As you can see there is yet another PHOTO THIEF @ work!

How sad, do people really not know what COPYRIGHT means, in SIMPLE words... IF IT IS NOT YOUR IMAGE, THEN, YOU HAVE NO RIGHT TO IT!!!

It is an INFRINGEMENT of the LAW!

If you love an image SOOOOO MUCH that you'd like to 'use' it, you have the duty and obligation to ask the creative brain behind the image AND HAVE THE COURTESY and DECENCY then to credit the artist, like you would with a painting or sculpture!

From now on I am going to publicly NAME AND SHAME THEM.

Please do not use this image on websites, blogs or any other media without my explicit permission. © All rights reserved

FOR IMMEDIATE RELEASE

MANIFESTO GLEITZEIT 2015

PROLOGUE

Paul Jaisini was like a messiah, as you wish, who saw/understood the impending end and complete degeneration of Fine art or Art become and investment nothing more than that. He predicted the bubble pops art when everybody would eventually become an artist, including dogs cats and horses, because they as kids followed the main rule: express yourself without skills or knowledge or any aesthetic concerns. J. Pollack started pouring paints onto canvases; Julian Schnabel, former cab driver from NY, suddenly decided he could do better than what he saw displayed in galleries, so he started gluing dishes on canvases; A.Warhol, an industrial artist who made commercial silk-screen for the factories he worked in, started to exhibit "Campbell's soup" used for commercial adds... and later the thing that made him an "American Idol": by copying and pasting Hollywood celebrities (same type of posters he made before for movie theaters).

When Paul Jaisini stood out against the Me culture in the US by burning all of his own 120 brilliant paintings (according to the then-new director of Fort Worth MoMa Museum, who offered hin an exhibition of his art in 1992, and later the Metropolitan Museum curator, Phillippe de Montebello, in 1994).Paul probably assumed all fellow true fine artists would join him or stand by him against corruption of the art world.

And after 20 years of his stand-off...the time has finally come today. Many artists and humanitarians around the world took a place beside him. His invisible Paintings became a synonym for the future reincarnation of fine art and long lost harmony. The establishment is in panic! The "moneybags" (as Paul Jaisini named them) are in panic, because they invested BILLIONS of dollars in real crap made by

craftsmen. Now they realize that the reputation of American legends of expressionism was nothing but a copy of Russian avant-garde" Kazimir Malevich, Vasiliy Kandinsky and tens of others from France and Germany.. US tycoon investors were spending billions on "Me more original, than you". "Artist Shit" is a 1061 artwork by the Italian artist Piero Manzoni. The work consists of 90 tin cans, filled with feces. A tin can was sold for £124,000, 180,000 at Sothebys, 2007.

EPILOGUE

Before I resume promoting and admiring a very important art persona on today's international art arena, I'd like to clear up some BIG questions; people ask continuously and subconsciously, directly & indirectly: "Why does the name Paul Jaisini, flood the Internet in such "obnoxious" quantities that it's started suppressing some other activities that my friends might share with the rest of the Internet's Ego Me only Me www society? I can't just answer this... so I'll try to explain why I'm writing this: Jaisini's followers keep posting art and info about,

He IMHO the only hope in quickly decomposing visual fine art. "Paul Jaisini realized many years ago, in 1994, when he declared (at that time to himself only) the start of a New era, a New vision, that he is trying to redirect from the rat race, started by an establishment in post-war New York, long before the Internet culture.

Sub related information: Adolf Gottlieb, Mart Rothko, etc (after visiting Paris France in 1933):

"We must forget analytical art, we must express ourselves, as a 5 year old child would, without a developed consciousness. Forget about results - do what you feel, EXPRESS yourself with your own unique style"

With this statement Mark Rothko starts to teach his students, degeneration of fine art begins, and the generation of war of styles took a start signal of the material race, greatly rewarded by establishment "individual" - eccentric craftsmen - show business clowns.

Sub related Information: In the summer of 1936, Adolf Gottlieb painted more than 800 paintings, which was 20X more than he created in his whole art career as a painter, starting from the time of Gottlieb becomes a founding member of "The Ten" group in NYC "Group of Ten" was a very peculiar, enigmatic group... Based on a religious point of view;(where a human figure was prohibited from being created)

GLOSSARY

IN 1997, Paul Jaisini's best friend Ellen Y.K.Gottlieb started a cyber campaign by promoting on a very young Internet, back then, Paul Jaisini's burned paintings as Invisible Paintings, visible only through poetic essays. She and a handful of people saw his originals and were devastated that nobody could ever see them again. "We, his fans, believe that someday Paul will recreate his 120 burned paintings if he has any decency and moral obligation to his fans, who have dedicated decades to make it happen, for their Phoenix to rise from the ashes

and the whole world will witness that all these years we spent to get him back to re-paint the Visuals again were not in vain," - said E.Y.K.Gottlieb in 2014 during the 20th anniversary celebration of Invisible Paintings to GIGroup in NYCity. So now, hopefully, this clears up why I and others do what we do - our "cyber terrorism" of good art, dedicated to Paul Jaisini's return, which is & and was our mission & our goal. We post good art to fight "troll art" which is worthless pics, after being passed through 1-click filters of free web apps. We are, in fact, against this www pops pollution, done with "bubble art" by the out of control masses with 5 billon pics a day: Pics of cats, memes, quotes,

national geographic sunsets and waterfalls, not counting their own daily "selfies: and whatever self-indulging Me-ego-Me affairs, sponsored happily by photo gadget companies like Canon, Nikon, Sony...who churn out higher quality madness tools at lower cost.

This way Government taking away attention from the real world crisis of lowest morality & economical devastation. The masses are too easily re-engineered/manipulated by the Establishment PopsStyle delivered to them by pop music and Hollywood "super" stars. In 1992 Paul Jaisini's Gleitzeit theory predict such a massive, pops self-entertain madness, following technological

explosion, but not in illusive scales.

Uber Aless @2015 NYC USA

NOTE Date's numbers and events can be slightly inaccurate.

French postcard by Editions P.I., offered by Les Carbones Korès, no. 412. Photo: Metro-Goldwyn-Mayer, 1953.

American actor Gregory Peck (1916-2003) was one of the most popular film stars from the 1940s to the 1960s. Peck received five nominations for Academy Award for Best Actor and won once – for his performance as Atticus Finch in To Kill a Mockingbird (1962). He almost always played courageous, nobly heroic good guys who saw injustice and fought it. Among his best known films are Spellbound (1945), The Yearling (1946), Gentleman's Agreement (1947), Roman Holiday (1953), The Guns of Navarone (1961), and Cape Fear (1962).

Eldred Gregory Peck was born in 1916 in La Jolla, California (now in San Diego). His parents were Bernice Mary (Ayres) and Gregory Pearl Peck, a chemist, and druggist in San Diego. His parents divorced when he was five years old. An only child, he was sent to live with his grandmother. He never felt he had a stable childhood. His fondest memories are of his grandmother taking him to the cinema every week and of his dog, which followed him everywhere. Peck's father encouraged him to take up medicine. He studied pre-med at UC-Berkeley and, while there, got bitten by the acting bug and decided to change the focus of his studies. He enrolled in the Neighborhood Playhouse in New York and debuted on Broadway after graduation. His debut was in Emlyn Williams' play 'The Morning Star' (1942). By 1943, he was in Hollywood, where he debuted in the RKO film Days of Glory (Jacques Tourneur, 1944). Stardom came with his next film, The Keys of the Kingdom (John M. Stahl, 1944), for which he was nominated for an Oscar. Tony Fontana at IMDb: "Peck's screen presence displayed the qualities for which he became well known. He was tall, rugged and heroic, with a basic decency that transcended his roles." He appeared opposite Ingrid Bergman in Alfred Hitchcock's Spellbound (1945) as an amnesia victim accused of murder. In The Yearling (Clarence Brown, 1946), he was again nominated for an Oscar and won the Golden Globe. He was especially effective in Westerns and appeared in such varied fare as David O. Selznick's critically blasted Duel in the Sun (King Vidor, 1946), the somewhat better received Yellow Sky (William A. Wellman, 1948), and the acclaimed The Gunfighter (Henry King, 1950). He was nominated again for the Academy Award for his roles in Gentleman's Agreement (Elia Kazan, 1947), which dealt with anti-Semitism, and Twelve O'Clock High (Henry King, 1949), a story of high-level stress in an Air Force bomber unit in World War II. In 1947, Peck, along with Dorothy McGuire, David O'Selznick, and Mel Ferrer, founded the La Jolla Playhouse, located in his hometown, and produced many of the classics there. Due to film commitments, he could not return to Broadway but whet his appetite for live theatre on occasion at the Playhouse, keeping it firmly established with a strong, reputable name over the years.

With a string of hits to his credit, Gregory Peck made the decision to only work in films that interested him. He continued to appear as the heroic, larger-than-life figures in such films as Captain Horatio Hornblower (Raoul Walsh, 1951) with Virginia Mayo, and Moby Dick (John Huston, 1956) with Richard Basehart. He worked with Audrey Hepburn in her debut film, Roman Holiday (William Wyler, 1953). While filming The Bravados (Henry King, 1958), he decided to become a cowboy in real life, so he purchased a vast working ranch near Santa Barbara, California - already stocked with 600 head of prize cattle. In the early 1960s, he gave a powerful performance as Captain Keith Mallory in The Guns of Navarone (J. Lee Thompson, 1961) opposite David Niven and Anthony Quinn. The film was one of the biggest box-office hits of that year. Peck finally won the Oscar, after four nominations, for his performance as lawyer Atticus Finch in To Kill a Mockingbird (Robert Mulligan, 1962). He also appeared in two darker films than he usually made, Cape Fear (J. Lee Thompson, 1962) opposite Robert Mitchum, and Captain Newman, M.D. (David Miller, 1963) with Tony Curtis, which dealt with the way people live. The financial failure of Cape Fear (1962) ended his company, Melville Productions. After making Arabesque (Stanley Donen, 1966) with Sophia Loren, Peck withdrew from acting for three years in order to concentrate on various humanitarian causes, including the American Cancer Society. In the early 1970s, he produced two films, The Trial of the Catonsville Nine (Gordon Davidson, 1972) and The Dove (Charles Jarrott, 1974), when his film career stalled. He made a comeback playing, somewhat woodenly, Ambassador Robert Thorn in the horror film The Omen (Richard Donner, 1976) with Lee Remick. After that, he returned to the bigger-than-life roles he was best known for, such as MacArthur (Joseph Sargent, 1977) and the infamous Nazi war criminal Dr. Josef Mengele in the huge hit The Boys from Brazil (Franklin J. Schaffner, 1978) with Laurence Olivier and James Mason. In the 1980s, he moved into television with the miniseries The Blue and the Gray (Andrew V. McLaglen, 1982) in which he played Abraham Lincoln, and The Scarlet and the Black (Jerry London, 1983) with Christopher Plummer and John Gielgud. In 1991, he appeared in the remake of his 1962 film, playing a different role, in Martin Scorsese's Cape Fear (1991). He was also cast as the progressive-thinking owner of a wire and cable business in Other People's Money (Norman Jewison, 1991), starring Danny DeVito. In 1967, Peck received the Academy's Jean Hersholt Humanitarian Award. He was also been awarded the US Presidential Medal of Freedom. Always politically progressive, he was active in such causes as anti-war protests, workers' rights, and civil rights. In 2003, Peck's portrayal of Atticus Finch was named the greatest film hero of the past 100 years by the American Film Institute, only two weeks before his death. Atticus beat out Indiana Jones, who was placed second, and James Bond who came third. Gregory Peck died in 2003 in Los Angeles, California. He was 87. Peck was married twice. From 1942 till 1955, he was married to Greta Kukkonen. They had three children: Jonathan Peck (1944-1975), Stephen Peck (1946), and Carey Paul Peck (1949). His second wife was Veronique Passani, whom he met at the set of Roman Holliday. They married in 1955 and had two children: Tony Peck (1956) and Cecilia Peck (1958). The couple remained together till his death.

Sources: Tony Fontana (IMDb), and IMDb.

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

I've worn this dress twice now, and both times it was to cheer myself up. The first time was last year after a round of redundancies at work saw me lose a couple of close friends. And then again this weekend after the bunch of mendacious shit-stains who have been destroying this country for the past six years got re-elected by idiots who chose greed and fear over decency and humanity.

Anyway, it's a cute dress and maybe one day I'll wear it just because of that.

Spennymoor is a town and civil parish in County Durham, England. It is south of the River Wear and is 7 mi (11 km) south of Durham. The civil parish includes the villages of Kirk Merrington, Middlestone Moor, Byers Green and Tudhoe.

The land on which Spennymoor now stands was once a vast expanse of moorland covered with thorn and whin bushes (Spenny Moor). In 1336 its placename was recorded as Spendingmor. The name is probably derived from the Old English or Old Norse spenning and mōr, meaning a moor with a fence or enclosure.

Another theory of the place-name's origin is from the Latin spina, meaning thorn (possibly from the Roman influence at Binchester) combined with the Old English or Old Norse mōr. CE Jackson, in his Place Names of Durham published in 1916 suggested a combination of the Old Norse spaan with Old English mar, meaning the moor named after the shingle-hut erected thereon.

Neither Britons nor Romans cultivated the moor, but on the site of Binchester, a village about 5 miles (8 km) to the southwest, the Romans built a camp around which grew up the settlement of Vinovium. The name Binchester is the usual Old English corruption or adaptation of the Roman site name.

St Paul's Church

This fortress must have been of great strength, for it stood on a height above the River Wear; many coins, urns, altars and pieces of Roman pottery have been found, as well as the remains of a hypocaust of the heating system. Later, Binchester became one of the "vills" of the Earl of Northumberland who held it until 1420 when it passed to the Nevilles who finally forfeited it with other lands in 1569. As is to be expected, the moor itself offers little of historical interest but it is linked with the records of Kirk Merrington, Whitworth Old Park, Binchester, Byers Green and Tudhoe, all of which form a part of the early days of Spennymoor. All these villages had common rights on the moor but, as it became denuded by increasing flocks, some of the local people were induced to relinquish their rights and so, gradually, the common became the property of just one owner – Merrington Priory. The Manor of Merrington belonged successively to the priors, monks and dean and chapter of Durham Cathedral.

Today, Merrington church is one of the most prominent local landmarks. It was originally built by the Normans and its splendid strategic position led to it being fortified in 1143 by the Scots intruder, William Cumyn. When he was finally attacked and overcome, the church roof was destroyed but the building remained as one of the most interesting Norman churches in the county until 1850 when it was almost wholly rebuilt – although retaining the form of its predecessor. Inside, the most interesting feature is the screen, a typical example of late-17th century work.

The Norman Conquest meant little to the border folk at first, for they had lived with the constant threat of massacre by raiding Picts and Danes, but then William's soldiers "laid waite" the county and distributed the Saxon nobles' estates among themselves. however, William allowed some of the previous owners to retain their lands, and one of these was Whittleworth – now Whitworth – whose first known proprietor was Thomas de Acle who held it in 1183. Nevertheless, the whole of this countryside was made desolate by William's soldiers, and for many years it was the haunt of outlaws and wild animals.

On 16 October 1346 David of Scotland was encamped with a great army on the hills near Durham, and raiding bands under a Douglas had been terrorising the neighbourhood. Edward lll was otherwise engaged at Crecy in France at the time, but his Queen, Phillipa, with the Archbishop of York, the Bishops of Durham, Lincoln and Carlisle, and the Lords Neville and Percy and others marched North, and with an array of 16,000 men, moved along the ridge from Auckland to Merrington. Her advance guards clashed with some of Douglas' men near Ferryhill and chased them back to the bridge at Croxdale (Sunderland Bridge). Butchers Race, one of the Five Lanes which meet at Tudhoe Crossroads, was so named after this foray. The next day the main bodies of the two armies met at Neville's Cross, near Durham, and the Scots were slaughtered. During the battle, the prior from Durham and his monks knelt on a little hillock in the Shaw Wood and prayed for an English victory while holding aloft, impaled on a spear, the Holy Corporax Cloth from the Cathedral.

In 1420 the Manor of Whitworth and much of the other land in the vicinity, from Raby to Brancepeth, and including Old Park, Byers Green, Newfield and Tudhoe, became Neville property, and the Earl of Westmorland (a Neville) was granted a licence from Bishop Langley to impark 40 acres at Whitworth, and so began the Whitworth park of today.

The moor itself comes into the record in 1615 as the result of "a general muster on the moor of all men able to bear arms within the bishopric, between the ages of 15 and 60; the gathering amounted to 8,320" (Fordyce). Some military training seems to have been given, doubtless with a view to the then unsettled state of the country due to the growing tension between Parliament and the King. Quite a few of these men must have been miners, as at that time "coale pits" were being worked at Whitworth, Byers Green and Fernhill. In 1677 the small freeholders and the local gentry divided 243 acres of the moor between themselves, an act which was confirmed by the Chancery Court. The only portion of the common that was left was a small plot reserved for the use of a spring of water.

Up to 1800 the moor remained largely barren and the few roads across it were dangerous. The one good road was maintained by tolls collected at turnpike gates. Some of the largest horse-race meetings in the North took place on the moor, and miners and their families attended in all their holiday splendour. These men, early industrial workers, wore their hair long and on these gala days it flowed freely over their shoulders instead of, as usually was the case, being tied in curls. Floral waistcoats and ribboned hats were worn on these highly colourful occasions.

Modern Spennymoor was built on mining and has its origins with the sinking of the Wittered pit in 1839. Rough houses were built for the pit workers – houses with two rooms and a loft, more like "piggeries than human habitation" according to Dodd. The first coal from Merrington Colliery was brought up in 1841; a pit with a chequered career which only prospered under the partnership of L.M Reay and R.S. Johnson, who made a fortune out of it. The trade depression of the late 19th century, however, caused its closure in 1882.

The coal mining at Whitworth and a small foundry at Merrington Lane were the earliest industries, but in 1853 the Weardale Iron and Coal Company opened its great ironworks at Tudhoe. As a result, many hundreds of immigrant workers came here from the Midlands and more rows of dark little houses were erected. More workers came from Wales and Lancashire, with the opening of the mine at Page Bank (ten lives were lost in a pit fire here in 1858), and with the sinking of a new pit at Tudhoe in the 1880s. The latter resulted in colliery workers' houses springing up on the main Durham Road. Slightly before that, in the 1860s, a rather advanced area of working-class housing had been erected at Tudhoe Grange, built by Marmaduke Salvin to house local workers. These houses were, unusually, semi-detached and arranged in a chequerboard layout, very much in contrast to the dreary terraces that were then the standard.

Although these days of rapid industrialisation and rapid growth of population were days of ignorance and squalor, they also saw the 19th century drive for education and religion. A National School was built and opened in 1841; St. Paul's Church was built at Spennymoor in 1858 and all through these formative years the non-conformist churches combined welfare work with prayer. An era of prosperity dawned in the 1860s and 1870s when the miners were earning £1 per day. Spennymoor was ringed with collieries, black furnaces and coke ovens and the new prosperity showed itself in the building of better houses and in the opening of Co-operative stores. The comparative isolation of its moorland situation ended too with the opening of a branch railway from the mainline at Ferryhill in 1876.

However, as always in industrial life, boom was followed by "bust" – or "near bust", and by 1879 miners' wages were down to 4s 9d a day and those of ironworkers to a mere 3s a day. On top of these economic misfortunes came the terrible explosion at Tudhoe Colliery in 1882 when 37 lives were lost. A strike, which lasted 13 weeks, paralysed the area in 1892, although out of the enforced idleness came foundations of new growth, for the machinery at the Tudhoe Iron works was then renovated and a new mill laid down. The works then possessed the largest mill in Europe, capable of rolling plates up to 13 feet in width.

When, in 1894, Spennymoor and its adjacent villages achieved a measure of self-government on the Spennymoor Urban District Council, the new authority found itself facing a legacy of poor housing. With few exceptions, the housing situation was little better than when Dodd had described the houses as "more like piggeries". In 1874 the then Local Government Board had reported: "Nothing could well exceed the nuisance attendant on the disposal of excrement and refuse in Spennymoor. There are entire streets without any closet accommodation whatever and in its stead open wooden boxes are placed opposite nearly every doorway for the reception of the excrement, ashes and other refuse; an arrangement which, besides being revolting to every sense of decency, is stated to be offensive in the extreme, especially in hot weather. It is impossible to walk between the rows of cottages without being convinced that the surface of the ground is to a large extent composed of the overflowing contents of these midden boxes. The back streets stand deep in filth and mud." These appalling conditions continued into the 20th century and even by 1920 fewer than 10% of the town houses had water closets. In 1923 only four houses were built and there was still massive overcrowding in back-to-back properties. In the next few years only between one and four houses were built in any year and in 1929 the housing situation was still reported as acute which, from the recorded facts, seems self-evident.

These squalid conditions were paralleled by the ever-uncertain economic conditions in industry. Although coalmining continued and the ironworks and engineering businesses were also providing employment, the start of the 20th century saw the start, too, of a long period of depression. The first blow was the closure in 1901 of the ironworks which had been rendered obsolete by the pace of change elsewhere. The effect of the closure was relieved by the sinking of the Dean and Chapter colliery in 1904, but the reliance on this one basic industry was to persist until the 1960s. Even before the big coal strike of 1926 the collieries had begun to close. Three closed in 1924 and the strike saw another two fail. Spennymoor became part of the Southwest Durham depressed area. Although schemes were inaugurated to relieve the gloom nothing could make up for the lack of steady employment. In 1930 the coke ovens which remained on the ironworks site were only working intermittently. Even by 1938 the situation had improved little. The Cleveland iron trade, which used the coal and coke produced at Spennymoor, was depressed. The production of these raw materials at Coulson's engineering works, Kenmir's furniture factory and newly opened brickworks at Todhills were the main, if limited, sources of employment. Unemployment was over 33%.

Despite the high levels of unemployment, the housing situation at last took an upturn in the 1930s when the Urban District Council began to use its wider powers to take action on unfit houses. By 1935 the first 66 Council houses had been built, and a year later the first 106 North Eastern Housing Association houses were erected on the Racecourse Estate site. Although these were the only houses built before the war, they did provide some hope and allowed the clearance of some of the worst of the squalid areas. Nevertheless, the situation remained bad and there were still far too many damp, badly lit and ventilated houses opening onto small, paved yards or back streets.

World War II had diverse effects upon the town. On the one hand it brought housing efforts almost to a standstill, but on the industry front it saw the resurgence of Spennymoor as a major centre. The main factor was the opening in 1941 of a Royal Ordnance Factory at Merrington Lane and since then this estate has provided a constant source of alternative employment to the coal industry. The end of World War II, however, saw this industrial activity greatly curtailed and hard times returned, although without the severity of the earlier pre-war years. The run-down of the mining industry, however, was nevertheless a serious blow.

On 24 December 1944, Tudhoe's cricket ground was hit by a rogue V-1 flying bomb, which had been air-launched by a German Heinkel He 111 and was aimed at Manchester. The explosion cratered the field and blew out the windows of surrounding houses and of St. Charles' Church. This was the furthest north any V-1 landed during World War II.

In 1963 changes were indicated and Durham County Council and then Ministry of Housing and Local Government agreed that Spennymoor should be a new "growth point" and that town centre redevelopment should take place; that the Tudhoe ironworks site should be reclaimed; that a major highway scheme should be put into hand; that the Royal Ordnance Factory Industrial Estate should be extended and that the Green Lane Industrial Estate should be developed.

Spennymoor shared some brief film success in the early 90's with the production of 'Anymore for Spennymore' starring a few of the locals.

There were, of course, early problems, but the new industries became established and, in most cases, began to expand. The coal industry has been replaced by manufacturers of consumer goods, and factories of Electrolux, Thorn Lighting and Black and Decker were established. Rothmans International also had a cigarette factory, employing more than 400 people, in Spennymoor from circa 1980 up until 2000.

Housing, too, has made great strides since the end of the War. By the end of 1963 over 1,120 sub-standard houses had been cleared and as many new Council houses built for letting – whilst over 400 houses had been improved by grant aid. In 1963 too there came the first private building developments to take place since back in the days of the 19th century colliery owners. The 800-house estate at Greenways and the 300-house estate at Tudhoe Grange were started, although it was not until the industrial prosperity of the 1970s that private house building reached 100 a year.

The greatest project came with the development of the Tudhoe ironworks site – 70 acres that was turned into the Bessemer Park Housing Estate. In 1968 work commenced on blocks of flats and houses there (comprising 1,009 household units in total) and this allowed the clearance of 500 unfit houses as well as the provision of housing for workers coming to the new factories. The blocks of flats on the Bessemer Park Housing Estate were subsequently demolished in the 1980s, due to serious problems with damp in the flats that rendered them extremely unpopular with tenants.

In 1966 the town opened a new bus station, between Cambridge Street and Silver Street, to relieve traffic congestion on the High Street. This bus station was subsequently redeveloped as a car park circa 1990. Also in 1966, the nearby Parkwood Shopping Precinct (which included a Woolworths and a supermarket) was opened. In 2016 it was announced that the Parkwood Precinct would be substantially redeveloped due to low tenancy rates in the shops, an escalating issue since the turn of the millennium.

The South front of the Marks and Spencer's building on the corner of Bothwell Street and Wellington Street, Glasgow.

This shot is for Jimmy Black, to reassure him that some "relics of the old decency" still exist in Glasgow, despite the reconstruction of the last decade or so. Give yourself a treat and visit his photostream here to see a master processer at work.

www.karlwilliamsphotography.co.uk

FOR IMMEDIATE RELEASE

MANIFESTO GLEITZEIT 2015

PROLOGUE

Paul Jaisini was like a messiah, as you wish, who saw/understood the impending end and complete degeneration of Fine art or Art become and investment nothing more than that. He predicted the bubble pops art when everybody would eventually become an artist, including dogs cats and horses, because they as kids followed the main rule: express yourself without skills or knowledge or any aesthetic concerns. J. Pollack started pouring paints onto canvases; Julian Schnabel, former cab driver from NY, suddenly decided he could do better than what he saw displayed in galleries, so he started gluing dishes on canvases; A.Warhol, an industrial artist who made commercial silk-screen for the factories he worked in, started to exhibit "Campbell's soup" used for commercial adds... and later the thing that made him an "American Idol": by copying and pasting Hollywood celebrities (same type of posters he made before for movie theaters).

When Paul Jaisini stood out against the Me culture in the US by burning all of his own 120 brilliant paintings (according to the then-new director of Fort Worth MoMa Museum, who offered hin an exhibition of his art in 1992, and later the Metropolitan Museum curator, Phillippe de Montebello, in 1994).Paul probably assumed all fellow true fine artists would join him or stand by him against corruption of the art world.

And after 20 years of his stand-off...the time has finally come today. Many artists and humanitarians around the world took a place beside him. His invisible Paintings became a synonym for the future reincarnation of fine art and long lost harmony. The establishment is in panic! The "moneybags" (as Paul Jaisini named them) are in panic, because they invested BILLIONS of dollars in real crap made by

craftsmen. Now they realize that the reputation of American legends of expressionism was nothing but a copy of Russian avant-garde" Kazimir Malevich, Vasiliy Kandinsky and tens of others from France and Germany.. US tycoon investors were spending billions on "Me more original, than you". "Artist Shit" is a 1061 artwork by the Italian artist Piero Manzoni. The work consists of 90 tin cans, filled with feces. A tin can was sold for £124,000, 180,000 at Sothebys, 2007.

EPILOGUE

Before I resume promoting and admiring a very important art persona on today's international art arena, I'd like to clear up some BIG questions; people ask continuously and subconsciously, directly & indirectly: "Why does the name Paul Jaisini, flood the Internet in such "obnoxious" quantities that it's started suppressing some other activities that my friends might share with the rest of the Internet's Ego Me only Me www society? I can't just answer this... so I'll try to explain why I'm writing this: Jaisini's followers keep posting art and info about,

He IMHO the only hope in quickly decomposing visual fine art. "Paul Jaisini realized many years ago, in 1994, when he declared (at that time to himself only) the start of a New era, a New vision, that he is trying to redirect from the rat race, started by an establishment in post-war New York, long before the Internet culture.

Sub related information: Adolf Gottlieb, Mart Rothko, etc (after visiting Paris France in 1933):

"We must forget analytical art, we must express ourselves, as a 5 year old child would, without a developed consciousness. Forget about results - do what you feel, EXPRESS yourself with your own unique style"

With this statement Mark Rothko starts to teach his students, degeneration of fine art begins, and the generation of war of styles took a start signal of the material race, greatly rewarded by establishment "individual" - eccentric craftsmen - show business clowns.

Sub related Information: In the summer of 1936, Adolf Gottlieb painted more than 800 paintings, which was 20X more than he created in his whole art career as a painter, starting from the time of Gottlieb becomes a founding member of "The Ten" group in NYC "Group of Ten" was a very peculiar, enigmatic group... Based on a religious point of view;(where a human figure was prohibited from being created)

GLOSSARY

IN 1997, Paul Jaisini's best friend Ellen Y.K.Gottlieb started a cyber campaign by promoting on a very young Internet, back then, Paul Jaisini's burned paintings as Invisible Paintings, visible only through poetic essays. She and a handful of people saw his originals and were devastated that nobody could ever see them again. "We, his fans, believe that someday Paul will recreate his 120 burned paintings if he has any decency and moral obligation to his fans, who have dedicated decades to make it happen, for their Phoenix to rise from the ashes and the whole world will witness that all these years we spent to get him back to re-paint the Visuals again were not in vain," - said E.Y.K.Gottlieb in 2014 during the 20th anniversary celebration of Invisible Paintings to GIGroup in NYCity. So now, hopefully, this clears up why I and others do what we do - our "cyber terrorism" of good art, dedicated to Paul Jaisini's return, which is & and was our mission & our goal. We post good art to fight "troll art" which is worthless pics, after being passed through 1-click filters of free web apps. We are, in fact, against this www pops pollution, done with "bubble art" by the out of control masses with 5 billon pics a day: Pics of cats, memes, quotes,national geographic sunsets and waterfalls, not counting their own daily "selfies: and whatever self-indulging Me-ego-Me affairs, sponsored happily by photo gadget companies like Canon, Nikon, Sony...who churn out higher quality madness tools at lower cost.

This way Government taking away attention from the real world crisis of lowest morality & economical devastation. The masses are too easily re-engineered/manipulated by the Establishment PopsStyle delivered to them by pop music and Hollywood "super" stars. In 1992 Paul Jaisini's Gleitzeit theory predict such a massive, pops self-entertain madness, following technologicalexplosion, but not in illusive scales.

Uber Aless @2015 NYC USA

NOTE Date's numbers and events can be slightly inaccurate.

#gleitzeit #paul-jaisini #invisible #painting #art #futurism #art-news,

IMAGE INFO

- The viewpoint for this historic & rare image is looking southwards from where the future Arden Street climbs the hill northwards from Bream Street towards what will be the hillside suburb of South Coogee.

- The same viewpoint today [2022]:

www.google.com.au/maps/@-33.9179172,151.2574208,3a,49.5y,....

- I have dated the image mid-way between 1882 & 1887 (ie circa 1885), since the Coogee Palace Aquarium & Baths had not yet been built (they opened November 1887) & the steam tram loop line was opened in 1882.

- Note that there are two brave souls wading in the shoreline of Coogee Beach during daylight hours (not swimming, so technically not illegal under the Public Decency laws at that time).

******************************

SOURCE INFO

- B&W original photographer was Henry King.

- The original silver gelatin dry plate glass negative (full plate) was digitized by the Museum of Applied Arts & Science & is available from the M.A.A.S. online Tyrrell Collection here:

ma.as/31071

******************************

CREDITS

- Henry King (photographer)

- Museum of Applied Arts & Sciences (aka Powerhouse Museum) New South Wales for their valuable work in digitizing, archiving & making available online this rare historical content.

******************************

COPYRIGHT STATUS

- The original B&W image was no longer restricted by commercial Copyright at time of download, per advice -

"Out of Copyright

Reason for copyright status: Created/Published Date is Before 1955

Material type: Photograph

Government copyright ownership: No Government Copyright Ownership".

*******************************

PROCESS INFO

- I downloaded a copy of the digitized original (large file size & very faded with bad emulsion damage).

- I initially repaired/cropped damaged sections using Adobe Photoshop Creative Suite (Windows), then restored contrast & sharpness & applied an adjusted duo-tone curve for better tonal range.

- Duo-tone image size = 3217x2400pm [7.7MP]

You will find 200+ of my poems HERE. fno.org/poetry/index.html

I wrote this poem a year ago in November but it rings true.

No news is good news

The news

Such as it is

Lately

Offends

Alarms

And provokes me

Until I want to look away

Blind myself to the barbaric slayings

The killings

The murders

The hate crimes

The wars

The storms

The wildfires

And the political mayhem

That is the norm of the day

I want to pretend

None of this is real

And substitute my own version of reality

A life without Putin

And the slaughter of innocents

A world without Trump

And his cascade of lies and falsehoods

A time without mass murders

Shooters cutting down families

School children

And concert goers

A peaceful, gentle life

We can only imagine

With kindness, civility and decency

The norm

Not the exception

© Jamie McKenzie, all rights reserved

You will find more of my poems and songs here

and in The Storm in Its Passing and Flights of Fancy.

My songs are at

www.youtube.com/user/edtech2008/videos

It was election week and Ben the politician was doing the rounds of the rosebush constituency, smiling, associating himself with "lesser" insects and taking every opportunity to have his picture taken with larvae and the elderly. He always travelled with a couple of PR bugs and of course half a dozen ex special forces beetles wearing shades and speaking into hidden microphones. I saw Ben as he was doing the rounds and he was only too pleased for me to photograph him, under the right circumstances of course. Ben walked around with a perma-smile tattooed to his face that was as cold as the Icelandic permafrost and an air of aloofness that seemed almost sickeningly palpable. "I want to bring back the values of decency and morality to the garden," he said "I want to ensure that your larvae have a fighting chance of a decent future! For too long have we toiled away under the folly of the incumbent leadership, it is time for change and I am the man for the job. Put your trust in me and the future will be bright for all of us." Suddenly there was a voice from the edge of the bush "What about the allegations of sexual misconduct, fraudulent use of public funds and gross mismanagement of public funds to the extent that trillions were wiped off the pollen reserves." Ben visibly stumbled and a bead of sweat welled up on his carapace, his tattooed smile slipped just for an instance and almost imperceptibly became a grimace. "These false allegations have no foundation in fact," he said as if reading from a script "I have explained all of this to my colleagues and see no sense in further discourse. " The perma-smile reappeared once again as a citizen of the garden was arrested under the "public order act" and taken off for processing. Ben turned around and picked up a small larva and kissed it on the head, no-one saw him wipe his mouth as he handed the larva back to its father. The crowd of bugs that had gathered to hear his inane wittering soon forgot the dissident voice and as if hypnotised returned their glazed stare to Ben, once again lying to his electorate.

French postcard in the Entr'acte series by Éditions Asphodèle, Mâcon, no. 003/10. Collection: B. Courtel /D.R. Gregory Peck and Bob Kennedy on the set of Mackenna's Gold (J. Lee Thompson, 1969). Caption: Senator Bob Kennedy visits the film crew shooting in Arizona, starring Gregory Peck.

American actor Gregory Peck (1916-2003) was one of the most popular film stars from the 1940s to the 1960s. Peck received five nominations for Academy Award for Best Actor and won once – for his performance as Atticus Finch in To Kill a Mockingbird (1962). He almost always played courageous, nobly heroic good guys who saw injustice and fought it. Among his best known films are Spellbound (1945), The Yearling (1946), Gentleman's Agreement (1947), Roman Holiday (1953), The Guns of Navarone (1961), and Cape Fear (1962).

Eldred Gregory Peck was born in 1916 in La Jolla, California (now in San Diego). His parents were Bernice Mary (Ayres) and Gregory Pearl Peck, a chemist, and druggist in San Diego. His parents divorced when he was five years old. An only child, he was sent to live with his grandmother. He never felt he had a stable childhood. His fondest memories are of his grandmother taking him to the cinema every week and of his dog, which followed him everywhere. Peck's father encouraged him to take up medicine. He studied pre-med at UC-Berkeley and, while there, got bitten by the acting bug and decided to change the focus of his studies. He enrolled in the Neighborhood Playhouse in New York and debuted on Broadway after graduation. His debut was in Emlyn Williams' play 'The Morning Star' (1942). By 1943, he was in Hollywood, where he debuted in the RKO film Days of Glory (Jacques Tourneur, 1944). Stardom came with his next film, The Keys of the Kingdom (John M. Stahl, 1944), for which he was nominated for an Oscar. Tony Fontana at IMDb: "Peck's screen presence displayed the qualities for which he became well known. He was tall, rugged and heroic, with a basic decency that transcended his roles." He appeared opposite Ingrid Bergman in Alfred Hitchcock's Spellbound (1945) as an amnesia victim accused of murder. In The Yearling (Clarence Brown, 1946), he was again nominated for an Oscar and won the Golden Globe. He was especially effective in Westerns and appeared in such varied fare as David O. Selznick's critically blasted Duel in the Sun (King Vidor, 1946), the somewhat better received Yellow Sky (William A. Wellman, 1948) and the acclaimed The Gunfighter (Henry King, 1950). He was nominated again for the Academy Award for his roles in Gentleman's Agreement (Elia Kazan, 1947), which dealt with anti-Semitism, and Twelve O'Clock High (Henry King, 1949), a story of high-level stress in an Air Force bomber unit in World War II. In 1947, Peck, along with Dorothy McGuire, David O'Selznick and Mel Ferrer, founded the La Jolla Playhouse, located in his hometown, and produced many of the classics there. Due to film commitments, he could not return to Broadway but whet his appetite for live theatre on occasion at the Playhouse, keeping it firmly established with a strong, reputable name over the years.

With a string of hits to his credit, Gregory Peck made the decision to only work in films that interested him. He continued to appear as the heroic, larger-than-life figures in such films as Captain Horatio Hornblower (Raoul Walsh, 1951) with Virginia Mayo, and Moby Dick (John Huston, 1956) with Richard Basehart. He worked with Audrey Hepburn in her debut film, Roman Holiday (William Wyler, 1953). While filming The Bravados (Henry King, 1958), he decided to become a cowboy in real life, so he purchased a vast working ranch near Santa Barbara, California - already stocked with 600 head of prize cattle. In the early 1960s, he gave a powerful performance as Captain Keith Mallory in The Guns of Navarone (J. Lee Thompson, 1961) opposite David Niven and Anthony Quinn. The film was one of the biggest box-office hits of that year. Peck finally won the Oscar, after four nominations, for his performance as lawyer Atticus Finch in To Kill a Mockingbird (Robert Mulligan, 1962). He also appeared in two darker films than he usually made, Cape Fear (J. Lee Thompson, 1962) opposite Robert Mitchum, and Captain Newman, M.D. (David Miller, 1963) with Tony Curtis, which dealt with the way people live. The financial failure of Cape Fear (1962) ended his company, Melville Productions. After making Arabesque (Stanley Donen, 1966) with Sophia Loren, Peck withdrew from acting for three years in order to concentrate on various humanitarian causes, including the American Cancer Society. In the early 1970s, he produced two films, The Trial of the Catonsville Nine (Gordon Davidson, 1972) and The Dove (Charles Jarrott, 1974), when his film career stalled. He made a comeback playing, somewhat woodenly, Ambassador Robert Thorn in the horror film The Omen (Richard Donner, 1976) with Lee Remick. After that, he returned to the bigger-than-life roles he was best known for, such as MacArthur (Joseph Sargent, 1977) and the infamous Nazi war criminal Dr. Josef Mengele in the huge hit The Boys from Brazil (Franklin J. Schaffner, 1978) with Laurence Olivier and James Mason. In the 1980s, he moved into television with the miniseries The Blue and the Gray (Andrew V. McLaglen, 1982) in which he played Abraham Lincoln, and The Scarlet and the Black (Jerry London, 1983) with Christopher Plummer and John Gielgud. In 1991, he appeared in the remake of his 1962 film, playing a different role, in Martin Scorsese's Cape Fear (1991). He was also cast as the progressive-thinking owner of a wire and cable business in Other People's Money (Norman Jewison, 1991), starring Danny DeVito. In 1967, Peck received the Academy's Jean Hersholt Humanitarian Award. He was also been awarded the US Presidential Medal of Freedom. Always politically progressive, he was active in such causes as anti-war protests, workers' rights, and civil rights. In 2003, Peck's portrayal of Atticus Finch was named the greatest film hero of the past 100 years by the American Film Institute, only two weeks before his death. Atticus beat out Indiana Jones, who was placed second, and James Bond who came third. Gregory Peck died in 2003 in Los Angeles, California. He was 87. Peck was married twice. From 1942 till 1955, he was married to Greta Kukkonen. They had three children: Jonathan Peck (1944-1975), Stephen Peck (1946) and Carey Paul Peck (1949). His second wife was Veronique Passani, whom he met at the set of Roman Holliday. They married in 1955 and had two children: Tony Peck (1956) and Cecilia Peck (1958). The couple remained together till his death.

Sources: Tony Fontana (IMDb), and IMDb.

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

Following the outrage in Germany yesterday it is sometimes difficult to see the wood from the trees....but freedom, democracy and decency across our European lands and borders will win through in the end.....

Tomorrow the sun will rise and it will be a bright day.....

Nikkor 20mm AF f2.8D

"The image of a Syrian child's lifeless body washed up on the shores of a Turkish beach this week brought the world to its knees. His name was Aylan Kurdi, and he was just three years old.

We need to do better."

light the dark, adelaide, south australia

#lighthedark

Kimberly Kemp - Intimate Nurse

Midwood Books F210, 1962

Cover Artist: illegible ... Bruce Minney ... Rudy Nappi ?

"Her treatment went far beyond her duties – beyond decency, too. "

Kimberly Kemp is a pseudonym of Gilbert Fox

This image is copyright, all rights reserved, and not part of the public domain. Any use, linking to, or posting of this image is prohibited without my consent. If you want to use this image in any fashion, please have the common courtesy and decency to ask.

Tilikum Crossing, Portland, Oregon

A view of the Tilikum Crossing while hanging out with the Nightowls. I was testing out my new backup camera, a Canon Rebel t6s. I lucked out here by having both a Portland Streetcar and a Max Train pass in front of me to get these light streaks.

Catching up on some back shots from the beginning of the year

On a walk around the Addington Cemetery with a wonderful Flickr friend. February 13, 2016 Christchurch New Zealand.

There is so much damaged in the cemetery because of the earthquake we have had. It is such a pity as I don' think it will ever be fully repaired.

The Addington Cemetery was established in 1858 when the Scottish Presbyterians of St Andrew’s Church purchased land for a cemetery in Selwyn Street. Although not the first cemetery in Christchurch, Addington was in fact the first “public” cemetery, “being open to all persons of any religious community” and allowing the performance of any religious service “not contrary to public decency”.

The first burial took place on the 10th of November 1858. The cemetery has several persons of note buried within its grounds including activist Kate Sheppard, Christchurch Mayor Tommy Taylor and members of the pioneer family, the Deans.

For More Info:http://my.christchurchcitylibraries.com/addington-cemetery/

Thank you so much my dear flick friends for visiting and all you ongoing comments, awards and invites. Sorry I haven't been around much due to being outside and unpredictably busy. I will be catching up with those that I still need to as soon as possible. In the meantime, I wish you all a really lovely and happy Friday and weekend : )) x

This seemed quite an unusual sight for me and it reminded me of one of my favourite songs by Rolf Harris called "Two little boys... had two little toys".

I think different people have a different takes on this song. For me this song celebrates beautiful friendships, humanity and decency.

www.youtube.com/watch?v=2ATk-5eFy2g

Lyrics

Two little boys had two little toys

Each had a wooden horse

Gaily they played each summer day

Warriors both of course.

One little chap then had a mishap

Broke off his horse's head

Wept for his toy and then cried with joy

As his young playmate said.

Do you think I would leave you crying

When there's room on my horse for two

Climb up here Jack and don’t be crying

I can go just as fast with two.

When we grow up we'll both be soldiers

And our horses will not be toys

and I wonder if we'll remember

When we were two little boys.

Long years passed, war came so fast

Bravely they marched away

Cannons roared loud and in the mad crowd

Wounded and dying lay.

Up goes a shout, a horse dashes out

Out from the ranks so blue

Gallops away to where Joe lay

then came the voice he knew.

Did you think I would leave you dying

When there's room on my horse for two

Climb up here Joe, we'll soon be flying

I can go just as fast with two.

Did you say, Joe, I'm all a-tremble

Perhaps it’s the battle’s noise

But I think it's that I remember

When we were two little boys.

Do you think I would leave you dying

There's room on my horse for two

Climb up here Joe, we'll soon be flying

Back to the ranks so blue

Can you feel Joe I’m all a-tremble

Perhaps it’s the battle’s noise

But I think it’s that I remember

When we were two little boys

www.youtube.com/watch?v=2ATk-5eFy2g

WestSide CITGO

Gas Station

Lottery Rules

Please Note: My images are posted here for viewing enjoyment only. Do not use without my permission. All Rights are Reserved. Thank you.

View on Black To avoid the additional sharpening that Flickr is applying to images and with black background which looks much better and cleaner. View on Black

**********

This was a very memorable sunset. The weather could not have been better to be outdoors wandering around solo. This trip was primarily to get out to a new place, take hike and escape the city more than anything. Yet I am always glad when I can come home with a keeper image as well.

I sat on these rocks with only a slight gentle breeze rolling through and temps in the mid 70's, my ideal temperature before I start to overheat. I would not do well living in the desert. Sitting here it was rather peaceful. The highway was up above me yet only a car or two coming by every 5 to 10 minutes. A far cry from rush hour in the city where being stuck in traffic gets me wound up like a cat rolling around with catnip.

To get here is a 325 mile drive one way from my house, which results in over 650 miles round-trip that I did in a weekend. There are people reading this that won't understand why you would do that. Then there are others that will understand perfectly. Besides the guilt of driving that many miles solo from an environmental impact stand point it was a plus in every other way. As a way to give back to the environment most that know me know that I rarely come home without doing garbage pickup along the way. This trip it was along some desolate cracked desert floor where I picked up everything from shot gun shells to empty beer cans. I am not out to stereotype but I rarely find an empty micro brew bottle. Please folks for crying out loud at least have the decency to take your own garbage home.

For those that don't know this area it's Abert Lake, yes there is no L, the spelling is correct. It's in what they call the Outback of Oregon down in the south eastern part of the state. Where cattle easily out number people and your next door neighbor might be a long ways away. Looking for a place less traveled this would be it. I plan to be back soon.

Curious to know more about the area? en.wikipedia.org/wiki/Lake_Abert

Wildlife Details

- Came across two snakes. One a rattlesnake which was dead and another one that I almost stepped on that hissed very loud at me, was not a gartner snake but have not been able to identify it yet.

- My deer crossing included some alive and one dead on the desert floor with only a furry leg and hoof left to identify. As for one of the alive deer I had to hit the brakes as it jumped out of the bushes last minute. Despite having done this many times over the years it still startles me.

- Other wildlife included: Chipmunks, squirrels, a coyote, many birds and even a fox. Not a bad list for a weekends travel.

**********

Due to more strict enforcement of their rules, Flickr has asked me and many others to take down all links for selling prints and the like. However, it is still allowed to have such information in one's Flickr Profile.

West-German postcard by Rüdel-Verlag, Hamburg-Bergedorf, no. 513. Photo: 20th Century Fox. Gregory Peck in The Snows of Kilimanjaro (Henry King, 1952).

American actor Gregory Peck (1916-2003) was one of the most popular film stars from the 1940s to the 1960s. Peck received five nominations for Academy Award for Best Actor and won once – for his performance as Atticus Finch in To Kill a Mockingbird (1962). He almost always played courageous, nobly heroic good guys who saw injustice and fought it. Among his best known films are Spellbound (1945), The Yearling (1946), Gentleman's Agreement (1947), Roman Holiday (1953), The Guns of Navarone (1961), and Cape Fear (1962).

Eldred Gregory Peck was born in 1916 in La Jolla, California (now in San Diego). His parents were Bernice Mary (Ayres) and Gregory Pearl Peck, a chemist, and druggist in San Diego. His parents divorced when he was five years old. An only child, he was sent to live with his grandmother. He never felt he had a stable childhood. His fondest memories are of his grandmother taking him to the cinema every week and of his dog, which followed him everywhere. Peck's father encouraged him to take up medicine. He studied pre-med at UC-Berkeley and, while there, got bitten by the acting bug and decided to change the focus of his studies. He enrolled in the Neighborhood Playhouse in New York and debuted on Broadway after graduation. His debut was in Emlyn Williams' play 'The Morning Star' (1942). By 1943, he was in Hollywood, where he debuted in the RKO film Days of Glory (Jacques Tourneur, 1944). Stardom came with his next film, The Keys of the Kingdom (John M. Stahl, 1944), for which he was nominated for an Oscar. Tony Fontana at IMDb: "Peck's screen presence displayed the qualities for which he became well known. He was tall, rugged and heroic, with a basic decency that transcended his roles." He appeared opposite Ingrid Bergman in Alfred Hitchcock's Spellbound (1945) as an amnesia victim accused of murder. In The Yearling (Clarence Brown, 1946), he was again nominated for an Oscar and won the Golden Globe. He was especially effective in Westerns and appeared in such varied fare as David O. Selznick's critically blasted Duel in the Sun (King Vidor, 1946), the somewhat better received Yellow Sky (William A. Wellman, 1948), and the acclaimed The Gunfighter (Henry King, 1950). He was nominated again for the Academy Award for his roles in Gentleman's Agreement (Elia Kazan, 1947), which dealt with anti-Semitism, and Twelve O'Clock High (Henry King, 1949), a story of high-level stress in an Air Force bomber unit in World War II. In 1947, Peck, along with Dorothy McGuire, David O'Selznick, and Mel Ferrer, founded the La Jolla Playhouse, located in his hometown, and produced many of the classics there. Due to film commitments, he could not return to Broadway but whet his appetite for live theatre on occasion at the Playhouse, keeping it firmly established with a strong, reputable name over the years.

With a string of hits to his credit, Gregory Peck made the decision to only work in films that interested him. He continued to appear as the heroic, larger-than-life figures in such films as Captain Horatio Hornblower (Raoul Walsh, 1951) with Virginia Mayo, and Moby Dick (John Huston, 1956) with Richard Basehart. He worked with Audrey Hepburn in her debut film, Roman Holiday (William Wyler, 1953). While filming The Bravados (Henry King, 1958), he decided to become a cowboy in real life, so he purchased a vast working ranch near Santa Barbara, California - already stocked with 600 head of prize cattle. In the early 1960s, he gave a powerful performance as Captain Keith Mallory in The Guns of Navarone (J. Lee Thompson, 1961) opposite David Niven and Anthony Quinn. The film was one of the biggest box-office hits of that year. Peck finally won the Oscar, after four nominations, for his performance as lawyer Atticus Finch in To Kill a Mockingbird (Robert Mulligan, 1962). He also appeared in two darker films than he usually made, Cape Fear (J. Lee Thompson, 1962) opposite Robert Mitchum, and Captain Newman, M.D. (David Miller, 1963) with Tony Curtis, which dealt with the way people live. The financial failure of Cape Fear (1962) ended his company, Melville Productions. After making Arabesque (Stanley Donen, 1966) with Sophia Loren, Peck withdrew from acting for three years in order to concentrate on various humanitarian causes, including the American Cancer Society. In the early 1970s, he produced two films, The Trial of the Catonsville Nine (Gordon Davidson, 1972) and The Dove (Charles Jarrott, 1974), when his film career stalled. He made a comeback playing, somewhat woodenly, Ambassador Robert Thorn in the horror film The Omen (Richard Donner, 1976) with Lee Remick. After that, he returned to the bigger-than-life roles he was best known for, such as MacArthur (Joseph Sargent, 1977) and the infamous Nazi war criminal Dr. Josef Mengele in the huge hit The Boys from Brazil (Franklin J. Schaffner, 1978) with Laurence Olivier and James Mason. In the 1980s, he moved into television with the miniseries The Blue and the Gray (Andrew V. McLaglen, 1982) in which he played Abraham Lincoln, and The Scarlet and the Black (Jerry London, 1983) with Christopher Plummer and John Gielgud. In 1991, he appeared in the remake of his 1962 film, playing a different role, in Martin Scorsese's Cape Fear (1991). He was also cast as the progressive-thinking owner of a wire and cable business in Other People's Money (Norman Jewison, 1991), starring Danny DeVito. In 1967, Peck received the Academy's Jean Hersholt Humanitarian Award. He was also been awarded the US Presidential Medal of Freedom. Always politically progressive, he was active in such causes as anti-war protests, workers' rights, and civil rights. In 2003, Peck's portrayal of Atticus Finch was named the greatest film hero of the past 100 years by the American Film Institute, only two weeks before his death. Atticus beat out Indiana Jones, who was placed second, and James Bond who came third. Gregory Peck died in 2003 in Los Angeles, California. He was 87. Peck was married twice. From 1942 till 1955, he was married to Greta Kukkonen. They had three children: Jonathan Peck (1944-1975), Stephen Peck (1946), and Carey Paul Peck (1949). His second wife was Veronique Passani, whom he met at the set of Roman Holliday. They married in 1955 and had two children: Tony Peck (1956) and Cecilia Peck (1958). The couple remained together till his death.

Sources: Tony Fontana (IMDb), and IMDb.

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

Relationships should really start at the end.

It is only as you go through the crappy last emails, texts and phone calls requesting your stuff back and airing much stifled opinions that you really discover the true nature of the person that you were with.

My advice to all women – never leave anything at any man’s house, ever.

However insignificant the item seems at the time that you don’t feel like lugging home and however much you think that you would always be able to get it back even if you broke up because they are a reasonable, well brought up, well mannered chap who surely would have the decency maturity to be able to handle putting something in the post when politely asked. Just don’t. Take everything with you, every time. Think Littlest Hobo, imagine that whatever you leave behind will be rubbed all over with pubes or farted on, anything to ensure that you do not to do it.

I have left something behind nearly every time that I have slammed a front door behind me on a disappointing man. One can use this though to assess the true calibre of said man by how he deals with your property.

I have had my stuff plonked onto my windscreen as I got into my car to leave, been told it will be sold on Ebay (there ought be a whole category out there for these items of worn underwear, sleep smelling pyjamas and splayed toothbrushes.) I have paced impatiently at the front door wondering if the latest guy will be prompt with the post or if he will play the ‘I’m so busy with my amazing life’ game and keep me waiting. I myself must get rid of all items immediately, if not sooner. If he recently bought me dinner I must try to throw it up.

Recently I have had to endure another spate of email duelling with the latest to fall by the wayside whilst trying to get a framed print of mine returned. My vaso-dilation capabilities have been thoroughly tested. I am regularly experiencing that swell of heat to my cheeks and the throb of adrenalin as, with fury I read the next inadequate excuse.

‘Please don’t be mad at me I’m doing my best’

‘I’m not being slack, just got a lot on’

‘I have been sick and I kind of lied that I had posted it’

‘I’m really sick with a chest infection and I can’t lift my head’

‘At the moment I can’t afford £100 to buy it off you and I can’t get out to post it’

‘I’m lazy’

‘I will return your things but as I am out every night and every weekend this is proving quite difficult.’

(I can’t somehow imagine such excuses being given to a male mate if he had borrowed and not returned his collection of porn. Why do men not feel embarrassed about behaving like a great big girls blouses with women?)

‘I slightly resent the way you are pursuing me’

Upon reading this last comment I was ready to ‘go dark’ to retrieve the hostage print myself.

I imagine screeching up to and through the house in a colossal black SUV. I draw to a halt in the dining room, clamber out in seriously mean dykey black boots, crunch over the remains of the chandelier and through the slivers of Phillippe Starck polymer and delicately lift up my picture, whispering quietly as I cradle it, “I’m here now, I told you I would come for you.”

At the far end of the now crumpled table is a man in a girls blouse, all slumped forward.

“It’s alright, you don’t have to lift your head.”

This image is copyright, all rights reserved, and not part of the public domain. Any use, linking to, or posting of this image is prohibited without my consent. If you want to use this image in any fashion, please have the common courtesy and decency to ask.

After coming off Werewolf trail, we all headed down to Reflection Lakes. I was happy to have finally met Lisa, who was up on vacation from California. She's one awesome gal. In the backseat were Christina and Walt along for the ride. I'm glad everybody was too tired to notice my bad driving skills. Everybody made it home safe, and isn't that what really matters?

I was the only one to get out and shoot this spot. Everyone else stayed in the car. I figured that since we traveled all this way, if we stop somewhere then I'm going to shoot.

It was an all around good time with some great people. Hopefully they didn't mind my wacky sense of humor. After all, I did save everybody from a vicious Werewolf earlier in the day.

:-)

Relics of a time passed, old tiled pathways leading up to the doors of old digs in Plymouth.

Proud to have been one of nearly 100,000 people marching in Madison today to show that we care about families, human rights, and basic decency.

This one is my FAV! Alyssa walks in our house and says "Miss Angel --- paint my face!" SQUEAL!!! I literally drop everything I was doing and grab my bag and wahhh-laaaa. She didn't even want to know what I was going to make her into. I did have the decency to tell her tonight's theme was circus freak. The out-takes were so hysterical. Marissa said she felt like she was having a clown baby. hahahhaha

October Photo Challenge: Circus Freak!

I am looking forward to voting POTUS out of office. Even though living in Turkey, I will soon be able to vote electronically.

The American President continues to violate basic notions of decency while failing to handle the Corona virus with any kind of skill, compassion or understanding. His stumbling, incompetent response amounts to negligent homicide. Lawbreakers, grifters and incompetents abound.

Some regimes need changing

Some regimes

Just like diapers

Trash

Or dirty laundry

Need changing

From time to time

Smelling bad

And reeking of corruption

They should be impeached

Voted out of office

Sent packing

And banned from Twitter

Fox News

And Fake News of all kinds

They should be sent into exile

Like Napoleon

Or stranded on some desert island

Like Robinson Crusoe

Unplugged

And deprived of all pleasures

Like golf and cheeseburgers

Strippers and porn stars

Silenced

Once and for all

Muzzled

Gagged

And muted

Put out of commission

And hushed

Finally

Or jailed

© Jamie McKenzie, all rights reserved

You will find more of my poems and songs here

and in The Storm in Its Passing and Flights of Fancy.

My songs are at

www.youtube.com/user/edtech2008/videos

Bitte hier keine Fotos machen! Ich habe das Schild nicht gesehen und wurde dafür gerügt, habe mich gebührend entschuldigt und aus gutem Grund musste ich das Foto nicht löschen!

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With the AIDAPrima to the Orient from Dubai!

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Route: Dubai – Abu Dhabi – Abu Dhabi – Manama/Khalifa Bin Salman Port – Sir Bani Yas – Sir Bani Yas – Dubai – Dubai – Dubai

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Mit der AIDAPrima in den Orient ab Dubai!

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Routenverlauf: Dubai – Abu Dhabi – Abu Dhabi – Manama/Khalifa Bin Salman Port – Sir Bani Yas – Sir Bani Yas – Dubai – Dubai – Dubai

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de.wikipedia.org/wiki/AIDAprima

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Nichts besonderes, nur Urlaubsfotos!!

Through the dream light of your way

Is not so easy for me now

Half the time has passed away

Things we thought of yesterday

Come back now, come back now

Zora from what I hope is our first shoot of many. She's a great person with a huge breadth of interests. As I am pretty sure I have already said, her decency just shines through everything she does.

Echo did the makeup. That's always a good thing.

Lyrics: Winterlong by Neil Young

www.instagram.com/neela.kurinji/

An Albion Viking VK43AL seen at Kirkcaldy Bus Station and belonging to the Alexander Fife company which, by Tuesday 26th June 1979, was calling itself "Fife Scottish". A new fleetname style had been introduced, violating the chaste decency of Scottish Bus Group liveries with modish "corporate identity" and vulgar commercialism. The Albion Viking was rare outside Scotland and was mainly an export model. The centrally positioned, bilaterally symmetrical radiator grille suggests that the engine was vertical and longitudinal, an unusual configuration ...if that's what it was... in a rear-engined bus.

Dutch postcard by Takken / 't Sticht., no. 1633.

Voluptuous American actress Mamie Van Doren (1931) was a sex symbol of the 1950s and 1960s. Van Doren starred in several exploitation films such as Untamed Youth (1957), loaded with rock 'n' roll and juvenile delinquency. Her onscreen wardrobe usually consisted of tight sweaters, low-cut blouses, form-fitting dresses, and daring swimsuits. Mamie and her colleague blonde bombshells Marilyn Monroe and Jayne Mansfield were known as 'The Three M's.'

Mamie Van Doren was born Joan Lucille Olander in Rowena, South Dakota, in 1931. She was the daughter of Warner Carl Olander and Lucille Harriet Bennett. In 1942 the family moved to Los Angeles. In early 1946, Van Doren began working as an usher at the Pantages Theatre in Hollywood. The following year, she had a bit part on an early television show. She also sang with Ted Fio Rito's band and entered several beauty contests. She was married for a brief time at seventeen when Van Doren and her first husband, Jack Newman, eloped to Santa Barbara. The marriage was dissolved quickly, upon her discovery of his abusive nature. In the summer of 1949, at age 18, she won the titles Miss Eight Ball and Miss Palm Springs. Van Doren was discovered by producer Howard Hughes the night she was crowned Miss Palm Springs. The pair dated for five years. Hughes provided her with a bit role in Jet Pilot at RKO Radio Pictures. Her line of dialogue inconsisted of one word, "Look!". The following year, 1951, she posed for famous pin-up girl artist Alberto Vargas, the painter of the glamorous Vargas Girls. His painting of Van Doren was on the July 1951 cover of Esquire magazine. Van Doren did a few more bit parts in RKO films, including His Kind of Woman (John Farrow, 1951) starring Robert Mitchum and Jane Russell. Van Doren then began working on the stage. She was a showgirl in New York in Monte Proser's nightclub version of Billion Dollar Baby. Songwriter Jimmy McHugh discovered her for his musicals, then decided she was too good for the chorus line and should have dramatic training. She studied with Ben Bard and Bliss-Hayden. While appearing in the role of Marie in a showcase production of Come Back, Little Sheba, Van Doren was seen by Phil Benjamin, a casting director at Universal International. In 1953, Van Doren signed a contract with Universal Studios. They had big plans for her, hoping she would bring the same kind of success that 20th Century Fox had with Marilyn Monroe. Van Doren, whose signing day coincided with the inauguration of President Eisenhower, was given the first name Mamie for Ike's wife, Mamie Eisenhower. Universal first cast Van Doren in a minor role as a singer in Forbidden (Rudolph Maté, 1953), starring Tony Curtis. Interested in Van Doren's allure, Universal then cast her again opposite Curtis in The All American (Jesse Hibbs, 1953), playing her first major role as Susie Ward, a wayward girl who is the man-trap at a campus beer joint. In Yankee Pasha (Joseph Pevney, 1954), starring Jeff Chandler and Rhonda Fleming, she played a slave girl, Lilith. In 1955, she had a supporting role in the musical Ain't Misbehavin' (Edward Buzzell, 1955) and starred in the crime-drama, Running Wild (Abner Biberman, 1955). Soon thereafter, Van Doren turned down a Broadway role in the play Will Success Spoil Rock Hunter?, and was replaced by newcomer Jayne Mansfield. In 1956, Van Doren appeared in the Western Star in the Dust (Charles F. Haas, 1956). Though Van Doren garnered prominent billing alongside John Agar and Richard Boone, she appears rather briefly, as the daughter of a ranch owner. By this time, Van Doren had grown tired of Universal, which was only casting her in non-breakthrough roles. Therefore, Van Doren began accepting bigger roles in better movies from other studios, such as Teacher's Pet (George Seaton, 1958) with Doris Day and Clark Gable. She appeared in some of the first movies to feature rock 'n' roll music, such as Untamed Youth (Howard W. Koch, 1957). The film was originally condemned by the Catholic Legion of Decency, but that only served to enhance the curiosity factor, resulting in it being a big moneymaker for the studio. Van Doren became identified with this rebellious style, and made some rock records. She went to star in several bad girl movies that later became cult films. These include Born Reckless (Howard W. Koch, 1958), High School Confidential (Jack Arnold, 1958), and The Beat Generation (Charles F. Haas, 1959). After Universal Studios chose not to renew her contract in 1959, Van Doren was now a free agent and had to struggle to find work.

Mamie Van Doren became known for her provocative roles. She was in prison for Girls Town (Charles F. Haas, 1959), which provoked censors with a shower scene where audiences could see Van Doren's naked back. As Eve in The Private Lives of Adam and Eve (Mickey Rooney, Albert Zugsmith, 1960) she wore only fig leaves, and in other films, like Vice Raid (Edward L. Cahn, 1960) audiences were clued in as to the nature of the films from the titles. Many of these productions were low-budget B-movies which sometimes gained a cult following for their high camp value. An example is Sex Kittens Go to College (Albert Zugsmith, 1960), which co-starred Tuesday Weld and Mijanou Bardot - Brigitte's sister. Mamie also appeared in foreign productions, such as the Italian crime comedy Le bellissime gambe di Sabrina/The Beautiful Legs of Sabrina (Camillo Mastrocinque, 1959) with Antonio Cifariello, and the Argentine film Una americana en Buenos Aires/The Blonde from Buenos Aires (George Cahan, 1961) with Jean-Pierre Aumont. Van Doren took some time off from her career and came back to the screen in 1964. That year she played in the German Western musical Freddy und das Lied der Prärie/In the Wild West (Sobey Martin, 1964), starring Freddy Quinn and Rik Battaglia. Tommy Noonan convinced Van Doren to appear in 3 Nuts in Search of a Bolt (Tommy Noonan, 1964). Van Doren had turned down Noonan's previous offer to star in Promises! Promises!, in which she would have to do nude scenes. She was replaced by Jayne Mansfield. In 3 Nuts in Search of a Bolt, Mamie did a beer-bath scene, but is not seen nude. She posed for Playboy to promote the film. Van Doren next appeared in The Las Vegas Hillbillys (Arthur C. Pierce, 1966) which co-starred Jayne Mansfield. It was the only time two of 'The Three M's' appeared together in a film. A sequel was titled Hillbillys in a Haunted House, but Van Doren turned this role down, and was replaced by Joi Lansing. She appeared in You've Got to Be Smart (Ellis Kadison, 1967), and the sci-fi film, Voyage to the Planet of Prehistoric Women (1968), directed by the young Peter Bogdanovich (as Derek Thomas). In this film astronauts land on Venus and encounter dangerous creatures and meet sexy Venusian women who like to sun-bathe in hip-hugging skin-tight pants and seashell brassieres. In 1968, she was offered the role of a murder victim in the independent horror film The Ice House as a replacement for Mansfield, who died the previous year. She turned the offer down, however, and was replaced by Sabrina. During the Vietnam War, she did tours for U.S. troops in Vietnam for three months in 1968, and again in 1970. Van Doren also developed a nightclub act and did live theater. She performed in stage productions of Gentlemen Prefer Blondes and Dames at Sea at the Drury Lane Theater, Chicago, and appeared in Will Success Spoil Rock Hunter? and The Tender Trap at the Arlington Park Theater. In the 1970s, Van Doren performed a nightclub act in Las Vegas as well. Van Doren had a supporting role in the Western The Arizona Kid (Luciano B. Carlos, 1970). Since then, Van Doren has appeared only in cameo appearances in low-budgeted films. To this date Van Doren's last film appearance was a cameo role in the comedy Slackers (Dewey Nicks, 2002). Van Doren's guest appearances on television include Jukebox Jury, What's My Line, The Bob Cummings Show, The Jack Benny Show, Fantasy Island, Burke's Law, Vega$, and L.A. Law. Van Doren released her autobiography, Playing the Field, in 1987 which brought much new attention and proved to be her biggest media splash in over 25 years. Since the book's publication she has often been interviewed and profiled and has occasionally returned to acting. Van Doren has been married five times. Her first marriage was to sportswear manufacturer Jack Newman whom she married and divorced in 1950. Her second marriage was to bandleader, composer and actor Ray Anthony whom she married in 1955. They had one son, Perry Ray Anthony (1956). The couple later divorced in 1961. When Van Doren's early 1960s, highly publicized, on-again off-again engagement to baseball player Bo Belinsky ended in 1964, she married baseball player Lee Meyers in 1966. They were divorced in 1967. Her fourth marriage was to businessman Ross McClintock in 1972. They met while working on President Nixon's reelection campaign; the marriage was annulled in 1973. Since 1979 she has been married to Thomas Dixon, an actor and dentist.

Sources: Wikipedia and IMDb.

This image is copyright, all rights reserved, and not part of the public domain. Any use, linking to, or posting of this image is prohibited without my consent. If you want to use this image in any fashion, please have the common courtesy and decency to ask.

Face Rock Wayside, Bandon, Oregon

I went down and stayed at my Mom's place in Bandon for my Labor Day weekend. Saturday was very cool with thick fog lasting the entire day and night. The day was spent visiting relatives and catching up on all of the stories and events. Sunday morning I had my chance to capture a sunrise at the coast. When I first walked out the door the thick fog was still about. The first thing that amazed me that morning was as soon as I stepped onto the beach the fog magically vanished and a colorful sunrise appeared. I was like a giddy little kid. It was refreshing to be at the coast visiting family and breathing in the early morning ocean air.

And yes, those are anti-crespular rays behind Face Rock.

"All labor that uplifts humanity has dignity and importance and should be undertaken with painstaking excellence." ~Martin Luther King, Jr.

I first ran into Christa on the Deer Book Trail. She was working with the Youth Conservation Corps filling in some tread with crushed rock and gravel just above a newly built wooden staircase. It seemed, though, that wherever I turned in the park, I would run into her. …and in each place we crossed paths, she’d smile, quickly say hello, and quietly continue with her project.

I noted that Christa was an important teacher with the Youth Corps and ultimately with all of my questions. She’d bring one to a given spot to show firsthand example to accompany her explanation and also encourage getting hands dirty and ultimate comprehension through trial. Brilliant! …and while my overall understanding remains basic, I have a better grasp of trail building and maintenance thanks to Chirsta (and all the crew at Acadia).

When talking about Christa with the Trails Crew Superintendent he said, “Christa is usually the “quiet type” but don’t be fooled by that. She’s excellent asset to the team who shows independence, great work ethic and diligence.” I know Christa would be a bit embarrassed by this praise, but representing the crew member archetype, I think it’s important to highlight. The decency of hard work is evident through Christa. …and when leveraged through similar group effort, special things happen. Go, Christa, go!

Hasselblad 500C medium format SLR camera + Zeiss 80mm f/2.8 lens+ Kodak Professional Tri-X 400 black and white film

~Dan Grenier

2015 Artist in Residence

Schoodic Institute at Acadia National Park

www.schoodicinstitute.org/

daniel-grenier.com/

Belgian postcard offered by Victoria, Brussels, no. 639. The postcard was printed in Italy by C.C.M., no. 5.

American actor Gregory Peck (1916-2003) was one of the most popular film stars from the 1940s to the 1960s. Peck received five nominations for Academy Award for Best Actor and won once – for his performance as Atticus Finch in To Kill a Mockingbird (1962). He almost always played courageous, nobly heroic good guys who saw injustice and fought it. Among his best known films are Spellbound (1945), The Yearling (1946), Gentleman's Agreement (1947), Roman Holiday (1953), The Guns of Navarone (1961), and Cape Fear (1962).

Eldred Gregory Peck was born in 1916 in La Jolla, California (now in San Diego). His parents were Bernice Mary (Ayres) and Gregory Pearl Peck, a chemist, and druggist in San Diego. His parents divorced when he was five years old. An only child, he was sent to live with his grandmother. He never felt he had a stable childhood. His fondest memories are of his grandmother taking him to the cinema every week and of his dog, which followed him everywhere. Peck's father encouraged him to take up medicine. He studied pre-med at UC-Berkeley and, while there, got bitten by the acting bug and decided to change the focus of his studies. He enrolled in the Neighborhood Playhouse in New York and debuted on Broadway after graduation. His debut was in Emlyn Williams' play 'The Morning Star' (1942). By 1943, he was in Hollywood, where he debuted in the RKO film Days of Glory (Jacques Tourneur, 1944). Stardom came with his next film, The Keys of the Kingdom (John M. Stahl, 1944), for which he was nominated for an Oscar. Tony Fontana at IMDb: "Peck's screen presence displayed the qualities for which he became well known. He was tall, rugged and heroic, with a basic decency that transcended his roles." He appeared opposite Ingrid Bergman in Alfred Hitchcock's Spellbound (1945) as an amnesia victim accused of murder. In The Yearling (Clarence Brown, 1946), he was again nominated for an Oscar and won the Golden Globe. He was especially effective in Westerns and appeared in such varied fare as David O. Selznick's critically blasted Duel in the Sun (King Vidor, 1946), the somewhat better received Yellow Sky (William A. Wellman, 1948), and the acclaimed The Gunfighter (Henry King, 1950). He was nominated again for the Academy Award for his roles in Gentleman's Agreement (Elia Kazan, 1947), which dealt with anti-Semitism, and Twelve O'Clock High (Henry King, 1949), a story of high-level stress in an Air Force bomber unit in World War II. In 1947, Peck, along with Dorothy McGuire, David O'Selznick, and Mel Ferrer, founded the La Jolla Playhouse, located in his hometown, and produced many of the classics there. Due to film commitments, he could not return to Broadway but whet his appetite for live theatre on occasion at the Playhouse, keeping it firmly established with a strong, reputable name over the years.

With a string of hits to his credit, Gregory Peck made the decision to only work in films that interested him. He continued to appear as the heroic, larger-than-life figures in such films as Captain Horatio Hornblower (Raoul Walsh, 1951) with Virginia Mayo, and Moby Dick (John Huston, 1956) with Richard Basehart. He worked with Audrey Hepburn in her debut film, Roman Holiday (William Wyler, 1953). While filming The Bravados (Henry King, 1958), he decided to become a cowboy in real life, so he purchased a vast working ranch near Santa Barbara, California - already stocked with 600 head of prize cattle. In the early 1960s, he gave a powerful performance as Captain Keith Mallory in The Guns of Navarone (J. Lee Thompson, 1961) opposite David Niven and Anthony Quinn. The film was one of the biggest box-office hits of that year. Peck finally won the Oscar, after four nominations, for his performance as lawyer Atticus Finch in To Kill a Mockingbird (Robert Mulligan, 1962). He also appeared in two darker films than he usually made, Cape Fear (J. Lee Thompson, 1962) opposite Robert Mitchum, and Captain Newman, M.D. (David Miller, 1963) with Tony Curtis, which dealt with the way people live. The financial failure of Cape Fear (1962) ended his company, Melville Productions. After making Arabesque (Stanley Donen, 1966) with Sophia Loren, Peck withdrew from acting for three years in order to concentrate on various humanitarian causes, including the American Cancer Society. In the early 1970s, he produced two films, The Trial of the Catonsville Nine (Gordon Davidson, 1972) and The Dove (Charles Jarrott, 1974), when his film career stalled. He made a comeback playing, somewhat woodenly, Ambassador Robert Thorn in the horror film The Omen (Richard Donner, 1976) with Lee Remick. After that, he returned to the bigger-than-life roles he was best known for, such as MacArthur (Joseph Sargent, 1977) and the infamous Nazi war criminal Dr. Josef Mengele in the huge hit The Boys from Brazil (Franklin J. Schaffner, 1978) with Laurence Olivier and James Mason. In the 1980s, he moved into television with the miniseries The Blue and the Gray (Andrew V. McLaglen, 1982) in which he played Abraham Lincoln, and The Scarlet and the Black (Jerry London, 1983) with Christopher Plummer and John Gielgud. In 1991, he appeared in the remake of his 1962 film, playing a different role, in Martin Scorsese's Cape Fear (1991). He was also cast as the progressive-thinking owner of a wire and cable business in Other People's Money (Norman Jewison, 1991), starring Danny DeVito. In 1967, Peck received the Academy's Jean Hersholt Humanitarian Award. He was also been awarded the US Presidential Medal of Freedom. Always politically progressive, he was active in such causes as anti-war protests, workers' rights, and civil rights. In 2003, Peck's portrayal of Atticus Finch was named the greatest film hero of the past 100 years by the American Film Institute, only two weeks before his death. Atticus beat out Indiana Jones, who was placed second, and James Bond who came third. Gregory Peck died in 2003 in Los Angeles, California. He was 87. Peck was married twice. From 1942 till 1955, he was married to Greta Kukkonen. They had three children: Jonathan Peck (1944-1975), Stephen Peck (1946), and Carey Paul Peck (1949). His second wife was Veronique Passani, whom he met at the set of Roman Holliday. They married in 1955 and had two children: Tony Peck (1956) and Cecilia Peck (1958). The couple remained together till his death.

Sources: Tony Fontana (IMDb), and IMDb.

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