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Nº05.
Ford Mustang (1967).
Escala 1/43.
"Car Collection" - Ediciones Del Prado (España).
Año 1999.
More info:
miniaturasconry43.blogspot.com.es/2010/10/car-collection-...
www.foroescala43.net/phpBB3/viewtopic.php?f=16&t=469
www.micksmodelworld.com/Del%20Prado/The%20Ultimate%20Car%...
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Ford Mustang History
- First Generation (1964 1/2-1966)
- Second Generation (1967-1968)
"By 1967, the Mustang had something it hadn't had before: competition. Chevrolet was now making the Camaro, Pontiac the Firebird, and Plymouth had redesigned the Barracuda into a more serious machine. Even within Ford, Mercury was now selling the Cougar.
Ford's response to that competition was a new, slightly larger Mustang with an all-new body over what was pretty much the same chassis. The wheelbase was still 108 inches, but total length was up two inches to 183.6 inches and every styling feature was just a little bit exaggerated — the grille opening was bigger, the side scallops deeper, the taillights were now larger and concave instead of modest and convex, the 2+2 fastback's roof now extended all the way back to the trunk lid's trailing edge and the convertible's rear window was now a two-piece item made of real glass instead of instantly hazing plastic. A hood with dual recesses was optional.
The standard power plant was now the 200-cubic-inch six making 120 horsepower with a 250-cubic-inch (4.1-liter) 155-horsepower six and the 200-, 225- and 271-horsepower K-code 289 V8s optional. New on the menu was a 390-cubic-inch (6.4-liter) "big-block" V8 breathing through a Holley four-barrel carburetor making 315 horsepower. Accommodating that wider engine meant that the front suspension's track needed to be widened by 2.5 inches for clearance.
With its wider track, the '67 Mustang was a more stable car than the '66. The seats were more comfortable, and the instrumentation was easier to read. It was, generally speaking, a better car in every way that counted. Ford sold 356,271 coupes, 71,042 2+2s and 44,808 convertibles during '67 despite the new competition. Of those, only 472 cars were equipped with the 271-horsepower 289, while around 28,800 had the 390 under their hoods.
Federally mandated side marker lights and a revised grille distinguished the 1968 Mustang from the '67 on the outside, while a slew of new engines set it apart mechanically. A low-performance 195-horsepower 289 V8 was still an option, but the other 289s were gone in favor of two new 302-cubic-inch (4.9-liter) versions of the small block V8. The two-barrel 302 made 220 horsepower, while the four-barrel-equipped version put out 230 horsepower.
More glamorous than the revised small V8s were new 427- and 428-cubic-inch (both convert to about 7.0 liters) versions of the big-block V8. The more radical 427, which had a slightly higher-compression ratio and wilder cam, was rated at 390 horsepower, while the more civilized 428 knocked out 335 horsepower. Both the 427 and 428 were very rare options. Those big engines hinted at what was in store for the Mustang over the next few years."
- Third Generation (1969-1970)
- Fourth Generation (1971-1973)
- Fifth Generation (1974-1978)
- Sixth Generation (1979-1993)
- Seventh Generation (1994-1998)
- Eighth Generation (1999-2004)
- Ninth Generation (2005-2014)
Source: www.edmunds.com/ford/mustang/history.html
- Tenth Generation (2015- )
"The 2015 model year Mustang entered showrooms in November, 2014"
Nº44.
Saab 900S "classic" 3-door hatchback (1989).
Escala 1/43.
"Car Collection" - Ediciones Del Prado (España).
Año 1999.
More info:
miniaturasconry43.blogspot.com.es/2010/10/car-collection-...
www.foroescala43.net/phpBB3/viewtopic.php?f=16&t=469
www.micksmodelworld.com/Del%20Prado/The%20Ultimate%20Car%...
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Saab 900
From Wikipedia, the free encyclopedia
"he Saab 900 is a compact luxury automobile which was produced by Saab from 1978 until 1998 in two generations.
The first generation from 1978 to 1993 is known as the "classic" and the generation from 1994 to 1998 is known as the "new generation".
The "classic" Saab 900 was based on the Saab 99 chassis, though with a longer front end to meet U.S. frontal crash regulations.
The 900 was produced in 2- and 4-door sedan, and 3- and 5-door hatchback configurations and, from 1986, as a cabriolet (convertible) model.
There were single- and twin-Zenith carburettor, fuel-injection, and turbocharged engines, including both Full Pressure Turbo (FPT), and, in European models during the early 1990s, Light Pressure Turbos (LPT)."
(...)
- Saab 900 "Classic" (1978-1993)
"The Saab 900 is a front-engined, front-wheel-drive compact car with a longitudinally mounted, 45-degree slanted, inline four-cylinder engine, double wishbone front suspension and beam-axle rear suspension.
It was originally introduced in May 1978, for the 1979 model year."
(...)
- 1987 facelift
"A new grille, headlights, front sidelights and so-called "integrated" bumpers freshened the 900's look for 1987, though the sheet metal was largely unchanged. Several common parts for the 900 and 9000 were introduced for 1988 model year, including brakes and wheel hubs."
(...)
"The 8-valve engines were phased out in 1989 and 1990, with the turbo versions having been removed in North American markets by the end of 1984; North American 900S models received the non-turbo 16-valve engine for 1986. A non-turbo 16-valve engine replaced the 8-valve FI unit in the 900i (900S in North America) as well, while the carbureted engines were dropped. "
(...)
- Saab 900 NG (1994-1998)
"The second or 'new' generation Saab 900 (also referred to as the GM900 or NG900 among enthusiasts) was built on GM's GM2900 platform as a replacement for the "classic" first-generation Saab 900.
This all-new 900 was produced in the 1994 through 1998 model years.
In Mid 1998 it received over 1100 individual improvements (although some were actually introduced on the 1998 model 900), and was renamed the Saab 9-3 (in most markets; in the US the name change was introduced for 1999).
As the 9-3, the NG900 was produced through 2002."
(...)
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Saab 900 "Classic"
Manufacturer
Saab Automobile
Production
1978–1993 (1994)
Assembly
Trollhättan, Sweden
Arlöv, Sweden
Uusikaupunki, Finland (Valmet Automotive)
Designer
Björn Envall
Class
Entry-level luxury car/Compact executive car
Body style
2-door convertible
2-door sedan
3-door liftback (hatchback)
4-door sedan
5-door liftback (hatchback)
Layout
Longitudinal front-engine, front-wheel drive
Engine
2.0 L B I4
2.0 L B201 I4
2.0 L B202 I4
2.1 L B212 I4
Transmission
4/5-speed manual
3-speed Borg-Warner T-37 automatic
Dimensions
Wheelbase
2,517 mm (99.1 in)
Length
4,685 mm (184.4 in)
4,680 mm (184.3 in) (S & Turbo)
Width
1,690 mm (66.5 in)
1,695 mm (66.7 in) (Turbo SPG Hatch)
Height
1,425 mm (56.1 in)
1,400 mm (55.1 in) (Turbo Convertible & Turbo)
1,405 mm (55.3 in) (Turbo SPG Hatchback)
Chronology
Predecessor
Saab 99
Successor
Saab 900 (NG)
Source: en.wikipedia.org/wiki/Saab_900
More info:
www.ebay.com/motors/carsandtrucks/Saab/900/1989
www.saabcentral.com/features/saab_900/misc/900_history.php
saabmuseum.com/en/model-years/saab-classic-900-model-year...
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
Creado y editado por Ediciones ChmypImages, no robar y si usas no quitar el texto
www.facebook.com/edicioneschmypimages
weheartit.com/maylolove
Creado y editado por Ediciones ChmypImages, no robar y si usas no quitar el texto
www.facebook.com/edicioneschmypimages
weheartit.com/maylolove
Spanish postcard by Ediciones J.R.B. Photo: Cifesa. Sarita Montiel in El Último Cuple / The Last Torch Song (Juan de Orduña, 1957). Sent by mail in 1958.
Spanish singer and actress Sara Montiel, also known as Sarita and Saritísima, was a beloved and internationally recognised figure in Spanish-speaking cinema. In the late 1950s, Montiel achieved the status of mega-star in Europe and Latin America with El Último Cuple / The Last Torch Song (1957). This film and La Violetera / The Violet Peddler (1958) netted the highest gross revenues ever recorded for films made in the Spanish-speaking film industry. Montiel was also the first woman to distill sex openly in Spanish cinema at a time when even a low-cut dress was not acceptable.
Sara Montiel was born as María Antonia Alejandra Vicenta Elpidia Isidora Abad Fernández in the village of Campo de Criptana in the province of Ciudad Real, Spain, in 1928. Her parents were Isidoro Abad, a peasant who later operated a bar, and Maria Vicenta Fernández, a door-to-door beautician. At 15, Montiel won a beauty and talent contest held by Cifesa, the most influential film studio at that time in Spain. The next year, she made her film debut in Te Quiero Para Mí / I want you for myself (Ladislao Vajda, 1943), credited as Maria Alejandra, a shortened version of her real name. In spite of the small part, the young actress caught the attention of producers and directors who realised her enormous potential. By the end of 1944, she was given the starring role in the film Empezó En Boda / It Started at the Wedding (Raffaello Matarazzo, 1944), which introduced her with a new image and a new name: she was now a sophisticated blonde named Sara Montiel. In the next four years, she appeared in 14 films. Soon her colleagues started calling her 'Sarita' (Little Sara) due to her youth. The nickname caught on with the press and the public, consequently. Since then, both Sara and Sarita have been used in credits and publicity. In 1947, she played the role of Antonia, the niece of Don Quixote, in Don Quijote de la Mancha / Don Quixote (Rafael Gil, 1947), the Spanish film version of Cervantes's great novel. Her first international success was her role as an Islamic princess in Locura de Amor / The Mad Queen (Juan de Orduña, 1948) with Fernando Rey. Locura de Amor led to a contract in Mexico, where she established herself as one of the most popular film actors of the decade. She made a total of 13 Mexican films between 1950 and 1954. Due to her popularity in Mexico, Hollywood came calling, and she was introduced to American filmgoers in the Western Vera Cruz (Robert Aldrich, 1954), co-starring with Gary Cooper and Burt Lancaster. She was offered the standard seven-year contract at Columbia Pictures, but she refused, afraid of Hollywood's typecasting policies for Hispanics. Instead, she free-lanced at Warner Bros. in Serenade (Anthony Mann, 1956) with Mario Lanza and Joan Fontaine, and at RKO in Run of the Arrow (Samuel Fuller, 1957), opposite Rod Steiger and Charles Bronson. Director Anthony Mann became her first husband.
Back in Europe, Sara Montiel became the most commercially successful Spanish actress during the mid-20th century. The film musical El Último Cuplé / The Last Torch Song (Juan de Orduña, 1957) was an unexpected success. It played for a year in the same theatres in which it opened. A similar reaction followed in the other European countries and in Latin America. El Último Cuplé turned Montiel into an overnight sensation both as an actor and a singer. Then she achieved the status of mega-star with La Violetera / The Violet Peddler (Luis César Amadori, 1958) with Raf Vallone. It broke the box-office records set by El Último Cuplé. She won the Premio del Sindicato (at the time Spain's equivalent to the Oscar) for best actress two years in a row for her performances in El Último Cuplé and La Violetera. From then on, she combined filming highly successful vehicles, recording songs in five languages and performing live all over the world. Among the films that continued her immense popularity were Carmen, la de Ronda / The Devil Made A Woman (Tulio Demicheli, 1959) with Jorge Mistral, Mi Ultimo Tango / My Last Tango (Luis César Amadori, 1960), and Pecado de Amor / Sin of Love (Tulio Demicheli, 1961). By 1962, she had become a legend to millions worldwide, reaching markets that had previously been ‘uncharted territory for the Spanish cinema. La Bella Lola (Tulio Demicheli, 1962), a new version of Camille with Antonio Cifariello and Maurice Ronet, La Reina del Chantecler (1963), and Noches de Casablanca (Henri Decoin, 1963) with Maurice Ronet spread Sarita's popularity to Eastern Europe, Greece, Turkey, Israel and Japan. Samba (Rafael Gil, 1964) with Italian actor Fosco Giachetti, La mujer perdida / The Lost Woman (Tulio Demicheli, 1966) with Massimo Serato, Tuset Street (Jorge Grau, Luis Marquina, 1967) with Patrick Bauchau, and Esa Mujer / That Woman (Mario Camus, 1969) followed. In 1973, her film Varietés (Juan Antonio Bardem, 1971) was banned in Beijing. By then, she had become a legend to her millions of fans, but she became dissatisfied with the film industry when producers started offering her roles in soft-core porno films. In 1974, Montiel announced her retirement from movies but continued performing live, recording and starring on her own variety television shows in Spain.
Sara Montiel has been married four times: to American film director Anthony Mann (1957-1963), industrial attorney José Vicente Ramírez Olalla (1964-1978), attorney-journalist José Tous Barberán (1979-1992), and Cuban videotape operator Antonio Hernández (2002-2005). With José Tous Barberán, she adopted two children: Thais (1979) and Zeus (1982). Before, during and after these marriages, she had countless affairs. During the Franco dictatorship, Spanish stars were forbidden to behave in any way that could be perceived at odds with Christian principles and morality; consequently, they kept their private lives very private. Montiel was no exception. Pre-marital or out-of-wedlock relationships were never mentioned, and her civil marriage to Anthony Mann was underplayed, along with the divorce. After starring in the film Cinco Almohadas Para Una Noche / Five Pillows for a Night (Pedro Lazaga, 1974), Montiel announced her retirement from the cinema. She complained about the almost pornographic turn taken by the Spanish film industry after censorship was abolished in the post-Franco era. For a long time she concentrated on highly successful stage musicals: 'Sara en Persona' (1970-1973), 'Saritísima' (1974-1975), 'Increible Sara' (1977-1978), 'Super Sara Show' (1979-1980), 'Doña Sara de La Mancha' (1981-1982), 'Taxi Vamos Al Victoria' (1983-1984), 'Nostalgia' (1984-1985), 'Sara, Mes Que Mai !!' (1986), 'Sara, Siempre Sara' (1987-1988) and 'Saritízate' (1989-1990).
In the 1990s, Sara Montiel surprised everyone by branching out into television: Sara y Punto (1990), a mini-series of seven one-hour episodes, included a serialised biography of the star, many popular guests including Luciano Pavarotti and Charles Aznavour, and Montiel singing her greatest hits in addition to new songs written especially for her. Next came Ven al Paralelo (1992), taped in a Barcelona theatre where Montiel hosted, sang and acted in comedy sketches in front of a live audience. In 2000, she published her autobiography 'Vivir es un placer' (Memories: To Live Is A Pleasure), an instant bestseller with ten editions to date. A sequel, 'Sara and Sex', followed in 2003. In these books, Montiel revealed other relationships in her past, including one-night stands with writer Ernest Hemingway as well as actor James Dean. She also claimed a long-term affair in the 1940s with playwright Miguel Mihura and mentioned that science wizard Severo Ochoa, a Nobel Prize winner, was the true love of her life. She was portrayed in the Pedro Almodóvar film La mala educación / Bad Education (2004) by Gael García Bernal as the transsexual character Zahara, and a clip from one of her films was also used. In 2009, the pop group Fangoria invited Montiel to record a track for the re-release of the band's album 'Absolutamente'. The title track, 'Absolutamente', became a Top 10 hit. After almost 40 years without making a film, she accepted a role in the comedy Abrázame / Hold (Óscar Parra de Carrizosa, 2011). The film was shot on location in Montiel's birthplace in La Mancha. According to the star, in this film, she dared to do "a parody of her old screen image, just for fun." Sara Montiel died in 2013 at home in Madrid. She was survived by her children, Thais and Zeus.
Sources: InfoMontiel, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
ANGEL-BATH-ENGLAND-ART-PAINTINGS-WATERCOLORS-EDITIONS-ARTIST-PAINTER-ERNEST DESCALS-
Editing the details of the watercolors of the Angel of Peace in Bath, England, I wanted to edit the painting to show that there are not many differences between angels and demons, symbolic figures in religions. Both are supernatural beings, kindred spirits in other dimensions, belonging to the same realm of energies related to contact with the Spirit of human beings. They have been given different functions, but they remain siblings in their cosmic conception. Detail of the painting by the artist Ernest Descals, detail and reflection.
Ediciones de los detalles de las acuarelas con el Angel de la Paz en Bath, Inglaterra, he querido editar la pintura para mostrar que no hay muchas diferencias entre los angeles y los demonios, figuras simbólicas de las religiones, ambos son seres sobrenaturales y hermanados en otras dimensiones, pertenecen al mismo club de energías relacionadas con el cotacto con el Espíritu de los seres humanos, se les han dado distintas funciones, pero siguen siendo hermanos en su concepción cósmica. Detalle de la pintura del artista pintor Ernest Descals, detalle y reflexión.
www.librosyeditores.com/tiendalemoine/politica/626-libro-...
Editores y distribuidores
La tercera vía de Tony Blair, Bill Clinton y Anthony Giddens es un liberalismo social. La diferencia va del centro derecha al centro izquierda. Así, el mundo ya pudo encontrar interlocutores válidos para las multinacionales, y buenos codirectores para el Fondo Monetario Internacional (FMI), el Banco Mundial y la Organización Mundial de Comercio (OMC), para negociar intereses creados y planes de desarrollo. No son vías alternativas. Son vías interconectadas.
A manera de texto introductorio, se transcribe, con la debida autorización, el discurso pronunciado por el presidente brasileño Lula da Silva en el III Foro Económico Mundial de Davos, el 26 de enero de 2003, traducido del portugués por María Paz Barquero, para la revista catalana La factoría.
Nº 43.
Mercury Cougar First generation (1967-1970).
Escala 1/43.
"Car Collection" - Ediciones Del Prado (España).
Año 1999.
----------------------------------------------------------------------
Mercury Cougar
From Wikipedia, the free encyclopedia
"Mercury Cougar is the name applied to a diverse series of automobiles sold by the Mercury division of Ford Motor Company from 1967 to 2002."
(...)
"The car was assembled at the Dearborn Assembly Plant (DAP) (one of six plants within the Ford Rouge Center) in Dearborn, Michigan from 1967 to 1973,at the San Jose Assembly Plant in Milpitas, California from 1968 into early 1969, at the Lorain Assembly Plant (LAP) in Lorain, Ohio from 1974 to 1997, and at the Flat Rock, Michigan Assembly Plant from 1999 to 2002."
(...)
"First generation (1967–1970)
The introduction of the Cougar finally gave Mercury its own "pony car". Slotted between the Ford Mustang and the Ford Thunderbird, the Cougar would be the performance icon and eventually the icon for the Mercury name for several decades. The Cougar was available in two models (base and XR-7) and only came in one body style (a two-door hardtop). Engine choices ranged from the 200 hp (149 kW) 289 in3 two-barrel V8 to the 335 hp (250 kW) 390 in3 four-barrel V8. A notable performance package called the GT was available on both the base and XR-7 Cougars. This included the 390 in3 V8, as well as a performance handling package and other performance enhancements." (...)
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.
Spanish postcard by Ediciones Raker, Barcelona, no. 283. Photo: 20th Century Fox. Stephen Boyd in 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.
Todos los Derechos Reservados © All rights reserved
Agosto 2010 - (Cantabria)
© Gorka Goitia Fotógrafo
.
NO BANNERS, please.
COMMENTS WITH IMAGES WILL BE DELETED. THANKS
.
Kurt Hielscher, 1920
• Alemán: DAS UNBEKANNTE SPANIEN
• Inglés: PICTURESQUE SPAIN: ARCHITECTURE, LANDSCAPE, LIFE OF THE PEOPLE CONSULTAR LIBRO
• Español: Hielscher, Kurt (1920) LA ESPAÑA INCÓGNITA: ARQUITECTURA, PAISAJES, VIDA POPULAR. Madrid: Espasa Calpe
Nº44.
Saab 900S "classic" 3-door hatchback (1989).
Escala 1/43.
"Car Collection" - Ediciones Del Prado (España).
Año 1999.
More info:
miniaturasconry43.blogspot.com.es/2010/10/car-collection-...
www.foroescala43.net/phpBB3/viewtopic.php?f=16&t=469
www.micksmodelworld.com/Del%20Prado/The%20Ultimate%20Car%...
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Saab 900
From Wikipedia, the free encyclopedia
"he Saab 900 is a compact luxury automobile which was produced by Saab from 1978 until 1998 in two generations.
The first generation from 1978 to 1993 is known as the "classic" and the generation from 1994 to 1998 is known as the "new generation".
The "classic" Saab 900 was based on the Saab 99 chassis, though with a longer front end to meet U.S. frontal crash regulations.
The 900 was produced in 2- and 4-door sedan, and 3- and 5-door hatchback configurations and, from 1986, as a cabriolet (convertible) model.
There were single- and twin-Zenith carburettor, fuel-injection, and turbocharged engines, including both Full Pressure Turbo (FPT), and, in European models during the early 1990s, Light Pressure Turbos (LPT)."
(...)
- Saab 900 "Classic" (1978-1993)
"The Saab 900 is a front-engined, front-wheel-drive compact car with a longitudinally mounted, 45-degree slanted, inline four-cylinder engine, double wishbone front suspension and beam-axle rear suspension.
It was originally introduced in May 1978, for the 1979 model year."
(...)
- 1987 facelift
"A new grille, headlights, front sidelights and so-called "integrated" bumpers freshened the 900's look for 1987, though the sheet metal was largely unchanged. Several common parts for the 900 and 9000 were introduced for 1988 model year, including brakes and wheel hubs."
(...)
"The 8-valve engines were phased out in 1989 and 1990, with the turbo versions having been removed in North American markets by the end of 1984; North American 900S models received the non-turbo 16-valve engine for 1986. A non-turbo 16-valve engine replaced the 8-valve FI unit in the 900i (900S in North America) as well, while the carbureted engines were dropped. "
(...)
- Saab 900 NG (1994-1998)
"The second or 'new' generation Saab 900 (also referred to as the GM900 or NG900 among enthusiasts) was built on GM's GM2900 platform as a replacement for the "classic" first-generation Saab 900.
This all-new 900 was produced in the 1994 through 1998 model years.
In Mid 1998 it received over 1100 individual improvements (although some were actually introduced on the 1998 model 900), and was renamed the Saab 9-3 (in most markets; in the US the name change was introduced for 1999).
As the 9-3, the NG900 was produced through 2002."
(...)
----------------------------
Saab 900 "Classic"
Manufacturer
Saab Automobile
Production
1978–1993 (1994)
Assembly
Trollhättan, Sweden
Arlöv, Sweden
Uusikaupunki, Finland (Valmet Automotive)
Designer
Björn Envall
Class
Entry-level luxury car/Compact executive car
Body style
2-door convertible
2-door sedan
3-door liftback (hatchback)
4-door sedan
5-door liftback (hatchback)
Layout
Longitudinal front-engine, front-wheel drive
Engine
2.0 L B I4
2.0 L B201 I4
2.0 L B202 I4
2.1 L B212 I4
Transmission
4/5-speed manual
3-speed Borg-Warner T-37 automatic
Dimensions
Wheelbase
2,517 mm (99.1 in)
Length
4,685 mm (184.4 in)
4,680 mm (184.3 in) (S & Turbo)
Width
1,690 mm (66.5 in)
1,695 mm (66.7 in) (Turbo SPG Hatch)
Height
1,425 mm (56.1 in)
1,400 mm (55.1 in) (Turbo Convertible & Turbo)
1,405 mm (55.3 in) (Turbo SPG Hatchback)
Chronology
Predecessor
Saab 99
Successor
Saab 900 (NG)
Source: en.wikipedia.org/wiki/Saab_900
More info:
www.ebay.com/motors/carsandtrucks/Saab/900/1989
www.saabcentral.com/features/saab_900/misc/900_history.php
saabmuseum.com/en/model-years/saab-classic-900-model-year...
Nº 43.
Mercury Cougar First generation (1967-1970).
Escala 1/43.
"Car Collection" - Ediciones Del Prado (España).
Año 1999.
----------------------------------------------------------------------
Mercury Cougar
From Wikipedia, the free encyclopedia
"Mercury Cougar is the name applied to a diverse series of automobiles sold by the Mercury division of Ford Motor Company from 1967 to 2002."
(...)
"The car was assembled at the Dearborn Assembly Plant (DAP) (one of six plants within the Ford Rouge Center) in Dearborn, Michigan from 1967 to 1973,at the San Jose Assembly Plant in Milpitas, California from 1968 into early 1969, at the Lorain Assembly Plant (LAP) in Lorain, Ohio from 1974 to 1997, and at the Flat Rock, Michigan Assembly Plant from 1999 to 2002."
(...)
"First generation (1967–1970)
The introduction of the Cougar finally gave Mercury its own "pony car". Slotted between the Ford Mustang and the Ford Thunderbird, the Cougar would be the performance icon and eventually the icon for the Mercury name for several decades. The Cougar was available in two models (base and XR-7) and only came in one body style (a two-door hardtop). Engine choices ranged from the 200 hp (149 kW) 289 in3 two-barrel V8 to the 335 hp (250 kW) 390 in3 four-barrel V8. A notable performance package called the GT was available on both the base and XR-7 Cougars. This included the 390 in3 V8, as well as a performance handling package and other performance enhancements." (...)
(Mempo Giardinelli)
- Ediciones LOM. Colección Libros del Ciudadano. Santiago, Chile. 1999. 52 págs.
- $ 800.
arteBA Fundación permite la utilización en los medios de las imágenes subidas a su espacio en Flickr.
Agradeceremos que a modo de epígrafe de las mismas, se mencione: Gentileza arteBA Fundación.
---
arteBA Fundación allows the reproduction of the photos uploaded in Flickr.
We appreciate if you credit them as Courtesy of arteBA Fundación.
Nº 7.
Aston Martin DB5 (1963-1965).
Escala 1/43.
"Car Collection" - Ediciones Del Prado (España).
Año 1999.
---------------------------------------------------------------------
Aston Martin DB5
From Wikipedia, the free encyclopedia
"The Aston Martin DB5 is a luxury grand tourer that was made by Aston Martin and designed by the Italian coachbuilder Carrozzeria Touring Superleggera. Released in 1963, it was an evolution of the final series of DB4. The DB series was named honouring David Brown (the head of Aston Martin from 1947–1972). Although not the first, the DB5 is famous for being the most recognised cinematic James Bond car, first appearing in Goldfinger (1964)."
Presentación del libro “Nicanor Aráoz: Sueño sólido” / Museo de Arte Moderno de Buenos Aires.
Conversan: Alejo Ponce de León y Nicanor Aráoz. Modera: Gaby Comte.
Fundación arteba permite la utilización en los medios de las imágenes subidas a su espacio de Flickr.
Agradeceremos que a modo de epígrafe de las mismas, se mencione: Gentileza Fundación arteba.
---
arteba Foundation allows the reproduction of the photos uploaded in Flickr.
We appreciate if you credit them as Courtesy of arteba Foundation.
Spanish postcard by Ediciones J.R.B., no. 99/14. Sarita Montiel in El Último Cuple / The Last Torch Song (Juan de Orduña, 1957).
Spanish singer and actress Sara Montiel died today. She was 85. Sara, also known as Sarita and Saritísima, was a much-loved and internationally known name in the Spanish-speaking cinema. In the late 1950s, Montiel achieved the status of mega-star in Europe and Latin America with El Último Cuple / The Last Torch Song (1957). This film and La Violetera / The Violet Peddler (1958) netted the highest gross revenues ever recorded for films made in the Spanish-speaking film industry. Montiel was also the first woman to distill sex openly in Spanish cinema at a time when even a low-cut dress was not acceptable.
Sara Montiel was born as María Antonia Alejandra Vicenta Elpidia Isidora Abad Fernández in the village of Campo de Criptana in the province of Ciudad Real, Spain, in 1928. Her parents were Isidoro Abad, a peasant who later operated a bar, and Maria Vicenta Fernández, a door-to-door beautician. At 15, Montiel won a beauty and talent contest held by Cifesa, the most influential film studio at that time in Spain. The next year, she made her film debut in Te Quiero Para Mí / I want you for myself (Ladislao Vajda, 1943), credited as Maria Alejandra, a shortened version of her real name. In spite of the small part, the young actress caught the attention of producers and directors who realised her enormous potential. By the end of 1944, she was given the starring role in the film Empezó En Boda / It Started at the Wedding (Raffaello Matarazzo, 1944), which introduced her with a new image and a new name: she was now a sophisticated blonde named Sara Montiel. In the next four years, she appeared in 14 films. Soon her colleagues started calling her 'Sarita' (Little Sara) due to her youth. The nickname caught on with the press and the public, consequently. Since then, both Sara and Sarita have been used in credits and publicity. In 1947, she played the role of Antonia, the niece of Don Quixote, in Don Quijote de la Mancha / Don Quixote (Rafael Gil, 1947), the Spanish film version of Cervantes's great novel. Her first international success was her role as an Islamic princess in Locura de Amor / The Mad Queen (Juan de Orduña, 1948) with Fernando Rey. Locura de Amor led to a contract in Mexico, where she established herself as one of the most popular film actors of the decade. She made a total of 13 Mexican films between 1950 and 1954. Due to her popularity in Mexico, Hollywood came calling, and she was introduced to American filmgoers in the Western Vera Cruz (Robert Aldrich, 1954), co-starring with Gary Cooper and Burt Lancaster. She was offered the standard seven-year contract at Columbia Pictures, but she refused, afraid of Hollywood's typecasting policies for Hispanics. Instead, she free-lanced at Warner Bros. in Serenade (Anthony Mann, 1956) with Mario Lanza and Joan Fontaine, and at RKO in Run of the Arrow (Samuel Fuller, 1957), opposite Rod Steiger and Charles Bronson. Director Anthony Mann became her first husband.
Back in Europe, Sara Montiel became the most commercially successful Spanish actress during the mid-20th century. The film musical El Último Cuplé / The Last Torch Song (Juan de Orduña, 1957) was an unexpected success. It played for a year in the same theatres in which it opened. A similar reaction followed in the other European countries and in Latin America. El Último Cuplé turned Montiel into an overnight sensation both as an actor and a singer. Then she achieved the status of mega-star with La Violetera / The Violet Peddler (Luis César Amadori, 1958) with Raf Vallone. It broke the box-office records set by El Último Cuplé. She won the Premio del Sindicato (at the time Spain's equivalent to the Oscar) for best actress two years in a row for her performances in El Último Cuplé and La Violetera. From then on, she combined filming highly successful vehicles, recording songs in five languages and performing live all over the world. Among the films that continued her immense popularity were Carmen, la de Ronda / The Devil Made A Woman (Tulio Demicheli, 1959) with Jorge Mistral, Mi Ultimo Tango / My Last Tango (Luis César Amadori, 1960), and Pecado de Amor / Sin of Love (Tulio Demicheli, 1961). By 1962, she had become a legend to millions worldwide, reaching markets that had previously been ‘uncharted territory for the Spanish cinema. La Bella Lola (Tulio Demicheli, 1962), a new version of Camille with Antonio Cifariello and Maurice Ronet, La Reina del Chantecler (1963), and Noches de Casablanca (Henri Decoin, 1963) with Maurice Ronet spread Sarita's popularity to Eastern Europe, Greece, Turkey, Israel and Japan. Samba (Rafael Gil, 1964) with Italian actor Fosco Giachetti, La mujer perdida / The Lost Woman (Tulio Demicheli, 1966) with Massimo Serato, Tuset Street (Jorge Grau, Luis Marquina, 1967) with Patrick Bauchau, and Esa Mujer / That Woman (Mario Camus, 1969) followed. In 1973, her film Varietés (Juan Antonio Bardem, 1971) was banned in Beijing. By then, she had become a legend to her millions of fans, but she became dissatisfied with the film industry when producers started offering her roles in soft-core porno films. In 1974, Montiel announced her retirement from movies but continued performing live, recording and starring on her own variety television shows in Spain.
Sara Montiel has been married four times: to American film director Anthony Mann (1957-1963), industrial attorney José Vicente Ramírez Olalla (1964-1978), attorney-journalist José Tous Barberán (1979-1992), and Cuban videotape operator Antonio Hernández (2002-2005). With José Tous Barberán, she adopted two children: Thais (1979) and Zeus (1982). Before, during and after these marriages, she had countless affairs. During the Franco dictatorship, Spanish stars were forbidden to behave in any way that could be perceived at odds with Christian principles and morality; consequently, they kept their private lives very private. Montiel was no exception. Pre-marital or out-of-wedlock relationships were never mentioned, and her civil marriage to Anthony Mann was underplayed, along with the divorce. After starring in the film Cinco Almohadas Para Una Noche / Five Pillows for a Night (Pedro Lazaga, 1974), Montiel announced her retirement from the cinema. She complained about the almost pornographic turn taken by the Spanish film industry after censorship was abolished in the post-Franco era. For a long time she concentrated on highly successful stage musicals: 'Sara en Persona' (1970-1973), 'Saritísima' (1974-1975), 'Increible Sara' (1977-1978), 'Super Sara Show' (1979-1980), 'Doña Sara de La Mancha' (1981-1982), 'Taxi Vamos Al Victoria' (1983-1984), 'Nostalgia' (1984-1985), 'Sara, Mes Que Mai !!' (1986), 'Sara, Siempre Sara' (1987-1988) and 'Saritízate' (1989-1990).
In the 1990s, Sara Montiel surprised everyone by branching out into television: Sara y Punto (1990), a mini-series of seven one-hour episodes, included a serialised biography of the star, many popular guests including Luciano Pavarotti and Charles Aznavour, and Montiel singing her greatest hits in addition to new songs written especially for her. Next came Ven al Paralelo (1992), taped in a Barcelona theatre where Montiel hosted, sang and acted in comedy sketches in front of a live audience. In 2000, she published her autobiography 'Vivir es un placer' (Memories: To Live Is A Pleasure), an instant bestseller with ten editions to date. A sequel, 'Sara and Sex', followed in 2003. In these books, Montiel revealed other relationships in her past, including one-night stands with writer Ernest Hemingway as well as actor James Dean. She also claimed a long-term affair in the 1940s with playwright Miguel Mihura and mentioned that science wizard Severo Ochoa, a Nobel Prize winner, was the true love of her life. She was portrayed in the Pedro Almodóvar film La mala educación / Bad Education (2004) by Gael García Bernal as the transsexual character Zahara, and a clip from one of her films was used as well. In 2009, the pop group Fangoria invited Montiel to record a track for the re-release of the band's album 'Absolutamente'. The title track, 'Absolutamente', became a Top 10 hit. After almost 40 years without making a film, she accepted a role in the comedy Abrázame / Hold (Óscar Parra de Carrizosa, 2011). The film was shot on location in Montiel's birthplace in La Mancha. According to the star, in this film, she dared to do "a parody of her old screen image, just for fun." Sara Montiel died in 2013 at home in Madrid. She was survived by her children, Thais and Zeus.
Sources: InfoMontiel, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Nº 43.
Mercury Cougar First generation (1967-1970).
Escala 1/43.
"Car Collection" - Ediciones Del Prado (España).
Año 1999.
----------------------------------------------------------------------
Mercury Cougar
From Wikipedia, the free encyclopedia
"Mercury Cougar is the name applied to a diverse series of automobiles sold by the Mercury division of Ford Motor Company from 1967 to 2002."
(...)
"The car was assembled at the Dearborn Assembly Plant (DAP) (one of six plants within the Ford Rouge Center) in Dearborn, Michigan from 1967 to 1973,at the San Jose Assembly Plant in Milpitas, California from 1968 into early 1969, at the Lorain Assembly Plant (LAP) in Lorain, Ohio from 1974 to 1997, and at the Flat Rock, Michigan Assembly Plant from 1999 to 2002."
(...)
"First generation (1967–1970)
The introduction of the Cougar finally gave Mercury its own "pony car". Slotted between the Ford Mustang and the Ford Thunderbird, the Cougar would be the performance icon and eventually the icon for the Mercury name for several decades. The Cougar was available in two models (base and XR-7) and only came in one body style (a two-door hardtop). Engine choices ranged from the 200 hp (149 kW) 289 in3 two-barrel V8 to the 335 hp (250 kW) 390 in3 four-barrel V8. A notable performance package called the GT was available on both the base and XR-7 Cougars. This included the 390 in3 V8, as well as a performance handling package and other performance enhancements." (...)
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Saludos!
Los libros son buenos amigos del café. Y el café les devuelve el cariño concediéndoles la excusa para una tregua, para esa revancha que es el homenaje diario a uno mismo. Cuando se encuentran, el cuento sale de su escondite. El cuento está en este libro, pero también vive fuera de él. Para encontrarlo sólo hay que esperar. Cada cliente que entra y sale de una cafetería, cada camarero, cada uno de nosotros arrastramos una historia que contar.
La cafetería de todas las tardes es el cruce de caminos de D. Quijote, la posada de Chaucer, el jardín de Boccaccio, el palacio de Shahrazad: por ese establecimiento pasa el hombre adinerado que se encuentra con el amor en el otoño de la vida, la mujer que llama a un teléfono que nunca responde, el famoso a quien se le apaga la estrella, y la pobre infeliz que invoca a Lady Godiva. Con una mirada tan descreída como reticente a aceptar la derrota, Santiago Gª Tirado despliega en 37 relatos –más un divertido documento complementario, los graffittis con que los clientes decoran las paredes de la cafetería– un texto seductor, resuelto con momentos desternillantes, a veces terribles, y casi siempre desbordantes de humanidad, escrito con una prosa rítmica y elegante.
Deguste la obra como lo hace con un café. Sin prisas. Luego déjese sorprender por los sabores que, horas más tarde, seguirá destapando en el paladar. Juzgue el lector por sí mismo si carecía de razón el artículo de Cuadernos para el diálogo (Ago. 2007) que situaba a Santiago Gª Tirado entre los que están destinados a encabezar el relevo generacional en la nueva literatura española.
Santiago García Tirado (Linares, 1.967) se presentó en 2.003, al ganar el premio Teruel. Entonces Sánchez Dragó calificó de «restallante» su prosa, y Javier Reverte se manifestó sorprendido por un relato del que afirmó «es difícil encontrar un cuento tan redondo». Tras la publicación de su novela Un preso que hablaba de Stanislavski (Irreverentes, 2006), la crítica afirmó «García Tirado estará seguro entre los grandes. Su primera novela es todo un acontecimiento». El libro que ahora presenta es una selección de sus mejores relatos (varios de ellos cuentan con prestigiosos galardones.)
15 euros• 192 páginas
ISBN: 978-84-96959-34-7
Todos los Derechos Reservados © All rights reserved
ESTILISMO y PELUQERÍA: José Bueno
MAQUILLAJE: Vanessa Juez
Diciembre 2010 - (Cantabria)
© Gorka Goitia Fotógrafo
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Tomada.hace.unos.dias.atras.
cuando.andaba.en.el.proceso.
de.postulacion.a.mi.nueva.carrera.
en.la.Usach.y.como.siempre.
ando.con.la.camara.cuando.salgo.
me.puse.a.tomar.fotos.
ademas.como.tngo.algo.botado.esto.
se.me.ocurrio.editarlas.y.subirlas.
De.vacaciones.luego.me.ire.ala.playa.
sis.ke.espero.ke.todos.disfruten.de.sus.dias.
libres.y.bueno.a.pasarlo.bn.no.++++.
5.meses.cumplido.hace.dos.dias.
con.la.persona.ke.mas.amo.en.el.mundo.
Te.amo.demasiado.mi.amorosita.*
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