.”
“I know this. Don’t insult my intellect.”
“Well then, you did good! You held to your pledges! They were pledges for life, right?”
She looked thoughtful, her brow knit. She said nothing.
“Besides, weren’t you the one that told me…ignoring something doesn’t make it go away?”
The deep archives were once locked behind doors that required power to open, powers neither Nathan nor Eefo had. But time and war wears away all things, this time to Nathan’s benefit. The doors were long since destroyed, and their access unblocked.
It was a narrow hall. Rows and rows of old books, many of them destroyed, lined the shelves.
Eefo gestured forward. “Feast away, you fool.”
Nathan shot her a look. “Kind of unnecessary, but…thank you for bringing me here. Where do I start?”
“Balaam’s Heart? I recommend ‘B’.”
“Oh, it works like that? Huh, I expected something weirder,” he said, and he stepped forward to scan the massive stacks.
Eefo looked on the shelves—the sheer amount of terrible, dangerous knowledge—and at the young man now searching amongst the tomes. Fear clutched at her heart. Her mind went to the blaster under her robes.
“You speak sense. Most unexpected,” the ghostly woman said.
“Oh, nice,” Ozz grunted. “I’ll try not to be offended about how you said that.”
“My apologies. Perhaps, as a spirit, my purpose is something different than what I was bound to in life. Perhaps I must evolve, as my being has evolved. Perhaps I must oppose the dark things here, and purify this temple. Thank you, Ozzamandes, for speaking with me. It has been most enlightening.”
“Sure, sure, any time. Now, I gotta get outta here, any chance…?”
“We have been following that path for some time. I have been leading you to your friends while we talked. They are just ahead.”
Ozz blinked in surprise. “No kidding? You’re alright, lady.”
“Ozzamandes,” she said, and her voice became serious and heartfelt. “Do not deny your care for your friend. You would rob yourself of greater riches than those you carry in your coat.”
Ozz avoided her gaze, nodding vaguely. “Oh, uh, sure, sure. Yeah, thanks for the advice.”
“And Ozzamandes,” she said again.
“What?”
“Please leave behind the things you’ve pilfered from my temple, if you please.”
“Oh,” Ozz blushed, and he casually removed the golden discs from his pockets and dumped them on the floor as gently as he could. “Sure thing, of course.”
She smiled. “Thank you. Farewell, I hope we meet again.”
“Me too, ‘cept I got no plans to come back to this joint. But uh, I’ll see ya when I see ya.”
A fondly amused expression was the last thing on her face before she faded away, and he was left in the dark. A door stood in front of him.
Ozz smiled proudly. “’Most enlightening’…Old Ozzie, who woulda thought!”
Ozz entered the deep archives. The first thing he saw was Eefo, hand on her blaster, and an unaware Nathan. Something in his chest swelled up, and his eyebrows furrowed. She was gonna blast his partner? Not on her life.
“Hey, what’s the big idea?” he shouted, and Eefo spun in alarm. She hastily drew her blaster. “Nate, look out!”
Ozz threw himself into the Rodian researcher, knocking both of them to the floor. The blaster went off harmlessly, a bright red bolt striking an ancient tome and completing its transition to nothing more than a pile of ashes.
Nathan ducked and swiveled. He stared at the prone Eefo. A few seconds and he would’ve been toast.
“Woah, woah! Thanks Ozz!” He suddenly grasped that Ozz was here, and grinned widely. “Ozz! You made it!”
“Yeah, yeah,” Ozz said, dusting himself off. Eefo looked trapped. “Had some help. I’ll tell ya about it later. Geez, once a spy, always a spy, huh!”
Eefo glared at him defiantly. “You’ll bring ruin to the galaxy!” she said, her voice trembling.
She stood on shaking legs, and occasionally her eyes darted towards the shelves, wide with fear. She was like an animal, and Nathan felt, most of all, pity. He understood what was driving her.
Nathan grabbed Ozz's arm and pulled him aside. He whispered, "Hey, I'm trying to honor what you said on Yavin, I'm telling you before I do something crazy."
Ozz looked at him warily. "...Kid, whatever you're thinking, you better not risk our profit, here. We're in a golden spot with this!"
"No, I'm not okay with how we've done this. Catching spies is one thing, but blackmailing, threatening deserters to get what we want?" He shook his head firmly. "That's not how I want us to do things."
Ozz looked between his eyes, searching for a way to convince him otherwise. There was no chance. He had no choice but to back down.
"That's...another payout lost, kid. I hope you know what you're doing: we need credits! Finding your girl is gonna take credits, you understand?"
"I know, we'll figure it out! I'm sure we can pick up a side job or something, but...I want to let Eefo go free. She's not even a spy anymore."
Ozz threw up his hands. "Have it your way. But you're the least lucrative partner I've ever had."
"This pays off in other ways, Ozz.” He turned back to the Rodian, approaching her cautiously.
“Hey, I’m not mad that you wanted to shoot me, alright? It’s…well, it’s not okay, Eefo. But I get it.” He stepped forward, and she flinched. “I don’t want to hurt you,” he told her. “We’re going to let you go free. You don’t have to worry about us leaking anything, or telling anyone where you are, okay?”
Eefo raised a brow skeptically. She waited for him to continue.
“Now, I know you think what we’re doing is wrong. But…I wish you could trust me. My intentions are nothing but good, I swear. You’re right that this is dangerous stuff. The Empire is looking for it, and I can’t leave whether they find it or not up to chance. Please, you don’t have to agree, but…don’t shoot me?”
She met his gaze, and gradually seemed to calm. Her eyebrow still twinged in frustration, but she sighed, and the fight had left her.
“Yes. Alright.”
“Great,” Nathan nodded. “Ozz, help me find this book!”
Ozz was already by the stacks, and held up an old pile of slates bound together with rope. “Was it ‘Balaam’?”
“Yeah, why—“
“Here ya go.”
He passed the slates to Nathan. Sure enough, Balaam’s name was on them.
“No way,” Nathan said, staring. “Ozz, thank you!”
“No problem,” he shrugged, unaware of his partners efforts to do what he’d just done in one glance.
“We’ve got what we needed. Let’s go see sunlight again, huh?”
Eefo led them back through the tunnels until they found the staircase they’d originally descended. They were cheered to see the light flooding through the open archways of the temple doors. Cold wind filled their ears as they crossed the old atrium floor and ventured out into the open air.
They gasped in horror when they saw the sky.
An Imperial Light Cruiser lay in the upper atmosphere. A small, white shape was gliding down towards them; a shuttle.
“Aw, hell,” Ozz grunted, slumping hopelessly.
“No!” Eefo screamed. “No! They’re coming for the temple!”
Nathan blanched, and held Balaam’s slates tightly under his arm. “We’ve got to get out of here. We can’t fight that thing.”
“The temple is bad enough, but we must not lead them to the Searchers! The unencrypted archives, the research, they cannot be allowed to have it!”
His jaw firmly set, Nathan made a decision. “Ride back to the outpost, I’ll hold them here.”
“Kid,” Ozz said weakly. “What the keff are you gonna do?”
A plan was formulating in his mind. Nathan approached the small conductor Eefo had planted in the ground when they’d arrived.
“Eefo, show me how to work this thing. Then you both go, get to safety!”
“Hey, kid,” Ozz said, his tone full of worry in a way Nathan had never heard.
“Yeah?”
“We’re gonna come back for you. Just hold out, okay? Trust in the…the force, or whatever. You better be alive when I get here.”
“I’ll do my best,” Nathan shrugged. “Chances aren’t great.”
A grin broke on Ozz’s face. “Oy, bring back the optimism. You’re downright depressing, you know that?”
“I’ll bring back the optimism when we make some money, how about that.”
“Oh, so never.”
“Well, never say never!”
“Ha! There it is,” Ozz grinned. He patted Nathan on the side. “Take care, kid. Don’t do anything I wouldn’t do.”
“Geez, what’s gotten into you?”
“Oh, shut up. I dunno, had some time to think while I was in those tunnels. Anyway, enough dwaddling! Let’s get this show on the road!”
“Yeah, I’ll see you in a bit, Ozz.”
A few minutes later, Ozz and Eefo sped back towards camp, Balaam’s slates in hand.
Alone at the entrance to the temple, Nathan waited for the shuttle to touch down.
With Captain Bison, stout and tall
Miss Zebu went to grace the ball.
She took the gallant Captain's arm,
And just by Pig and Peacock Farm,
Before them in full dress, they saw
Admiral Chataway Macaw.
He bowed politely, so did they,
And to the Hall they went their way.
Remember him in the hit TV series "Heartbeat"?
(He played the lovable village buffoon David Stockwell.)
He lives here in Southport and writes a local weekly newspaper column. Yesterday I snapped him in Southport's 'Wayfarers Shopping Arcade ' presenting prizes at a local Halloween fancy dress competition.
en.wikipedia.org/wiki/Heartbeat_(UK_TV_series)
" Comical village buffoon. Originally it was subtly suggested that David had severe learning disabilities and possibly some kind of mental disability, having to be cared for by his mother, Florence (who appeared in a single episode, 3.8 "Endangered Species", in which his father was said to be unknown). However, as his appearances became more regular these elements were toned down, and he grew into more of a comedy character: clumsy, slow-witted, easily led and uneducated, but with the proverbial "heart of gold".
Due to his gullible nature he became a dogsbody first to Claude Greengrass, then Vernon Scripps, then Peggy Armstrong. David's signature gesture is to whip his hat off when he meets another person, or to scrunch it up in his hands when he is nervous or worried. David earned a living of sorts by doing odd jobs such as making deliveries, digging graves, gardening, and driving a taxi (originally for Vernon Scripps, though after the latter's departure from the series David was apparently self-employed as a taxi driver, with his base being Bernie's garage, where he also acts as a mechanic). David originally "worked" for and lived with Claude Greengrass, and he took on Greengrass' house when the latter emigrated. Later Vernon Scripps moved in with David, until he too left the series.
David's last "house guest" was his aunt Peggy (Armstrong), who took it upon herself to move in with him. For many years David was accompanied by a lurcher dog called Alfred, which originally belonged to Greengrass. Alfred's death upset David greatly, but the grief was lessened by Peggy's gift of a new dog "Deefer" (from "D for dog"). In Series 17, a pregnant Gina Ward informed David that she wanted him to be her baby's godfather. "
Among the most comical and mischievous citizens of dogdom, the Bull Terrier is playful and endearing, sometimes stubborn, but always devoted. These unique 'eggheads' are exuberant, muscular companions who thrive on affection and exercise. Bull Terriers are robust, big-boned terriers who move with a jaunty stride suggesting agility and power.
Italian postcard by Tip. Sent by mail in 1922.
Ferdinand Guillaume (1887-1977) was an Italian comical actor, famous in the 1910s as Tontolini and Polidor.
Ferdinand(o) Guillaume, the son of a well-bred European circus family once fled from France during the Revolution, was enrolled by the Cines company in 1910 together with his brother Natale and their wives. Guillaume was launched as the character Tontolini, in 1912 also known in Britain and the US as Jenkins. Guillaume provided Cines and Italy an international reputation in the field of comical films. His circus background was a clear consistency in his films. Actress Lea Giunchi was married to Natale (Natalino) Guillaume and often played as 'Lea' in the Tontolini comedies, before becoming the regular film partner of Kri-Kri (Raymond Frau), who more or less substituted Guillaume when the latter moved over to Pasquali.
After some 100 shorts as Tontolini, and after the success of his first feature-length film, Pinocchio (Giulio Antamoro, 1911), Ferdinand Guillaume went over to the Pasquali company. Here he created the character of Polidor (named after a horse in his previous circus shows), continuing his double profession of leading actor and director, being often the scriptwriter of his films too. Shooting some 100 films, up to four films a month, in the years 1912-1914, the Polidor films were distributed all over Europe and the US. Guillaume's output shrunk considerately from the outbreak of the First World War, although he still had a large output in 1916-1917. Guillaume managed to pursue a constant career in cinema until 1920, when his brother died in a plane crash dring the shooting of a film. Guillaume had occasional come-backs in sound cinema, as in Fellini’s films Le notti di Cabiria (1957) and La dolce vita (1960), and in Pasolini's Accatone (1961). His last film part was that of an old actor in Fellini's Toby Dammitt (1968).
Sources: Ivo Blom (Encyclopedia of Early Cinema), Wikipedia (Italian) and IMDb.
And, please check out our blog European Film Star Postcards.
Explored!
View On Black Photo ©2010 Angela A. Stanton, All rights reserved. Contact: angela@stantonphotostudios.com for further information.
Playing a bit with creativity--actually I created this for my entry to the monthly "educational" analysis by a creative study group I participate in as member of PSA (the American Photographic Association), which you can find here: www.psaphoto.org/Group40/member5.htm. We change pictures around the 10th of each month and comment on each other's pictures by the 25th of each months. Some of the members are senior photographers with a ton of experience and most in the Creative Groups also have a ton of experience with Photoshop and/or Corel and other tools. So this month I decided to combine painting with photograph and make the comical into something a bit more serious. of course, as art goes, it is in the eye of the beholder... Say no more. =)
Sorry for putting it on in a rather small size... piracy is active and well alive... this piece has been uploaded to my website in full size at www.stantonphotostudios.com in the Photo Art folder. So if you wish to see the full size, check it out there. After clicking on the picture, click on "slide show" and hit the pause button immediately on your screen. This is the first picture in the folder. It will cover your monitor, no matter how big--it is a big file.
I hope you enjoy it as much as I do. Enjoy your weekend everyone!! happy 4th of july!
Toa Poraru is mostly a color-swapped Emperor clone with some minor changes, but this is deliberate since they're the same character, technically. Their torso may seem the most variant, but the structure is actually 100% the same, however instead of Armor Poraru just uses fabric to cover it up. One "non-canon" difference is that Poraru is one unit shorter - The Mata head limits posability when using a 3-length axle, but the neck looks comically long with a 4-length, however with the Emperor, I could use the cape to compensate. In Poraru's case, there is no cape and he'd look really stupid with a longer neck.
Backstory:
Toa Poraru was once a completely ordinary and uninteresting Toa of Stone. He had some misgivings about the Toa code and sometimes was vocal about this, but other than this, he was a by-the-book Toa doing his duty. He and his Toa team protected their small village somewhere in a minor island of the Southern Isles. His life was entirely unremarkable until a few centuries before Teridax's uprising, a Makuta went mad on the Northern Continent (presumably due to a poorly conducted experiment) and went into a crazed rampage. The Brotherhood wanted to contain him, but were unsuccessful, and fearing a controversy, instead "lured" the Makuta southward.
Poraru's team heard in advance of what was coming their way, and planned to intercept the enraged Makuta in a region far from their village. They succeeded in this endeavor, and together the six of them even managed to defeat the Makuta, however it was in a complete blood-rage and wouldn't give up. Poraru's suggestion to "put the Makuta out of its misery" was repeatedly rejected by the leader of the team citing the Toa Code. However, their attempts to contain the bestial creature failed, and after escaping, it headed straight for their village. By the time the Toa arrived, the village was in ruins and the Matoran massacred. This was the last straw for Poraru - the Toa Code which in the past had merely inconvenienced him, was now directly responsible for the death of those he swore to protect. Desiring vengeance, he set off to kill the Makuta, and was joined by two other Toa from his team who shared his views, while the other three remained and effectively exiled them.
They tracked down the Makuta, and since they now fought to kill, their change in strategy caught him off-guard, allowing them to injure him severely. Alas, once again, their prey got away. In retaliation for the injury, it swing back to the ruins and ambushed the three Toa who refused to hunt him down. Blaming themselves for the death of their brothers, Poraru and the other two Toa swore to finally end the rampage of this crazed Makuta. On their third confrontation, thanks to the injury, they finally killed him - however only Poraru survived the conflict.
Having lost any purpose in life, he began wandering about the Southern Isles. At one point, in a seedy inn, he overheard a boastful merchant from Stelt bragging about finding a source of Energized Protodermis which wasn't under the control of either the Brotherhood of Makuta nor the Hand of Arthaka. He "persuaded" the merchant to reveal the location of the font, and travelled there immediately. He knew that anyone coming into contact with energized protodermis is either killed, or, provided they yet have an unfulfilled destiny, changed. If he dies, so be it, but if this would give him a new purpose, all the better.
Upon arriving to the cave, he was surprised to see that the merchant did not mislead him, and plunged into the pool. When he emerged, he saw his reflection on nearby crystal formations - he hadn't changed much, but the color of his armor was now black and silver. In his mind floated, ever present, two words - "Emperor" and "Unity". He was compelled to return to the site of his former village. On this journey, he began making some realizations. His control over Stone was gone, replaced by telepathic, telekinetic and teleconductive abilities. Then, he realized he can revert to his old form at will, and then his control over Stone returns at the expense of his new abilities. In dream, he realized his new purpose in life was to achieve absolute Unity across the known world. For this, he'd need followers. During his journeys, he sought out disenfranchised warriors, exiled Toa, former Dark Hunters and any other beings who would follow him. They returned to his old home and founded the United Southern Empire.
Planning his expansion, a single problem constantly returned - Metru Nui. He hadn't the military force to conquer it, and it would never join the Empire willingly so long as it was governed by a Turaga and overseen by a Makuta. If he'd push northward gradually, annexing and conquering smaller lands and working his way up, they'd make note of the threat and send an army of Toa against him. However, he had one advantage - everyone who knew he once broke the Toa code was dead. As far as Metru Nui was concerned, Poraru was still Toa Poraru. And thus the plan was born - he alone would venture north, while his lieutenants would continue the conquest of the south. He, as Poraru, would infiltrate the Toa order, while as the Emperor would gain the support of other factions, so that unwittingly all players in the north would further the imperial cause.
His plan was upended by Teridax's uprising against the Great Spirit, and during his Reign of Shadows, the Emperor fought alongside the Toa Resistance against Teridax's forces, all the while ensuring the secret of Poraru and he being one and the same didn't get out. When Teridax fell and Spherus Magna was united, the Emperor led his people to a new home, from which they would endeavor to unite this new world.
For the rest of this story, check out the description under the other MOC, "The Emperor".
Hey, guys! I have a request. Can someone please clone out this woman for me? I'm horrible at cloning lol. I can email it to you and give you a shoutout after you do it. I just thought her unintentionally pointing at these cars in my shot was pretty funny XD. If you can clone her out, please send me a Flickr PM. Best wishes,
Nathan
i know~color of chimpanzee is black but i don't like black ^^
really i like the face of this model~
folded from CP.
A trio of comic characters on the side of the big rubber castle on Clevedon sea front. As Coulportste pointed out it's Woody, Jess and Buzz from the Toy Story films.
Don't know what made him go here but it was a little comical to see him almost not make it, but showed great balance and dexterity.
A bar patron lights a cigarette with a large facsimile of a Zippo lighter at a pub in Uptown Dallas.
EXPLORED Dec 2, 09 #309
A 1st century BC Hellenistic gargoyle representing a comical cook-slave from Ai Khanoum, Afghanistan. The term gargoyle is most often applied to medieval work, but throughout all ages some means of water diversion, when not conveyed in gutters, was adopted. In Egypt, gargoyles ejected the water used in the washing of the sacred vessels which seems to have been done on the flat roofs of the temples. In Greek temples, the water from roofs passed through the mouths of lions whose heads were carved or modeled in the marble or terracotta cymatium of the cornice.
A local legend that sprang up around the name of St. Romanus (AD 631–641), the former chancellor of the Merovingian king Clotaire II who was made bishop of Rouen, relates how he delivered the country around Rouen from a monster called Gargouille or Goji, having the creature captured by the only volunteer, a condemned man. The gargoyle's grotesque form was said to scare off evil spirits so they were used for protection. In commemoration of St. Romain the Archbishops of Rouen were granted the right to set a prisoner free on the day that the reliquary of the saint was carried in procession (see details at Rouen).
Many medieval cathedrals included gargoyles and chimeras. The most famous examples are those of Notre Dame de Paris. Although most have grotesque features, the term gargoyle has come to include all types of images. Some gargoyles were depicted as monks, or combinations of real animals and people, many of which were humorous. Unusual animal mixtures, or chimeras, did not act as rainspouts and are more properly called grotesques. They serve more as ornamentation, but are now synonymous with gargoyles.
Both ornamented and unornamented water spouts projecting from roofs at parapet level were a common device used to shed rainwater from buildings until the early eighteenth century. From that time, more and more buildings employed downpipes to carry the water from the guttering at roof level to the ground and only very few buildings using gargoyles were constructed. In 1724, the London Building Act passed by the Parliament of Great Britain made the use of downpipes compulsory on all new construction.
Gargoyles and the Church
Gargoyle located in Paris on Notre DameGargoyles were viewed two ways by the church throughout history. On one hand the gargoyles were used as a representation of evil. It is thought that they were used to scare people into coming to church, reminding them that the end of days is near. It’s also thought to give them some assurance that evil is kept outside of the church’s walls.
On the other hand the medieval clergy viewed gargoyles as a form of idolatry. Animals were viewed as soulless beings in the eyes of the Catholic Church. In the 12th century a church leader named St. Bernard of Clairvaux was famous for speaking out against the various forms of animals and monsters hanging on his church.
The Animals
In the medieval world many creatures had mystical powers attributed to them. Also, human qualities were sometimes ascribed to specific animals - that is, the animals were anthropormorphized. Below is a list of some animals commonly used as gargoyles, and the meanings behind them.
Lion
Lions were the most common non-native animal crafted as a gargoyle in the medieval period. In ancient times, the lion was linked to the sun, most likely due to its golden mane bearing similarity to the solar wreath of the sun. During the medieval period lions became the symbol of pride, one of the 7 deadly sins. Cats other than lions were rare among gargoyle carvings because of their dark nature and association with Satanism and Witchcraft.
Dog
Dogs were the most common native animal crafted as a gargoyle. Dogs were seen as faithful, loyal, and intelligent, making them excellent guardians.
Wolf
Although the wolf was a feared creature in medieval times, it was also respected. Wolves ability to live and cooperate as a pack gave rise to the metaphor that a wolf could be a leader of a pack and protect the members. This was linked to priests who would fight of the evil of the Devil for the common folk. The wolf was also linked to the deadly sin of greed.
Eagle
A powerful bird who was said to be able to slay dragons. Eagles were respected for their ability to see far away objects, and were also said to renew themselves by looking into the sun (accounting for the glint always seen in the eagle’s eye in paintings).
Snake
From the story of Adam and Eve, the serpent represents a struggle between good and evil. The serpent was related to the deadly sin ‘envy’. They were also thought to be immortal due to the shedding of their skin. This gave rise to the symbol for immortality being the Ouroboros, a serpent with a tail in its mouth.
Goat
The goat had two viewpoints in medieval times. One perspective was that the goat was equated with Christ due to its ability to climb steep slopes and find edible food. On the other side it was seen as a symbol for lust and even linked to Satan.
Monkey
Monkeys were seen as what happened to humans when nature went awry. They were thought to be stupid creatures, and their intelligence was misrepresented as cunning. The monkey was linked to the deadly sin of ‘sloth’.
Chimeras
Chimeras are merely mixes of different types of animal body parts to create a new creature. Some of the more notiable chimeras are griffins, centaurs, harpies, and mermaids. Chimeras often served as a warning to people who underestimated the devil.
thanks for the texture Kenny... www.flickr.com/photos/photohound/
These little guys are so comical to watch! The brilliant colours in their beak comes from eating the capelin....a small fish that comes in shore by the millions in the early summer months.
Hello??
So comical....
She looks like she is looking right at me, but I doubt it. I was inside the house with a longer lens on the camera.... finally I am able to balance the lens with my wrist that is just barely healed from a break in January....
I think they seemed to be nibbling at the ends of the new blossom buds on the crabapple tree.... I hope we still get blossoms!
On the pub door - you just know that the staff have a great sense of humour when you see a sign like this!! Made us all smile.
That's our daughter's reflection in the glass.
#26 -- Comical -- 119 Pictures in 2019
Since the theme of this year's Snowdown Parade was "Comics," does that mean that every parade entry is by definition comical? Here are several dozen "Jane Jetson" Dancing Divas, coming down 5th Street, sort of in step.
Daily Dog Challenge: Comical
Our Daily Topic: On Display
Miss Maggie is definitely a source of comedy in this house. She used to sleep either in her bed at the foot of ours, or on our bed. Lately we find her all over the house. This is one of her favorites -- inside my closet under my long dresses. Just makes yourself right at home, Miss Maggie.
(Alas this is an iPhone pic, and unlike many, I have not mastered the iPhone camera. Although not one of my best images, it was just too darn cute not to share!)
My images are posted here for your enjoyment only. All rights are reserved. Please contact me through flickr if you are interested in using one of my images for any reason.
The usual comical, frantic, jerky feeding behavior of this egret usually allows it to be identified from a great distance off even though you cannot discern any of its field marks. It's my favorite large wader to watch trying to secure a meal. This bird, however was remarkably subdued... it was uncharacteristically calm and patient! This behavior is more typical for its larger cousin: Great Egret.
IMG_8985; Reddish Egret
Almost comical in its representation of the endemic polar bear this rusty old sign with the caption Арктикуголь Шпицберген (Arcticcoal Spitsbergen) stands in Pyramiden, a Russian enclave occupied under the Svalbard Treaty of 1920. The coal miners left it here when they deserted the place in 1998.
None of this means the Russians have given it up. They haven't. There is a permanent presence and indeed, if you visit, you will be met, greeted and guided by Russians.
In an odd twist, whereas Article 9 of the Treaty forbids the use of Svalbard for war-like purposes, Norwegian authorities have recently intercepted a Russian national at Tromsø airport in contravention of sanctions banning his alleged actions while in Norway. Descriptions of his possessions suggest espionage at a tense time where Russian expansionism, military aggression and sabotage are suspected. And where was he headed? Why, to Svalbard, of course, and a convenient location of Russian territory. Watch this space!
This is a picture of our dog "Rusty" and our kitten "Suki". I thought this was so funny when our dog was in the pool watching our kitten walk up to him. All you could see was just his head and no body.
Construction in downtown Toronto.
Become a fan of the cool Froz’n Motion Facebook page at FACEBOOK or visit www.froznmotion.com
The usual comical, frantic, jerky feeding behavior of this large egret regularly allows it to be identified from a great distance off, even though you cannot discern any of its field marks. This image shows well the reddish neck and the bicolored bill... also field marks to note. This bird is my favorite large wader to watch trying to secure a meal. I usually try for stills of this feeding behavior... but it likely, the coverage would be more interesting as a video. The small wader in the background is a Yellowlegs (probably Greater).
IMG_0304; Reddish Egret
Florence Nightin’owl is our tribute to history’s most famous nurse and to all the nurses, past and present, who have worked tirelessly to care for our children, young people and families. With her smart blue uniform and comical glasses, Florence represents the cour-age, compassion, trust, respect, commitment and sense of fun that our teams show every day at Birmingham Children’s Hospital and throughout the NHS.
Artist: Deven Bhurke
Is an artist and graphic designer with a versatile style. He has previously been involved in similar WIA public art events and he was commissioned by Marwell Wildlife’s Go! Rhinos in 2013, by the National Literacy Trust in 2014, and by Transport for London.
Website: www.devenbhurke.com
Sponsor: Birmingham Children’s Hospital NHS Trust
Auction Price: £6000
The Big Hoot captured the imagination of everyone in Birmingham and beyond, with hundreds of thousands of people taking to the streets with their Big Hoot Trail maps to explore the colourful invasion of individually designed owls. Taking in the city’s 10 districts, tourists and residents alike enjoyed their owl adventure, discovering and celebrating the extraordinary creativity produced by many of Birmingham’s artistic community and over 25,000 young people.
The Big Hoot owls went under the hammer on 15 October 2015 at The Big Hoot auction sponsored by Vodafone and we are thrilled to have smashed our target by raising the incredible sum of £508,035!
The money raised from the auction will support Birmingham Children’s Hospital Charity’s £3.65m Star Appeal. This appeal will enable us to create a first of its kind, a Rare Diseases Centre in the UK specifically for children. It will provide co-ordinated care, treatment, support and most importantly hope to children and families living with a rare or undiagnosed condition.
In addition the auction raised £15,000 for G’owl’d by Temper with proceeds going to Edward’s Trust, and £7,800 for Fleet and Free with proceeds going to Birchfield Harriers.
So thank you - we simply couldn’t have done it without you.
Artists have played a major role in The Big Hoot, creating almost 100 owl sculptures. We would like to thank all the artists for their incredible creativity and hard work.
Professional artists from Birmingham, the wider Midlands region and further afield have created extraordinary giant owls that are all unique in style and character and represent the city’s creativity, history and heritage, music, fashion, architecture and attractions.
Birmingham is home to a wealth of artistic and creative individuals and communities and many award-winning and nationally and internationally acclaimed artists. We are delighted with the response from Birmingham’s creative community and are thrilled to work in collaboration with them to transform the streets, squares and parks of the city.
For five months artists have been creating owls in their studios, at home and in The Big Hoot Artists’ Studio at the Custard Factory in Digbeth. Their inspiring and innovative designs have been realised in genres including graffiti, illustration, fine art, graphics, typography, mosaic and new media. They have worked with both community groups and with corporates to realise ideas and create their stunning designs.
The Big Hoot not only provides a high quality and ambitious free public event for families but also supports the creativity of artists and celebrates talent and diversity. The Big Hoot has provided an inspiring relationship between the city and the arts.
The artists have also reached out to communities enabling more people to participate in the arts, to experience working with professional artists and to be inspiring and inspired. From the north to the south of the city residents groups, youth groups and older peoples’ groups have been collaborating with artists to generate ideas, design and create owls for The Big Hoot.
Creativity is everywhere but the opportunity to participate is not. A range of activities have been programmed within Birmingham’s diverse communities and people from the age of 3 – 97 and from wards within the city boundaries have contributed to The Big Hoot and helped make the event extraordinary. Our projects have seen artists working with hundreds of residents and community members including children in looked after care, older peoples’ clubs, young people and residents organisations to design and decorate the owls displayed as part of the 10 week public event.
This is one of three squirrels that regularly visit the garden.
This one seems to be the most boisterous and comical to watch.
For the past two summers I have been working almost exclusively with the ever comical Atlantic Puffin. These images are a small selection from this project to view more please visit www.kevinmorgans.com or alternatively follow me on Facebook at www.facebook.com/kevinmorgansphotography/
No known copyright restrictions. Please credit UBC Library as the image source. For more information, see digitalcollections.library.ubc.ca/cdm/about.
Creator: Unknown
Date Created: 1923
Source: Original Format: University of British Columbia. Library. Rare Books and Special Collections. Arkley Croquet Collection.
Permanent URL: digitalcollections.library.ubc.ca/cdm/ref/collection/arkl...
At first this behaviour looks almost comical - a bit like Punch & Judy - but it can be deadly serious. It's common for the two largest chicks to turn on the smallest one and try to kill it, often by throwing it out of the nest. However, in this particular nest it was the two larger ones who were fighting each other while the little one tried to keep its head down and stay out of trouble. The mother stood by and watched dispassionately. In Nature it's all about survival of the fittest, of course, but I couldn't help hoping the little guy managed to keep out of harm's way.