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'EDICIONES ILIMITADAS' ALTERNATIVE FAIR
AAAAA was at the first edition of Ediciones Ilimitadas, Disc and Book Alternative Fair, an Antimuseo de Arte Contemporáneo project, thought as a place for public and independent music, video and book editors.
Geoff and Jean Spafford Spafford RIP Bienvenido A Tenerife Ediciones Fotograficas Hergue SL Welcome to Tenerife B&W Family photos
Spanish postcard by Ediciones Raker, Barcelona. no. 324. Photo: 20th Century Fox. Publicity still for The Longest Day (Ken Annakin, Andrew Marton, Bernhard Wicki, 1962).
Handsome British actor Stephen Boyd (1931-1977) preferred to play character parts, but he had the looks of a leading man. Boyd appeared in some 60 films, most notably as the villainous Messala in Ben-Hur (1959), a role that earned him the Golden Globe Award. His other suvcccesses included The Bravados (1958),The Fall of the Roman Empire (1964), Fantastic Voyage (1966) and Shalako (1968).
Stephen Boyd was born William Millar in 1931 in Glengormley, Northern Ireland. Boyd was the youngest of nine siblings born to Irish/Canadian parents, truck driver James Alexander Millar and his wife Martha Boyd. Billy attended the local Public Elementary School and Ballyclare High School, but at the age of fourteen Boyd quit school to take up other jobs to help support his family. He worked in an insurance office and travel agency during the day and rehearsed with a semi-professional acting company at night during the week and weekends. He would eventually manage to be on the list for professional acting companies to call him when they had a role. He eventually joined the Ulster Group Theater where he learned the behind the scenes tasks of the theatre. He became well known in Belfast for his contributions as a gravel-voiced policeman on the Ulster Radio program The McCooeys, the story of a Belfast family written by Joseph Tomelty. Boyd eventually worked his way up to character parts and then starring roles. By nineteen he had toured Canada with summer stock companies. In 1950 he made a coast to coast tour of America with the Clare Tree Major Company In A Streetcar Named Desire, he played the lead role as Stanley Kowalski. Boyd would later recall this as “the best performance I ever gave in my life.” By the time he was twenty, Boyd had a wide range of theatre experience, but he longed for the big stage. In 1952 Boyd moved to London as an understudy in an Irish play, The Passing Day. Boyd nearly died during the great flu epidemic in London in 1952. He worked in a cafeteria and busked outside a cinema in Leicester Square to get money as he was literally close to starvation. Boyd caught his first break as a doorman at the Odeon Theatre. The Leicester Square Cinema across the street recruited him to usher attendees during the British Academy Awards in the early 1950s. During the awards ceremony he was noticed by actor Sir Michael Redgrave, who used his connections to introduce Boyd to the director of the Windsor Repertory Group. At this point Boyd’s stage career in the U.K. began to flourish with performances in The Deep Blue Sea and Barnett’s Folly. Boyd’s first role which brought him acclaim was as an Irish spy in the film The Man Who Never Was (Ronald Neame, 1956) with Cliffton Webb, based on the book by Ewen Montagu. Shortly thereafter he signed a ten-year contract with 20th Century Fox studios, who began prepping him for Hollywood. But it would be a while until Boyd actually set foot on a Hollywood back-lot. Boyd’s next stop was Portugal to make A Hill in Korea (Julian Amyes, 1956), which also featured future stars Michael Caine and Robert Shaw. In June 1956, Boyd was cast in the nautical, ship-wreck adventure Seven Waves Away/Abandon Ship! (Richard Sale, 1956) starring Tyrone Power. This was filmed in the summer of 1956 in London where the British Navy built a huge 35,000 gallon water tank for the film. In November 1956, Boyd traveled to the British West Indies as part of a large ensemble cast in Darryl Zanuck‘s racially provocative film Island in the Sun (Robert Rossen, 1957), based on the Alec Waugh novel.Boyd portrayed a young English aristocrat who becomes the lover of Joan Collins. Boyd would be loaned out to the J. Arthur Rank production of Seven Thunders (Beast of Marseilles), a World War II romance set in Nazi-occupied Marseilles. It was Boyd's most prominent starring film role yet.
After her success in Roger Vadim‘s Et Dieu... créa la femme/ And God Created Woman (1956), Brigitte Bardot was given the opportunity to cast her own leading man in her next film, the lusty romance Les bijoutiers du clair de lune/The Night Heaven Fell, (Roger Vadim, 1957). and she chose Stephen Boyd. Being in the Bardot spotlight added much to Boyd’s film credit, in addition to bringing him notice in Hollywood. Stephen Boyd finally arrived in Hollywood in January 1958 to take on his first true Hollywood role as the leader of a quartet of renegade outlaws in the Western The Bravados (Henry King, 1958), which starred Gregory Peck and Joan Collins. Even though this was a Hollywood production, the actually filming took place in Morelia, Mexico. After the filming of The Bravados was completed Boyd auditioned for the coveted role of Messala in Ben-Hur (William Wyler, 1958). Many other actors, including Victor Mature. Kirk Douglas, Leslie Nielsen and Stewart Granger had been considered for the part, but Stephen Boyd’s screen test convinced director William Wyler that he had found the perfect villain for his epic. Boyd was hurried off to join actor Charlton Heston in Rome in May 1958 to learn the chariot racing aspect of his role. Heston had already been practicing behind the chariot for weeks, so Boyd needed to learn the sport quickly. Later, Boyd described the filming experience of Ben-Hur in the Cinecittà Studios in Rome, as the most exciting experience of his life. Years after the film was released, interim Ben-Hur screen-writer and novelist Gore Vidal revealed that Boyd portrayed Messala with an underlying homosexual energy as instructed by Vidal when he greets Ben-Hur Charlton Heston in the opening sequence. In Gore Vidal’s autobiography Palimpsest, Vidal describes his discussion first with director William Wyler concerning Messala’s underlying motivation, that being that Messala and Judea Ben-Hur had previously been lovers. This was based on an idea by Vidal to enhance the tension between the two main antagonists. After Ben-Hur filming was completed, Boyd returned to Hollywood in early 1959 to star with Academy Award winner Susan Hayward in the Canadian-based drama Woman Obsessed (Henry Hathaway, 1959), and appeared in the adaptation of Rona Jaffe‘s novel The Best of Everything, (Jean Negulesco, 1959). Ben-Hur was released in December 1959 and made Boyd an international star overnight. His portrayal of the Roman tribune Messala brought in rave reviews. In early 1960 Boyd won the Golden Globe Award for Best Supporting Actor – Motion Picture for his performance in Ben-Hur.
Stephen Boyd himself chose to do roles which he felt comfortable in. His next choice was The Big Gamble (Richard Fleischer, Elmo Williams, 1961), which featured Darryl F. Zanuck‘s current paramour and French icon Juliette Gréco. The adventure of making this film almost outdid the adventure in the film itself as the crew slept in tents in the jungle that were guarded by natives on parole for cannibalism. Boyd nearly drowned in the Ardèche river during the making of the film. Boyd was originally chosen to play Mark Antony opposite Elizabeth Taylor in the epic production of Cleopatra (1963) under the direction of Rouben Mamoulian. He began film work in September 1960 but eventually withdrew from the problem-plagued production after Elizabeth Taylor’s severe illness postponed the film for months. Cleopatra was later directed by Joseph L. Mankiewicz, and the role of Mark Antony went to Richard Burton. After several months without active work, Boyd worked on The Inspector (Philip Dunne, 1962), renamed Lisa for the American release. It was based on the novel by Jan de Hartog and co- starred actress Dolores Hart. The film was made in Amsterdam , London and Wales during the summer of 1961. Boyd starred with Doris Day in the circus musical Billy Rose’s Jumbo (Charles Walters, 1962); the role earned Boyd a nomination for the Golden Globe Award for Best Actor – Motion Picture Musical or Comedy. In Rome Boyd acted with Gina Lollobrigida in her long-time pet project Venere imperiale/Imperial Venus (Jean Delannoy, 1962), a romantic epic about the many loves of Pauline Bonaparte, the sister of Napoleon. This film was the first film to be banned by the Motion Picture Association of America for male nudity. Boyd appeared in a humorous bedroom scene, naked, but covered by a sheet. The suggestion of nudity was too much for the censors and the film was never released in the United States. In Spain, he appeared in Samuel Bronston‘s massive production of The Fall of the Roman Empire (1964), directed by Anthony Mann. Boyd’s co-star was Sophia Loren. Although the film did well internationally when it was released in 1964, it was a box office failure in the United States and signaled the end of Roman epic. He then filmed the suspenseful The Third Secret (Charles Crichton, 1964) starring Jack Hawkins, Pamela Franklin and Sean Connery’s wife, Diane Cilento. In December, 1963, Stephen Boyd became a naturalized U.S. citizen. In 1964 Boyd continued to make films in Europe, traveling to Yugoslavia to star as the villain Jamuga in the epic Genghis Khan (Henry Levin, 1965). Boyd was the top billed and therefore the top paid star in the epic, and this apparently caused friction with up-and-coming star Omar Sharif. After completing Genghis Khan, Boyd trekked to Cairo for a brief appearance as the regal King Nimrod at The Tower of Babel in Dino de Laurentiis‘s production of The Bible (John Huston, 1966). Boyd returned to the United States to start work on the Science Fiction adventure Fantastic Voyage (Richard Fleischer, 1966), co-starring with Raquel Welch. Boyd then joined German star Elke Sommer and music legend Tony Bennett to film the Hollywood drama The Oscar (Russell Rouse, 1966), based on the eponymous Richard Sale novel. The film was a popular success, but maligned by film critics. In Iran he filmed his scenes for the United Nations film project Poppies Are Also Flowers (Terence Young, 1966) written by James Bond creator Ian Fleming. Two of Boyd’s projects were ranked among the top twenty-five grossing films of 1966; The Bible at number one and Fantastic Voyage at twenty-two. Next, Boyd starred in a spy thriller Assignment K (Val Guest, 1968) with Swedish model/actress Camilla Sparv. Boyd grew a full beard for his role as the iconic Irish playwright and critic George Bernard Shaw in the Off-Broadway play The Bashful Genius written by Harold Callen. This was Boyd’s first return to the stage since the mid-1950s, and he received excellent reviews.
In early 1968 Boyd was cast as the heavy opposite Sean Connery and Brigitte Bardot in the Western adventure Shalako (Edward Dmytryk, 1968) based on the Louis L’Amour novel. Shalako was filmed in the early part of 1968 in Almería, Spain. After returning to the United States, Boyd took the role of the cruel slave master Nathan MacKay in the Southern 'Slavesploitation' drama Slaves (Herbert J. Biberman, 1969), also starring Ossie Davis and songstress Dionne Warwick. The film was loosely based on the famous Harriet Beecher Stowe novel Uncle Tom’s Cabin. Buena Vista plantation near Shreveport, Louisiana. Closely following Slaves, Boyd starred in another story about racial tension, this time a World War II made-for-television drama called Carter’s Army/Black Brigade (George McCowan, 1970), featuring a young Richard Pryor. Boyd began his interest in L. Ron Hubbard‘s Church of Scientology, which would make him one of the first Hollywood stars to be involved in it. Boyd would star and narrate a Scientology recruiting film called Freedom (1970). There is no documentation of his later involvement with Scientology after the early 1970s. During the 1970s the demand for Boyd in Hollywood diminished, so he focused his attention on European films and several television pilots and shows. He made three films in Spain with director José Antonio Nieves Conde, including Marta (José Antonio Nieves Conde, 1970) with Marisa Mell, Historia de una traición/The Great Swindle (José Antonio Nieves Conde, 1971), and Casa Manchada (José Antonio Nieves Conde, 1975). He worked with cult director Romain Gary in the drug thriller Kill! (1971). He also made several Westerns, including Hannie Caulder (Burt Kennedy, 1971) with Raquel Welch (1971), Un hombre llamado Noon/The Man Called Noon (Peter Collinson, 1973) with Richard Crenna, and Rosanna Schiaffino, Campa carogna... la taglia cresce/Those Dirty Dogs (Giuseppe Rosati, 1973) with Gianni Garko, and Potato Fritz (Peter Schamoni, 1976) with Hardy Krüger. His last acting stint was a guest star on the popular television show Hawaii Five-O (1977.) His most critically acclaimed role during the 1970s was as a colourful Irish gangster in the UK crime thriller The Squeeze (Michael Apted, 1977) with Stacey Keach and David Hemmings. Boyd died of a massive heart attack on 2 June 1977 at the age of 45 while playing golf with his wife Elizabeth Mills at the Porter Valley Country Club in Northridge, California. Boyd was interred in Oakwood Memorial Park Cemetery in Chatsworth, California. Boyd was first married in 1958 to Italian-born MCA executive Mariella Di Sarzana during the filming of Ben-Hur. They separated after just three weeks. Boyd lived as a bachelor for most of his life and was wary of marriage after his first experience. His secretary Elizabeth Mills was a permanent resident at his Tarzana home during these years though the two did not marry until 1974. Raquel Welch would claim in 2013 that during the filming of Fantastic Voyage in 1965, she became infatuated with Boyd, who rejected her advances. In her comments she would imply that Boyd was gay, however no evidence of Stephen Boyd being a homosexual exists.
Sources: Brigitte Ivory (IMDb), Stephen Boyd Blog, Wikipedia and IMDb.
Spanish postcard by Ediciones Tarjefher / Ediciones Mandolina, no. 212. Photo: Epoca Films.
Spanish singer and actress Rocío Dúrcal (1944–2006) was called the ‘Queen of Ranchera’, the traditional Mexican song. She began in the 1950s as a child star and as a teenager, she appeared in a series of popular Spanish 1960s musicals. Later she focused on her musical career, became a star in Mexico and Latin America and won for her albums with rancheras and ballads several Latin Grammy awards.
Rocío Dúrcal was born María de los Ángeles de las Heras Ortiz in Madrid, Spain, in 1944. She was born and raised in Spain in the bosom of a working-class family. At the age of 10, ‘Marietta’ took part in the radio show, Conozca a sus Vecinos (Meet Your Neighbours). In these shows, she charmed the audience with her clear and melodic voice that also made her a winner in many other radio contests that she participated in those years. She was secretly supported by her paternal grandfather, who believed in her talent and was her first fan. In 1959, with the approval of her parents, she participated in the television program Primer Aplauso (First Applause). For the contest she sang the traditional song La sombra vendo. Manager Luis Sanz was impressed by her talent and personality and signed her up. Soon after, she started taking singing and dancing lessons with Lola de Aragón and Alberto Lorca. From that time, Maria began working as Rocío Durcal. Durcal is taken from a town in the province of Andalucia in southern Spain. Her new name was used for the first time in her debut film, the musical Canción de Juventud/Song of Youth (Luis Lucia, 1961). The film was a huge box office hit in Spain and in other Spanish-speaking countries. Soon followed another film vehicle, Rocío de La Mancha (Luis Lucia, 1963) and a record deal with Phonogram (now Universal Music). At this time many other young singer-actors in Spanish films were popular, including Raphael, Marisol, and the twin sisters, Pili and Mili. The songs Dúrcal performed in her films served to make her debut album, Las películas de Rocío Dúrcal (The films of Rocío Dúrcal, 1962). It was the start of a successful recording career. Durcal traveled to Mexico, Venezuela, Puerto Rico and the United States where she appeared on The Ed Sullivan Show. In her fourth film, Tengo 17 años/I am 17 (José María Forqué, 1964), Dúrcal abandoned the role of child star. That same year, she made her stage debut in Un domingo en Nueva York (A Sunday in New York), in which she proved to be a good theatrical actress. In 1965 she filmed Más bonita que ninguna/Prettier than any (Luis César Amadori, 1965) for which the pop group Los Brincos (considered at the time as the Spanish version of The Beatles) wrote some songs. In 1966, she shared the spotlight with Enrique Guzmán in the film Acompáñame/Accompany me (Luis César Amadori, 1966). She began to perform duets with such singers as Jaime Morey and Amalia de Isaura. Then she co-starred in the film Amor en el Aire/Love in Flight (Luis César Amadori, 1967) with Argentine singer-songwriter Palito Ortega and Fernando Rey. The following year, she filmed Cristina Guzmán (Luis César Amadori, 1968), the first of her films that was aimed at an adult audience. She plays the double role of a young widow with a child, is asked to replace a missing woman, and of course the missing woman who suddenly returns.
In 1970, Rocío Dúrcal married Philippine musician Antonio Morales, better known as Júnior, a former member of Los Brincos. He would later manage her singing career. In 1972, Morales began a series of television shows in Spain and Latin America singing with his wife as a duo. Their first child, Spanish actress Carmen Morales de las Heras, was born in 1970. After the birth of their second child, Antonio Morales de las Heras, in 1974, Morales decided to give up his career to devote time to their children. In 1979 they had their third child, Shaila Morales de las Heras, who is now also a singer under the stage name of Shaila Dúrcal. Dúrcal continued her film and singing career. During the 1970s she appeared in such films as the musical La novicia rebelled/The Rebellious Novice (Luis Lucia, 1971) and the French-Spanish thriller Dites-le avec des fleurs/Say it with flowers (Pierre Grimblat,1974), starring Delphine Seyrig. Her final film was the drama Me siento extraña/I feel strange (Enrique Martí Maqueda, 1977). In 1977, Dúrcal signed a contract with Ariola Eurodisc, from then on dedicating herself to her musical career. That year, while in Mexico, she met the Mexican singer-songwriter Alberto Aguilera Valadez, better known as Juan Gabriel. He convinced her to perform a popular Mexican style known as ranchera. They recorded a whole album of rancheras entitled Rocío Dúrcal canta a Juan Gabriel. Backed by the Mexican band, Mariachi América, this resulted in unexpected hits, popularity and awards, not only in Spain and Mexico, but also in Latin America and in the Hispanic community of the United States. Dúrcal and Juan Gabriel decided to continue to record rancheras together. Dúrcal's album named Canta A Juan Gabriel Volumen 6 (1984) is among the top ten best-selling albums in the history of Mexico. For this album Rocío Dúrcal received her first Grammy Award nomination. The collaboration of Dúrcal with Juan Gabriel was interrupted by disagreements between the artists and because of problems of Juan Gabriel with his record label, so Dúrcal continued to record albums with other songwriters such as Marco Antonio Solís and Rafael Pérez Botija. She moved from rancheras to romantic ballads. In 1988 she recorded the album Como Tu Mujer with producer Marco Antonio Solis.
In 1990, Rocío Dúrcal recorded her first album on CD format entitled Si Te Pudiera Mentir. In 1991, Durcal offered a concert at the National Auditorium in Mexico City, recorded in a double disc El Concierto... En Vivo. Between 1992 and 1993 she recorded the album Desaires, produced by the Mexican singer and songwriter Joan Sebastián. In this album she reprises ranchera. With this album, released simultaneously in Mexico, the United States, Colombia, Venezuela and Spain, she made a promotional world tour. In 1995 she launched her production Hay Amores Y Amores, with songs written and produced by the Argentine Roberto Livi. For this album she was nominated again for a Grammy Award in the category Best Latin Pop Album. In 1997 the double album Juntos Otra Vez brought Rocío Dúrcal and Juan Gabriel together again for the last time. In 1998, under the direction of her discoverer Luis Sanz, she starred in the Spanish TV Show Los negocios de mamá. In 2000, she celebrated 40 years in the industry. In that year she returned to ranchera music with the album Caricias, under the production of songwriter and producer Bebu Silvetti. In 2001 Rocío Dúrcal recorded Entre Tangos Y Mariachi, again produced by Bebu Silvetti, an album that includes 10 of the most famous Argentine tango arrangements interpreted with ranchero/bolero style like her previous album. In the summer of 2001 Dúrcal made a successful tour in Spain, after 13 years of no shows in Spain. In 2001 Dúrcal recorded Dama, Dama for Mujer, an album released by BMG Music Spain as part of a campaign to raise funds for an organization against breast cancer. In 2002, she performed a concert at the National Auditorium in Mexico, which was recorded in the double album En Concierto... Inolvidable. The album was nominated for a Latin Grammy Award. In 2003, the artist received another Latin Grammy Award nomination for her album Caramelito, produced by Kike Santander. In May 2004 she returned to Spain to record what would be her last album Alma Ranchera, which was nominated for a Latin Grammy Award, but did not win. A year later she received a Latin Grammy Award for musical excellence. Dúrcal had been diagnosed in 2001 with uterine cancer. In 2006, Rocío Dúrcal died at her home in Madrid. She was 61.
Sources: Drago Bonacich (AllMusic), Francisca Guilarbigos (IMDb), Wikipedia and IMDb.
Spanish postcard by Ediciones Traje-Fher / Mandolina, no. 502, 1964. Photo: Producciones Benito Perojo.
Blond twins Pili and Mili Bayona (1947) were a popular comedy duo in the Spanish cinema as Pili y Mili. Their films were engaging examples of European teen pop culture of the 1960’s.
Creado y editado por mi ( Ediciones ChmypImages ) no robes y si usas no quites el texto
Todos los Derechos Reservados © All rights reserved
ESTILISMO y PELUQERÍA: José Bueno
MAQUILLAJE: Vanessa Juez
Diciembre 2010 - (Cantabria)
© Gorka Goitia Fotógrafo
.
NO BANNERS, please.
COMMENTS WITH IMAGES WILL BE DELETED. THANKS
.
by Ana Dot & Núria G. Gabriel
published by Ediciones del martes
Madrid 2014
edicionesdelmartes.bigcartel.com
Edition of 100
Ediciones Lihuel (Buenos Aires) - 1982
Serie: Los soberanos del mundo de la corrupción #1
Título original: Korol beznravstvennosti
Maker: Charles Clifford (1821-1863)
Born: UK
Active: Spain
Medium: albumen carte de viste
Size: 2.25" x 4"
Location: UK
Object No. 2009.060
Shelf: E-19
Publication: Clifford en Espana, Un fotografo en la Corte de Isabel II,Lee Fontanella, Ediciones El Viso,, 1999, pl 687
Dimond and Taylor, Crown & Camera, The Royal Family and Photography, 1842-1910, Penguin Books, 1987, pg 69
Helmut and Alison Gernsheim, Victoria R, G.P. Putnam's Sons, New York, 1959, pl 181
Anne M Lyden, A Royal Passion, Queen Victoria and Photography, The J. Paul Getty Museum, Los Angeles, 2014, pl 99
Alison Morrison-Low, Photograph: A Victorian Sensation, National Museums of Scotland, Edinburgh, 2015, fig 5.13
Oliver Mathews, The Album of Carte-de-Viste and Cabinet Portrait Photographs, 1854-1914, Reedminster Publications, Ltd, London, 1974, #6
Francis Diamond & Roger Taylor, Crown & Camera, Penguin Books, Middelsex, 1987, pg 68
Other Collections: National Portrait Gallery
Notes: Although Queen Victoria had been photographed several times in 1860 and 1861, with the specific intention of issuing the results in the new carte-de-visite format, she had so far always been portrayed primarily as a woman and a wife. For example, the homely and informal portraits of her and Prince Albert by John Mayall, which showed her reading or with children on her lap, gave no indication of her rank. This image, taken by Charles Clifford at Windsor Castle, was the first intended for public distribution to show her as a Queen, in evening dress, diadem and jewels.
It was taken at the specific request of Queen Isabella II of Spain, who had already sent her own portrait in carte format to be included in Queen Victoria’s rapidly growing collection. She even sent her own Court photographer to England to carry out the commission, Charles Clifford, an Englishman resident in Madrid since 1852. Clifford had express instructions to return with a stately photograph of a ruling sovereign looking regal.
Although the photograph was taken on 14 November 1861, the pirating of royal images was so rampant that publication was deliberately delayed until after the passing of a copyright act. The image was eventually entered at Stationers’ Hall on 9 February 1863 by A. Marion and Co. on behalf of Clifford’s widow, Jane. The CDV was published by Cundall, Downes & Co, 168 New Bond Street, London
The portrait was a great success with public and critics alike. Isabella II was delighted with the result of her commission, and Queen Victoria herself liked it so much that she had it copied in oils.
The imposing nature of the regal portrait was short-lived. The following month Prince Albert died and the Queen’s long cult of widowhood began. For many years the public were force-fed the image of their sovereign in heavy widow’s weeds, weighed down by the enormity of her grief.
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Creado y editado por mi ( Ediciones ChmypImages ) no robes y si usas no quites el texto
Spanish postcard by Ediciones Tarjefher no. 5.008, 1964.
In the late 1950s, blonde, German Elke Sommer (1940) was a European sex symbol before conquering Hollywood in the early 1960s. With her trademark pouty lips, high cheek bones and sky-high bouffant hair-dos, Sommer made 99 film and television appearances between 1959 and 2005. The gorgeous film star was also one of the most popular pin-up girls of the sixties, and posed twice for Playboy magazine.
For more postcards, a bio and clips check out our blog European Film Star Postcards.
Nº 55.
Ford Escort (1982).
"Coches inolvidables" - Ediciones Salvat (España).
Escala 1/43.
Solido.
Made in France.
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Nº 107.
Ford Escort Mk3 (1982). [?]
"Un siècle d´automobiles" - Hachette (France).
Escala 1/43.
Solido.
Made in France.
Año 2003.
[?] The car appears in the list of supplies as "Ford Escort (1982)" but printed description on the baseplate is:
"107
Ford Escort RS Turbo.
Solido
Made in France
Nº 1207
1/43 03-86"
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Ford Escort (Europe)
From Wikipedia, the free encyclopedia
"The Ford Escort was a small family car that was manufactured by Ford from 1968 to 2004."
(...)
Third generation (1980–1986)
"Codenamed "Erika", the third generation Escort was launched in September 1980."
(...)
"From launch, the car was available in base (Popular), L, GL, Ghia and XR3 trim. From mid-1982, a five-speed manual gearbox was introduced across the range. This was now standard on the 1.6 L versions and could be specified as an option on most 1.3 L engines. A selection of features were available, either as standard fitment or optional extras depending on model, including a tilt-and-slide sunroof, central locking, and electric windows."
(...)
"The MK3 model (1980–1986), was the most common type of car on British roads in December 1989, with almost 1,500,000 examples registered."
(...)
Sporting models
"To compete with Volkswagen's Golf GTI, a hot hatch version of the Mark III was developed – the XR3."
(...)
"The final performance update arrived in the form of the turbocharged 132 PS (97 kW) RS Turbo model in October 1984. The RS Turbo was somewhat of a disappointment; it had been delayed several times and when it went on sale in early 1985 the chassis came in for severe criticism. The RS Turbo Series 1 was only marketed in a few European nations as production was limited to 5,000 examples, all in white. They were well equipped, with the alloy wheels from the limited production RS 1600i, Recaro seats, and a limited slip differential. One car only was finished in black; it was built especially for Lady Diana. The Series 2 RS Turbo continued after the 1986 facelift."
Source: en.wikipedia.org/wiki/Ford_Escort_(Europe)
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Escort RS Turbo (S1)
Available : 1984 to 1986
"The Ford Escort RS Turbo is based on the 3-door Ford Escort Saloon and was supplied in a Diamond White body colour only, except for a very few one offs.
The RS Turbo is given a distinctive sporty appearance by body coloured front grill, bumpers and aerodynamic aids; the deep front spoiler contours are continued around the car by front and rear wheel arch spoilers and interconnecting door sill extensions. On the tailgate an XR3i spoiler (also body coloured) is fitted together with a "RS Turbo" decal. RS Decals are fitted to the front fenders immediately above a graduated, wide bodyside stripe. The Interior is trimmed in a combination of Monza and Cashmere fabrics and XR3i type "Recaro" LS bucket seats are fitted as standard.
Engine
The engine fitted to the RS Turbo is a 1600 CVH unit modified to suit the higher loads and the application of the turbocharger. Computerised fuel injection and engine management incorporating turbocharger boost control is also fitted.
The turbocharger increases the engines performance in the lower engine speed ranges which are primarily used under normal driving and therefore provides a very usable increase in power and torque.
• CVH 1600 Turbocharged, intercooled - 132 BHP."
(...)
Una extraordinaria historia sobre la mentira en la que se desarrolla la sociedad contemporánea.
Vemos al ejército español poblado de mediocres al servicio de los Estados Unidos, donde un hombre de verdad, con principios, no tiene sitio; banqueros y empresarios de la construcción delincuentes, dispuestos a cualquier violencia por sus intereses. El Estado inexistente, que mira y guarda silencio. Los ciudadanos temerosos, perezosos, en plácida manada, no hay lugar para los héroes.
Humo de héroe es la historia de un muchacho que estando en el servicio militar demuestra un valor, un coraje y un afecto por la verdad especial. Se reengancha y llegará a ser un mando medio. Metido en campamentos hispano-norteamericanos verá chanchullos repugnantes, se irá enfrentando contra los protagonistas de la realidad por su amor a la verdad y por no saber disimular. Su valor y entereza le suponen traslados forzosos. Un superior le dejará cojo de un tiro supuestamente accidental. Y a su alrededor, verá cómo los sinvergüenzas, los delincuentes, los flojos de espíritu y los canallas son los únicos que medran. ¿Qué otra salida le queda que convertirse en héroe, en loco en un país en el que ya no hay locos, en el que todos los mediocres han optado por la cordura? Fumador, bebedor, solitario... Todo sea por soportar la realidad. Pero sólo los hombres desesperados son capaces de las mayores hazañas.
JOSÉ MANUEL FERNÁNDEZ ARGÜELLES
(Asturias, 1957). Su consagración como escritor llega con la novela Entre animales (2007), una inquietante historia sobre la violencia en la sociedad actual. Cuenta con algunos premios literarios en certámenes de cuentos y también de poesía. Entre sus novelas destacan Los Resucitados (2002) y La ira del hombre tibio (2005). Ha participado en el libro "Relatos en corto para lectores inteligetnes con prisa"
Spanish collectors card in the Cine Exitoso series by Ediciones Este, Barcelona, no. 230. Debra Winger and John Travolta in Urban Cowboy (James Bridges, 1980).
American actress Debra Winger (1955) had her breakthrough in Urban Cowboy (1980). She starred in the films An Officer and a Gentleman (1982), Terms of Endearment (1983), and Shadowlands (1993), each of which earned her a nomination for the Academy Award for Best Actress. Her other film roles include Legal Eagles (1986), Black Widow (1987), Betrayed (1988), The Sheltering Sky (1990), Forget Paris (1995), and Rachel Getting Married (2008). In 2012, she made her Broadway debut in the original production of the David Mamet play 'The Anarchist'.
John Travolta (1954) is an American actor and singer, who rose to fame during the 1970s, when he appeared on the television sitcom Welcome Back, Kotter (1975-1979), and starred in the box office successes Carrie (1976), Saturday Night Fever (1977), Grease (1978) and Urban Cowboy (1980). His acting career declined throughout the 1980s, but he enjoyed a resurgence in the 1990s with his role in Pulp Fiction (1994) and has since starred in such films as Get Shorty (1995), Face/Off (1997),Primary Colors (1998), and Hairspray (2007). Travolta was nominated for the Academy Award for Best Actor for performances in Saturday Night Fever and Pulp Fiction. In 2016, Travolta received his first Primetime Emmy Award, as a producer of the first season of the anthology series American Crime Story, subtitled The People v. O. J. Simpson in which he also played lawyer Robert Shapiro.
Sources: Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
Thank you so much to Marian and Mariano of Moncho Ediciones for inviting me to be part of this lovely project "Mish Mish Mish", a limited edition screen-printed book which collects cats done by 24 illustrators around the world.The book is printed in hight quality paper and very beautiful! I love it very much.
The above cat is my contribution "Little Black".
More detail at:
monchoedicionesblog.blogspot.com/
List of participating artists:
Ana Galván
Anke Weckmann
Annalisa Papagna
Astrid Yskout
Bubi Au Yeung
Camilla Engman
Denise Holmes
Flora Chang
Gal Shkedi
Gemma Correll
Harsa
Jim Pluk Sanabria
Kate Hindley
Luisa Uribe
Marmushka
Matte Stephens
Mike Lowery
Natascha Rosenberg
Oliver Jeffers
Pilipo Giordano
Simone Mendes
Steph Says Hello
We love patterns
Yara Kono
Esta en el tallercito, a punto de salir a la fotocopiadora un nuevo librito en fotocopia!
H I S T O R I A S U R G E N T E S! - diarios de amor
Esta es la brevisima histori de MERMO, ELOY(gato) & OSWALD(perro).
Después de ser despedido por el gerente de la fabrica en la que trabajaba, MERMO descubre un pajaro quien le enseña una vida mas simple, dejar de lado aquellas cosas innecesarias para su vida y sale en busca de diversión con sus dos fieles amigos, ELOY & OSWALD.
Esta es una de las tantas aventuritas que estos tres amigos harán!
-BUSCA TU RUMBO, TUS GUSTOS, PELEÁ POR AQUELLO QUE QUIERAS HACER! NUNCA NUNCA NUNCA TE RINDAS!
mermoediciones@hotmail.com
Spanish postcard by Ediciones Tarjefher, no. 111. Photo: Juan Gyenes.
Marisol (1948) was a Spanish child star in the sixties. When she became an adult, she remained a popular actress and singer under her real name, Pepa Flores.
Maria Josefa Flores González was born in Málaga, Spain in 1948. She has an older sister, Victoria, and a younger brother, Enrique. She demonstrated a great love for singing and traditional flamenco dance from early on. Her future producer Manuel J. Goyanes discovered her on Spanish Television in the show Coros y Danzas de Málaga/Songs and Dances of Malaga in 1959. Her cinema debut as Marisol was in the musical Un rayo de luz/A Ray of Light (Luis Lucia, 1960). She became an international sensation, from Spain to Japan. She won the Best Child Actress award at the Venice Film Festival in 1960. In the following decade, she starred in a dozen musical comedy dramas. She also made records and did concerts and TV shows. The title song of her third film, Tómbola/Lottery (Luis Lucia, 1962), became a Spanish classic. Other of her film vehicles were Marisol rumbo a Río/Marisol Is Bound For Rio (Fernando Palacios, 1963), a Spanish variation on The Parent Trap with Marisol playing both the poor teenager from Madrid as well as her estranged sister in Rio De Janeiro, and La nueva Cenicienta/The New Cinderella (George Sherman, 1964) with Robert Conrad and Fernando Rey. Mel Ferrer directed her in Cabriola/Everyday Is A Holiday (1965) where she sang one of her most beautiful songs: Cabriola. The child star became a stunning beauty and in 1967 she starred as a grown-up opposite Jean-Claude Pascal in Las 4 bodas de Marisol/The Four Weddings of Marisol (Luis Lucia, 1967) as a film star with man trouble. She continued to make popular films, including Carola de día, Carola de noche/Carola during Day and Night (Jaime de Armiñán, 1969), a Spanish variation on Roman Holiday about a princess, who secretly goes out by night to find out how Spaniards live. That year she married Carlos Goyanes, the son of her discoverer.
Marisol started to appear in more serious films. She played the title character in the thriller La corrupción de Chris Miller/The Corruption of Chris Miller (Juan Antonio Bardem, 1973) opposite Jean Seberg. She also appeared in Bardem's (the uncle of awarded Spanish actor Javier Bardem) El poder del deseo/The Power of Desire (Juan Antonio Bardem, 1975) opposite British actor Murray Head and in Los días del pasado/The Days of the Past (Mario Camus, 1978) with flamenco dancer and choreographer Antonio Gades. She was awarded the Best Actress prize at the Karlovy Vary International Film Festival for her role in the latter film. In 1982 she married Antonio Gades in Cuba. The best man at their wedding was Fidel Castro. She acted with Gades in Bodas de sangre/Blood Wedding (Carlos Saura, 1981) based on Federico García Lorca's revenge play, and Carmen (Carlos Saura, 1983). She worked then under the name Pepa Flores. She appeared in the title role of the Spanish national television series Mariana Pineda in 1984, in which she played a Liberal Party hero. In 1985, when she was still at the height of her career, she left show business. Her last film was the political film Caso cerrado/Case Closed (Juan Caño Arecha, 1985) with the young Antonio Banderas in a small role. She returned to her homeland, Malaga. She received many invitations to return and requests for TV interviews, but she declined all of them. In 1986 she and Gades divorced. They have three daughters: Maria, Tamara, and Celia. Her daughter Maria Esteve is now a well-known actress in Spain, and her youngest daughter, Celia, is a pop flamenco singer. Pepa Flores still lives in Málaga with her partner Máximo Stecchiny and works as a humanitarian activist. Forty years after her retirement, she is 'un mito', a living myth in Spain. She was the subject of a TV miniseries, Marisol (Manuel Palacios, 2009). In the wake of the Me Too movement, the claims Marisol made to Francisco Umbral and Interviú in the late 1970s about the sexual abuse she underwent as a child star resurfaced in Spanish Vanity Fair in 2018.
Sources: Miguel A. Andrade (IMDb), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
A partir del viernes el libro sale ! lo pueden encontrar en la feria del libro en el stand de ediciones del eclipse, pabellon azul, yo voy a estar el viernes a las 16.00hs !
The Oldest Galvan Calendar is a proudly Mexican almanac that has been published without interruption annually since 1826.
Due to this long history it is well known and considered by many as a solid and reliable source of information.
Spanish postcard by Ediciones TarjeFher, no. 112, 1964. Photo: Juan Gyenes / Manuel J. Goyanes.
Marisol (1948) was a Spanish child star in the sixties. When she became an adult she stayed a popular actress and singer under her real name, Pepa Flores.
For more postcards, a bio and clips check out our blog European Film Star Postcards or follow us at Tumblr.