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Inspired by mysticism, the narrator uses desire and its fulfillment as the principle of life and religion. The senses are explored in depth in contact with a nature rich in gifts, captured in landscapes with oriental colors from Biskra and the painter Etienne Dinet.
" Look in the evenings as if the day were to die here; and in the morning as if all things were born there. May your vision be new at every moment. The wise man is the one who surprises himself with everything. .....Throw out my book; tell you that it is only one of the thousand possible postures in front of life. Look for yours. What someone else would have done as well as you, don't do. What someone else would have said as well as you, don't say, _ as well written as you, don't write. Be devoted in
yourself only to what you feel which is nowhere other than in yourself, and create from you, impatiently or patiently, ah! the most unrivalled of all beings. There are strange possibilities in every man. The present would be full of all futures, if the past did not already project a history. But, alas! a unique past offers a unique future - projects it before us, like an infinite point on space.
I wish no rest other than the sleep of death. I am afraid that any desire, any energy that I would not have satisfied during my life, for their survival will torment me.
I hope, after having expressed on this earth all that awaited me, I am satisfied, I hope to die completely desperate.
No, not sympathy, Nathaniel, love. You realize, don't you, that it's not the same thing. It is out of fear of a loss of love that sometimes I was able to sympathize with sadness, trouble, pain that otherwise I would have barely endured. Leave everyone to take care of their own lives.
(I can't write today because a wheel turns in the barn. Yesterday I saw her; she was beating rapeseed. The ball flew away; the grain rolled on the ground. The dust suffocated.
A woman turned the wheel. Two handsome boys, barefoot, harvested the grain.
I'm crying because I have nothing more to say.
Everything that seeks to assert itself denies itself; everything that renounces itself affirms itself.
Tomorrow's dream is a joy, but tomorrow's joy is another, and fortunately nothing resembles the dream we had of it; for it is different that everything is worth anything.
Dare to be what you are. Don't let it get out of hand. There are admirable possibilities in every being. Persuade yourself of your strength and youth. Know how to tell you over and over again: He only cares about me.
Our actions cling to us as his phosphorus glow.
They consume us, it is true, but they make us our splendour.
And if our soul was worth anything, it was that it burned more ardently than a few others.
I settle down in this point of the space that I occupy, in this precise moment of duration. I do not accept that it is not crucial. I extend my arms all the way. I say: this is the south, the north... I am effect; I will be cause. Determining cause! An opportunity that will never come again. I am; but I want to find a reason for being. I want to know why I live.What absurd conception of the world and life manages to cause three-quarters of our misery, and by attachment to the past refuses to understand that tomorrow's joy is only possible if the joy of today gives way, that each wave owes the beauty of its curve only to the withdrawal of that which precedes it, that each flower must wither for its fruit, that this one, if it does not fall and die, does not die. From the day when I convinced myself that I didn't need to be happy, happiness began to dwell in me; yes, from the day when I convinced myself that I didn't need anything to be happy. It seemed to me, after giving the touch of selfishness, that I had poured forth such an abundance of joy from my heart that I could water all the others with it.
I understood that the best teaching is an example. I accepted my happiness as a vocation."
This work of youth, long matured, is that of a "convalescent who embraces life as something he almost lost". No novel, no essay, no long poem in prose, this unclassifiable work is a little bit all this at once. In the eight books that make up the book, the narrator, referring to himself as a master called Ménalque, addresses a disciple who answers to the biblical name of Nathaniel and who represents the virtual reader of the text. The subject of the work is given from the Warning which precedes the first book:"Let my book teach you to be more interested in you than in itself.Terrestrial Foods are the great work of Gide, without which the author's knowledge is incomplete. It is, however, surprisingly different from the Pastoral Symphony, the False Minters or the Narrow Gate, which adopts the Romanesque form. A long poem in prose, a textbook of hedonistic philosophy or a travel narrative, it is read like an exalted praise of nature and the senses.The fruits, the gardens, the soil are so many beauties rediscovered by new organs and which want to be free of any physical, sentimental and social attachment. It is freedom in uppercase, pleasure erected as a law above the heart and mind, absolute availability to the world and the moment - all this contradicts the very writing of this manual, which stirs memories and shapes this new ethic of joy rather than being satisfied with the present.
Letter to Nathaniel
"You can't imagine, Nathaniel, what can finally become of this watering of light; and the sensual ecstasy that gives this persistent heat... A branch of olive tree in the sky; the sky above the hills; a flute song at the door of a café... Algiers seemed so hot and full of festivities that I wanted to leave it for three days; but at Blidah, where I was in a place like Blidah, where I could not believe it!I go out in the morning; I walk around, I don't look at anything and see everything; a wonderful symphony is formed and unheard sensations are organized in me. The hour goes by, my excitement aligns itself, as the less vertical sun's march is slower. Then I choose, to be or something, of what to fall in love with, - but I want it to move, because my emotion, once fixed, is no longer alive. It seems to me then at every moment that I have not yet seen or tasted anything.I'm lost in a disorderly pursuit of the things that flee. Yesterday I ran to the top of the hills overlooking Blidah, to see the sun a little longer; to see the sunset and the fiery clouds colouring the white terraces. I surprise the shade and silence under the trees; I lurk in the moonlight; I often feel as if I am swimming, so much the warm, luminous air envelops me and lifts me softly."
The book was written in 1895 (the year of Gide's marriage) and appeared in a review in 1896 before publication the next year. Gide admitted to the intellectual influence of Nietzsche's Also Sprach Zarathustra but the true genesis was the author's own journey from the deforming influence of his puritanical religious upbringing to liberation in the arms of North African boys. Andre Maurois draws attention to the similarity of moral outlook between the two works in these words: "Like Thus Spake Zarathustra, Les Nourritures Terrestres is a gospel in the root sense of the word: glad tidings. Tidings about the meaning of life addressed to a dearly loved disciple whom Gide calls Nathanael." "Nathaniel" comes from the Hebrew name נְתַנְאֵל, "Nethan'el", meaning "God has given".
The book has three characters: the narrator, the narrator's teacher, Menalque, and the young Nathanael. Menalque has two lessons to impart through the narrator. The first is to flee families, rules, stability. Gide himself suffered so much from "snug homes" that he harped on its dangers all his life. The second is to seek adventure, excess, fervor; one should loathe the lukewarm, security, all tempered feelings. "Not affection, Nathanael: love ..."
A subtly structured collection of lyrical fragments, reminiscences, poems, travel notes, and aphorisms, the book came to command such a following after World War I that Gide wrote a preface stressing the work's self-critical dimension. Nevertheless it influenced a generation of young writers, including the existentialists Albert Camus and Jean-Paul Sartre, to cast off all that is artificial or merely conventional. In Roger Martin du Gard’s The Thibaults, two of the main characters, Jacques Thibault and Daniel de Fontanin, are deeply changed after reading the book.Gide develops the theme of the relationship with matter and natural elements, in an ode that is both lyrical and sensual. Through the work, an almost extatic enthusiasm for life emerges, making the text a kind of gospel of the awakening of the senses; in fact, it seems that sensuality almost acts as a profession of faith, or even a new religion, so much so one feels fervour and emotion, especially for the earth, the harvests, the fruits, all that is physical and fleshy.The entire text can be considered a true hymn to the libido sentiendi.In terms of filigree, it is also about sexuality, even if this theme is not directly mentioned in the book. In this sense, the work can be interpreted as a hyperbole on desire and eroticism, the evocation of harvests and "food" having the value of a symbol of the desired body. It is, above all, a book on desire, on thirst, the objects evoked as a pretext for expressing this desire, often unquenchable, irrepressible, overflowing, which succeeds in magnifying and transcending the whole world.It is not strictly speaking a novel, but rather a long prose poem in which sensuality is expressed, tinged with fervour and contact with nature.The question of the kind of terrestrial food finds its answer in an aesthetics of diversity. Gide proposes hybrid structures, made up of obsolete poetic forms (ballads, rounds), fragments of diaries, notebooks, wandering notes. Despite the current editions, it is important to know that the original manuscript took great liberties in terms of typography, even going so far as to resemble the future modernist verses and other calligrams in vogue at the beginning of the twentieth century. On the other hand, editors have tended to pick up the text and some verse episodes are now presented as a block of prose.
The novelistic aspect of the book is to be found in the theme of travel, in the existence of emblematic characters and above all in the reconstruction of a hedonistic life that transgresses traditional morality.The Foods are in a sense the joyful and solar counterpart of Oscar Wilde's De Profundis, a dark work in which the Irish writer also developed, but "negatively" through absence and lack, a form of absolute sensuality that seeks to free itself from the narrow moralism of the Victorian era, conformism and social conventions.
en.wikipedia.org/wiki/The_Fruits_of_the_Earth
Gide was born in Paris on 22 November 1869, into a middle-class Protestant family. His father was a Paris University professor of law who died in 1880. His uncle was the political economist Charles Gide.At a very early age, André began learning to play the piano, which would be his lifelong companion. An accomplished pianist, he regrets that he did not meet excellent teachers early enough to make him a true musician. In 1877, he entered the Alsatian School, beginning a discontinuous schooling2. Indeed, he was soon dismissed for three months after letting go of his "bad habits", that is to say masturbation. Shortly after his return to school - "healed" by the threat of a doctor's castration and the sadness of his parents - the disease keeps him away from it again. In spite of the medical and parental objections, onanism - which he calls "vice" 3 and which he does not practice without a strong taste for sin and sad defeat - will later regain its place among his habits, which will make him write at the age of 23 that he lived until he was "completely virgin and depraved".
Gide was brought up in isolated conditions in Normandy and became a prolific writer at an early age, publishing his first novel, The Notebooks of André Walter (French: Les Cahiers d'André Walter), in 1891, at the age of twenty-one.The death of his father on October 28,1880, pushed him away from normal schooling. Already marked by the death of a little cousin, Émile Widmer, who provoked a deep crisis of anguish in him, baptized, according to Goethe, by the German name Schaudern, André lost, with the death of Paul Gide, a happy and tender relationship, which left him alone in front of his mother:"And I suddenly felt all wrapped up in this love, which now closed on me. During one of his stays in Rouen in the fall of 1882, he surprised his cousin Madeleine's secret sorrow about her mother's adulterous relationships. In his emotion, he discovers "a new orientation to his life". There a long and tortuous relationship emerges. Gide is fascinated by the young girl, by her consciousness of evil, her rigid and conformist sense of what to do, a sum of differences that attracts her. Little by little, he builds a perfect image of his cousin that he falls in love with, in a purely intellectual and yet passionate way.Between 1885 and 1888, the young André lived through a period of religious exaltation - described as a "seraphic state" 8 - which he shared with his cousin through extensive correspondence and common readings. He draws heavily from the Bible, Greek authors, and practices asceticism. In 1885, he met François de Witt-Guizot at La Roque-Baignard, whom he associated for a time with his mysticism. The following year, Pastor Élie Allegret, a summer tutor, became his friend.In 1887, he returned to the Alsatian School of rhetoric and met Pierre Louÿs, with whom he became involved in a passionate friendship, which revolved around literature and their common desire to write. The following year, while preparing for the baccalaureate in philosophy (at Henri-IV high school), he discovered Schopenhauer. After graduating from the baccalaureate in 1889, he began to attend literary fairs, meeting many writers. His first collection, Les Cahiers d' André Walter, through which he hopes to obtain a first literary success and the hand of his cousin, meets with the favor of criticism, failing to attract the public's attention. In the spring of 1892, a trip to Germany without his mother was an opportunity to deepen his knowledge of Goethe. Gide then begins to think that "it is a duty to be happy. In the Elégies romaines, he discovers the legitimacy of pleasure - unlike the puritanism he has always known - and it gives him a "temptation to live". It's also the beginning of tension with her mother. However, the latter decided to support her son in the conquest of Madeleine, against the rest of the Rondeaux family and the young girl herself, who remained firmly opposed to a union with her cousin.
In the summer of 1892, he wrote the Voyage d' Urien, which was co-authored with the painter Maurice Denis, who produced thirty original lithographs16. The book is ignored by critics and little encouragement is given to those close to them. In the fall, after a brief barracks stint - poorly experienced - and five review boards, Gide was reformed. The following year was marked by the birth of a new friendship - initially exclusively epistolary - with Francis Jammes, which Eugène Rouart presented to him.However, it is another friendship, that of Paul Laurens, which will play a decisive role. The young painter, as part of a scholarship, must travel for one year and invites him to join him. This journey, reported in "Si le grain ne meurt" is going to be for Gide the occasion of a moral and sexual emancipation that he called for from his vows. They left in October 1893 for a nine-month trip to Tunisia, Algeria . André then moved to Biskra in Algeria, where they continued her romance, in the arms of the young Mériem. Juliette Gide's sudden intrusion, worried about her son's health, broke their intimacy before the journey resumed without her in April 1894.
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👻Avalon Head and reborn body. Props by drd.
A bit of a first - just set up for a battery of selfie-stick work, and the club shooter pointed her camera at us. Bambi is looking better and better every time I see her, and by now is of course one of the Grand Dames of the local drag scene.
Scientists have recently discovered a food that greatly reduces sex drive. It’s called wedding cake.
Je me prélasse dans la lueur de Bambi. Un peu une première - j'avais mis en place une batterie de travaux de selfie-stick, et le tireur du club a pointé son appareil photo vers nous. Bambi a l'air de mieux en mieux à chaque fois que je la vois, et c'est bien sûr l'une des grandes dames de la scène drag locale.
Les scientifiques ont récemment découvert un aliment qui réduit considérablement la libido. C'est ce qu'on appelle le gâteau de mariage.
Please, read my profile, or visit my website!
SVP, lire mon profil, ou visiter mon page sur Web!
Interestingly enough, the Jewish feast of customs and carnivals: Purim,
is not far from the Christian one. In a few places people organize a parade called 'Ad Loh Yada' meaning:
"Until do not know" (due to drunkenness). The photo was taken in a small remote place in the Israeli desert called
Sdeh-Boker, where Israel's founder and first PM: David Ben-Gurion, lived.
one can only wonder what would this serious and ideologist man say about this full of energies and libido, sensual event...
The Hunter in the Red PVC Cap is still giving an impromptu rock and roll guitar rendition on his knee. Don't miss that.
the situation on the Tiger front has been grim for quite sometime. The Planet Earth is slowly relinquising its flora and fauna as humankind expands in uncontrollable numbers and fritters away Nature and its resources in a headlong dive to extinction for almost all.
Continuing the series
Tiger Tiger, Fading Bright !
The tigers in India are facing the toughest odds and are on the brink of being wiped out. There is a big industry based on tiger claws and bones etc that drives up the demand for the killing of this beautiful beast.
Men will buy a enlargement (is enhancement the right choice of word ?) of libido anytime anywhere but Chinese men will pay top dollars for tiger remains to increase theirs.
If you wonder why all the grand conservation efforts to save the tiger are failing, go no further then the politics of funding tiger conservation. It has been known for years that it is allegedly a big sham with mega bucks and mega publicity but almost nil results.
If you have the time it would be interesting to read some interesting thoughts and the current day reality on the tigers in an exchange between Thatzme and Aditya Singh from Rajasthan.
One can only hope that one sees a tiger in the wild in one's life time as the future generation may not have that privilege anytime soon. So if you are young and in India, head out and go see the elusive tiger before it is too late.
India has only 1150 - 1600 tigers that are available in the wild as per the Minister of Environment Jairam Ramesh.
Will Viagra be the Saviour of the Indian Tiger ?
This is an enactment of the situation at a Kerala street show during Onam in Thrippunithra near Cochin on the Atthachamayam day.
DSC_0841 jpeg via ACR
Goddess Shanna McCullough has very particular tastes in the sluts she collars and conditions to become hypersexual minions spreading her erotic plans to take over the world with a strap on harness, red hair, and an truly percipient insight into the power of the libido.
So in keeping with her standards, I lost the stretch marks and the cellulite and the boob veins of my former over-the-hill cougar BCS and went more for the Malibu Strings, Boutinela bikini model look!
Shambhala
HKD
Gibt es Shambhala, das buddhistische Paradies?
Shambhala ist ein mythisches Königreich (im buddhistischen Kulturraum) in dem eine erleuchtete Gesellschaft einen ebenso erleuchteten König hat. Selbstverständlich führt er den Willen des Volkes aus, denn sein Wille ist identisch mit dem des Volkes. Das ergibt keine Probleme, denn der Grad der Bewusstheit ist bei allen Beteiligten auf demselben Niveau.
Im Zustand des „Einheitsbewusstseins“ ist sich jeder gleichzeitig der Einheit bewusst, das heißt die Trennung oder Individualität ist für den Augenblick aufgehoben, weil jeder den anderen aus tiefster Erkenntnis heraus ebenfalls als göttliche Erscheinungsform erkennt.
Der Bewusstseinszustand der Einheit aber verliert sich langsam wieder und sinkt auf die Egoebene, die Ebene der Trennung und der Vielheit.
Die erste Stufe der Vielheit auf der Subjektebene ist für mich jene Stufe auf der das Bewusstsein sich noch als Gottheit erkennt. Es ist vergleichbar mit dem Bewusstsein darüber welches Softwareprogramm die Abläufe im Computer steuert. Welches Programm läuft in mir ab: Dionysos oder Apollon? Oder bin ich eher eine Aphrodite und meine Handlungen werden von eher sinnlichen statt rationalen Begierden bestimmt?
Auf dieser (Götter-) Ebene herrscht noch ausreichend Bewusstsein und Bewusstheit darüber, dass man „göttlichen Ursprungs“ ist. Sich selbst und den anderen als Gottheit wahrzunehmen erzeugt gegenseitigen Respekt.
Namaste, der Gruß, den ich in Nepal und in Indien hörte, ist sinngemäß gleichbedeutend mit der Übersetzung: Das Göttliche in mir grüßt das Göttliche in dir.
Den anderen Menschen als Gottheit wahrzunehmen ist die erste Stufe auf dem Weg ins paradiesische Shambhala, in dem der König keinen eigenen (Ego-) Willen dem (ebenfalls egolosen) Volke aufzwingen könnte.
Gleichberechtigung ist der springende Punkt in der dennoch rivalisierenden Götterwelt. Die Kraft des Verstandes (Apollo) kämpft gegen die sinnliche Lust (Aphrodite).
In der Star-Trek-Serie Voyager kämpft der vulkanische Logiker Tuvok im Ponfar (Brunftzeit der Vulkanier) mit allen Mitteln gegen den Ausbruch seiner freudianischen Libido. Hier zeigt sich der Kampf des Logos gegen den Eros sehr deutlich innerhalb der Psyche.
Wer oder was gibt den Impuls zu dem biochemischen Ungleichgewicht? Die eigene Seele, die nicht zu verwechseln ist mit dem Ego. Das alltägliche Bewusstsein (Ego) hat nämlich die Stufe der „eigenen Göttlichkeit“ verlassen und fühlt sich daher auch von Gott verlassen.
Kehrt die Seele zurück, erlöst sie das im Wahn der Trennung befindliche Ego. Der Wahn des Egos und mit diesem die Angst lösen sich auf im Urvertrauen der zurückgekehrten Seele.
Kinder schwimmen in diesem Urvertrauen und Weise, die wieder geworden sind wie die Kinder.
Und schon ist das Paradies der Kindheit wieder da. Der selige, unschuldige und damit paradiesische Zustand verzaubert die alltägliche Welt und da taucht Shambhala aus den Nebeln des Vergessens wieder auf und die goldenen Zinnen funkeln in der aufbrechenden Morgensonne.
Und nun ist der ganze Lebensweg erkennbar: Paradies – Vertreibung – Rückweg – Zurück im Paradies (der Kindheit).
Pilger, die Shambhala oder das Paradies suchen sind auf dem Rückweg. Gibt es Shambhala wirklich? Meine Antwort ist Ja, und der Weg lohnt sich. Du erkennst dich!
HKD
Digital art based on own photography and textures
HKD
WITH THE LIGHTS OUT
IT´S LESS DANGEROUS
HERE WE ARE NOW
ENTERTAIN US
I FEEL STUPID
AND CONTAGIOUS
HERE WE ARE NOW
ENTERTAIN US
A MULATTO
AN ALBINO
A MOSQUITO
MY LIBIDO
YAY YEAH
I´M WORSE AT WHAT
I DO BEST
AND FOR THIS GIFT
I FEEL BLESSED
Solo, ante la luz
sin vuelo
sin velo
sin ocaso
respirando eternidad
solo, ante la dulce víbora
triturando su veneno
volteando sus cinco caras
solo, libido y sin máscaras
sin agitación
sin dolor
casi sin respirar
solo, ante su conspiración
sin armas
sin patrañas
sin desafíos
volteando oscuro por radiante
solo, pero con el suave abanico
que ventila mi paz
Vintage photo by Terry O'Neill.
Today, 15 February 2023, American actress and sex symbol Raquel Welch (1940) has died at the age of 82 after a short illness. She was one of the icons of the 1960s and 1970s. Welch first won attention for her role in Fantastic Voyage (1966). In Great Britain, she then made One Million Years B.C. (1966). Although she had only three lines in the film, a poster of Welch in a furry prehistoric bikini became an amazing bestseller and catapulted her to stardom.
Raquel Welch was born Jo Raquel Tejada in 1940 in Chicago, Illinois. She was the first of three children born to Bolivian Armando Carlos Tejada Urquizo, an aerospace engineer, and his Irish-American wife Josephine Sarah Hall, who was the daughter of American architect Emery Stanford Hall. At age 14, Raquel won her first beauty title as Miss Photogenic. She graduated from high school in 1958 and a year later, after becoming pregnant, she married her high school sweetheart, James Welch. Seeking an acting career, Welch won a scholarship in drama, took classes at San Diego State College and won several parts in local theatre productions. She got a job as a weather forecaster at KFMB, a local San Diego television station. After her separation from James Welch, she moved with her two children to Dallas, Texas, where she worked as a model for Neiman Marcus and as a cocktail waitress. In 1963, she went to California, where she met former child star and Hollywood agent Patrick Curtis who became her personal and business manager and second husband. They developed a plan to turn Welch into a sex symbol. After small roles in a few films and TV series, she had her first featured role in the beach film A Swingin' Summer (Robert Sparr, 1965). She landed a seven-year nonexclusive contract at 20th Century Fox and was cast in a leading role in the sci-fi film Fantastic Voyage (Richard Fleischer, 1966) opposite Stephen Boyd. Welch portrayed a member of a medical team that is miniaturized and injected into the body of an injured diplomat with the mission to save his life. The film was a hit and made her a well-known name. Fox Studio loaned her to Hammer Studios in Britain where she starred in One Million Years B.C. (Don Chaffey, 1966). Her only costume was a two-piece deer skin bikini. Gary Brumburgh at IMDb: "Tantalizingly wet with her garb clinging to all the right amazonian places, One Million Years B.C. (1966), if nothing else, captured the hearts and libidos of modern men (not to mention their teenage sons) while producing THE most definitive and best-selling pin-up poster of that time."
Raquel Welch stayed in Europe for the French comedy Le Plus Vieux Métier du monde/The Oldest Profession (Michael Pfleghar a.o., 1967), a typical European anthology film of the 1960s. A collection of sketches on prostitution through the ages, made by a pan-European cast and crew. Some of the most sensual stars of the era played the leads: Michèle Mercier, Elsa Martinelli, Anna Karina, Nadia Gray, Jeanne Moreau and Welch. She played Nini in the episode La belle époque/The Gay Nineties by German director Michael Pfleghar. When Nini discovers by accident that her antiquated customer (Martin Held) is a banker, she pretends to be an honest woman who has fallen in love with him. She even pays him, just like a gigolo! Varlaam at IMDb: "Raquel Welch stars in the most amusing episode, relatively speaking. It's apparently set in the 1890s Vienna (Emperor Franz Josef is on the paper money). One could probably say that Raquel's greatest classic role was as the injured party in the Cannery Row lawsuit. Finely nuanced she was not, normally. But she makes an appealing light comedienne here, and she can really fill a lacy Viennese corset. The Belle Époque it assuredly was." Next, she appeared in the British seven-deadly-sins comedy Bedazzled (Stanley Donen, 1967). She played the deadly sin representing 'lust' for the comedy team of Peter Cook and Dudley Moore. In Britain, she was also the title secret agent in the sexy spy spoof Fathom (Leslie H. Martinson, 1967). In Italy, she starred with Monica Vitti and Claudia Cardinale in Le Fate/The Queens (Mauro Bolognini, 1966) and with Edward G. Robinson and Vittorio de Sica in The Biggest Bundle of Them All (Ken Annakin, 1968). Back in the United States, she appeared in the Western Bandolero! (Andrew V. McLaglen, 1968) with James Stewart and Dean Martin, which was followed by the private-eye drama Lady in Cement (Gordon Douglas, 1968) with Frank Sinatra. She caused quite a stir in her ground-breaking sex scenes with black athlete Jim Brown in the Western 100 Rifles (Tom Gries, 1969).
Raquel Welch's most controversial role came in the comedy Myra Breckinridge (Michael Sarne, 1970), based on Gore Vidal's 1968 novel. She took the part of the film's transsexual heroine in an attempt to be taken seriously as an actress. The picture was controversial for its sexual explicitness, but unlike the novel, Myra Breckinridge received little to no critical praise. It is cited in the book The Fifty Worst Films of All Time. Jason Ankeny at AllMovie: "Her situation was unusual; she was certainly a star and a household name, yet few people ever went to see her movies." Welch took a measure of control over her screen persona, producing and starring in Hannie Calder (Burt Kennedy, 1971), the first film in which she carved out a place in movie history portraying strong female characters and breaking the mould of the submissive sex symbol. She altered the image further with Kansas City Bomber (Jerrold Freedman, 1972), insisting on doing her own stunts as good-hearted roller derby star Diane 'KC' Carr. She followed that with a series of successful films in Europe that included the thriller Bluebeard (Edward Dmytryk, 1972) starring Richard Burton, the swashbuckler The Three Musketeers (Richard Lester, 1973) - for which she won a Golden Globe, the sequel The Four Musketeers (Richard Lester, 1974) both with Oliver Reed and Michael York, and The Wild Party (James Ivory, 1975). A big hit in Europe was the French action-comedy L'Animal/Animal (Claude Zidi, 1977) starring Jean-Paul Belmondo. Raquel Welch's unique persona on film made her one of the reigning icons of the 1960s and 1970s. Later, she made several television variety specials. In 1980, Welch planned on making a comeback in an adaptation of John Steinbeck's Cannery Row (David S. Ward, 1982), but was fired by the producers a few days into production. The producers said that at 40 years old she was too old to play the character. She was replaced with Debra Winger. Welch sued and collected a $10.8 million settlement. She starred on Broadway in Woman of the Year, receiving praise for following Lauren Bacall in the title role. She also starred in Victor/Victoria, having less success. In 1995, Welch was chosen by Empire Magazine as one of the 100 Sexiest Stars in Film History. Her later films included the hit comedy Legally Blonde (Robert Luketic, 2001), starring Reese Witherspoon, and Forget About It (BJ Davis, 2006) with Burt Reynolds. Welch was married four times and was the mother of Damon Welch (1959) and actress Tahnee Welch (1961).
Sources: Jason Ankeny (AllMovie), Gary Brumburgh (IMDb), David Carless (IMDb), Bob Taylor (IMDb), Varlaam (IMDb), TCM, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Good Morning!
The Miracle of Creation
The Energy of Life…
Let me tell you ‘bout the birds and the bees and the flowers and the trees…
Now I know… It will be a happy Easter next year!
I took this snapshot a couple of days ago.
A bit photoshop, a selfmade texture and the picture tells a nice story, doesn’t it?
I think the magic and the energy of the Tree of Life can be seen and felt… (I hope).
HKD
By the way I love Flickr and creating these pics for my friends!
I was ill for quite a long time and could not walk very well.
This time has past and now I take many photos in the countryside where I live.
These wonderful playing sheep I found just around the corner…
Back in my studio I play with my computer…
Inside – outside – inside again… The two worlds work together so well…
And in fact it’s all one…
HKD
Unter dem Einfluss des Baums des Lebens... ;-)
Der Baum des Lebens ist ein sehr vielschichtiges Symbol und als ein solches auf der ganzen Welt und bei allen Völkern zu finden.
In diesem Fall ist der Aspekt der Leben spendenden Energie hervorgehoben.
Der Baum des Lebens ist die Kraft des Lebens.
HKD
The stroy of Glossy - Full stroy
Chapter 1 - Growing up in Luminous City
Chapter 2 - The royal wedding of Magicalu
Chapter 3 - The blizzard dragon, White-sheen
Chapter 4 - A new life in Hexonu
Chapter 5 - Shiny sorcereress
Chapter 6 - Saving the world
Chapter 7 - the retrun to Dommalex
Chapter 8 - Shimmerah's Downfall
Chapter 9 - The Influence of Pink Lust
Chapter 10 - The wondering sorceresses
Chapter 11 - The end of the magical world
Chapter 12 - Lucrezia Sinfull
Chapter 10 - The wondering sorceresses
Shiny ruled for 170 years after the the fall of Shimmerah. Queen shiny got more and more addicted to pink lust who in the end was always taken it. She lost her crown after her people no longer saw her as a queen but as a slutty girl who only care about sex and kinky fun. Glossy now aged 246 but still looked aged 25 due to her magic was also a very kinky girl but seeing how evil Shiny had gotten she removed all the pink lust and huntend down Mistress Luna. She found out that Luna was with Shimmerah's old palace and found that she had a pink lust factroy from the old queens and princess's and over lustful girls she could find. Glossy tryed to free the girls the end the lust pooring out of them. Luna at this time was like an evil dark latex queen and had lots of followers. She wore all black latex like Shimmerah did and was still in worship to Shimmerah as Shimmerah's dark palace had become an temple of the very love and worship to Shimmerah. Many also looked to Luna as a dark queen where many called her the Rubber Mistress.
Glossy could not free the lusting girls while having a feeling there not wanted to be let free, As queen Shiny was loving her kinky lustful fun, and the strorys of queen Silverleaf said the same. Glossy did telport back and to many times as Luna was using this lust to fule her power trying to make all fall in lust to the sexyness of Shimmerah while making a new world order. The sky all over Gonzzul was a dark pinkish black and no one plant grew. Luna had corrupted all the land till only demons lingerd there. Another 5 years later word had it that Luna came to see Shiny again but Shiny was nolonger in her palace as people of Magicalu had sent her from the land removing her crown, The latex of Magicalu with with out queen nor king. Shiny had gone to the Hell lands which was ruled by Belle-glosse the dark latex queen of evil-lust. The Hell-land where once Wallfrot and Toweron and now a barren dark land which the The Unyielding Knights of Latxrubbero where making a great wall around to keep all out and all demons in. Glossy heard that Shiny Had enterd into the Hell lands seeking pink lust from Belle-glosse.
When this bad news got to Glossy she went after Luna with all the spells she knew and even had summoned back the The blizzard dragon, White-sheen who was killed long ago. White-sheen this time was formed not from ice in Magicalu but formed the dark crystals of Gonzzul. White-sheen was 500 meters long with a wing span of 400 meters. It took apart some of Shimmerahs palace and Luna and her followers of latex witchs went into a portal. After Glossy went out to look for Luna again and let the lusting latex girls of the pink lust factroy go. But the latex girls wanted never ending Sexual stimulation while they was not happy with Glossy, begging her for more pink lust. So Glossy took to girls to her home which was now back in Hexonu and give them all there own shiny latex rooms which was filled with all kinds of latex sex toys. Glossy felt she had to keep them in there lust and greed or they would end up making there way to the Hell lands.
For the next 325 years Glossy wondered about the world and to some other worlds, She was known in many worlds as The wondering sorceresses. She helped many and saved many. Her powers was many kinds of magic such as, Green magic, white magic, and black magic. She had become very powerful and had power over low-classed demons where She went to the Hell lands and cast off of Belle-glosse's army of demons into the dark void and not long later cast Belle-glosse to hell along with Shiny who was now a lust demon of sex and latex lust known as the Evil rubbery queen of sex.
Glossy had the power to dream-walking to be in more places then one at the same time. It had been 500 years from when Shimmerah was taken, But Glossy was trying to become the most powerful as Luna was still around and she needed to stop Luna and Shimmerah for if she came back one day.
More about Glossy
Name: Glossy
Her parents: Dolly her mother
Birthplace: Luminous City - Queendom of Shinyan
Lesbian relationship with: Shiny
Her queendom: Hexonu
Continent - The 12 kingdoms and queendoms
Planet: Dommalex
Height : 5,7
Age in image: 2575
Hair colour: Black
Eye colour: was blue but not glows gold
Favourite colours: Black and gold
Sexually: lesbian
Libido: High
Personality: Selfish, lustful, bitchy, but not evil
How she see's herself, attractive alluring, seductress, sexy and hot
Favourite fashion: Sexy shiny latex clothing,
Favourite clothing, sexy latex outfits, short-skirts, skin-tight catsuits, corsets, and thigh high boots, dress and lots many latex layers
OMG not in a flea market !!
Came across these strange products at the flea market in Serikin, Sarawak, Borneo. Never came across my mind that people buy and use products like “Gambier or Gambir Sarawak” and animal parts to improve libido ( as claimed by the local and Indonesian sellers) at a flea market. This particular stall specializes in Gambir Sarawak, crocodile penis and home made creams from plants and animals to alleviate premature ejaculation.
Drury- Crane? You're working with Zodiac?
Crane- Me? Working with Zodiac Master. That notion is absurd.
Miranda- Then who?
Crane- Miss Gaige, I may be many things but I'm afraid a rat is not one of them.
Miranda- Damn it. Tell me who sent you or the next bullet goes in your skull
Crane- My dear child. You think that I fear death?
Miranda- Please... just tell me who's after my husband
Crane- Foolish girl. The question isn't who's after your husband. It's who isn't.
Miranda- What are you?
Crane- Haunting isn't it? The revelation of just how alone you really are.
*Miranda punches Crane in the face, knocking him out*
Drury- Well he's a bundle of sunshine. As usual
-----------
???- I hear Mr Lynns and his accomplices are still alive.
Zodiac- Yeah, a bit of a cock up on Norbert's part really.
???- You must understand that when we made our deal, I was assuming it would be you who was going to dispose of them. *Not* Planet Master. Care to explain that to me?
Zodiac- Well, I was busy.
???- Oh? Explain 'busy' to me.
Zodiac- Well, the thing is I knew I didn't have the man power to take Lynns in a straight fight so I've been collecting powers. From the New Zodiac I took the power to project Zodiac symbols. Trust me, that comes in handy. I also King of Cat's lust and Norberto's can-do attitude! And, soon... Soon I will have Chancer's luck
???- I'm sorry, you took King of Cat's lust?
Zodiac- Yeah. That one was an accident but I sure am enjoying it
???- And how exactly is an insatiable libido going to help you to defeat Firefly?
Zodiac- Oh it won't. But it will help me be better in bed.
???- Mr... Master, my sources tell me that Tiger Shark has made a deal with Trump. Walker's staying in office. That means any action taken against Garfield Lynns no longer has any meaning. Our business has concluded
Zodiac- No! You promised you'd tell me where Human Magnet is! You swore!
???- I said I'd tell you if you eliminated Lynns. Which you didn't
Zodiac- Listen you dumb fuck, you're going to give me another chance or the next body I take will be yours!
???- Don't be ridiculous.
*He hangs up*
Sionis- Idiot. Guard? I'm going out for a while.
Guard- Of course Mr Sionis.
-----------------------------
Falcone- Sionis. You said you could take care of our pest problem.
Sionis- That I did.
Falcone- And yet... Walker is still mayor
Sionis- Correct
Falcone- This does not bode well for you, my friend
Sionis- I understand.
Maroni- I heard that this ally of yours, Zodiac whatever, has gone rogue.
Mosaic- It's true, he's using Clifford DeVoe's chair to gain meta abilities
Thorne- Really? Then there is a chance we can use this to our advantage. If this Zodiac kills Walker-
Globe- He'd be a martyr.
Thorne- What's so bad about that?
Maroni- What's so bad about that? We want him destroyed, Rupert. That's why Roman had Doctor Elliot forge the DNA test. Why he had Crane drug the Mayor. There's no benefit to a mayor we can't control.
White- Just because he's still in office doesn't change anything. Joe Rigger, Firebug, told me that the Pyro Guild Association are taking action against him. In response to Mr Garth's unfortunate passing.
Maroni- Please. We can't seriously be putting our faith in some pyrotechnic lunatics to deal with Walker.
White- It's our best gamble. It is either that or Zodiac Master. Who would you trust?
Sionis- If I may say something
Maroni- I've had enough of your crazy ideas Sionis.
Falcone- Enough. Speak.
Sionis- Thank you Don Falcone. There's one gangster he will still listen to. Tiger Shark
Maroni- That fool? You can't be serious.
Sionis- Listen. If we were to bring Dr Gaige back into the fold, he could manipulate Walker for us
Falcone- A most intriguing proposition.
Globe- Yes, but what about Zodiac?
Sionis- Well. I know just the man who's got a boner to pick with him
Globe- Eh?
Sionis- It was a pun. You'll see
"The Matrix is everywhere. It is all around us. Even now, in this very room. You can see it when you look out your window or when you turn on your television. You can feel it when you go to work... when you go to church... when you pay your taxes. It is the world that has been pulled over your eyes to blind you from the truth."
This image is one of three pieces I created for a Pee-wee Herman themed art show. Initially I knew I wanted to make surreal shots with Pee-wee. When I started looking up locations and re-watching Pee Wee's Big Adventure over and over I stumped upon something deep n juicy.
-Present-
In the 1985 film Pee-wee's Big Adventure the address seen on Pee Wee's house is 1848. This is the address of the house in real life and the address seen on screen. The left side of Pee Wee's front yard is filled with Native Americans, a teepee, and a totem pole. Moving right you see domesticated animals, a SCUBA diver, and finally on the far right a rocket ship. Smack in the middle, above the front door is the address 1848. 1848 is the year gold was discovered in California.
At first gold nuggets were easily picked off the ground by independent prospectors. Later, gold was recovered from streams and riverbeds using panning techniques. The craving for gold led miners to develop more sophisticated methods. Technology advanced and soon gold prospecting reached a point where significant manpower was required, thus increasing the proportion of gold companies to individual miners.
Early in the film, while inside Chuck's Bike-O-Rama Pee-wee claims to be a "rebel" and a "loner" and it's after making these claims that Pee-wee loses his most valued possession.
-Past-
When Pee-wee's friends can't help him get a lead on his missing bike he turns to a fortune teller, Madam Ruby. Madam Ruby convinces Pee-wee his bike is in the basement of the Alamo.
The gold discovery of 1848 happened in January. Moving forward through the year we have another major event. In February 1848 the Treaty of Guadalupe Hidalgo is signed. This is the treaty that ended the Mexican-American war. The Battle of the Alamo was a pivotal event in the Texas Revolution and a predecessor to the Mexican-American War. All Texians were slain. America got it's ass kicked. It was a loss that prompted soldiers to fight harder than ever for what they believed in.
After arriving at the Alamo Pee-wee takes the guided tour and finds there is no basement. His whole search is derailed. But why would Madam Ruby mislead him? She didn't. He misinterpreted.
What if I told you Morpheus was Cowboy Curtis on Pee-wee's Playhouse? Morpheus is the Greek god of dreams. The opening scene to Pee-wee's Big Adventure is a dream. Enroute to the Alamo Pee-wee has an intimate discussion about dreams with Simone, inside the mouth of a T-Rex.
In dream mythology the location of a basement represents our hidden motives, unconscious, unknown feelings, memories or past experiences, your biological past, and the place where your conscious mind contacts hidden powers, universal wisdom, and even other minds. It is from the basement, below, or within, that libido or life force arises. Fears and terrors sometimes come from downstairs. This is because it is the place we hide our old memories and hurts – in the unconscious. But it also holds the understanding of your wholeness.
Back to the movie. After his loss at the Alamo, Pee-wee goes to a bus station where he happens to run into a very excited Simone. Simone is on her way to France. She's following her dream. Going back to that opening scene to the film it was Pee-wee's dream to win the Tour de France.
Moving even further through the year 1848 we get to a wave of revolutions, a series of widespread struggles for more open-minded governments which spread as far as Latin American. And where did all these revolutions begin? France. When Pee-wee tells Simon the Alamo was built without a basement he says, "They don't tell you that stuff in school, it's something you just have to experience." Pee-wee is having an inner revolution.
Next he calls Dottie in the Bike-O-Rama and apologizes. He says he's learned something out there on the road, humility.
-Future-
Throughout his journey Pee-wee learns the power of making others happy. He inspires Simon to follow her dreams, entertains a crowd at a Texas Rodeo, and dances for the Satan's Helpers in a biker bar. All this before discovering his bike, his treasure, his gold is in California.
The revolutions of 1848 end in Austria. In December the Emperor, Ferdinand I willingly stepped down from the thrown. Remember the opening scene to the movie, Pee-wee is millimeters from being crowned (victor of tour de France) when his alarm clock wakes him, spiraling him into the most pivotal day of his life, the day he lost everything, an ass kicking that pushed him to fight harder than ever.
Pee-wee's Big Adventure ends with Pee Wee playing a bit part in the story of his life. During the premiere of his big movie Pee Wee gives back to all the people who've helped him in his journey. And at last, loner no more, selflessly he rides off with the real gold, eternal love.
Icing on the cake:
while inside the Magic Shop the last thing Mario offers Pee-wee is a blue boomerang bowtie, to which he responds: "Come in red?" Pee-wee took the red bowtie, he willingly chose to leave the slave world and see how deep the rabbit hole goes.
Double icing on the cake:
the first image of Pee-wee in waking life is him putting on rabbit slippers.
Triple icing on the cake:
Pee-wee leaps on the fireman pole in his house and slides down the hole.
View full size 667 x 1000
THE ZEN COW
I am riding the Cow
It could have been an Ox.
But no – it is a Cow.
She gives wonderful milk.
The sound of my flute brightens her morning.
O beautiful cow.
How much I adore you!
HKD
Ich reite die Kuh.
Es hätte auch ein Ochse sein können.
Aber es ist eine Kuh!
Sie gibt wunderbare Milch
Ich erfreue sie mit dem hellen Klang meiner Flöte.
O wunderschöne Kuh.
Wie sehr schätze ich dich!
HKD
Ich besteige den Ochsen
und reite
langsam nach Hause zurück.
Die Stimme meiner Flöte
klingt durch den Abend.
Ich dirigiere
den endlosen Rhythmus,
indem ich mit Schlägen der Hand
die pulsierende Harmonie
abmesse.
Braucht der noch Worte,
der diesen Sinn versteht?
Originaltext (aus dem Chinesischen?) ins Deutsche übersetzt.
Returning
A long journey comes to an end.
I am back home.
No need watching the cow.
Now I am watching the moon…
HKD
Rückkehr
Eine lange Reise kommt zu ihrem Ende.
Ich bin wieder Zuhause.
Es ist nicht mehr nötig, die Kuh zu beaufsichtigen.
Nun beobachte ich den Mond.
HKD
Der Ochse verschwindet
Rittlings auf dem Ochsen
erreiche ich mein Heim.
Ich bin heiter.
Es gibt keinen Ochsen mehr.
Die Dämmerung
ist hereingebrochen.
In glückseliger Ruhe
habe ich in meiner
strohgedeckten Hütte
Peitsche und Seil
zurückgelassen.
Originaltext (aus dem Chinesischen? Japanischen?) ins Deutsche übersetzt.
Ginetta G33 (1990-93) Engine 3947cc V8 Rover
Registration Number L 1 BDO (Cherished number LIBIDO, first allocated for issue from Lincolnshire for Boston)
GINETTA SET
www.flickr.com/photos/45676495@N05/sets/72157623665201189...
Under the new management of Martin Phaff, Ginetta launched to entirely different new cars at the 1990 British International Motorshow, while the G32 was a 2+2 1600cc Coupe, the G33 was to be a hairy chested 4 litre Convertible.
The G33 was originally conceived with jottings on a table cloth at a Pizza Restaurant by Mark Walklett and former TVR designer Noel Palmer, the table cloth was taken away and by the end of the evening had become the blueprint for the new model. The G32 was always intended to be the companies new volume sales model while the G33 remained more of a side project. The idea was to squeeze a Rover 3.9 litre V8 into the G27. A prototype appeared at the 1990 Motor Show and was subsequently tested by Tiff Needell on BBCs Top Gear, resulting in a flood of unexpected enquiries.
The G33 road car became a lightweight Convertible, suitable for road and track, with a glass reinforced polyester resin body on a separate galvanised chassis, independant suspension all round, with double wishbones and front and rear anti roll bars. Gas filled, adjustable shock absorbers with adjustable collar coil springs are fitted all round., a Salisbury differential, disc brakes (inboard at the rear) and ventilated outboard fronts,. The interior has leather seats, deep pile carpet and traditional instrumentation.
The 3.9 litre Rover V8 produces 200bhp and has fully electronic fuel injection with a single electric fuel pump
Diolch am 75,764,901 o olygfeydd anhygoel, mae pob un yn cael ei werthfawrogi'n fawr.
Thanks for 75,764,901 amazing views, every one is greatly appreciated.
Shot 21.07.2019 at , Ashover Classic Car Show, Ashover, Derbyshire 143-447
.
Young MC from Stone Cold Rhymin' on the Oldies station: Bust A Move
www.youtube.com/watch?v=0m3X9MLDRKw
This here's a tale for all the fellas - Tryin' to do what those ladies tell us
Tyler: (worried, gets out of his car) Are you all right?
Manny: Hey! What's going on over there?
Paradise: I slipped, Mr. Lemans! I'm fine.
Young MC from Stone Cold Rhymin' on the Oldies station: Girls are scantily clad and showin' body
Tyler: Let me help you up.
Paradise: No, really. I'm okay. (but one of her wheels catches a pebble, throwing her off balance, and she tumbles to the ground with Tyler, landing on him)
Tyler: Oof!
Paradise: Oh, no! I'm so sorry!
Manny: Hey! No manhandling the wenches! (starting across the lot)
Young MC from Stone Cold Rhymin' on the Oldies station: A girl starts walking guys start gawking
Paradise: (waving him off) He isn't! I slipped! It was an accident! (getting off of Tyler) Are you all right?
Tyler: I'm sure it's just a slipped disk or two.
Paradise: (aghast) What?
Tyler: (chuckles, sitting up) I'm kidding.
Young MC from Stone Cold Rhymin' on the Oldies station: You're on a mission and you're wishin' - Someone could cure your lonely condition
Manny: (reaching them) New Girl, what are you --? (realizes who she sat on) Mr. Griffin! Mr. Griffin, I had no idea it was you! Would you like me to call an ambulance?
Tyler: I don't think that's necessary. (smiling and rising)
Manny: (sternly) New Girl Two, I can't have you attacking customers. You're fired.
Paradise: What? But I barely started!
Young MC from Stone Cold Rhymin' on the Oldies station: You run over there without a second to lose - And what comes next hey bust a move
Tyler: There's really no need to fire her.
Paradise: No need!
Manny: I won't tolerate this sort of aggressive behavior toward the customers.
Paradise: Me?
Tyler: There's been a misunderstanding. She lost her balance, I tried to help her up, and we both took a little tumble. It was a complete accident.
Paradise: (nods) It was!
Tyler: In fact, if I had stayed in my car, I wouldn't have taken a spill at all. So, that part is entirely on me.
Manny/Paradise: It is?
Tyler: (smiling) Absolutely. Now, why don't I get back into my car and your carhop can take my order?
Manny: Well -- (looks at Paradise, who nods) All right, then. You're not fired. (motions) Go on and take Mr. Griffin's order. (he goes back to the building)
Tyler: I'm glad that's settled. (gets into his car)
Young MC from Stone Cold Rhymin' on the Oldies station: A girl runs up with somethin' to prove - So don't just stand there bust a move
Paradise: Thank you for saying that. You didn't have to.
Tyler: I meant it. You shouldn't get fired for a little accident.
Paradise: Still, it was really nice of you. What can I get you?
Tyler: I'll take a number three to go, please. With a chocolate shake.
Paradise: Right away. (she quickly turns to go and there's a ripping sound)
Tyler: (looks down and realizes he'd closed part of her skirt in his door)
Young MC from Stone Cold Rhymin' on the Oldies station: You say neat-o, check your libido - And roll to the church in your new tuxedo
Paradise: (looks down and realizes she's only clad in her ruffled-bottomed spanks)
Manny: (sees this and shouts) Neeww Girrl!
Tyler: (opens his door a crack as a cheer goes up from around the lot) I'm SO sorry!
Young MC from Stone Cold Rhymin' on the Oldies station: So you start thinkin' then you start blinking
Paradise: (yanks her skirt free and spins, about to skate into hiding as fast as possible, then she spots Fawn and her friends smirking, so instead of fleeing, she does a couple quick spins, rips the skirt in half and uses it like a couple of fluffy pom poms, skate dancing to the beat of the music being piped to every drive up space, and everyone cheers, horns being honked by especially appreciative onlookers, and after a victory lap, she skates inside the building)
Young MC from Stone Cold Rhymin' on the Oldies station: And now you're feelin' really fine 'cause the girl is stacked - Reception's jumpin' bass is pumpin' - You look at the girl and your heart starts thumpin'
Tyler: (is smiling, shaking his head and covering his eyes)
Voice: (as a male inside takes over the mic, puts on a corny pirate accent) Aaarrrgh! It's our duty to serve you Booty -- Burgers! (and the lot erupts in cheers, applause, and horn honking)
Manny: (grinning, leans toward the cook in the order window) We're gonna make New Girl a Booty Burger star! She's great! Listen to those customers!
Young MC from Stone Cold Rhymin' on the Oldies station: Says she wants to dance to a different groove - Now you know what to do G bust a move
(Thank you to Seth for playing Tyler and to Morgan for the stylish car he got knocked down beside. -giggles- )
18 Tons Sculpture
THE POPE AND THE IMPERATOR ARE LIKE BALLS IN THE HAND OF A SEXY AND MIGHTY WOMEN
called Imperia
●
Auf ihren erhobenen Händen trägt sie zwei zwergenhafte nackte Männlein. Der Mann in ihrer rechten Hand trägt auf seinem Haupt die Krone eines Königs und hält einen Reichsapfel in der Hand; die Figur in ihrer Linken trägt eine päpstliche Tiara und sitzt mit übereinandergeschlagenen Beinen. Es ist nicht eindeutig, ob die Figuren Porträts von den Machthabern zur Zeit des Konstanzer Konzils, Kaiser Sigismund und Papst Martin V., darstellen, oder ob sie allgemein als Personifikationen die weltliche und die geistliche Macht repräsentieren sollen. Der Künstler selbst sieht sie als nackte Gaukler, die sich die Insignien der Macht widerrechtlich aufgesetzt haben.
●
Diese Figurenkonstellation erinnert an die angebliche Mätressenherrschaft, die der römischen Amtskirche von ihren heftigsten Kritikern zu manchen Zeiten vorgeworfen wurde. Auch das Patriarchat, das über Jahrhunderte hinweg sowohl in der Politik wie in der Kirche herrschte, wird aufs Korn genommen: Kaiser und Papst sind Spielball ihrer eigenen Libido; die mächtigsten Männer werden von ihren niedrigsten Trieben beherrscht. Imperia, als Verkörperung der (körperlichen) Liebe, erscheint als die eigentlich mächtige Figur.
Auch des alten Märchenstoffs „Des Kaisers neue Kleider“ bedient sich das Kunstwerk: Der Kopfschmuck von Imperia ist eine Art Narrenkappe mit Schellen – Imperia nimmt also nicht nur die Rolle der intriganten Kurtisane ein, sondern auch die des Hofnarren, der das Spiel der Mächtigen durchschaut und auf die Schippe nimmt. Die Mächtigen, wenn sie ihrer würdigen Amtstracht beraubt werden, sind nur noch lächerliche Witzfiguren.
À gauche au mur, "Le Baiser" de Pablo Picasso, 1969, huile sur toile, musée national Picasso, Paris, dation Picasso, 1979"
Au centre, "Le Baiser" grand modèle en plâtre, d'Auguste Rodin, 1888-1898, musée Rodin, Paris, donation Rodin.
collections.musee-rodin.fr/fr/museum/rodin/le-baiser-gran...
À droite au mur, "L'étreinte" de Pablo Picasso, 1903, pastel, musée de l'Orangerie, collection Jean Walter et Paul Guillaume
Cette partie de l'exposition met l'accent sur les représentations du corps et de l'étreinte amoureuse chez les deux artistes en confrontant des oeuvres très connues. Dans la même salle, sont exposés des dessins érotiques de Rodin et de Picasso beaucoup moins célèbres qui illustrent bien le sujet et la libido affirmée de ces deux créateurs.
Oeuvres présentées dans l'exposition "Picasso - Rodin" au musée Rodin, Paris
www.musee-rodin.fr/musee/expositions/picasso-rodin
L’exposition invite à une relecture croisée des œuvres de Rodin (1840-1917) et Picasso (1881-1973), ces deux grands artistes ayant durablement bouleversé les pratiques artistiques de leur temps pour les générations à venir. Il ne s’agit pas de montrer ce que Picasso a emprunté à Rodin, mais plutôt d’examiner les convergences signifiantes qui apparaissent entre l’œuvre de Rodin et plusieurs périodes de la production de Picasso. Extrait du site de l'exposition
For Greg.
Italian postcard, no. 100 105. Raquel Welch in One Million Years BC (Don Chaffey, 1966).
American actress Raquel Welch (1940) is one of the icons of the 1960s and 1970s. She first won attention for her role in Fantastic Voyage (1966). In Great Britain, she then made One Million Years B.C. (1966). Although she had only three lines in the film, a poster of Welch in a furry prehistoric bikini became an amazing bestseller and catapulted her to stardom.
Raquel Welch was born Jo Raquel Tejada in 1940 in Chicago, Illinois. She was the first of three children born to Bolivian Armando Carlos Tejada Urquizo, an aerospace engineer, and his Irish-American wife Josephine Sarah Hall, who was the daughter of American architect Emery Stanford Hall. At age 14, Raquel won her first beauty title as Miss Photogenic. She graduated from high school in 1958 and a year later, after becoming pregnant, she married her high school sweetheart, James Welch. Seeking an acting career, Welch won a scholarship in drama, took classes at San Diego State College and won several parts in local theatre productions. She got a job as a weather forecaster at KFMB, a local San Diego television station. After her separation from James Welch, she moved with her two children to Dallas, Texas, where she worked as a model for Neiman Marcus and as a cocktail waitress. In 1963, she went to California, where she met former child star and Hollywood agent Patrick Curtis who became her personal and business manager and second husband. They developed a plan to turn Welch into a sex symbol. After small roles in a few films and TV series, she had her first featured role in the beach film A Swingin' Summer (Robert Sparr, 1965). She landed a seven-year nonexclusive contract at 20th Century Fox and was cast in a leading role in the sci-fi film Fantastic Voyage (Richard Fleischer, 1966) opposite Stephen Boyd. Welch portrayed a member of a medical team that is miniaturized and injected into the body of an injured diplomat with the mission to save his life. The film was a hit and made her a well-known name. Fox Studio loaned her to Hammer Studios in Britain where she starred in One Million Years B.C. (Don Chaffey, 1966). Her only costume was a two-piece deer skin bikini. Gary Brumburgh at IMDb: "Tantalizingly wet with her garb clinging to all the right amazonian places, One Million Years B.C. (1966), if nothing else, captured the hearts and libidos of modern men (not to mention their teenage sons) while producing THE most definitive and best-selling pin-up poster of that time."
Raquel Welch stayed in Europe for the French comedy Le Plus Vieux Métier du monde/The Oldest Profession (Michael Pfleghar a.o., 1967), a typical European anthology film of the 1960s. A collection of sketches on prostitution through the ages, made by a pan-European cast and crew. Some of the most sensual stars of the era played the leads: Michèle Mercier, Elsa Martinelli, Anna Karina, Nadia Gray, Jeanne Moreau and Welch. She played Nini in the episode La belle époque/The Gay Nineties by German director Michael Pfleghar. When Nini discovers by accident that her antiquated customer (Martin Held) is a banker, she pretends to be an honest woman who has fallen in love with him. She even pays him, just like a gigolo! Varlaam at IMDb: "Raquel Welch stars in the most amusing episode, relatively speaking. It's apparently set in the 1890s Vienna (Emperor Franz Josef is on the paper money). One could probably say that Raquel's greatest classic role was as the injured party in the Cannery Row lawsuit. Finely nuanced she was not, normally. But she makes an appealing light comedienne here, and she can really fill a lacy Viennese corset. The Belle Époque it assuredly was." Next, she appeared in the British seven-deadly-sins comedy Bedazzled (Stanley Donen, 1967). She played the deadly sin representing 'lust' for the comedy team of Peter Cook and Dudley Moore. In Britain, she was also the title secret agent in the sexy spy spoof Fathom (Leslie H. Martinson, 1967). In Italy, she starred with Monica Vitti and Claudia Cardinale in Le Fate/The Queens (Mauro Bolognini, 1966) and with Edward G. Robinson and Vittorio de Sica in The Biggest Bundle of Them All (Ken Annakin, 1968). Back in the United States she appeared in the Western Bandolero! (Andrew V. McLaglen, 1968) with James Stewart and Dean Martin, which was followed by the private-eye drama Lady in Cement (Gordon Douglas, 1968) with Frank Sinatra. She caused quite a stir in her ground-breaking sex scenes with black athlete Jim Brown in the Western 100 Rifles (Tom Gries, 1969).
Raquel Welch's most controversial role came in the comedy Myra Breckinridge (Michael Sarne, 1970), based on Gore Vidal's 1968 novel. She took the part as the film's transsexual heroine in an attempt to be taken seriously as an actress. The picture was controversial for its sexual explicitness, but unlike the novel, Myra Breckinridge received little to no critical praise. It is cited in the book The Fifty Worst Films of All Time. Jason Ankeny at AllMovie: "Her situation was unusual; she was certainly a star and a household name, yet few people ever went to see her movies." Welch took a measure of control over her screen persona, producing and starring in Hannie Calder (Burt Kennedy, 1971), the first film in which she carved out a place in movie history portraying strong female characters and breaking the mold of the submissive sex symbol. She altered the image further with Kansas City Bomber (Jerrold Freedman, 1972), insisting on doing her own stunts as good-hearted roller derby star Diane 'KC' Carr. She followed that with a series of successful films in Europe that included the thriller Bluebeard (Edward Dmytryk, 1972) starring Richard Burton, the swashbuckler The Three Musketeers (Richard Lester, 1973) - for which she won a Golden Globe, the sequel The Four Musketeers (Richard Lester, 1974) both with Oliver Reed and Michael York, and The Wild Party (James Ivory, 1975). A big hit in Europe was the French action-comedy L'Animal/Animal (Claude Zidi, 1977) starring Jean-Paul Belmondo. Raquel Welch's unique persona on film made her into one of the reigning icons of the 1960s and 1970s. Later, she made several television variety specials. In 1980, Welch planned on making a comeback in an adaptation of John Steinbeck's Cannery Row (David S. Ward, 1982), but was fired by the producers a few days into production. The producers said that at 40 years old she was too old to play the character. She was replaced with Debra Winger. Welch sued and collected a $10.8 million settlement. She starred on Broadway in Woman of the Year, receiving praise for following Lauren Bacall in the title role. She also starred in Victor/Victoria, having less success. In 1995, Welch was chosen by Empire Magazine as one of the 100 Sexiest Stars in Film History.
Sources: Jason Ankeny (AllMovie), Gary Brumburgh (IMDb), David Carless (IMDb), Bob Taylor (IMDb), Varlaam (IMDb), TCM, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
In everyone’s life, there is a summer of ’42........Maybe it’s the long lazy days. Or perhaps it’s the heat. Who knows? But there’s something about summer that shifts the male libido into overdrive. Boyhood adventures
hopefully captured with humor and poignancy.
Best viewed at the largest size.
© Bob Kramer, Intrinsic Captures, 2011. ALL RIGHTS RESERVED WORLDWIDE. NOT TO BE REPRODUCED WITHOUT EXPRESS WRITTEN AUTHORIZATION.
#Alimentos q' aumentan #Libido #RelacionesSexuales #DeseoSexual #Hormonas #LaPareja #TNxDE - a.tunx.co/Fn5w7
Belgian postcard by Edit. Decker, Brussels, no. P.U. 51. Raquel Welch in The Biggest Bundle of Them All (Ken Annakin, 1968).
Today, 15 February 2023, American actress and sex symbol Raquel Welch (1940) has died at the age of 82 after a short illness. She was one of the icons of the 1960s and 1970s. Welch first won attention for her role in Fantastic Voyage (1966). In Great Britain, she then made One Million Years B.C. (1966). Although she had only three lines in the film, a poster of Welch in a furry prehistoric bikini became an amazing bestseller and catapulted her to stardom.
Raquel Welch was born Jo Raquel Tejada in 1940 in Chicago, Illinois. She was the first of three children born to Bolivian Armando Carlos Tejada Urquizo, an aerospace engineer, and his Irish-American wife Josephine Sarah Hall, who was the daughter of American architect Emery Stanford Hall. At age 14, Raquel won her first beauty title as Miss Photogenic. She graduated from high school in 1958 and a year later, after becoming pregnant, she married her high school sweetheart, James Welch. Seeking an acting career, Welch won a scholarship in drama, took classes at San Diego State College and won several parts in local theatre productions. She got a job as a weather forecaster at KFMB, a local San Diego television station. After her separation from James Welch, she moved with her two children to Dallas, Texas, where she worked as a model for Neiman Marcus and as a cocktail waitress. In 1963, she went to California, where she met former child star and Hollywood agent Patrick Curtis who became her personal and business manager and second husband. They developed a plan to turn Welch into a sex symbol. After small roles in a few films and TV series, she had her first featured role in the beach film A Swingin' Summer (Robert Sparr, 1965). She landed a seven-year nonexclusive contract at 20th Century Fox and was cast in a leading role in the sci-fi film Fantastic Voyage (Richard Fleischer, 1966) opposite Stephen Boyd. Welch portrayed a member of a medical team that is miniaturized and injected into the body of an injured diplomat with the mission to save his life. The film was a hit and made her a well-known name. Fox Studio loaned her to Hammer Studios in Britain where she starred in One Million Years B.C. (Don Chaffey, 1966). Her only costume was a two-piece deer skin bikini. Gary Brumburgh at IMDb: "Tantalizingly wet with her garb clinging to all the right amazonian places, One Million Years B.C. (1966), if nothing else, captured the hearts and libidos of modern men (not to mention their teenage sons) while producing THE most definitive and best-selling pin-up poster of that time."
Raquel Welch stayed in Europe for the French comedy Le Plus Vieux Métier du monde/The Oldest Profession (Michael Pfleghar a.o., 1967), a typical European anthology film of the 1960s. A collection of sketches on prostitution through the ages, made by a pan-European cast and crew. Some of the most sensual stars of the era played the leads: Michèle Mercier, Elsa Martinelli, Anna Karina, Nadia Gray, Jeanne Moreau and Welch. She played Nini in the episode La belle époque/The Gay Nineties by German director Michael Pfleghar. When Nini discovers by accident that her antiquated customer (Martin Held) is a banker, she pretends to be an honest woman who has fallen in love with him. She even pays him, just like a gigolo! Varlaam at IMDb: "Raquel Welch stars in the most amusing episode, relatively speaking. It's apparently set in the 1890s Vienna (Emperor Franz Josef is on the paper money). One could probably say that Raquel's greatest classic role was as the injured party in the Cannery Row lawsuit. Finely nuanced she was not, normally. But she makes an appealing light comedienne here, and she can really fill a lacy Viennese corset. The Belle Époque it assuredly was." Next, she appeared in the British seven-deadly-sins comedy Bedazzled (Stanley Donen, 1967). She played the deadly sin representing 'lust' for the comedy team of Peter Cook and Dudley Moore. In Britain, she was also the title secret agent in the sexy spy spoof Fathom (Leslie H. Martinson, 1967). In Italy, she starred with Monica Vitti and Claudia Cardinale in Le Fate/The Queens (Mauro Bolognini, 1966) and with Edward G. Robinson and Vittorio de Sica in The Biggest Bundle of Them All (Ken Annakin, 1968). Back in the United States, she appeared in the Western Bandolero! (Andrew V. McLaglen, 1968) with James Stewart and Dean Martin, which was followed by the private-eye drama Lady in Cement (Gordon Douglas, 1968) with Frank Sinatra. She caused quite a stir in her ground-breaking sex scenes with black athlete Jim Brown in the Western 100 Rifles (Tom Gries, 1969).
Raquel Welch's most controversial role came in the comedy Myra Breckinridge (Michael Sarne, 1970), based on Gore Vidal's 1968 novel. She took the part of the film's transsexual heroine in an attempt to be taken seriously as an actress. The picture was controversial for its sexual explicitness, but unlike the novel, Myra Breckinridge received little to no critical praise. It is cited in the book The Fifty Worst Films of All Time. Jason Ankeny at AllMovie: "Her situation was unusual; she was certainly a star and a household name, yet few people ever went to see her movies." Welch took a measure of control over her screen persona, producing and starring in Hannie Calder (Burt Kennedy, 1971), the first film in which she carved out a place in movie history portraying strong female characters and breaking the mould of the submissive sex symbol. She altered the image further with Kansas City Bomber (Jerrold Freedman, 1972), insisting on doing her own stunts as good-hearted roller derby star Diane 'KC' Carr. She followed that with a series of successful films in Europe that included the thriller Bluebeard (Edward Dmytryk, 1972) starring Richard Burton, the swashbuckler The Three Musketeers (Richard Lester, 1973) - for which she won a Golden Globe, the sequel The Four Musketeers (Richard Lester, 1974) both with Oliver Reed and Michael York, and The Wild Party (James Ivory, 1975). A big hit in Europe was the French action-comedy L'Animal/Animal (Claude Zidi, 1977) starring Jean-Paul Belmondo. Raquel Welch's unique persona on film made her one of the reigning icons of the 1960s and 1970s. Later, she made several television variety specials. In 1980, Welch planned on making a comeback in an adaptation of John Steinbeck's Cannery Row (David S. Ward, 1982), but was fired by the producers a few days into production. The producers said that at 40 years old she was too old to play the character. She was replaced with Debra Winger. Welch sued and collected a $10.8 million settlement. She starred on Broadway in Woman of the Year, receiving praise for following Lauren Bacall in the title role. She also starred in Victor/Victoria, having less success. In 1995, Welch was chosen by Empire Magazine as one of the 100 Sexiest Stars in Film History.
Sources: Jason Ankeny (AllMovie), Gary Brumburgh (IMDb), David Carless (IMDb), Bob Taylor (IMDb), Varlaam (IMDb), TCM, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Mit dem Schwinden des Sternschnuppenregens schien sich zwar die Magie wieder etwas zu beruhigen und auch das glühen des seltsamen Steins im Wald hatte nachgelassen, aber nun gegen Ende der Woche schien es wieder zuzunehmen.
Die Erdscheinnächte würden bald beginnen und die Unruhe der Tierwandler,
Elben und Faune wuchs im gleichen Maße wie das Glimmen des Meteors mit dem Näherrücken der besonderen Zeit.
Und mit der Unruhe kamen auch noch andere Unbilden.
Die Faune wussten kaum wohin mit ihrer ohnehin schon recht munteren Libido, die Elfen hörte jedes noch so kleine Leid des Waldes und die Tierwandler würden ihr Fell am liebsten gar nicht mehr ablegen…
After going through loads of pictures from down the years I thought this, detail of a, nude study deserved a place on my Flickr. Saucy. :P
Non-graphic, though suggestive, the full image isn't that graphic either to be fair.
The story of Walkyria - Full stroy
Chapter 1 - Walkyria’s strange family
Chapter 2 - The 3 adventurers
Chapter 3 - Avenleigh’s fairwell
Chapter 4 - The fire within
Chapter 5 - Ware-drake's of Black-rock village
Chapter 6 - Life along the Path of Galocky
Chapter 7 - Monk Brother Akasaratana's curse
Chapter 8 - The missing queen
Chapter 9 - Queen Walkyria
Chapter 2 - The 3 adventurers
Princess Walkyria, at the age of 17, embarked on an adventurous journey with her 14-year-old companion, Avenleigh, and a mage knight named Irronor. This expedition was initiated by Walkyria's desire to explore the land she might one day rule, rather than being confined to a city, a sentiment Queen Belladonna had attempted to counter. Avenleigh, aspiring to be an adventurer, led the way as they traveled south to Reef-rock City, a picturesque location where the sea flows into the streets and colorful reef pools shimmer under the sunlight. The inhabitants of Reef-rock City welcomed Princess Walkyria warmly upon her arrival.
Their journey continued southwest to Mages Dan, a town characterized by its 3,000-foot height and swirling magical mist. At the base of a tower in Mages Dan, they encountered Maki, a talking dragon. Avenleigh inquired about "Latxrubbero," but Maki, who was 2,698 years old and primarily interested in sleep rather than gold or latex, claimed no knowledge of it beyond its gloss and its appeal to "pretty girls". Walkyria's question about a "ware-drake" was met with Maki's insistence on needing sleep. Despite an offer from the mages to open a portal to their next destination, the group chose to continue their journey on foot to experience the land firsthand.
Their final major stop was Magicalono City, located at the very southern tip of Hexonu. This city was home to the only latex shop in the land, run by three close friends known as the "sexy sisters". Avenleigh, captivated by the latex clothing, pleaded with Walkyria to purchase some for her. Although Walkyria had not brought much gold, she managed to acquire black latex leggings for Avenleigh. The group then began their return journey, aware that a "red moon" was approaching in a few weeks [1]. During their stay in Magicalono City, Irronor reunited with an old friend named Vogbor, who provided them with three flying carpets to expedite their return to Enchantment City.
More about: Princess Walkyria
Name: Walkyria
Her parents: Queen Belladonna and Prince Grimwald
Birthplace: Enchantment city
Timeline: Age of Belle-glosse
Kingdom: Hexonu
Continent - The 12 kingdoms and queendoms
Planet: Dommalex
Universe: 17Z9
Multiverse: 0018
Superverse: 002
Height : 6,1
Hair colour: Orange
Eye colour: light-blue but changes the red when useing magic
Favourite colours: Black
Sexually: bisexual
Libido: low - mid
Personality: good, helpful, sassy,
How she see's herself, sexy, pretty, and epic
Favourite fashion: Sexy shiny gothic latex clothing,
Favourite clothing, sexy latex outfits, short-skirts and dress's, skin-tight catsuits, corsets, long coats, cape, and thigh high boots
I adore so much…
HKD
Falls Psychologie interessiert:
B5
Die Energie der Kreativität entspringt nach meinem Konzept demselben Energie-Komplex wie die Sexualität. Das Stichwort lautet Lust. Ohne Lust versiegt die Kreativität ebenso wie die Sexualität und regrediert auf die Ebene der Triebbefriedigung. In der Kreativität wie in der Sexualität spielen Phantasie und Freude eine ganz große Rolle. Aus der Quelle der Lebensfreude (B5) motivieren sich zahlreiche angenehme Spiele. Allerdings gehören auch dunkle Aspekte dazu.
HKD
If psychology is of interest:
The energy of lust here is transformed into a digital picture.
Lust (B5) motivates sexuality as well as creativity. And of course both at the same time… :-)
HKD
© David K. Edwards. An alternative to no title whatever might be a title that is sufficiently irrelevant to the photograph that it does not distort viewer perception. But I think this is impossible to achieve on the face of it. The viewer will always seek meaning, relevance, and connection, however tenuous, between word and image.
February is Celebration of Chocolate Month
Chocolate may be the “food of the gods,” but for most of its 4,000-year history, it was actually consumed as a bitter beverage rather than as a sweet edible treat. Anthropologists have found evidence that chocolate was produced by pre-Olmec cultures living in present-day Mexico as early as 1900 B.C. The ancient Mesoamericans who first cultivated cacao plants found in the tropical rainforests of Central America fermented, roasted, and ground the cacao beans into a paste that they mixed with water, vanilla, honey, chili peppers, and other spices to brew a frothy chocolate drink.
Olmec, Mayan, and Aztec civilizations found chocolate to be an invigorating drink, mood enhancer, and aphrodisiac, which led them to believe that it possessed mystical and spiritual qualities. The Mayans worshipped a god of cacao and reserved chocolate for rulers, warriors, priests, and nobles at sacred ceremonies.
When the Aztecs began to dominate Mesoamerica in the 14th century, they craved cacao beans, which could not be grown in the dry highlands of central Mexico that were the heart of their civilization. The Aztecs traded with the Mayans for cacao beans, which were so coveted that they were used as currency. (In the 1500s, Aztecs could purchase a turkey hen for 100 beans.) By some accounts, the 16th-century Aztec emperor Montezuma drank three gallons of chocolate a day to increase his libido.
In the 1500s, Spanish conquistadors such as Hernán Cortés who sought gold and silver in Mexico returned instead with chocolate. Although the Spanish sweetened the bitter drink with cane sugar and cinnamon, one thing remained unchanged: chocolate was still a delectable symbol of luxury, wealth, and power. Chocolate was sipped by royal lips, and only Spanish elites could afford the expensive import.
Spain managed to keep chocolate a savory secret for nearly a century, but when the daughter of Spanish King Philip III wed French King Louis XIII in 1615, she brought her love of chocolate with her to France. The popularity of chocolate quickly spread to other European courts, and aristocrats consumed it as a magic elixir with salubrious benefits. To slake their growing thirst for chocolate, European powers established colonial plantations in equatorial regions around the world to grow cacao and sugar. When diseases brought by the European explorers depleted the native Mesoamerican labor pool, African slaves were imported to work on the plantations and maintain the production of chocolate.
Chocolate remained an aristocratic nectar until Dutch chemist Coenraad Johannes van Houten in 1828 invented the cocoa press, which revolutionized chocolate-making. The cocoa press could squeeze the fatty cocoa butter from roasted cacao beans, leaving behind a dry cake that could be pulverized into a fine powder that could be mixed with liquids and other ingredients, poured into molds, and solidified into edible, easily digestible chocolate. The innovation by van Houten ushered in the modern era of chocolate by enabling it to be used as a confectionary ingredient, and the resulting drop in production costs made chocolate affordable to the masses.
In 1847, British chocolate company J.S. Fry & Sons created the first solid edible chocolate bar from cocoa butter, cocoa powder, and sugar. Rodolphe Lindt’s 1879 invention of the conching machine, which produced chocolate with a velvety texture and superior taste, and other advances allowed for the mass production of smooth, creamy milk chocolate on factory assembly lines. You don’t need to have a sweet tooth to recognize the familiar names of the family-owned companies such as Cadbury, Mars,and Hershey that ushered in a chocolate boom in the late 1800s and early 1900s that has yet to abate. Today, the average American consumes 12 pounds (~5.4 kg) of chocolate each year, and more than $75 billion worldwide is spent on chocolate annually.
Source: www.history.com/news/the-sweet-history-of-chocolate
20200215 046/366
American postcard by Coral-Lee, Rancho Cordova, Ca., no. CL/Personality 21. Photo: Douglas Kirkland, 1978.
American actress Raquel Welch (1940) is one of the icons of the 1960s and 1970s. She first won attention for her role in Fantastic Voyage (1966). In Great Britain, she then made One Million Years B.C. (1966). Although she had only three lines in the film, a poster of Welch in a furry prehistoric bikini became an amazing bestseller and catapulted her to stardom.
Raquel Welch was born Jo Raquel Tejada in 1940 in Chicago, Illinois. She was the first of three children born to Bolivian Armando Carlos Tejada Urquizo, an aerospace engineer, and his Irish-American wife Josephine Sarah Hall, who was the daughter of American architect Emery Stanford Hall. At age 14, she won her first beauty title beauty title as Miss Photogenic. She graduated from high school in 1958 and a year later, after becoming pregnant, married her high school sweetheart, James Welch. Seeking an acting career, Welch won a scholarship in drama, took classes at San Diego State College and won several parts in local theatre productions. She got a job as a weather forecaster at KFMB, a local San Diego television station. After her separation from James Welch, she moved with her two children to Dallas, Texas, where she worked as a model for Neiman Marcus and as a cocktail waitress. In 1963, she went to California, where she met former child star and Hollywood agent Patrick Curtis who became her personal and business manager and second husband. They developed a plan to turn Welch into a sex symbol. After small roles in a few films and TV series, she had her first featured role in the beach film A Swingin' Summer (Robert Sparr, 1965). She landed a seven-year nonexclusive contract at 20th Century Fox and was cast in a leading role in the sci-fi film Fantastic Voyage (Richard Fleischer, 1966) opposite Stephen Boyd. Welch portrayed a member of a medical team that is miniaturized and injected into the body of an injured diplomat with the mission to save his life. The film was a hit and made her a star. Fox Studio loaned her to Hammer Studios in Britain where she starred in One Million Years B.C. (Don Chaffey, 1966). Her only costume was a two-piece deer skin bikini. Gary Brumburgh at MDb: "Tantalizingly wet with her garb clinging to all the right amazonian places, One Million Years B.C. (1966), if nothing else, captured the hearts and libidos of modern men (not to mention their teenage sons) while producing THE most definitive and best-selling pin-up poster of that time." Welch stayed in Europe for the French comedy Le Plus Vieux Métier du monde/The Oldest Profession (Michael Pfleghar a.o., 1967) and the British seven-deadly-sins comedy Bedazzled (Stanley Donen, 1967). She played the deadly sin representing 'lust' for the comedy team of Peter Cook and Dudley Moore. In Britain, she was also the title secret agent in the sexy spy spoof Fathom (Leslie H. Martinson, 1967). In Italy, she starred with Monica Vitti and Claudia Cardinale in Le Fate/The Queens (Mauro Bolognini, 1966) and with Edward G. Robinson and Vittorio de Sica in The Biggest Bundle of Them All (Ken Annakin, 1968). Back in the United States, she appeared in the Western Bandolero! (Andrew V. McLaglen, 1968) with James Stewart and Dean Martin, which was followed by the private-eye drama Lady in Cement (Gordon Douglas, 1968) with Frank Sinatra. She caused quite a stir in her ground-breaking sex scenes with black athlete Jim Brown in the Western 100 Rifles (Tom Gries, 1969).
Raquel Welch's most controversial role came in the comedy Myra Breckinridge (Michael Sarne, 1970), based on Gore Vidal's 1968 novel. She took the part of the film's transsexual heroine in an attempt to be taken seriously as an actress. The picture was controversial for its sexual explicitness, but unlike the novel, Myra Breckinridge received little to no critical praise. It is cited in the book The Fifty Worst Films of All Time. Jason Ankeny at AllMovie: "Her situation was unusual; she was certainly a star and a household name, yet few people ever went to see her movies." Welch took a measure of control over her screen persona, producing and starring in Hannie Calder (Burt Kennedy, 1971), the first film in which she carved out a place in movie history portraying strong female characters and breaking the mould of the submissive sex symbol. She altered the image further with Kansas City Bomber (Jerrold Freedman, 1972), insisting on doing her stunts as good-hearted roller derby star Diane 'KC' Carr. She followed that with a series of successful films in Europe that included the thriller Bluebeard (Edward Dmytryk, 1972) starring Richard Burton, the swashbuckler The Three Musketeers (Richard Lester, 1973) - for which she won a Golden Globe, the sequel The Four Musketeers (Richard Lester, 1974) both with Oliver Reed and Michael York, and The Wild Party (James Ivory, 1975). A big hit in Europe was the French action-comedy L'Animal/Animal (Claude Zidi, 1977) starring Jean-Paul Belmondo. Raquel Welch's unique persona on film made her one of the reigning icons of the 1960s and 70s. Later, she made several television variety specials. In 1980, Welch planned on making a comeback in an adaptation of John Steinbeck's Cannery Row (David S. Ward, 1982), but was fired by the producers a few days into production. The producers said that at 40 years old she was too old to play the character. She was replaced by Debra Winger. Welch sued and collected a $10.8 million settlement. She starred on Broadway in Woman of the Year, receiving praise for following Lauren Bacall in the title role. She also starred in Victor/Victoria, having less success. In 1995, Welch was chosen by Empire Magazine as one of the 100 Sexiest Stars in Film History. Her later films include the hit comedy Legally Blonde (Robert Luketic, 2001), starring Reese Witherspoon, and Forget About It (BJ Davis, 2006) with Burt Reynolds. Welch was married four times and is the mother of Damon Welch (1959) and actress Tahnee Welch (1961).
Sources: Jason Ankeny (AllMovie), TCM, Wikipedia and IMDb.
Prints | Facebook | Twitter | G+ | Blog | Music | © Ben Heine
_____________________________________________________
Another photo I took during the "Tour De France Photo" event.
I didn't have time to share it yet. You can view some backstage
pics here and all my final edited images from this event here.
Model: Lisandra Telna (she is great).
You can also view my other photos with female models.
_____________________________________________________
For more information about my works: info@benheine.com
_____________________________________________________
Or: My old libido has been blowing a transistor
~~~~~~~~~~~~~
You think you're in love like it's a real sure thing
But every time you fall you get your ass in a sling
You used to be strong but now it's ooh baby please
'Cause falling in love is so hard on the knees
There ain't gonna be no more beggin' you please
You know what I want and it ain't one of these
You're bad to the bone and your girlfriend agrees
That falling in love is so hard on the knees
Chip off the old block
Man you're so much like your sister
My fantasizin must be out of luck
My old libido has been blowing a transistor
I feel like I have been hit by a f*ck
I'm Jonesin' on love yeah I got the DT's
You say that we will but there ain't no guarantees
I'm major in love
But in all minor keys
Cause falling in love is so hard on the knees
You ain't that good is what you said down to the letter
But you like the way I hold the microphone
Sometimes I'm good but when I'm bad
I'm even better
Don't give me no lip I've got enough of my own
I'm Jonesin' on love yeah I got the DT's
You say that we will but there ain't no guarantees
I'm major in love
But in all minor keys
Cause falling in love is so hard on the knees
~
Aerosmith, anyone?
~~~
Texture: borealnz - Thanks!!!
Italian postcard, no. 100 102. Raquel Welch in One Million Years BC (Don Chaffey, 1966).
American actress Raquel Welch (1940) is one of the icons of the 1960s and 1970s. She first won attention for her role in Fantastic Voyage (1966). In Great Britain, she then made One Million Years B.C. (1966). Although she had only three lines in the film, a poster of Welch in a furry prehistoric bikini became an amazing bestseller and catapulted her to stardom.
Raquel Welch was born Jo Raquel Tejada in 1940 in Chicago, Illinois. She was the first of three children born to Bolivian Armando Carlos Tejada Urquizo, an aerospace engineer, and his Irish-American wife Josephine Sarah Hall, who was the daughter of American architect Emery Stanford Hall. At age 14, Raquel won her first beauty title as Miss Photogenic. She graduated from high school in 1958 and a year later, after becoming pregnant, she married her high school sweetheart, James Welch. Seeking an acting career, Welch won a scholarship in drama, took classes at San Diego State College and won several parts in local theatre productions. She got a job as a weather forecaster at KFMB, a local San Diego television station. After her separation from James Welch, she moved with her two children to Dallas, Texas, where she worked as a model for Neiman Marcus and as a cocktail waitress. In 1963, she went to California, where she met former child star and Hollywood agent Patrick Curtis who became her personal and business manager and second husband. They developed a plan to turn Welch into a sex symbol. After small roles in a few films and TV series, she had her first featured role in the beach film A Swingin' Summer (Robert Sparr, 1965). She landed a seven-year nonexclusive contract at 20th Century Fox and was cast in a leading role in the sci-fi film Fantastic Voyage (Richard Fleischer, 1966) opposite Stephen Boyd. Welch portrayed a member of a medical team that is miniaturized and injected into the body of an injured diplomat with the mission to save his life. The film was a hit and made her a well-known name. Fox Studio loaned her to Hammer Studios in Britain where she starred in One Million Years B.C. (Don Chaffey, 1966). Her only costume was a two-piece deer skin bikini. Gary Brumburgh at IMDb: "Tantalizingly wet with her garb clinging to all the right amazonian places, One Million Years B.C. (1966), if nothing else, captured the hearts and libidos of modern men (not to mention their teenage sons) while producing THE most definitive and best-selling pin-up poster of that time."
Raquel Welch stayed in Europe for the French comedy Le Plus Vieux Métier du monde/The Oldest Profession (Michael Pfleghar a.o., 1967), a typical European anthology film of the 1960s. A collection of sketches on prostitution through the ages, made by a pan-European cast and crew. Some of the most sensual stars of the era played the leads: Michèle Mercier, Elsa Martinelli, Anna Karina, Nadia Gray, Jeanne Moreau and Welch. She played Nini in the episode La belle époque/The Gay Nineties by German director Michael Pfleghar. When Nini discovers by accident that her antiquated customer (Martin Held) is a banker, she pretends to be an honest woman who has fallen in love with him. She even pays him, just like a gigolo! Varlaam at IMDb: "Raquel Welch stars in the most amusing episode, relatively speaking. It's apparently set in the 1890s Vienna (Emperor Franz Josef is on the paper money). One could probably say that Raquel's greatest classic role was as the injured party in the Cannery Row lawsuit. Finely nuanced she was not, normally. But she makes an appealing light comedienne here, and she can really fill a lacy Viennese corset. The Belle Époque it assuredly was." Next, she appeared in the British seven-deadly-sins comedy Bedazzled (Stanley Donen, 1967). She played the deadly sin representing 'lust' for the comedy team of Peter Cook and Dudley Moore. In Britain, she was also the title secret agent in the sexy spy spoof Fathom (Leslie H. Martinson, 1967). In Italy, she starred with Monica Vitti and Claudia Cardinale in Le Fate/The Queens (Mauro Bolognini, 1966) and with Edward G. Robinson and Vittorio de Sica in The Biggest Bundle of Them All (Ken Annakin, 1968). Back in the United States, she appeared in the Western Bandolero! (Andrew V. McLaglen, 1968) with James Stewart and Dean Martin, which was followed by the private-eye drama Lady in Cement (Gordon Douglas, 1968) with Frank Sinatra. She caused quite a stir in her ground-breaking sex scenes with black athlete Jim Brown in the Western 100 Rifles (Tom Gries, 1969).
Raquel Welch's most controversial role came in the comedy Myra Breckinridge (Michael Sarne, 1970), based on Gore Vidal's 1968 novel. She took the part of the film's transsexual heroine in an attempt to be taken seriously as an actress. The picture was controversial for its sexual explicitness, but unlike the novel, Myra Breckinridge received little to no critical praise. It is cited in the book The Fifty Worst Films of All Time. Jason Ankeny at AllMovie: "Her situation was unusual; she was certainly a star and a household name, yet few people ever went to see her movies." Welch took a measure of control over her screen persona, producing and starring in Hannie Calder (Burt Kennedy, 1971), the first film in which she carved out a place in movie history portraying strong female characters and breaking the mould of the submissive sex symbol. She altered the image further with Kansas City Bomber (Jerrold Freedman, 1972), insisting on doing her own stunts as good-hearted roller derby star Diane 'KC' Carr. She followed that with a series of successful films in Europe that included the thriller Bluebeard (Edward Dmytryk, 1972) starring Richard Burton, the swashbuckler The Three Musketeers (Richard Lester, 1973) - for which she won a Golden Globe, the sequel The Four Musketeers (Richard Lester, 1974) both with Oliver Reed and Michael York, and The Wild Party (James Ivory, 1975). A big hit in Europe was the French action-comedy L'Animal/Animal (Claude Zidi, 1977) starring Jean-Paul Belmondo. Raquel Welch's unique persona on film made her one of the reigning icons of the 1960s and 1970s. Later, she made several television variety specials. In 1980, Welch planned on making a comeback in an adaptation of John Steinbeck's Cannery Row (David S. Ward, 1982), but was fired by the producers a few days into production. The producers said that at 40 years old she was too old to play the character. She was replaced with Debra Winger. Welch sued and collected a $10.8 million settlement. She starred on Broadway in Woman of the Year, receiving praise for following Lauren Bacall in the title role. She also starred in Victor/Victoria, having less success. In 1995, Welch was chosen by Empire Magazine as one of the 100 Sexiest Stars in Film History.
Sources: Jason Ankeny (AllMovie), Gary Brumburgh (IMDb), David Carless (IMDb), Bob Taylor (IMDb), Varlaam (IMDb), TCM, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
=The Falcone Manor, years ago=
Vale- Our top story- the "Blazing
Bugs" crime spree was brought to a close last night. The supervillain duo, Killer Moth and Firefly were caught by our very own dynamic duo, Batman and Robin, after their attempts to burn the GCPD building to the ground were thwarted by newcomer Batgirl. Garfield Lynns, Firefly, and "Cameron Van Cleer", Killer Moth are facing charges for multiple counts of arson. Tony Bressi was released from the hospital today-
Falcone- Turn it off. I think Mr Twag gets the idea. Don't you?
*Twag moves in his seat, clearly uncomfortable, then nods. Falcone looks to the other heads of the families. Maroni bows his head, Gaige sips a glass of salt water unperturbed by the bickering around him*
Falcone- Twag!
Twag- Hmm?
Falcone- Did you not hire those clowns?
Twag- I did.
Maroni- Good job there Twag, there they are, going rogue and near burning the damn cop house to the ground!
Twag- They went freelance after-
Maroni- Yeah, yeah, after Dent and Blackgate, that's not the point. We put you in charge of monitoring them, they were your people!
Twag- Don Falcone, Bressi-
Falcone- To hell with Bressi, we're talking about you! You don't think we have enough on our backs? Two years of Holiday murders! All I ask is for my people to do their jobs. And to man up and accept their responsibilities to this organisation! And now, I find out, that you're not even a gangster.
*Gaige spits out his salt water*
Gaige- Excuse me?!
Carson- Hey now, Mr Falcone-
Falcone- That's *Don* Falcone imbecile. Sit down.
*Carson stands stunned for a second, then slowly and pathetically collapses back into his chair.*
Falcone- This won't do Twag. I expect honesty here.
Twag- Give me another chance, please!
Falcone- To hire another freak?
*Carson looks ready to argue but closes his mouth, defeated*
Falcone- Get this idiot out of my sight.
*The mobster, caked in darkness, smiles sadistically, to Twag's horror*
Mobster- My pleasure.
========
*Now, Twag's apartment. He's lying there, bruised, broken but alive, he's barely conscious of course, but enough to know he's not alone. Two voices, one, a woman, Spanish perhaps? The other, high and cold without mirth or joy. The woman, notices him stirring, speaks again*
Flores- He's awake. Hey baby.
*"Baby", that must make her Tarantula, there was a woman with a libido that The King of Cats would be envious of. The other would then be Onomatopoeia, barely paying attention, strumming his fingers on the desk*
Ono- te-tum te-tum te-tum te-tum te-tum te-tum te-tum
Flores- Baby, who hurt you?
Ono- te-tum te-tum te-tum te-tum
Flores- Quiet Ono.
*Twag heard a noise, a "flip", he could imagine that Ono had just thrown a rude gesture at her*
Flores- You do that again, I'll cut it off.
Ono- Oof.
Twag- Tarantula, Flores.
Flores- Yes baby, anything.
Twag- Wasp, it was Wasp. He did this.
*Ono "speaks." Mockingly*
Ono- Wah wah wah waaaaah.
Twag- Find Wasp... kill the bastard.
*With a flourish, Ono puts on the TV*
Ono- Click.
========
*The Lost Property Room- Arkham Asylum. Having been notified of Twag's raid, Gar and Drury have to make do with the dusty helmets, torn gloves and ridiculous gadgets left behind by Gotham's worst (and "worst") criminals. Gar fiddles with a heat gun, one of Blaze's presumably, while Drury searches for something resembling his costume. At last he emerges, draped in about a dozen scarfs, triumphantly holding an old mask*
Drury- There! I knew I left one here! Purple too!
*Gar nods, then returns to the heat gun. Drury, seeing there was little chance of conversation, begins his search for functioning wings. Finally satisfied, Gar speaks up*
Gar- So.
Drury- Hmm? What is it?
Gar- It's... y'know... why are we doing this Drury?
Drury- Because we're good people.
Gar- Ah. But are we? Am I -? You're doing it for your brother, for me. Neither of us are doing it for the betterment of society, Hugo Strange is a combination of every mad scientist ever. I'm personally doing it because... because... Because you have an annoying habit of speaking for my behalf!
*Drury clasps a red belt, Polka Dot Man's, around his waist*
Drury- ... Gar, I know that you are a good person.
Gar- Ugh.
Drury- I'm serious! You fought against the Society didn't you?
Gar- For all of three seconds
Drury- Yet, when it came down to it, when you had to choose, you chose to take down Volcana, the woman you loved, for the greater good. That's hero material.
*Gar drops his gloves and glances at Drury*
Gar- You... You know what you are? A sappy, sentimental, lightbulb-fucking hippie.
*Drury bows his head for a few moments*
Drury- Was there a point to that rant or did you just want to hurt my feelings?
Gar- What I'm trying to say is, if I die, well, chances are you'd die first-
Drury- Again, thanks
Gar- You're welcome. Now, on the off chance my expectations are somehow subverted and *I* kick the bucket, you better burn down Gotham in my honour.
Drury- Why?
Gar- Eh, sounds fun. And alluring... What's the plan?
Drury- We'll make it up as we go along.
Gar- Oh! Oh! Some things never change...
Drury- Meaning?
Gar- You and your "plans" they either don't work, or you don't have one to begin with!
Drury- *stuffing a penguin in his bag* The Cobb plan worked.
Gar- That wasn't a plan, you played charades and ate cake.
Drury- I won. And the crumble was great
Gar- Tockman knows his bakes, yeah, but- What were we talking about?
Drury- Crumb- Plans. We were talking about plans
Gar- Right. And your lack of them.
...
Drury- You know Tockman gave me the recipe.
Gar- Now you tell me.
Drury- Heh.
Gar- Hey, shut it ... It wasn't your speech that did it y'know, that changed my mind, just so you don't get any ideas.
Drury- My speeches are always great!
Gar- Yeah, yeah.
Drury- Miranda likes 'em.
Gar- She told you this when?
Drury- Every time we- son of a bitch
Gar- That's what I thought. C'mon, let's save that creep
*Gar, fully dressed now, pats Drury on the back and rejoins the GCPD officers in the hallway*
Drury- She said she liked my speeches...
THE ZEN COW
I catch the cow next to the water
Her temperament is wild and she wants to escape.
It’s hard to hold her power
But I start talking to her and she calms down finally.
HKD
Ich fange die Kuh an der Tränke
Sie ist wild und will davonlaufen.
Es fällt schwer ihre Kraft zu meistern
Aber ich spreche zu ihr und schließlich beruhigt sie sich.
HKD
Ich bezwinge ihn (den Ochsen)
in einem schrecklichen
Kampf.
Sein großer Wille
und seine Kraft
sind unerschöpflich.
Er stürmt
auf das hohe Plateau
weit über den Wolkennebeln,
oder er steht
in einer unzugänglichen
Schlucht.
Originaltext (aus dem Chinesischen? Japanischen?) ins Deutsche übersetzt.
Italian postcard, no. 100 104. Raquel Welch in One Million Years BC (Don Chaffey, 1966).
American actress Raquel Welch (1940) is one of the icons of the 1960s and 1970s. She first won attention for her role in Fantastic Voyage (1966). In Great Britain, she then made One Million Years B.C. (1966). Although she had only three lines in the film, a poster of Welch in a furry prehistoric bikini became an amazing bestseller and catapulted her to stardom.
Raquel Welch was born Jo Raquel Tejada in 1940 in Chicago, Illinois. She was the first of three children born to Bolivian Armando Carlos Tejada Urquizo, an aerospace engineer, and his Irish-American wife Josephine Sarah Hall, who was the daughter of American architect Emery Stanford Hall. At age 14, Raquel won her first beauty title as Miss Photogenic. She graduated from high school in 1958 and a year later, after becoming pregnant, she married her high school sweetheart, James Welch. Seeking an acting career, Welch won a scholarship in drama, took classes at San Diego State College and won several parts in local theatre productions. She got a job as a weather forecaster at KFMB, a local San Diego television station. After her separation from James Welch, she moved with her two children to Dallas, Texas, where she worked as a model for Neiman Marcus and as a cocktail waitress. In 1963, she went to California, where she met former child star and Hollywood agent Patrick Curtis who became her personal and business manager and second husband. They developed a plan to turn Welch into a sex symbol. After small roles in a few films and TV series, she had her first featured role in the beach film A Swingin' Summer (Robert Sparr, 1965). She landed a seven-year nonexclusive contract at 20th Century Fox and was cast in a leading role in the sci-fi film Fantastic Voyage (Richard Fleischer, 1966) opposite Stephen Boyd. Welch portrayed a member of a medical team that is miniaturized and injected into the body of an injured diplomat with the mission to save his life. The film was a hit and made her a well-known name. Fox Studio loaned her to Hammer Studios in Britain where she starred in One Million Years B.C. (Don Chaffey, 1966). Her only costume was a two-piece deer skin bikini. Gary Brumburgh at IMDb: "Tantalizingly wet with her garb clinging to all the right amazonian places, One Million Years B.C. (1966), if nothing else, captured the hearts and libidos of modern men (not to mention their teenage sons) while producing THE most definitive and best-selling pin-up poster of that time."
Raquel Welch stayed in Europe for the French comedy Le Plus Vieux Métier du monde/The Oldest Profession (Michael Pfleghar a.o., 1967), a typical European anthology film of the 1960s. A collection of sketches on prostitution through the ages, made by a pan-European cast and crew. Some of the most sensual stars of the era played the leads: Michèle Mercier, Elsa Martinelli, Anna Karina, Nadia Gray, Jeanne Moreau and Welch. She played Nini in the episode La belle époque/The Gay Nineties by German director Michael Pfleghar. When Nini discovers by accident that her antiquated customer (Martin Held) is a banker, she pretends to be an honest woman who has fallen in love with him. She even pays him, just like a gigolo! Varlaam at IMDb: "Raquel Welch stars in the most amusing episode, relatively speaking. It's apparently set in the 1890s Vienna (Emperor Franz Josef is on the paper money). One could probably say that Raquel's greatest classic role was as the injured party in the Cannery Row lawsuit. Finely nuanced she was not, normally. But she makes an appealing light comedienne here, and she can really fill a lacy Viennese corset. The Belle Époque it assuredly was." Next, she appeared in the British seven-deadly-sins comedy Bedazzled (Stanley Donen, 1967). She played the deadly sin representing 'lust' for the comedy team of Peter Cook and Dudley Moore. In Britain, she was also the title secret agent in the sexy spy spoof Fathom (Leslie H. Martinson, 1967). In Italy, she starred with Monica Vitti and Claudia Cardinale in Le Fate/The Queens (Mauro Bolognini, 1966) and with Edward G. Robinson and Vittorio de Sica in The Biggest Bundle of Them All (Ken Annakin, 1968). Back in the United States, she appeared in the Western Bandolero! (Andrew V. McLaglen, 1968) with James Stewart and Dean Martin, which was followed by the private-eye drama Lady in Cement (Gordon Douglas, 1968) with Frank Sinatra. She caused quite a stir in her ground-breaking sex scenes with black athlete Jim Brown in the Western 100 Rifles (Tom Gries, 1969).
Raquel Welch's most controversial role came in the comedy Myra Breckinridge (Michael Sarne, 1970), based on Gore Vidal's 1968 novel. She took the part of the film's transsexual heroine in an attempt to be taken seriously as an actress. The picture was controversial for its sexual explicitness, but unlike the novel, Myra Breckinridge received little to no critical praise. It is cited in the book The Fifty Worst Films of All Time. Jason Ankeny at AllMovie: "Her situation was unusual; she was certainly a star and a household name, yet few people ever went to see her movies." Welch took a measure of control over her screen persona, producing and starring in Hannie Calder (Burt Kennedy, 1971), the first film in which she carved out a place in movie history portraying strong female characters and breaking the mould of the submissive sex symbol. She altered the image further with Kansas City Bomber (Jerrold Freedman, 1972), insisting on doing her own stunts as good-hearted roller derby star Diane 'KC' Carr. She followed that with a series of successful films in Europe that included the thriller Bluebeard (Edward Dmytryk, 1972) starring Richard Burton, the swashbuckler The Three Musketeers (Richard Lester, 1973) - for which she won a Golden Globe, the sequel The Four Musketeers (Richard Lester, 1974) both with Oliver Reed and Michael York, and The Wild Party (James Ivory, 1975). A big hit in Europe was the French action-comedy L'Animal/Animal (Claude Zidi, 1977) starring Jean-Paul Belmondo. Raquel Welch's unique persona on film made her one of the reigning icons of the 1960s and 1970s. Later, she made several television variety specials. In 1980, Welch planned on making a comeback in an adaptation of John Steinbeck's Cannery Row (David S. Ward, 1982), but was fired by the producers a few days into production. The producers said that at 40 years old she was too old to play the character. She was replaced with Debra Winger. Welch sued and collected a $10.8 million settlement. She starred on Broadway in Woman of the Year, receiving praise for following Lauren Bacall in the title role. She also starred in Victor/Victoria, having less success. In 1995, Welch was chosen by Empire Magazine as one of the 100 Sexiest Stars in Film History.
Sources: Jason Ankeny (AllMovie), Gary Brumburgh (IMDb), David Carless (IMDb), Bob Taylor (IMDb), Varlaam (IMDb), TCM, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Yugoslavian postcard by Cik Razglednica. Photo: Dezo Hoffman.
Today, 15 February 2023, American actress and sex symbol Raquel Welch (1940) has died at the age of 82 after a short illness. She was one of the icons of the 1960s and 1970s. Welch first won attention for her role in Fantastic Voyage (1966). In Great Britain, she then made One Million Years B.C. (1966). Although she had only three lines in the film, a poster of Welch in a furry prehistoric bikini became an amazing bestseller and catapulted her to stardom.
Raquel Welch was born Jo Raquel Tejada in 1940 in Chicago, Illinois. She was the first of three children born to Bolivian Armando Carlos Tejada Urquizo, an aerospace engineer, and his Irish-American wife Josephine Sarah Hall, who was the daughter of American architect Emery Stanford Hall. At age 14, Raquel won her first beauty title as Miss Photogenic. She graduated from high school in 1958 and a year later, after becoming pregnant, she married her high school sweetheart, James Welch. Seeking an acting career, Welch won a scholarship in drama, took classes at San Diego State College and won several parts in local theatre productions. She got a job as a weather forecaster at KFMB, a local San Diego television station. After her separation from James Welch, she moved with her two children to Dallas, Texas, where she worked as a model for Neiman Marcus and as a cocktail waitress. In 1963, she went to California, where she met former child star and Hollywood agent Patrick Curtis who became her personal and business manager and second husband. They developed a plan to turn Welch into a sex symbol. After small roles in a few films and TV series, she had her first featured role in the beach film A Swingin' Summer (Robert Sparr, 1965). She landed a seven-year nonexclusive contract at 20th Century Fox and was cast in a leading role in the sci-fi film Fantastic Voyage (Richard Fleischer, 1966) opposite Stephen Boyd. Welch portrayed a member of a medical team that is miniaturized and injected into the body of an injured diplomat with the mission to save his life. The film was a hit and made her a well-known name. Fox Studio loaned her to Hammer Studios in Britain where she starred in One Million Years B.C. (Don Chaffey, 1966). Her only costume was a two-piece deer skin bikini. Gary Brumburgh at IMDb: "Tantalizingly wet with her garb clinging to all the right amazonian places, One Million Years B.C. (1966), if nothing else, captured the hearts and libidos of modern men (not to mention their teenage sons) while producing THE most definitive and best-selling pin-up poster of that time."
Raquel Welch stayed in Europe for the French comedy Le Plus Vieux Métier du monde/The Oldest Profession (Michael Pfleghar a.o., 1967), a typical European anthology film of the 1960s. A collection of sketches on prostitution through the ages, made by a pan-European cast and crew. Some of the most sensual stars of the era played the leads: Michèle Mercier, Elsa Martinelli, Anna Karina, Nadia Gray, Jeanne Moreau and Welch. She played Nini in the episode La belle époque/The Gay Nineties by German director Michael Pfleghar. When Nini discovers by accident that her antiquated customer (Martin Held) is a banker, she pretends to be an honest woman who has fallen in love with him. She even pays him, just like a gigolo! Varlaam at IMDb: "Raquel Welch stars in the most amusing episode, relatively speaking. It's apparently set in the 1890s Vienna (Emperor Franz Josef is on the paper money). One could probably say that Raquel's greatest classic role was as the injured party in the Cannery Row lawsuit. Finely nuanced she was not, normally. But she makes an appealing light comedienne here, and she can really fill a lacy Viennese corset. The Belle Époque it assuredly was." Next, she appeared in the British seven-deadly-sins comedy Bedazzled (Stanley Donen, 1967). She played the deadly sin representing 'lust' for the comedy team of Peter Cook and Dudley Moore. In Britain, she was also the title secret agent in the sexy spy spoof Fathom (Leslie H. Martinson, 1967). In Italy, she starred with Monica Vitti and Claudia Cardinale in Le Fate/The Queens (Mauro Bolognini, 1966) and with Edward G. Robinson and Vittorio de Sica in The Biggest Bundle of Them All (Ken Annakin, 1968). Back in the United States, she appeared in the Western Bandolero! (Andrew V. McLaglen, 1968) with James Stewart and Dean Martin, which was followed by the private-eye drama Lady in Cement (Gordon Douglas, 1968) with Frank Sinatra. She caused quite a stir in her ground-breaking sex scenes with black athlete Jim Brown in the Western 100 Rifles (Tom Gries, 1969).
Raquel Welch's most controversial role came in the comedy Myra Breckinridge (Michael Sarne, 1970), based on Gore Vidal's 1968 novel. She took the part of the film's transsexual heroine in an attempt to be taken seriously as an actress. The picture was controversial for its sexual explicitness, but unlike the novel, Myra Breckinridge received little to no critical praise. It is cited in the book The Fifty Worst Films of All Time. Jason Ankeny at AllMovie: "Her situation was unusual; she was certainly a star and a household name, yet few people ever went to see her movies." Welch took a measure of control over her screen persona, producing and starring in Hannie Calder (Burt Kennedy, 1971), the first film in which she carved out a place in movie history portraying strong female characters and breaking the mould of the submissive sex symbol. She altered the image further with Kansas City Bomber (Jerrold Freedman, 1972), insisting on doing her own stunts as good-hearted roller derby star Diane 'KC' Carr. She followed that with a series of successful films in Europe that included the thriller Bluebeard (Edward Dmytryk, 1972) starring Richard Burton, the swashbuckler The Three Musketeers (Richard Lester, 1973) - for which she won a Golden Globe, the sequel The Four Musketeers (Richard Lester, 1974) both with Oliver Reed and Michael York, and The Wild Party (James Ivory, 1975). A big hit in Europe was the French action-comedy L'Animal/Animal (Claude Zidi, 1977) starring Jean-Paul Belmondo. Raquel Welch's unique persona on film made her one of the reigning icons of the 1960s and 1970s. Later, she made several television variety specials. In 1980, Welch planned on making a comeback in an adaptation of John Steinbeck's Cannery Row (David S. Ward, 1982), but was fired by the producers a few days into production. The producers said that at 40 years old she was too old to play the character. She was replaced with Debra Winger. Welch sued and collected a $10.8 million settlement. She starred on Broadway in Woman of the Year, receiving praise for following Lauren Bacall in the title role. She also starred in Victor/Victoria, having less success. In 1995, Welch was chosen by Empire Magazine as one of the 100 Sexiest Stars in Film History.
Sources: Jason Ankeny (AllMovie), Gary Brumburgh (IMDb), David Carless (IMDb), Bob Taylor (IMDb), Varlaam (IMDb), TCM, Wikipedia, and IMDb.
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