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British postcard by "Snappy Pop Pics Productions", Mini Series.
American film actor Paul Newman (1925-2008) was a matinee idol with the most famous blue eyes of Hollywood, who often played detached yet charismatic anti-heroes and rebels. He was nominated for nine acting Academy Awards in five different decades and won the Oscar for The Color of Money (1986). He was also a prominent social activist, a major proponent of actors' creative rights, and a noted philanthropist.
Paul Leonard Newman was born in 1925, in Shaker Heights, Ohio, a suburb of Cleveland. He was the second son of Arthur Sigmund Newman and Theresa Fetsko. His father was a Jewish businessman who owned a successful sporting goods store. His mother was a practicing Christian Scientist with an interest in the creative arts, and it rubbed off on her son. At age 10, he performed in a stage production of 'Saint George and the Dragon' at the Cleveland Play House. He also acted in high school plays. By 1950, the 25-year-old Newman had been kicked out of Ohio University, where he belonged to the Phi Kappa Tau fraternity, for unruly behavior (denting the college president's car with a beer keg), served three years in the United States Navy during World War II as a radio operator, graduated from Ohio's Kenyon College, married his first wife, actress Jacqueline "Jackie" Witte, and had his first child, Scott. That same year, his father died. When he became successful in later years, Newman said if he had any regrets it would be that his father was not around to witness his success. He brought Jackie back to Shaker Heights and he ran his father's store for a short period. Then, knowing that wasn't the career path he wanted to take, he sold his interest in the store to his brother and moved with Jackie and Scott to New Haven, Connecticut. There he attended Yale University's School of Drama. While doing a play there, Newman was spotted by two agents, who invited him to come to New York City to pursue a career as a professional actor. After moving to New York, he acted in guest spots for various television series, and in 1953 came a big break. He got the part of understudy of the lead role in the successful Broadway play 'Picnic' by William Inge. Through this play, he met actress Joanne Woodward, who was also an understudy in the play. While they got on very well and there was a strong attraction, Newman was married and his second child, Susan, was born that year. During this time, Newman was accepted into the much admired and popular New York Actors Studio, although he did not actually audition. In 1954, a film Newman was very reluctant to do was released, the failed costume drama The Silver Chalice (Victor Saville, 1954). He considered his performance in this costume epic to be so bad that he took out a full-page ad in Variety apologising for it to anyone who might have seen it. He immediately wanted to return to the stage, and performed in 'The Desperate Hours'. In 1956, he got the chance to redeem himself in the film world by portraying boxer Rocky Graziano in Somebody Up There Likes Me (Robert Wise, 1956) with Pier Angeli. The role of Rocky was originally awarded to James Dean, who died before filming began. Critics praised Newman's performance. Dean also was signed to play Billy the Kid in The Left Handed Gun (Arthur Penn, 1958), but that role was also inherited by Newman after Dean's death. With a handful of films to his credit, he was cast in The Long, Hot Summer (1958), an acclaimed adaptation of a pair of William Faulkner short stories. His co-star was Joanne Woodward. During the shooting of this film, they realised they were meant to be together and by now, so did his then-wife Jackie, who gave Newman a divorce. He and Woodward wed in Las Vegas in January 1958. They went on to have three daughters together. They raised them in Westport, Connecticut. In 1959, Newman received his first Academy Award nomination for Best Actor, in Cat on a Hot Tin Roof (Richard Brooks, 1958), based on the Pulitzer Prize-winning play by Tennessee Williams. Well-received by both critics and audiences, Cat on Hot Tin Roof was MGM's most successful release of 1958 and became the third highest-grossing film of that year.
Paul Newman traveled back to Broadway to star in Tennessee Williams' 'Sweet Bird of Youth'. Upon his return to the West Coast, he bought himself out of his Warner Bros. contract before starring in the smash From the Terrace (Mark Robson, 1960) with Joanne Woodward. Exodus (Otto Preminger, 1960), another major hit, quickly followed. The 1960s would bring Paul Newman into superstar status, as he became one of the most popular actors of the decade. In 1961, he played one of his most memorable roles as pool shark "Fast" Eddie Felson in The Hustler (Robert Rossen, 1961) with Jackie Gleason and Piper Laurie. It garnered him the first of three Best Actor Oscar nominations during the decade. The other two were for the Western Hud (Marin Ritt, 1963), and the superb chain-gang drama Cool Hand Luke (Jack Smight, 1967). He also appeared in the political thriller Torn Curtain (Alfred Hitchcock, 1966) with Julie Andrews. The film, set in the Cold War, is about an American scientist who appears to defect behind the Iron Curtain to East Germany. Other minor hits were the mystery Harper (Jack Smight, 1966), with Lauren Bacall, and the Western Hombre (Martin Ritt, 1967), based on the novel by Elmore Leonard and co-starring Fredric March. In 1968, his debut directorial effort Rachel, Rachel (Paul Newman, 1968) was given good marks. He directed three actors to Oscar nominations: Joanne Woodward (Best Actress, Rachel, Rachel (1968)), Estelle Parsons (Best Supporting Actress, Rachel, Rachel (1968)), and Richard Jaeckel (Best Supporting Actor, Sometimes a Great Notion (1971)). Newman won a Golden Globe Award for his direction of Rachel, Rachel (1968). 1969 brought the popular screen duo of Newman and Robert Redford together for the first time when Butch Cassidy and the Sundance Kid (George Roy Hill, 1969) was released. It was a box office smash. Through the 1970s, Newman had hits and misses from such popular films The Sting (George Roy Hill, 1973) with Robert Redford, which won the 1973 Best Picture Oscar, and the star-studded disaster epic The Towering Inferno (John Guillermin, 1974), to lesser-known films as the Western The Life and Times of Judge Roy Bean (Robert Altman, 1972) with Jacqueline Bisset, to a cult classic, the sports comedy Slap Shot (George Roy Hill, 1977) with Michael Ontkean. In 1978, Newman's only son, Scott, died of a drug overdose. After Scott's death, Newman's personal life and film choices moved in a different direction.
Paul Newman's acting work in the 1980s and on is what is often most praised by critics today. He became more at ease with himself and it was evident in The Verdict (Sidney Lumet, 1982) with Charlotte Rampling, for which he received his sixth Best Actor Oscar nomination. In 1987, he finally received his first Oscar for The Color of Money (Marin Scorsese, 1986) with Tom Cruise, almost thirty years after Woodward had won hers. Friend and director of Somebody Up There Likes Me (1956), Robert Wise accepted the award on Newman's behalf as the actor did not attend the ceremony. Previously, Newman had been nominated as the same character in The Hustler (Robert Rossen, 1961). In total, he was nominated for the Oscar nine times: Best Lead Actor for Cat on a Hot Tin Roof (Richard Brooks, 1958), The Hustler (Robert Rossen, 1961), Hud (Marin Ritt, 1963), Cool Hand Luke (Stuart Rosenberg, 1967), Absence of Malice (Sydney Pollack, 1981), The Verdict (Sidney Lumet, 1982), The Color of Money (Martin Scorsese, 1986), Nobody's Fool (Robert Benton, 1994)) and finally for Best Supporting Actor in Road to Perdition (Sam Mendes, 2002). In 1994 Newman also played alongside Tim Robbins as the character Sidney J. Mussburger in the Coen Brothers comedy The Hudsucker Proxy. Films were not the only thing on his mind during this period. A passionate race car driver since the early 1970s (despite being color-blind), he was a co-founder of Newman-Haas racing in 1982. He also founded 'Newman's Own', a line of food products, featuring mainly spaghetti sauces and salad dressings. The company made more than $100 million in profits over the years, all of which he donated to various charities. He also started The Hole in the Wall Gang Camps, an organization for children with serious illness. He was as well known for his philanthropic ways and highly successful business ventures as he was for his legendary actor status. Newman's marriage to Woodward lasted a half-century. Connecticut was their primary residence after leaving Hollywood and moving East in 1960. Renowned for his sense of humor, in 1998 he quipped that he was a little embarrassed to see his salad dressing grossing more than his films. During his later years, he still attended races, was much involved in his charitable organisations, and in 2006, he opened a restaurant called Dressing Room, which helps out the Westport Country Playhouse, a place in which Newman took great pride. In 2003, Newman appeared in a Broadway revival of Thornton Wilder's 'Our Town', receiving his first Tony Award nomination for his performance. The animated Disney-Pixar comedy Cars (John Lasseter, 2006) was his final film. It was the highest-grossing film of his career. In 2007, while the public was largely unaware of the serious illness from which he was suffering, Newman made some headlines when he said he was losing his invention and confidence in his acting abilities and that acting was "pretty much a closed book for me". A smoker for many years, Paul Newman died in 2008, aged 83, from lung cancer. With his first wife Jackie, he had three children, Scott, Stephanie, and Susan. Susan Kendall Newman is well known for stage acting and her philanthropic activities. His three daughters with Joanne Woodward are actress Melissa Newman, Nell Potts, and Claire Newman. Nine years after Paul Newman's death, he reprised his role as Doc Hudson in Cars 3 (2017): unused recordings from Cars (2006) were used as new dialogue.
Sources: Tom McDonough/Robert Sieger (IMDb), Jason Ankeny (AllMovie), AllMovie, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
The nominated Bryce Canyon National Park Scenic Trails District consists of five structures including the Navajo Loop Trail, the Queen's Garden Trail, the Peekaboo Loop Trail, the Fairyland Trail, and the Rim Trail. All of these structures are located within the scenic heartland of the park-between Fairyland Point to the north and Bryce Point to the south. Although the trails have individual names, they do intersect with one another, forming a contiguous series of paths that provide visual and physical access to the erosional features that characterize Bryce Canyon National Park (BRCA).
The Queen's Garden Trail (an unpaved graded trail between three and five feet in width) accesses the area below the plateau rim between Sunrise and Sunset points. The length of the Queen's Garden Trail is listed in various documents as .8 or 1.8 miles in length, depending upon whether or not one includes both the canyon bottom and switchback segments under the designation. This trail provides access to the rock formation known as Queen Victoria. The upper portion of the trail is cut through bare sandstone with little or no vegetation. However, vegetation increases as one descends into the bottom of Bryce Canyon. Scattered stands of ponderosa pine, bristlecone pine, and brushy understory vegetation occur adjacent to the trail. Notable features of the trail include two tunnels cut through a sandstone ridge.
A comparison of historic and modern maps indicates that the current alignment of the Queen's Garden Trail follows closely the trail as it was constructed in 1929. Modifications have been made due to erosion, rock fall, etc., however these are to be expected given the character of the natural environment within BRCA. This trail continues to provide access to the formation known as "Queen Victoria" and provides hikers with vistas that are little changed since the historical period. (1)
References (1) NRHP Nomination Form npgallery.nps.gov/pdfhost/docs/NRHP/Text/95000422.pdf
Eurasian Kestrel. Photographed at Pegwell Bay, Kent, UK on 22 December 2018. Nominate subspecies tinnunculus.
Arempvi, nominated for Monster High's Prom Queen, has decided to go all out and take her favorite colors—black, hot pink, and silver—and crank the Princess-Glam-Goth look up to 11! And to make it absolutely clear which school she represents, she's carrying a Monster High medallion with her all through the prom—and she's also wearing a pair of Bratzillaz shoes, as an homage to the heartfelt competition the rival school has given. (She also just really likes those shoes.)
Arempvi wants to thank all the judges of the competition for naming her as a favorite in so many rounds, and I, Q. Q. Kachoo, want to thank Veni Vidi Dolli for hosting such a fun competition! This is the first competition I've been in that I've seen all the way through, and even if I don't win, I'm very proud of my accomplishment—and I can't wait for the next one. :^)
And finally...if you like this photo, then send www.flickr.com/photos/venivididolli a FlickrMail and vote for me to win this competition! ;^D
Nominated for preservation in 1968 GVB tram 864 (ex 464) during a joyride in 1969. This car is still being used to date by the Museum tram Association. © Henk Graalman 3510
Brahminy Kite (Haliastur indus)
Other common names: Red-backed Kite, White-headed Kite, Maroon-backed Kite, Chestnut-white Kite, Rufous Eagle, Rufous-backed Kite, White and Red Eagle-kite, Red-backed Sea Eagle, White-headed Sea Eagle, White-headed Fish Eagle, Whistling Eagle.
Taxonomy: Haliastur indus (Boddaert) 1783, Pondicherry, India.
Sub-species & Distribution: Sometimes placed within the genus Milvus. It ranges from Pakistan, India, Nepal and Sri Lanka through to S China, Hong Kong, the Philippines, Sula Islands, Thailand, Malaysia, Singapore, the Greater and Lesser Sundas, Wallacea, Moluccas, New Guinea, Bismarck Archipelago, Australia and the Solomon Islands.
The nominate form, indus, more heavily marked with narrow dark stripes, is found in Pakistan, India, Nepal, Sri Lanka and the Andaman Islands to S China, south to Myanmar, N Thailand and C Vietnam. South of the Tenasserim, however, it intergrades with intermedius, and is less heavily streaked than those from the northern parts of its range (Baker 1928, Robinson 1927). Given the great individual variation in the strength of dark shaft-streaks in adults, Wells (1999) considered it better to treat the whole of Malaya as a zone of intergradation between these two races.
Of the four sub-species currently recognised, only one is found in this region:
intermedius Gurney 1865, Java. Found in Thailand, Malaysia, Singapore, the Greater and Lesser Sundas, Sulawesi, the Philippines and Sula Islands. Towards the easternmost parts of this range, the stripes tend to disappear altogether as it grades into the Australian race (Robinson 1927).
Size: Length 18 to 20" (46 to 51 cm). Sexes alike. Females slightly larger than males (Baker 1928).
Description: Head, nape, hind-neck, chin, throat, breast and upper belly white, the feathers with narrow but distinct dark brown to blackish shaft-streaks. Remaining upperparts rich reddish-chestnut, darker on mantle, the feathers sometimes with black quill shafts. Outer six primaries black with varying amounts of chestnut at base, the chestnut basal third of the first primary progressively increasing towards the sixth primary which has the basal half entirely chestnut. Remaining primaries, secondaries and wing coverts chestnut, paler and duller on under-surface of wing. Tail chestnut with narrow pale tips, under-surface of tail pale dull rufous. Lower abdomen, undertail coverts, axillaries and underwing coverts chestnut.
Soft parts: Iris dark brown. Bill dull bluish-horn, paler and yellower at tip, cere dull yellowish. Legs and feet greenish-yellow.
Immature plumages Juveniles have upperparts mainly brown, the secondaries and wing coverts darker with pale buffy-white tips, the tail with pale whitish tip. Head, nape, hind-neck, chin, throat, breast and upper belly pale rufous-brown, with buffy-white shaft stripes and tips, the lores whitish, with brown around the eyes and on ear coverts. Belly and undertail coverts more rufous, with narrow dark streaks, the feathers whitish at the base (Robinson 1927). Outer six primaries blackish with varying amounts of greyish-white at base, the greyish-white basal third of the first primary progressively increasing towards the sixth primary which has the basal half entirely greyish-white. The remaining primaries greyish-white, tinged with greyish-rufous at tip. Axillaries, lesser and median underwing coverts dark blackish-brown, greater underwing coverts dark grey, paler at base.
After fledging, with wear, the dark plumage fades to brown or rusty-brown, the buff markings lightens to cream streaks. Later, after a body moult, the worn and faded juvenile feathers include variable amounts of new whitish and red-brown feathers on the head, body, lesser and median coverts; the forehead and throat more whitish; the crown, face, hind-neck, breast, upper belly and flanks now mottled with cream and pale brown; the back, lower belly, vent and thighs dull chestnut. The flight feathers, wing coverts and tail, not moulted in the first year, now appear faded and worn (Ferguson-Lees & Christie 2001). In flight, the greyish-white on the primaries appears almost white.
Similar species: The White-bellied Fish Eagle Haliaeetus leucogaster, a very much larger bird, can be recognised by its wedge-shaped white-tipped tail, its black primaries and secondaries contrasting with white underwing coverts and white underparts. Brahminy Kites have dark chestnut underwing coverts, rounded chestnut tail and chestnut wings, only the wing tips being black.
Immature Brahminy Kites can be separated by their smaller size, dark brown to chestnut lower belly, thighs and vent, and rounded tail. The similar Black Kite Milvus migrans has its tail forked, not rounded.
Status, Habitat & Behaviour: A common resident throughout Singapore (Wang & Hails 2007), it is most frequently found near water, along the sea coast by fishing villages and islands, near rivers, marshes, mangrove mudflats, lakes and rice fields. They habitually feed around large harbours and ports.
Though it can be seen by mouths of large rivers or in open country, over inland marshes and rice fields, it normally avoids dry areas, dense forests and jungles. However, it does hunt over the forest canopy, and travel up into the interior along large rivers. In Sarawak, it is found in Bario, at 1100 m, hawking over padi fields, or perched high up on dead trees overlooking forest clearings and rivers.
It occurs singly, in pairs, or in small groups, and is seen circling over coastal or riverine towns and fishing villages. In India, it is very tame and fearless, freely scavenging close to human habitation (Jerdon 1862) but, inland, it is often a shy bird (Whistler 1949).
Essentially a scavenger and an opportunistic feeder, it shows great versatility in its hunt for food. Along the coastline and in open country, it soars high over its territory in search of prey or quarters the area at lower heights, sometimes perching prominently on trees, utility posts or on the roofs of houses and, in harbours, on derricks alongside the docks or the masts of ships. Its flight is effortless and graceful.
It swoops down in long gliding or diving flight to pick food off the surface in its claws, the legs held rigid and, sometimes, even splashes into the water, riding high on the waves, and taking off again without effort (Ali & Ripley 1968). Unlike White-bellied Fish Eagles Haliaeetus leucogaster or Ospreys Pandion haliaetus, it does not pursue fish travelling in shoals (Robinson 1927). It has been seen taking fish up to one pound in weight (Smythies 1968). Small prey items are devoured in flight (see Willis 2008). With larger catches, the bird sits on the ground, on padi field bunds or perches high up a tree (Jerdon 1862).
Adults are sedentary and do not migrate. Immature birds usually disperse from the parental territory.
Food: In large cities and towns, it frequently feeds on garbage thrown out in the streets and roads. On large rivers or lakes, it picks fish, prawns or water insects off the water and, in wooded country, it takes mice, shrews, young birds, and insects such as large cicadas or locusts (Jerdon 1862). Inland, it eats crustacea, frogs and shellfish taken in padi fields, an occasional young chicken or duckling from villages (Robinson 1927), as well as lizards, snakes and swarming termites taken on the wing (Salim Ali 1941).
In large harbours, it is a scavenger, any refuse thrown overboard from ships being instantly picked up off the water (Oates 1895). Near fishing villages, it can be seen taking fish from the sea and beaches even as fishing nets are being emptied (Robinson 1927), feeding on discarded fish and fish offal, often swooping down to steal fish within a few feet of a fisherman (Baker 1928) and, when in hot pursuit of gulls, crows and kites to rob them of food, shows some considerable turn of speed (Jerdon 1862). It is equally adept, when served in like manner, in evading predators, sometimes unsuccessfully (Lee 2007).
Voice and Calls: The cry is a peculiar squealing sound, uttered on the wing (Oates 1895), a shrill mew, like that of a kitten, uttered on the wing or when fighting for food with others of its kind (Robinson 1927).
Breeding: In Singapore, breeding was first recorded in 1949, with current records of nest building from January to March and October to December, brooding in March, and nestlings in February, March, May and June (Wang & Hails 2007). In West Malaysia, eggs were found from December to March, nestlings from April to May (Robinson & Chasen 1939).
The nest, a loosely constructed structure of coarse twigs and sticks, is usually placed not less than 12 to 15 m above ground, generally near the top of a tall tree in the mangroves, the eggs being laid on a pad of dried clay (Robinson & Chasen 1939). A nest was found on a flat-topped electricity pylon, and also on Tembusu Fagraea fragrans trees (Wells 1999).
In India, where they breed from December to March, nests were found usually in the neighbourhood of water, along the coasts on coconut palms and casuarina trees (Salim Ali 1941), on trees in the middle of a fishing village and on the roofs of houses (Baker 1928). The nests were large loose structures, 46 to 61 cm in diameter and 8 to 12 cm in depth, the central depression for the eggs sometimes unlined, sometimes lined with a few green leaves but, more commonly, the inner part of the nest included pieces of rag, wool and human hair, and was sometimes lined with mud (Hume 1890).
They lay two dirty-white eggs, lightly marked with rusty reddish-brown, sometimes without markings, the average size of twenty eggs being 52.8 x 41.1 mm (Robinson 1927). Both sexes share duties in building the nest and feeding the young. The birds were prone to deserting the nest on the slightest provocation (Hume 1890). Incubation, done mostly by the female, takes about 26 or 35 days. Young hatchlings are covered in white down, take 40 to 56 days to fledge, and remain dependent on their parents for another two months (Ferguson-Lees & Christie 2001).
Moult: Very little information is available about its moult strategy. Like many small Accipitrids, it probably undertakes complete wing and tail moult every year. According to Wells (1999), replacement of inner primaries is regular and descendent, with evidence of mid-wing suspension or precocious moult of the wing tip, P5 to P10 often newer than P1 to P4.
Miscellaneous: The name of Brahminy Kite given to it in India because the bird is considered sacred to Vishnu, a Hindu deity. The word, Brahmin, refers to a Hindu priestly caste. Its Muslim name, Rumuharik or lucky face, arises from a belief that when two armies are about to engage, the appearance of this bird over either party foretold victory to that side (Jerdon 1862).
[Credit: singaporebirds.net/]
I was nominated for the "Black and White Challenge" by a fellow photographer (www.arthurimages.com/) and wasn't sure what I was going to do.
It gave me a good time to reflect on some of my past work and see what I could come up with. I have never been really big on B&W images so it took a little getting used to.
I tried a few things and can now say I am a lot more familiar with the Levels adjustment.
www.instagram.com/faultyflipflap
French postcard by Editions P.I., Paris, no. 267. Photo: Paramount, 1950.
American actress Paulette Goddard (1905-1990) started her career as a fashion model and as a Ziegfeld Girl in several Broadway shows. In the 1940s, she became a major star of Paramount Pictures. She was Charlie Chaplin's leading lady in Modern Times (1936), and The Great Dictator. Goddard was nominated for an Oscar for Best Supporting Actress for So Proudly We Hail! (1943). Her husbands included Chaplin, Burgess Meredith, and Erich Maria Remarque.
Paulette Goddard was born Pauline Marion Levy in Whitestone Landing, Long Island, New York. Sources variously cite her year of birth as 1911 and 1914, and the place as Whitestone Landing, New York, USA. However, municipal employees in Ronco, Switzerland, where she died, gave her birth year of record as 1905. Goddard was the daughter of Joseph Russell Levy, the son of a prosperous Jewish cigar manufacturer from Salt Lake City, and Alta Mae Goddard, who was of Episcopalian English heritage. They married in 1908 and separated while their daughter was very young, although the divorce did not become final until 1926. According to Goddard, her father left them, but according to J. R. Levy, Alta absconded with the child. Goddard was raised by her mother, and did not meet her father again until the late 1930s, after she had become famous. To avoid a custody battle, she and her mother moved often during her childhood, even relocating to Canada at one point. Goddard began modeling at an early age to support her mother and herself, working for Saks Fifth Avenue, Hattie Carnegie, and others. An important figure in her childhood was her great uncle, Charles Goddard, the owner of the American Druggists Syndicate. He played a central role in Goddard's career, introducing her to Broadway impresario Florenz Ziegfeld. She made her stage debut as a dancer in Ziegfeld's summer revue, 'No Foolin' (1926), which was also the first time that she used the stage name Paulette Goddard. Ziegfeld hired her for another musical, 'Rio Rita', which opened in February 1927, but she left the show after only three weeks to appear in the play 'The Unconquerable Male', produced by Archie Selwyn. It was, however, a flop and closed after only three days following its premiere in Atlantic City. Soon after the play closed, Goddard was introduced to the much older lumber tycoon Edgar James, president of the Southern Lumber Company, by Charles Goddard. She married him in June 1927 in Rye, New York, but the marriage was short. Goddard was granted a divorce in Reno, Nevada, in 1929, receiving a divorce settlement of $375,000. Tony Fontana at IMDb: "A stunning natural beauty, Paulette could mesmerize any man she met, a fact she was well aware of. "
Paulette Goddard first visited Hollywood in 1929, when she appeared as an uncredited extra in two films, the Laurel and Hardy short film Berth Marks (Lewis R. Foster, 1929), and George Fitzmaurice's drama The Locked Door (1929). Following her divorce, she briefly visited Europe before returning to Hollywood in late 1930 with her mother. Her second attempt at acting was no more successful than the first, as she landed work only as an extra. In 1930, she signed her first film contract with producer Samuel Goldwyn to appear as a Goldwyn Girl in Whoopee! (Thornton Freeland, 1930) with Eddie Cantor. She also appeared in City Streets (Rouben Mamoulian, 1931) with Gary Cooper, Ladies of the Big House (Marion Gering, 1931) starring Sylvia Sidney, and The Girl Habit (Edward F. Cline, 1931) for Paramount, and The Mouthpiece (James Flood, Elliott Nugent, 1932) for Warners. Goldwyn and she did not get along, and she began working for Hal Roach Studios, appearing in a string of uncredited supporting roles for the next four years, including Young Ironsides (James Parrott, 1932) with Charley Chase, and Pack Up Your Troubles (1932) with Laurel and Hardy. One of her bigger roles in that period was as a blond 'Goldwyn Girl' in the Eddie Cantor film The Kid from Spain (Leo McCarey, 1932). Goldwyn also used Goddard in The Bowery (Raoul Walsh, 1933) with Wallace Beery, Roman Scandals (Frank Tuttle, 1933), and Kid Millions (Roy Del Ruth, 1934) with Eddie Cantor. The year she signed with Goldwyn, Goddard began dating Charlie Chaplin, a relationship that received substantial attention from the press. They were reportedly married in secret in Canton, China, in June 1936. It marked a turning point in Goddard's career when Chaplin cast her as his leading lady in his box office hit, Modern Times (1936). Her role as 'The Gamin', an orphan girl who runs away from the authorities and becomes The Tramp's companion, was her first credited film appearance and garnered her mainly positive reviews, Frank S. Nugent of The New York Times describing her as "the fitting recipient of the great Charlot's championship". Following the success of Modern Times, Chaplin planned other projects with Goddard in mind as a co-star, but he worked slowly, and Goddard worried that the public might forget about her if she did not continue to make regular film appearances. She signed a contract with David O. Selznick and appeared with Janet Gaynor in the comedy The Young in Heart (Richard Wallace, 1938) before Selznick lent her to MGM to appear in two films. The first of these, Dramatic School (Robert B. Sinclair, 1938), co-starred Luise Rainer, but the film received mediocre reviews and failed to attract an audience. Her next film, The Women (George Cukor, 1939), was a success. With an all-female cast headed by Norma Shearer, Joan Crawford, and Rosalind Russell, the film's supporting role of Miriam Aarons was played by Goddard. Pauline Kael later wrote of Goddard, "she is a stand-out. fun."
David O' Selznick was pleased with Paulette Goddard's performances, particularly her work in The Young in Heart, and considered her for the role of Scarlett O'Hara in Gone With the Wind (Victor Fleming, 1939). Initial screen tests convinced Selznick and director George Cukor that Goddard would require coaching to be effective in the role, but that she showed promise, and she was the first actress given a Technicolor screen test. After he was introduced to Vivien Leigh, he wrote to his wife that Leigh was a "dark horse" and that his choice had "narrowed down to Paulette, Jean Arthur, Joan Bennett, and Vivien Leigh". After a series of tests with Leigh that pleased both Selznick and Cukor, Selznick cancelled the further tests that had been scheduled for Goddard, and the part was given to Leigh. Goddard's next film, The Cat and the Canary (Elliott Nugent, 1939) with Bob Hope, was a turning point in the careers of both actors. The success of the film established her as a genuine star. Her performance won her a ten-year contract with Paramount Studios, which was one of the premier studios of the day. They promptly were re-teamed in The Ghost Breakers (George Marshall, 1940), again a huge hit. Goddard starred with Chaplin again in his film The Great Dictator (1940). In 1942, Goddard was granted a Mexican divorce from Chaplin. The couple split amicably, with Chaplin agreeing to a generous settlement. At Paramount, Goddard was used by Cecil B. De Mille in the action epic North West Mounted Police (1940), playing the second female lead. She was Fred Astaire's leading lady in the acclaimed musical Second Chorus/Swing it (H.C. Potter, 1940), where she met actor Burgess Meredith, her third husband. Goddard made Pot o' Gold (George Marshall, 1941), a comedy with James Stewart, then supported Charles Boyer and Olivia de Havilland in Hold Back the Dawn (Mitchell Leisen, 1941), from a script by Wilder and Brackett, directed by Mitchell Leisen. Goddard was teamed with Hope for a third time in Nothing But the Truth (Elliott Nugent, 1942), then made The Lady Has Plans (Sidney Lanfield, 1942), a comedy with Ray Milland. She co-starred with Milland and John Wayne in Reap the Wild Wind (Cecil B. DeMille, 1942), playing the lead, a Scarlett O'Hara type character. The film was a huge hit. Goddard did The Forest Rangers (George Marshall, 1942) with Fred MacMurray. One of her better-remembered film appearances was in the variety musical Star Spangled Rhythm (George Marshall, 1943), in which she sang "A Sweater, a Sarong, and a Peekaboo Bang" with Dorothy Lamour and Veronica Lake.
Paulette Goddard received one Oscar nomination for Best Supporting Actress for So Proudly We Hail! (Mark Sandrich, 1943) opposite Claudette Colbert and Veronica Lake. She didn't win, but it solidified her as a top draw. Goddard was teamed with Fred MacMurray in the delightful comedy Standing Room Only (Sidney Lanfield, 1944) and Sonny Tufts in I Love a Soldier (Mark Sandrich, 1944). In May 1944, she married Burgess Meredith at David O. Selznick's home in Beverly Hills. Goddard's most successful film was Kitty (Mitchell Leisen, 1945), in which she played the title role. Denny Jackson/Robert Sieger at IMDb: "The film was a hit with moviegoers, as she played an ordinary English woman transformed into a duchess. The film was filled with plenty of comedy, dramatic and romantic scenes that appealed to virtually everyone." In The Diary of a Chambermaid (1946), Goddard starred with husband Burgess Meredith under the direction of Jean Renoir. It was made for United Artists. At Paramount she did Suddenly It's Spring (Mitchell Leisen, 1947) with Fred MacMurray, and De Mille's 18th century romantic drama Unconquered (Cecil B. DeMille, 1947), with Cary Grant. During the Hollywood Blacklist, when she and blacklisted husband Meredith were mobbed by a baying crowd screaming "Communists!" on their way to a premiere, Goddard is said to have turned to her husband and said, "Shall I roll down the window and hit them with my diamonds, Bugsy?" In 1947, she made An Ideal Husband in Britain for Alexander Korda, and was accompanied on a publicity trip to Brussels by Clarissa Spencer-Churchill, niece of Sir Winston Churchill and future wife of future Prime Minister Anthony Eden. She divorced Meredith in June 1949, and also left Paramount. In 1949, she formed Monterey Pictures with John Steinbeck. Goddard starred in Anna Lucasta (Irving Rapper, 1949), then went to Mexico for The Torch (Emilio Fernández, 1950). In England, she was in Babes in Bagdad (Edgar G. Ulmer, 1952), then she went to Hollywood for Vice Squad (Arnold Laven, 1953) with Edward G. Robinson, and Charge of the Lancers (William Castle, 1954) with Jean-Pierre Aumont. Her last starring role was in the English production A Stranger Came Home/The Unholy Four (Terence Fisher, 1954).
Paulette Goddard began appearing in summer stock and on television, guest starring on episodes of Sherlock Holmes, an adaptation of The Women, this time playing the role of Sylvia Fowler, The Errol Flynn Theatre, The Joseph Cotten Show, and The Ford Television Theatre. She was in an episode of Adventures in Paradise and a TV version of The Phantom. After her marriage to Erich Maria Remarque in 1958, Goddard largely retired from acting and moved to Ronco sopra Ascona, Switzerland. In 1964, she attempted a comeback in films with a supporting role in the Italian film Gli indifferenti/Time of Indifference (Francesco Maselli, 1964), starring Claudia Cardinale and Rod Steiger, which was her last feature film. After Remarque's death in 1970, she made one last attempt at acting, when she accepted a small role in an episode of the TV series The Snoop Sisters, The Female Instinct (Leonards Stern, 1972) with Helen Hayes and Mildred Natwick. Upon Remarque's death, Goddard inherited much of his money and several important properties across Europe, including a wealth of contemporary art, which augmented her own long-standing collection. During this period, her talent at accumulating wealth became a byword among the old Hollywood élite. During the 1980s, she became a fairly well known (and highly visible) socialite in New York City, appearing covered with jewels at many high-profile cultural functions with several well-known men, including Andy Warhol, with whom she sustained a friendship for many years until his death in 1987. Paulette Goddard underwent invasive treatment for breast cancer in 1975, successfully by all accounts. In 1990, she died at her home in Switzerland from heart failure while under respiratory support due to emphysema, She is buried in Ronco Village Cemetery, next to Remarque and her mother. Goddard had no children. She became a stepmother to Charles Chaplin's two sons, Charles Chaplin Jr. and Sydney Chaplin, while she and Charlie were married. In his memoirs, 'My Father Charlie Chaplin' (1960), Charles Jr. describes her as a lovely, caring and intelligent woman throughout the book. In October 1944, she suffered the miscarriage of a son with Burgess Meredith. Goddard, whose own formal education did not go beyond high school, bequeathed US$20 million to New York University (NYU) in New York City.
Sources: Tony Fontana (IMDb), Denny Jackson / Robert Sieger (IMDb), Wikipedia and IMDb.
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West-German postcard by Kolibri-Verlag G.m.b.H., Minden/Westf., no. 597.
American actress Janet Leigh (1927-2004) starred in more than 50 films, but will always be remembered for the 45 minutes that she was on the screen in Alfred Hitchcock's Psycho (1960). Her shower scene became a film landmark. She was nominated for an Oscar and received a Golden Globe. Also unforgettable are her roles in Orson Welles' Touch of Evil (1958) and The Manchurian Candidate (1962), in which she starred with Frank Sinatra. Leigh and Tony Curtis were married from 1951 to 1962.
Janet Leigh was born Jeanette Helen Morrison in 1927 as the only child of a very young married couple, Helen Lita (née Westergaard) and Frederick Morrison in Merced, California. She spent her childhood moving from town to town due to her father's changing jobs. A bright child who skipped several grades in school, Leigh took music and dancing lessons, making her public debut at age 10 as a baton twirler for a marching band. Her favourite times were the afternoons spent at the local cinema, which she referred to as her "babysitter." After high school, she studied music and psychology at the College of the Pacific in Stockton. In the winter of 1945, she stayed at Sugar Bowl, a ski resort in the Sierra Nevada mountains, with her parents. Leigh's mother was working at a ski lodge where actress Norma Shearer was vacationing. Shearer was impressed by a photograph of then-eighteen-year-old Leigh taken by the ski club photographer over the Christmas holiday. Shearer brought Leigh to the attention of MGM talent agent Lew Wasserman who offered the girl a contract. Leigh left the College of the Pacific to take acting lessons from Lillian Burns. Her prior acting experience consisted only of a college play. One year later Leigh was at MGM, playing the ingenue in the film Romance of Rosy Ridge (Roy Rowland, 1947), a big-screen romance in which she starred opposite veteran Hollywood actor Van Johnson. The studio changed her name to Janet Leigh. The Romance of Rosy Ridge was a box-office success and the same year Leigh was cast for the film If Winter Comes (Victor Saville, 1947) with Walter Pidgeon and Deborah Kerr. The young actress became one of the busiest contractees at the studio, building her following with solid performances in such films as Little Women (Mervyn LeRoy, 1949), The Doctor and the Girl (Curtis Bernhardt, 1950) as Glenn Ford's love interest, and the Swashbuckler Scaramouche (George Sidney, 1952), starring Stewart Granger.
Janet Leigh caught the eye of RKO Radio's owner Howard Hughes, who hoped that her several RKO appearances on loan from MGM would lead to something substantial in private life. Instead, Leigh married Tony Curtis who became her third husband at 25. During her final year of high school, Leigh married eighteen-year-old John Kenneth Carlisle in Reno in 1942. The marriage was annulled five months later. Her second marriage to Stanley Reames (1946-1948) lasted two years. Curtis and Leigh became the darlings of fan magazines and columnists, as well as occasional co-stars in such films as Houdini (George Marshall, 1953), The Black Shield of Falworth (Rudolph Maté, 1954), and The Vikings (Richard Fleischer, 1958) with Kirk Douglas. Even as this 'perfect' Hollywood marriage deteriorated in the late 1950s, Leigh's career prospered. In the Film Noir Touch of Evil (Orson Welles, 1958), she starred opposite Charlton Heston and Orson Welles. Among her significant roles in the 1960s were that of Frank Sinatra's enigmatic lady friend in The Manchurian Candidate (John Frankenheimer, 1962), and Paul Newman's ex-wife in the mystery Harper (Jack Smight, 1966). Hal Erickson at AllMovie: "And, of course, the unfortunate embezzler in Alfred Hitchcock's Psycho (1960), who met her demise in the nude (actually covered by a moleskin) and covered with blood (actually chocolate sauce, which photographed better) in the legendary 'shower scene'." The part of Marion Crane would become her most famous role and she received an Oscar nomination and a Golden Globe for it.
Meanwhile, Janet Leigh had become the mother of two daughters, Kelly (1956) and Jamie-Lee (1958) and had divorced Tony Curtis in 1962. In the same year, she remarried stockbroker Robert Brandt, with whom she would remain for the next 42 years. In order to spend more time with her family, Leigh began to put her career on hold. She mainly played roles in television productions such as Bob Hope Presents the Chrysler Theatre (1964-1966), The Red Skelton Show (1969), and Tales of the Unexpected (1982-1984). Notable were her appearances in the feature-length television film The House on Greenapple Road (Robert Day, 1970) and her role as a forgotten film actress in Forgotten Lady (1975), an episode of the series Columbo. She made her Broadway debut in 1975 in a production of 'Murder Among Friends'. In the cinema, she starred in the supernatural horror film The Fog (John Carpenter, 1980) with her daughter Jamie Lee Curtis. In the 1980s, Leigh curtailed her film and TV appearances, though her extended legacy as both the star/victim of Psycho and the mother of actress Jamie Lee Curtis still found her a notable place in the world of cinema even if her career was no longer "officially" active. She co-starred with Jamie Lee again in the slasher Halloween H20: 20 Years Later (Steve Miner, 1998). Leigh wrote an autobiography 'There Really Was a Hollywood' (1984), and a non-fiction 'Psycho: Behind the Scenes of the Classic Thriller' (1995, co-authored with Christopher Nickens), as well as two novels 'House of Destiny' (1996) and 'The Dream Factory' (2002). Janet Leigh died of vasculitis, an inflammation of the blood vessels, in 2004, at home in Beverly Hills in the presence of her family. She was 77. Leigh was cremated and her ashes were entombed at Westwood Village Memorial Park Cemetery in the Westwood Village neighbourhood of Los Angeles.
Sources: Hal Erickson (AllMovie), Wikipedia (English and Dutch) and IMDb.
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Thank you to whoever nominated me. What a great thing to come home to after a weekend away in RL. I voted for my fav bloggers. Take a peek and vote for yours too. <3
European Goldfinch (nominate) (Stillits / Carduelis carduelis carduelis) from Pinar de Son Real (Sta. Margalida, Mallorca, Spain). May 2016.
Canon EOS 70D, Canon EF 100-400mm f/4.5-5.6 L USM IS.
The photo is part of a European Goldfinch set.
These represented the bulk of the rosy finch flock east of Carr. GCRF winter, in varying numbers, on the Pawnee, likely roosting in various buttes and then feeding wherever they can find weeds in the vast shortgrass prairie. Most flocks have been in the vicinity of Carr (buttes to north) or Grover (the famous Pawnee Buttes to the east).
Nominated for Best Lead Actress yet again, Imogen Hedy LaMarr arrives on the Red red carpet wearing a twinkly gown by Takara and big diamond bracelets.
This is actually an ongoing photo challenge on Facebook that Cholo decided to bring here on flickr... the game, for every day for the next 5 days post one black and white photo of your dollies and for each day you nominate 1 or more flickr friends to do the same. GAME!
I was tagged by Patrizia Miele, Gamer Kun, Livia Taylor, Deejay Bafaroy, Reese Velez and Bogostic.
Thank you all so much !!!
I nominate: Leah - msgoody2shoes, Benny - Zeitgeist and Ed - Ed Doll Boy ^__^
If you want to join but no one nominated you, you can always join the game. The more the merrier.
French postcard by Editions E.C., Paris.
Sylvia Sidney (1910-1999) was an American stage, screen, and film actress whose career spanned over 70 years. She rose to prominence in dozens of leading roles in the 1930s, such as An American Tragedy (1931), City Streets (1931), Alfred Hitchcock's Sabotage (1936), and Fritz Lang's Fury (1936) and You Only Live Once (1937). She later gained attention for her role as Juno, a caseworker in the afterlife, in Tim Burton's film Beetlejuice (1988), and she was nominated for the Oscar for Best Supporting Actress for Summer Wishes, Winter Dreams (1973).
Sylvia Sidney was born Sophia Kosow in 1910 in the Bronx, New York. She was the daughter of Rebecca (née Saperstein), a Romanian Jew, and Victor Kosow, a Russian Jewish immigrant who worked as a clothing salesman. Her parents divorced by 1915, and she was adopted by her stepfather Sigmund Sidney, a dentist. Her mother became a dressmaker and renamed herself, Beatrice Sidney. Now using the surname Sidney, Sylvia became an actress at the age of 15 as a way of overcoming shyness. She became a student of the Theater Guild's School for Acting. One school production was held at a Broadway theatre and in the audience, there was a critic from the New York Times who had nothing but rave reviews for the young Miss Sidney. On the strength of her performance in New York, Sylvia appeared in a play at the famed Poli Theater in Washington, D.C. More stage productions followed. In 1926, she was seen by a Hollywood talent scout in the production 'Crime' and made her first film appearance later that year in Broadway Nights (1927). During the Depression, she appeared in a string of films, often playing the girlfriend or sister of a gangster. 1931 saw her appear in five films, of which, City Streets (Rouben Mamoulian, 1931), made her a star. The sad-eyed Sylvia made a tremendous impact and her screen career was off a running. Among her other films, that year were: An American Tragedy (Josef von Sternberg, 1931), and Street Scene (King Vidor, 1931). She co-starred with Fredric March in Merrilly We Go To Hell (1932). Her other films included Alfred Hitchcock's Sabotage (1936), Fritz Lang's Fury (1936) and You Only Live Once (1937), Dead End (William Wyler, 1937), and The Trail of the Lonesome Pine (Henry Hathaway, 1936), an early three-strip Technicolor film. She appeared with Gary Cooper, Spencer Tracy, Henry Fonda, Joel McCrea, Fredric March, George Raft, and Cary Grant. During this period, she developed a reputation for being difficult to work with. At the time of making Sabotage with Alfred Hitchcock, Sidney was one of the highest-paid actresses in the industry, earning $10,000 per week—earning a total of $80,000 for Sabotage.
During the 1940s, the career of Sylvia Sidney diminished somewhat. In The Searching Wind (William Dieterle, 1946), Sidney played a newspaper reporter with convictions who was the alter ego of playwright Lillian Hellman. The film was based on a Broadway play but it just didn't transfer well onto the big screen. The film was widely considered to be too serious and flopped. The following year, she appeared in another flop, Love From A Stranger (Richard Whorf, 1947). In 1949, exhibitors voted her "box-office poison". In 1952, she played the role of Fantine in Les Misérables (Lewis Milestone, 1952), and her performance was praised and allowed her opportunities to develop as a character actress. Only three more films followed that decade. There were no films throughout the 1960s. On TV, she appeared three times on the anthology drama series Playhouse 90 (1956-1960). In 1957, she appeared as Lulu Morgan, mother of singer Helen Morgan in the episode The Helen Morgan Story (George Roy Hill, 1957) featuring Polly Bergen. Four months later, Sidney rejoined her former co-star Bergen on the premiere of the short-lived The Polly Bergen Show (1957-1958). She also worked in television during the 1960s on such programs as Route 66 (1961-1964), The Defenders (1962), and My Three Sons (1969). In 1973, Sylvia returned to the big screen in Summer Wishes, Winter Dreams (Gilbert Cates, 1973), starring Joanne Woodward. She received an Academy Award nomination for her supporting role. As an elderly woman, Sidney continued to play supporting screen roles and was identifiable by her husky voice, the result of cigarette smoking. She was the formidable Miss Coral in the film version of I Never Promised You a Rose Garden (Anthony Page, 1977) and later was cast as Aidan Quinn's grandmother in the television production of An Early Frost (John Erman, 1985) for which she won a Golden Globe Award. She played Aunt Marion in Damien: Omen II (Don Taylor, 1978) opposite William Holden and Lee Grant. Sidney also had key roles as Juno in the mega-hit Beetlejuice (1988) directed by longtime Sidney fan Tim Burton, and Used People (Beeban Kidron, 1992). Her final role was in Mars Attacks! (1996), another film by Tim Burton, in which she played an elderly woman whose beloved records by Slim Whitman help stop an alien invasion from Mars.
On television, Sylvia Sidney appeared in the pilot episode of WKRP in Cincinnati (1978) as the imperious owner of the radio station, and she appeared in a memorable episode of Thirtysomething (1989) as Melissa's tough grandmother, who wanted to leave her granddaughter the family dress business, though Melissa (Melanie Mayron) wanted a career as a photographer. She also was featured on Starsky & Hutch (1976), The Love Boat (1981), Magnum, P.I. (1983), and Trapper John, M.D.(1984). Her Broadway career spanned five decades, from her debut performance as a graduate of the Theatre Guild School in 1926 at age 15, in the three-act fantasy Prunella to the Tennessee Williams play Vieux Carré in 1977. In 1982, Sidney was awarded the George Eastman Award by George Eastman House for distinguished contribution to the art of film. In 1998 she appeared as the crotchety travel clerk Clia at the beginning of each episode in the short-lived revival of the classic TV series Fantasy Island. Sylvia Sidney died in 1999, from esophageal cancer at the Lenox Hill Hospital in Manhattan, a month before her 89th birthday. Her remains were cremated. Sidney was married three times. She first married publisher Bennett Cerf in 1935, but the couple divorced six months later in 1936. She later married actor and acting teacher Luther Adler in 1938, by whom she had her only child, a son Jacob (1939–1987), who died of Lou Gehrig's disease while his mother was still alive. Adler and Sidney divorced in 1946. In 1947, she married radio producer and announcer Carlton Alsop. They divorced in 1951.
Sources: Wikipedia and IMDb
And, please check out our blog European Film Star Postcards.
The orange-headed thrush (Geokichla citrina) is a bird in the thrush family.
It is common in well-wooded areas of the Indian Subcontinent and Southeast Asia. Most populations are resident. The species shows a preference for shady damp areas, and like many Zoothera thrushes, can be quite secretive.
The orange-headed thrush is omnivorous, eating a wide range of insects, earthworms and fruit. It nests in trees but does not form flocks.
The male of this small thrush has uniform grey upperparts, and an orange head and underparts. The females and young birds have browner upper parts.
Taxonomy:
This species was first described by John Latham in 1790 as Turdus citrinus, the species name meaning "citrine" and referencing the colour of the head and underparts. It has about 12 subspecies. Rasmussen and Anderton (2005) suggest that this complex may consist of more than one species.
G. c. citrina, the nominate subspecies breeds from northern India east along the Himalayas to eastern Bangladesh and possibly in western and northern Burma. It winters further south in India, Sri Lanka and Bangladesh.
G. c. cyanota is mainly resident in Peninsular India south to Kerala. It has a white throat and face sides, with two black stripes running downwards from below the eyes. The spelling emendation cyanota is suggested by Rasmussen and Anderton.
G. c. amadoni (not always recognized) found in northeastern part of peninsular India (Madhya Pradesh and Orissa) has brighter orange crown and longer wings than cyanotus.
G. c. innotata breeds through most of South-East Asia from southern Burma and southwestern China to northwest Thailand, central and southern Laos, Cambodia and southern Vietnam. It winter further south in southern Burma, and much of the rest of Thailand into Malaysia. It is very similar to the nominate but the male is brighter or deeper orange and lacks white tips to the median coverts; the female is duller on head and underparts, with an olive tinge to the grey of the mantle and back.
G. c. melli breeds in southeastern China, and is partially migratory, regularly wintering in Hong Kong.
G. c. courtoisi breeds in eastern-central China; its wintering range is unknown.
G. c. aurimacula breeds in southern Vietnam, Hainan and possibly northern Laos. It resembles G. c. cyanotus, but with a less defined head pattern. The face and neck-sides are whitish but flecked with orange or brownish and with weaker face stripes. The orange breast and flanks become paler orange on the belly and lower flanks.
G. c. andamensis is resident in the Andaman Islands.
G. c. albogularis is resident in the Nicobar Islands.
G. c. gibsonhilli breeds from southern Burma to southern Thailand, and winters further south at lower levels in Peninsular Thailand, on islands in the Gulf of Thailand, and into Malaysia. It is similar to the nominate subspecies, but averages slightly brighter or deeper orange on head and upperparts and also has a slightly longer, heavier bill,[3] and white tips to the median coverts.
G. c. aurata is resident in the mountains of northern Borneo.
G. c. rubecula is resident in Western Java.
G. c. orientis is resident in Eastern Java and Bali and intergrades with G. c. rubecula in the west of its range. The separation of this form from the western Javan subspecies has been questioned.
Measurements:
he following table summarises selected physical measurements for those subspecies for which the data is available.[4]
SubspeciesLength (mm)Head (mm)Tail (mm)
G. c. citrina162-16846-4876-81
G. c. cyanotus 165-17042-4674-79
G. c. andamanensis 150-15843-4565-78
G. c. albogularis155-16544-4868-79
Distribution and habitat:
The orange-headed thrush breeds in much of the Indian Subcontinent, including Bangladesh, India and Sri Lanka, and through Southeast Asia to Java. Its habitat is moist broadleaved evergreen woodlands, with a medium-density undergrowth of bushes and ferns, but it also utilises bamboo forests and secondary growth. Z. c. cyanotus also occurs in large gardens and orchards.
This species is often found in damp areas, near streams or in shady ravines. It occurs between 250–1830 metres (825– 6040 ft) in the Himalayas and up to about 1500 metres (5000 ft) in Malaysia, Thailand and Java. Z. c. aurata is resident between 1000–1630 metres (3300–5400 ft) on Mt Kinabalu and Mt Trus Madi, northern Borneo. Some of the subspecies are completely or partially migratory; their wintering habitat is similar to the breeding forests, but more likely to be at lower altitudes.
Description:
The orange-headed thrush is 205–235 milliimetres (8.1–9.25 in) long[7] and weighs 47–60 grammes (1.7–2.1 oz). The adult male of the nominate subspecies of this small thrush has an entirely orange head and underparts, uniformly grey upperparts and wings, and white median and undertail coverts. It has a slate-coloured bill and the legs and feet have brown fronts and pink or yellowish rears.
The female resembles the male but has browner or more olive upperparts and wram brown wings, but some old females are almost identical to the male. The juvenile is dull brown with buff streaks on its back, and a rufous tone to the head and face; it has grey wings. The bill is brownish horn, and the legs and feet are brown.
This species' orange and grey plumage is very distinctive, and it is unlikely to be confused with any other species. Differences between the subspecies, as described above, can be quite striking, as with the strong head pattern on Z. c. cyanotus, but may be less obvious variations in plumage tone, or whether there is white on the folded wing. As with other Zoothera thrushes, all forms of this species shows a distinctive underwing pattern, with a strong white band.
Voice:
Calls of the orange-headed thrush include a soft chuk or tchuk, a screeching teer-teer-teer, and a thin tsee or dzef given in flight. However, this bird is generally silent especially in winter. The song is a loud clear series of variably sweet lilting musical notes, recalling the quality of the common blackbird, but with the more repetitive structure of the song thrush. It also includes imitations of other birds like bulbuls, babblers and common tailorbird. It sings from a perch in a leafy tree, mostly early morning and late afternoon.
Behaviour:
The orange-headed thrush is a shy, secretive bird usually occurring alone or in pairs, but is comparatively more easily seen than many other Zoothera thrushes, and several birds may congregate outside the breeding season at a good food source. It has a swift, silent flight, but when disturbed will often sit motionless until the threat has passed.
Breeding:
The nest, built by both sexes, is a wide but shallow cup of twigs, bracken and rootlets lined with softer plant material like leaves, moss and conifer needles. It is constructed at a height of up to 4.5 metres (15 ft) in a small tree or bush, with mango trees and coffee bushes being preferred. Three or four, occasionally five, eggs are laid; they are cream or tinted with pale blue, grey or green, and have pale lilac blotches and reddish brown spots. They are incubated for 13–14 days to hatching, with another 12 days until the young birds leave the nest.
This species is a host of the pied cuckoo, Clamator jacobinus, a brood parasite which lay a single egg in the nest.[3] Unlike the common cuckoo, neither the hen nor the hatched chick evict the host's eggs, but the host's young often die because they cannot compete successfully with the cuckoo for food. The chestnut-winged cuckoo, Clamator coromandus, and, very rarely, the common cuckoo, Cuculus canorus have also been claimed as parasites on this species.
Feeding:
The orange-headed thrush feeds on the ground in dense undergrowth or other thick cover. It is most active at dawn and dusk, probing the leaf litter for insect and their larvae, spiders, other invertebrates and fruit. In Malaysia, wintering birds regularly feed on figs.
Status:
The orange-headed thrush has an extensive range, estimated at 1–10 million square kilometres (0.4–3.8 million sq mi), The population size has not been quantified, but it is believed to be large as the species is described as “frequent” in at least parts of its range. The species is not believed to approach the thresholds for the global population decline criterion of the IUCN Red List (i.e., declining more than 30% in ten years or three generations), and is therefore evaluated as Least Concern.
It is very popular as cage-bird on Java, and numbers have severely declined in recent years owing to trapping for aviculture. Against the trend in Southeast Asia where loss or fragmentation of woodland poses a threat to forest birds, the orange-headed thrush has colonized Hong Kong, where it was first recorded in 1956, thanks to forest maturation.
Belgian postcard. Photo: M.G.M.
American actress and singer Ann Blyth (1928) was often cast in Hollywood musicals, but she was also successful in dramatic roles. Her performance as Veda Pierce in Mildred Pierce (Michael Curtiz, 1945) was nominated for an Academy Award for Best Supporting Actress. She is one of the last surviving stars from the Golden Age of Hollywood.
Ann Blyth was born in 1928, in Mount Kisco, New York, to Harry and Nan Lynch Blyth. After her parents separated, she, her mother and her sister moved to a walk-up apartment on East 31st Street in New York City, where her mother took in ironing. Blyth attended St. Patrick's School in Manhattan. Blyth performed on children's radio shows in New York for six years, making her first appearance when she was five. When she was nine she joined the New York Children's Opera Company. Her first acting role was on Broadway in Lillian Hellman's 'Watch on the Rhine' (1941-1942). She played the part of Paul Lukas's daughter, Babette. The play ran for 378 performances and won the New York Drama Critics' Circle Award. After the New York run, the play went on tour, and while performing at the Biltmore Theatre in Los Angeles, Blyth was offered a contract with Universal Studios. Blyth began her acting career initially as "Anne Blyth", but changed the spelling of her first name back to "Ann" at the beginning of her film career. She made her film debut in 1944, teamed with Donald O'Connor and Peggy Ryan in the teenage musical Chip Off the Old Block (1944). She followed it with two similar films: The Merry Monahans (1944) with O'Connor and Ryan again, and Babes on Swing Street (1944) with Ryan. She had a support role in the bigger budgeted Bowery to Broadway (1944), a showcase of Universal musical talent. On loan to Warner Brothers, Blyth was cast 'against type' as Veda Pierce, the scheming, ungrateful daughter of Joan Crawford in Mildred Pierce (Michael Curtiz, 1945). Her dramatic portrayal won her outstanding reviews, and she received a nomination for an Academy Award for Best Supporting Actress. Blyth was only 16 when she made the film, for which Crawford won the Best Actress award. After Mildred Pierce, Blyth sustained a broken back while tobogganing in Snow Valley, and was not able to fully capitalise on the film's success. She recovered and made two films for Mark Hellinger's unit at Universal: Swell Guy (1946), with Sonny Tufts, and Brute Force (1947) with Burt Lancaster. During this time her father died. Metro-Goldwyn-Mayer borrowed her to play the female lead in Killer McCoy (1947), a boxing film with Mickey Rooney that was a box office hit. Back at Universal, she did a Film Noir with Charles Boyer, A Woman's Vengeance (1948). She was then cast in the part of Regina Hubbard in Lillian Hellman's Another Part of the Forest (1948), an adaptation of the 1946 play where Regina had been played by Patricia Neal. The play was a prequel to The Little Foxes. Blyth followed it with Mr. Peabody and the Mermaid (1948) with William Powell. She was top-billed in Red Canyon (1949), a Western with Howard Duff. Paramount borrowed Blyth to play the female lead in Top o' the Morning (1949), a daughter of Barry Fitzgerald who is romanced by Bing Crosby. It was the first time she sang on screen. Back at Universal, she was teamed with Robert Montgomery in Once More, My Darling (1949), meaning she had to drop out of Desert Legion. She did a comedy with Robert Cummings, Free for All (1949). In April 1949, Universal suspended her for refusing a lead role in Abandoned (1949). Gale Storm played it.
Ann Blyth was borrowed by Sam Goldwyn to star opposite Farley Granger in Our Very Own (1950). Universal gave her top billing in a romantic comedy, Katie Did It (1951). Blyth was borrowed by MGM for The Great Caruso (1951) opposite Mario Lanza which was a massive box office hit. She made Thunder on the Hill (1951) with Claudette Colbert and had the female lead in The Golden Horde (1951) with David Farrar. Then, 20th Century Fox borrowed her to star opposite Tyrone Power in I'll Never Forget You (1952), a last-minute replacement for Constance Smith. She appeared on TV in Family Theater in an episode called 'The World's Greatest Mother' alongside Ethel Barrymore. Universal teamed Blyth with Gregory Peck in The World in His Arms (1952). She was top-billed in the comedy Sally and Saint Anne (1952) and was borrowed by RKO for One Minute to Zero (1952), a Korean War drama with Robert Mitchum where she replaced Claudette Colbert who came down with pneumonia. MGM had been interested in Blyth since The Great Caruso. In December 1953, Blyth left Universal and she signed a long term contract with MGM. She was the leading lady in All the Brothers Were Valiant (1953) with Stewart Granger and Robert Taylor, stepping in for Elizabeth Taylor who had to drop out due to pregnancy. On television, she was in a version of A Place in the Sun for Lux Video Theatre alongside John Derek. Back at MGM, Blyth had the lead in the remake of Rose Marie (1954) with Howard Keel, which earned over $5 million but lost money due to high costs. She was meant to be reteamed with Lanza in The Student Prince (1954) but he was fired from the studio and was replaced in the picture by Edmund Purdom. The film did well at the box office. Blyth and Purdom were reunited on a swashbuckler, The King's Thief (1955). She was teamed again with Keel on the musical Kismet (1955). Despite strong reviews, the film was a financial flop. She was named for the female lead in The Adventures of Quentin Durward (1955) but was eventually not cast in the film. MGM put Blyth in Slander (1957) with Van Johnson. Sidney Sheldon cast Blyth in The Buster Keaton Story (1957) with Donald O'Connor at Paramount. Warner Bros then cast her in the title role of The Helen Morgan Story (Michael Curtiz, 1957) with Paul Newman. Blyth reportedly beat 40 other actors for the part. Even though her voice was more like the original Helen Morgan, her vocals were dubbed by Gogi Grant. That soundtrack was much more successful than the film itself. Blyth made no further films. In 1957, she sued Benedict Bogeaus for $75,000 for not making the film Conquest. From the late 1950s into the 1970s, Blyth worked in musical theatre and summer stock, starring in the shows 'The King and I', 'The Sound of Music', and 'Show Boat'. and also on television, including co-starring opposite James Donald in The Citadel (1960), an adaptation of A.J. Cronin's novel. She guest-starred on episodes of such series as The DuPont Show with June Allyson, The Dick Powell Theatre, Saints and Sinners, The Christophers, Wagon Train, The Twilight Zone, and Burke's Law. Several of these appearances were for Four Star Television with whom Blyth signed a multi-appearance contract. Blyth also became the spokesperson for Hostess Cupcakes. Her last television appearances were in episodes of Switch (1983), Quincy, M.E. (1983) and Murder, She Wrote (1985). In 1985, she officially retired. For her contributions to the film industry, Blyth has a motion pictures star on the Hollywood Walk of Fame at 6733 Hollywood Boulevard. In 1953, Blyth married obstetrician James McNulty, brother of singer Dennis Day, who had introduced them. After her marriage, Blyth took somewhat of a reprieve from her career to focus on raising their five children, Timothy Patrick (1954); Maureen Ann (1955); Kathleen Mary (1957); Terence Grady (1960); and Eileen Alana (1963).
Sources: Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
Nominating Iokko Molko
and Kelsi Ibanez
Make sure you get the right bucket from the event!!!!
Find the event here! All proceeds to charity.
maps.secondlife.com/secondlife/Kenenkaan%20Forest/240/80/...
Day 5 of #ChallangeonNaturePhotography
Thank you for nominating me Nancy Holsten. For the 5th day I would like to nominate Manisha Desai, Karishma Desai & Vibhuti Talukdar, requesting them to post one photo a day for seven days to spread the love for nature and to also nominate another person each day.
The cottonwood glows at it's peak of fall color next to the Lamar Bison Ranch, which gave a huge fillip to the Bison Conservation program at the turn of the20th century.
The Lamar Buffalo Ranch was created to preserve one of the last free-roaming bison (buffalo) herds in the United States. The ranch was established in 1907 when 28 bison were moved from Fort Yellowstone to the Lamar Valley in the northeast portion of the park. The herd was maintained as a semi-domesticated source of additional bison to enhance the park's natural herd. The ranch supported bison ranching till the 1950s. As the ranched herd increased in size, it was released to the open range and it interbred with the wild herd. The ranch continued to be used to produce hay to feed the bison in the winter until the 1950s.
This poem was nominated poem of 2005.
Written by an African kid, amazing thought :
"When I born, I Black, When I grow up, I Black,
When I go in Sun, I Black, When I scared, I Black,
When I sick, I Black, And when I die, I still black...
And you White fellow,
When you born, you pink, When you grow up, you White,
When you go in Sun, you Red, When you cold, you blue,
When you scared, you yellow, When you sick, you Green,
And when you die, you Gray...
And you call me colored???........."
اين شعر کانديداي شعر برگزيده سال 2005 شده.
توسط يک بچه آفريقايي نوشته شده و استدلال شگفت انگيزي داره :
وقتی به دنيا ميام، سياهم، وقتي بزرگ ميشم، سياهم،
وقتي ميرم زير آفتاب، سياهم، وقتي مي ترسم، سياهم،
وقتي مريض ميشم، سياهم، وقتي مي ميرم، هنوزم سياهم...
و تو، آدم سفيد،
وقتي به دنيا مياي، صورتي اي، وقتي بزرگ ميشي، سفيدي،
وقتي ميري زير آفتاب، قرمزي، وقتي سردت ميشه، آبي اي،
وقتي مي ترسي، زردي، وقتي مريض ميشي، سبزي،
و وقتي مي ميري، خاکستري اي...
و تو به من ميگي رنگين پوست؟؟؟.........
---
Criticize me as always ..
Thanks a lot for your kindness..!!!
#BikePolo is tight.
I've been nominated for the 5 Day Black and White Photo Challenge, again. This time by @therepublicoflc. I now nominate @gibsooon on my final day of the challenge.
61 Likes on Instagram
10 Comments on Instagram:
kiko_baker: Fight night at the shop tonight! @doogieroux @kaseyirl
doogieroux: @kiko_bv123 LoL
doogieroux: Oh yeah, #HoustonHardcourt #5dayblackandwhitechallenge
scurvee: @brittneyscott
scurvee: @to.be
doogieroux: @melbeilis wasn't there 😞
melbeilis: You went yesterdayy????
doogieroux: @melbeilis I sure did.
Grace Beverly Jones (b19 May 1948) is a Jamaican singer, songwriter, supermodel, record producer, and actress. Born in Jamaica, she moved when she was 13, along with her siblings, to live with her parents in Syracuse, New York. Jones began her modelling career in New York state, then in Paris, working for fashion houses such as Yves St. Laurent and Kenzo, and appearing on the covers of Elle and Vogue. She worked with photographers such as Jean-Paul Goude, Helmut Newton, Guy Bourdin, and Hans Feurer, and became known for her distinctive androgynous appearance and bold features.
In 1977, Jones secured a record deal with Island Records, initially becoming a star of New York City's Studio 54-centered disco scene. In the early 1980s, she moved toward a new wave style that drew on reggae, funk, post-punk and pop music, frequently collaborating with both the graphic designer Jean-Paul Goude and the musical duo Sly & Robbie. Her most popular albums include Warm Leatherette (1980), Nightclubbing (1981), and Slave to the Rhythm (1985). She scored Top 40 entries on the UK Singles Chart with "Pull Up to the Bumper", "I've Seen That Face Before", "Private Life", and "Slave to the Rhythm". In 1982, she released the music video collection A One Man Show, directed by Goude.
Jones appeared in some low-budget films in the US during the 1970s and early 1980s. In 1984, she made her first mainstream appearance as Zula in the fantasy-action film Conan the Destroyer alongside Arnold Schwarzenegger and Sarah Douglas, and subsequently appeared in the 1985 James Bond movie A View to a Kill as May Day. In 1986, she played a vampire in Vamp, and acted in and contributed a song to the 1992 Eddie Murphy film Boomerang. She appeared alongside Tim Curry in the 2001 film Wolf Girl. For her work in Conan the Destroyer, A View to a Kill, and Vamp, she was nominated for Saturn Awards for Best Supporting Actress.
In 1999, Jones ranked 82nd on VH1's 100 Greatest Women of Rock and Roll, and in 2008, she was honored with a Q Idol Award. Jones influenced the cross-dressing movement of the 1980s and has been an inspiration for artists including Annie Lennox, Lady Gaga, Rihanna, Lorde, Róisín Murphy, Brazilian Girls, Nile Rodgers, Santigold, and Basement Jaxx. In December 2016, Billboard magazine ranked her as the 40th most successful dance artist of all time.[10]
1948–73: Early life, and modeling career
Grace Jones was born in 1948 (though most sources say 1952) in Spanish Town, Jamaica, the daughter of Marjorie (née Williams) and Robert W. Jones, who was a local politician and Apostolic clergyman The couple already had two children, and would go on to have four more.[19] Robert and Marjorie moved to the East Coast of the United States,[19] where Robert worked as an agricultural labourer until a spiritual experience during a failed suicide attempt inspired him to become a Pentecostal minister.[20] While they were in the US, they left their children with Marjorie's mother and her new husband, Peart.[21] Jones knew him as "Mas P" ('Master P') and later noted that she "absolutely hated him"; as a strict disciplinarian he regularly beat the children in his care, representing what Jones described as "serious abuse".[22] She was raised into the family's Pentecostal faith,[23] having to take part in prayer meetings and Bible readings every night.[24] She initially attended the Pentecostal All Saints School,[25] before being sent to a nearby public school.[26] As a child, shy Jones had only one schoolfriend and was teased by classmates for her "skinny frame", but she excelled at sports and found solace in the nature of Jamaica.[27]
"[My childhood] was all about the Bible and beatings. We were beaten for any little act of dissent, and hit harder the worse the disobedience. It formed me as a person, my choices, men I have been attracted to... It was a profoundly disciplined, militant upbringing, and so in my own way, I am very militant and disciplined. Even if that sometimes means being militantly naughty, and disciplined in the arts of subversion. ."
— Grace Jones, 2015.[28]
Marjorie and Robert eventually brought their children – including the 13 year old Grace – to live with them in the US, where they had settled in Lyncourt, Salina, New York, near Syracuse.[29][30] It was in the city that her father had established his own ministry, the Apostolic Church of Jesus Christ, in 1956.[31] Jones continued her schooling and after she graduated, enrolled at Onondaga Community College majoring in Spanish.[32][33] Jones began to rebel against her parents and their religion; she began wearing makeup, drinking alcohol, and visiting gay clubs with her brother.[34] At college, she also took a theatre class, with her drama teacher convincing her to join him on a summer stock tour in Philadelphia.[35][33] Arriving in the city, she decided to stay there, immersing herself in the Counterculture of the 1960s by living in hippie communes, earning money as a go-go dancer, and using LSD and other drugs.[36] She later praised the use of LSD as "a very important part of my emotional growth... The mental exercise was good for me".[37]
She moved back to New York at 18 and signed on as a model with Wilhelmina Modelling agency. She moved to Paris in 1970.[33][38] The Parisian fashion scene was receptive to Jones' unusual, androgynous, bold, dark-skinned appearance. Yves St. Laurent, Claude Montana, and Kenzo Takada hired her for runway modelling, and she appeared on the covers of Elle, Vogue, and Stern working with Helmut Newton, Guy Bourdin, and Hans Feurer.[39] Jones also modelled for Azzedine Alaia, and was frequently photographed promoting his line. While modelling in Paris, she shared an apartment with Jerry Hall and Jessica Lange. Hall and Jones frequented Le Sept, one of Paris's most popular gay clubs of the 1970s and '80s, and socialised with Giorgio Armani and Karl Lagerfeld.[40] In 1973, Jones appeared on the cover of a reissue of Billy Paul's 1970 album Ebony Woman.
1974–79: Transition to music, and early releases
Jones was signed by Island Records, who put her in the studio with disco record producer, Tom Moulton. Moulton worked at Sigma Sound Studios in Philadelphia, and Portfolio, was released in 1977. The album featured three songs from Broadway musicals, "Send in the Clowns" by Stephen Sondheim from A Little Night Music, "What I Did for Love" from A Chorus Line and "Tomorrow" from Annie. The second side of the album opens up with a seven-minute reinterpretation of Édith Piaf's "La Vie en rose" followed by three new recordings, two of which were co-written by Jones, "Sorry", and "That's the Trouble". The album finished with "I Need a Man", Jones' first club hit.[41] The artwork to the album was designed by Richard Bernstein, an artist for Interview.
In 1978, Jones and Moulton made Fame, an immediate follow-up to Portfolio, also recorded at Sigma Sound Studios. The album featured another reinterpretation of a French classic, "Autumn Leaves" by Jacques Prévert. The Canadian edition of the vinyl album included another French language track, "Comme un oiseau qui s'envole", which replaced "All on a Summers Night"; in most locations this song served as the B-side of the single "Do or Die". In the North American club scene, Fame was a hit album and the "Do or Die"/"Pride"/"Fame" side reached top 10 on both the US Hot Dance Club Play and Canadian Dance/Urban charts. The album was released on compact disc in the early 1990s, but soon went out of print. In 2011, it was released and remastered by Gold Legion, a record company that specialises in reissuing classic disco albums on CD.[42] Jones' live shows were highly sexualized and flamboyant, leading her to be called "Queen of the Gay Discos."[4]
Muse was the last of Jones' disco albums. The album features a re-recorded version "I'll Find My Way to You", which Jones released three years prior to Muse. Originally appearing in the 1976 Italian film, Colt 38 Special Squad in which Jones had a role as a club singer, Jones also recorded a song called "Again and Again" that was featured in the film. Both songs were produced by composer Stelvio Cipriani. Icelandic keyboardist Thor Baldursson arranged most of the album and also sang duet with Jones on the track "Suffer". Like the last two albums, the cover art is by Richard Bernstein. Like Fame, Muse was later released by Gold Legion.[43]
1980–85: Breakthrough, Nightclubbing, and acting
With anti-disco sentiment spreading, and with the aid of the Compass Point All Stars, Jones transitioned into new wave music with the 1980 release of Warm Leatherette. The album included covers of songs by The Normal ("Warm Leatherette"), The Pretenders ("Private Life"), Roxy Music ("Love Is the Drug"), Smokey Robinson ("The Hunter Gets Captured by the Game"), Tom Petty and the Heartbreakers ("Breakdown") and Jacques Higelin ("Pars"). Sly Dunbar revealed that the title track was also the first to be recorded with Jones.[44][45] Tom Petty wrote the lyrics to "Breakdown", and he also wrote the third verse of Jones' reinterpretation.[46] The album included one song co-written by Jones, "A Rolling Stone". Originally, "Pull Up to the Bumper" was to be included on the album, but its R&B sound did not fit with the rest of the material.[47] By 1981, she had begun collaborating with photographer and graphic designer Jean-Paul Goude, with whom she also had a relationship.[48]
The 1981 release of Nightclubbing included Jones' covers of songs by Flash and the Pan ("Walking in the Rain"), Bill Withers ("Use Me"), Iggy Pop/David Bowie ("Nightclubbing") and Ástor Piazzolla ("I've Seen That Face Before"). Three songs were co-written by Jones: "Feel Up", "Art Groupie" and "Pull Up to the Bumper". Sting wrote "Demolition Man"; he later recorded it with The Police on the album Ghost in the Machine. "I've Done It Again" was written by Marianne Faithfull. The strong rhythm featured on Nightclubbing was produced by Compass Point All Stars, including Sly and Robbie, Wally Badarou, Mikey Chung, Uziah "Sticky" Thompson and Barry Reynolds. The album entered in the Top 5 in four countries, and became Jones' highest-ranking record on the US Billboard mainstream albums and R&B charts.
Nightclubbing claimed the number 1 slot on NME's Album of the Year list.[49] Slant Magazine listed the album at No. 40 on its list of Best Albums of the 1980s.[50] Nightclubbing is now widely considered Jones' best studio album.[51] The album's cover art is a painting of Jones by Jean-Paul Goude. Jones is presented as a man wearing an Armani suit jacket, with a cigarette in her mouth and a flattop haircut. While promoting the album, Jones slapped chat-show host Russell Harty live on air after he had turned to interview other guests, making Jones feel she was being ignored.[52]
Having already recorded two reggae-oriented albums under the production of Compass Point All Stars, Jones went to Nassau, Bahamas in 1982 and recorded Living My Life; the album resulted in Jones' final contribution to the Compass Point trilogy, with only one cover, Melvin Van Peebles's "The Apple Stretching". The rest were original songs; "Nipple to the Bottle" was co-written with Sly Dunbar, and, apart from "My Jamaican Guy", the other tracks were collaborations with Barry Reynolds. Despite receiving a limited single release, the title track was left off the album. Further session outtakes included "Man Around the House" (Jones, Reynolds) and a cover of "Ring of Fire", written by June Carter Cash and Merle Kilgore and popularized by Johnny Cash, both of which were included on the 1998 compilation Private Life: The Compass Point Sessions. The album's cover art resulted from another Jones/Goude collaboration; the artwork has been described as being as famous as the music on the record. It features Jones' disembodied head cut out from a photograph and pasted onto a white background. Jones' head is sharpened, giving her head and face an angular shape.A piece of plaster is pasted over her left eyebrow, and her forehead is covered with drops of sweat.
Jones' three albums under the production of the Compass Point All Stars resulted in Jones' One Man Show, a performance art/pop theatre presentation devised by Goude and Jones in which she also performed tracks from the albums Portfolio ("La Vie en rose"), Warm Leatherette, ("Private Life", "Warm Leatherette"), Nightclubbing ("Walking in the Rain", "Feel Up", "Demolition Man", "Pull Up to the Bumper" and "I've Seen That Face Before (Libertango)") and from Living My Life, "My Jamaican Guy" and the album's title track. Jones dressed in elaborate costumes and masks (in the opening sequence as a gorilla) and alongside a series of Grace Jones lookalikes. A video version, filmed live in London and New York City and completed with some studio footage, was nominated for a Grammy Award for Best Long-Form Music Video the following year.
After the release of Living My Life, Jones took on the role of Zula the Amazonian in Conan the Destroyer (1984) and was nominated for a Saturn Award for Best Supporting Actress. In 1985, Jones starred as May Day, henchman to main antagonist Max Zorin in the 14th James Bond film A View to a Kill; Jones was also nominated for a Saturn Award for Best Supporting Actress. That same year, she was featured on the Arcadia song "Election Day". Jones was among the many stars to promote the Honda Scooter; other artists included Lou Reed, Adam Ant, and Miles Davis Jones also, with her boyfriend Dolph Lundgren posed nude for Playboy.
After Jones' success as a mainstream actress, she returned to the studio to work on Slave to the Rhythm, the last of her recordings for Island. Bruce Woolley, Simon Darlow, Stephen Lipson and Trevor Horn wrote the material, and it was produced by Horn and Lipson. It was a concept album that featured several interpretations of the title track. The project was originally intended for Frankie Goes to Hollywood as a follow-up to "Relax", but was given to Jones.All eight tracks on the album featured excerpts from a conversation with Jones, speaking about many aspects of her life. The interview was conducted by journalist Paul Morley. The album features voice-overs from actor Ian McShane reciting passages from Jean-Paul Goude's biography Jungle Fever. Slave to the Rhythm was successful in German-speaking countries and in the Netherlands, where it secured Top 10 placings. It reached number 12 on the UK Albums Chart in November 1985 and became the second-highest-ranking album released by Jones. Jones earned an MTV Video Music Award nomination for the title track's music video.
After her success with Slave to the Rhythm, Island released Island Life, Jones' first best-of compilation, which featured songs from most of her releases with Island (Portfolio, Fame, Warm Leatherette, Nightclubbing, Living My Life and Slave to the Rhythm). American writer and journalist Glenn O'Brien wrote the essay for the inlay booklet. The compilation charted in the UK, New Zealand and the United States.The artwork on the cover of the compilation was of another Jones/Goude collaboration; it featured Jones' celestial body in a montage of separate images, following Goude's ideas on creating credible illusions with his cut-and-paint technique. The body position is anatomically impossible.
The artwork, a piece called "Nigger Arabesque" was originally published in the New York magazine in 1978, and was used as a backdrop for the music video of Jones' hit single "La Vie en rose". The artwork has been described as "one of pop culture's most famous photographs". The image was also parodied in Nicki Minaj's 2011 music video for "Stupid Hoe", in which Minaj mimicked the pose.
1986–89: Slave to the Rhythm, Island Life, further films, Jones teamed up with music producer Nile Rodgers of Chic, whom Jones had previously tried to work with during the disco era.[67] The album was recorded at Skyline Studios in New York and post-produced at Atlantic Studios and Sterling Sound. Inside Story was the first album Jones produced, which resulted in heated disputes with Rodgers. Musically, the album was more accessible than her previous albums with the Compass Point All Stars, and explored different styles of pop music, with undertones of jazz, gospel, and Caribbean sounds. All songs on the album were written by Jones and Bruce Woolley. Richard Bernstein teamed up with Jones again to provide the album's artwork. Inside Story made the top 40 in several European countries. The album was Jones' last entry to date on US Billboard 200 albums chart. The same year, Jones starred as Katrina, an Egyptian queen vampire in the vampire film Vamp. For her work in the film, Jones was awarded a Saturn Award for Best Supporting Actress.
In 1987, Jones appeared in two films, Straight to Hell, and Mary Lambert's Siesta, for which Jones was nominated for Golden Raspberry Award for Worst Supporting Actress. Bulletproof Heart was released in 1989, produced by Chris Stanley, who co-wrote, and co-produced the majority of the songs, and was featured as a guest vocalist on "Don't Cry Freedom". Robert Clivillés and David Cole of C+C Music Factory produced some tracks on the album.
1990–2004: Boomerang, soundtracks, and collaborations
In 1990, Jones appeared as herself in the documentary, Superstar: The Life and Times of Andy Warhol. 1992 saw Jones starring as Helen Strangé, in the Eddie Murphy film Boomerang, for which she also contributed the song "7 Day Weekend" to its soundtrack. Jones released two more soundtrack songs in 1992; "Evilmainya", recorded for the film Freddie as F.R.O.7, and "Let Joy and Innocence Prevail" for the film Toys. In 1994, she was due to release an electro album titled Black Marilyn with artwork featuring the singer as Marilyn Monroe. "Sex Drive" was released as the first single in September 1993, but due to unknown reasons the record was eventually shelved. The track "Volunteer", recorded during the same sessions, leaked in 2009.[68]
In 1996, Jones released "Love Bites", an up-tempo electronic track to promote the Sci-Fi Channel's Vampire Week, which consisted of a series of vampire-themed films aired on the channel in early November 1996. The track features Jones singing from the perspective of a vampire. The track was released as a non-label promo-only single. To this day, it has not been made commercially available.[69] In June 1998, she was scheduled to release an album entitled Force of Nature, on which she worked with trip hop musician Tricky.[70] The release of Force of Nature was cancelled due to a disagreement between the two, and only a white label 12" single featuring two dance mixes of "Hurricane" was issued at the time;[71] a slowed-down version of this song became the title track of her comeback album released ten years later while another unreleased track from the album, "Clandestine Affair" (recycling the chorus from her unreleased 1993 track "Volunteer"), appeared on a bootleg 12" in 2004.[72] Jones recorded the track "Storm" in 1998 for the movie The Avengers, and in 1999, appeared in an episode of the Beastmaster television series as the Umpatra Warrior.
The same year, Jones recorded "The Perfect Crime", an up-tempo song for Danish TV written by the composer duo Floppy M. aka Jacob Duus and Kåre Jacobsen. Jones was also ranked 82nd place on VH1's "100 Greatest Women of Rock & Roll".[citation needed] In 2000, Jones collaborated with rapper Lil' Kim, appearing on the song "Revolution" from her album The Notorious K.I.M. In 2001, Jones starred in the made-for-television film, Wolf Girl (also known as Blood Moon), as an intersex circus performer named Christoph/Christine. In 2002, Jones joined Luciano Pavarotti on stage for his annual Pavarotti and Friends fundraiser concert to support the United Nations refugee agency's programs for Angolan refugees in Zambia. In November 2004, Jones sang "Slave to the Rhythm" at a tribute concert for record producer Trevor Horn at London's Wembley Arena
The nominated Bryce Canyon National Park Scenic Trails District consists of five structures including the Navajo Loop Trail, the Queen's Garden Trail, the Peekaboo Loop Trail, the Fairyland Trail, and the Rim Trail. All of these structures are located within the scenic heartland of the park-between Fairyland Point to the north and Bryce Point to the south. Although the trails have individual names, they do intersect with one another, forming a contiguous series of paths that provide visual and physical access to the erosional features that characterize Bryce Canyon National Park (BRCA).
The Queen's Garden Trail (an unpaved graded trail between three and five feet in width) accesses the area below the plateau rim between Sunrise and Sunset points. The length of the Queen's Garden Trail is listed in various documents as .8 or 1.8 miles in length, depending upon whether or not one includes both the canyon bottom and switchback segments under the designation. This trail provides access to the rock formation known as Queen Victoria. The upper portion of the trail is cut through bare sandstone with little or no vegetation. However, vegetation increases as one descends into the bottom of Bryce Canyon. Scattered stands of ponderosa pine, bristlecone pine, and brushy understory vegetation occur adjacent to the trail. Notable features of the trail include two tunnels cut through a sandstone ridge.
A comparison of historic and modern maps indicates that the current alignment of the Queen's Garden Trail follows closely the trail as it was constructed in 1929. Modifications have been made due to erosion, rock fall, etc., however these are to be expected given the character of the natural environment within BRCA. This trail continues to provide access to the formation known as "Queen Victoria" and provides hikers with vistas that are little changed since the historical period. (1)
References (1) NRHP Nomination Form npgallery.nps.gov/pdfhost/docs/NRHP/Text/95000422.pdf
Nominate subspecies. While working in my home office, I spotted this tiny beauty foraging amongst ivy just outside the window.
My Garden, Gilwern, Abergavenny, Wales, UK.
Ukrainian postcard by Magicard.biz.ua. Meryl Streep in The Devil Wears Prada (David Frankel, 2006).
American actress Meryl Streep (1949) is one of the best actresses of her generation, known for her versatility and accents.She has been nominated for the Oscar an astonishing 21 times, and has won it three times. Among her other accolades, she has received 32 Golden Globe nominations, more than any other person, and won eight.
Mary Louise 'Meryl' Streep was born in 1949, in Summit, New Jersey. She is the daughter of Mary Wilkinson Streep (née Mary Wolf Wilkinson), a commercial artist and art editor; and Harry William Streep, Jr., a pharmaceutical executive. She has two younger brothers: Harry William Streep III and Dana David Streep, who are also actors. At the age of 12, Streep was selected to sing at a school recital, leading to her having opera lessons from Estelle Liebling. She quit after four years. Although Streep appeared in numerous school plays during her high school years, she was uninterested in serious theatre until acting in the play Miss Julie at Vassar College in 1969, in which she gained attention across the campus. She received her B.A. cum laude from the college in 1971, before applying for an MFA from the Yale School of Drama. Streep played a variety of roles on stage, from Helena in A Midsummer Night's Dream to an 80-year-old woman in a wheelchair in a comedy written by then-unknown playwrights Christopher Durang and Albert Innaurato. She received her MFA from Yale in 1975. That year, Streep made her stage debut in New York in Trelawny of the Wells by Arthur Wing Pinero. The following year, she received a Tony Award nomination for Best Featured Actress in a Play for appearing in the 1976 double bill of '27 Wagons Full of Cotton' by Tennessee Williams and 'A Memory of Two Mondays' by Arthur Miller. She made her screen debut in the television film The Deadliest Season (Robert Markowitz, 1977), a sports drama with Michael Moriarty. Her film debut was the award-winning Holocaust drama Julia (Fred Zinnemann, 1977), starring Jane Fonda and Vanessa Redgrave. It is based on a chapter from Lillian Hellman's book Pentimento about the author's relationship with a lifelong friend, 'Julia,' who fought against the Nazis in the years prior to World War II. Streep had a small role during a flashback sequence. She received her first Oscar nomination for the epic war drama The Deer Hunter (Michael Cimino, 1978). Critic Pauline Kael remarked that she was a "real beauty" who brought much freshness to the film with her performance. The film, starring Robert De Niro and Christopher Walken, was also successful at the box office, grossing $49 million. She also won an Emmy Award for her role in the miniseries Holocaust (Marvin J. Chomsky, 1978), which recounts the trajectory of the Holocaust from the perspectives of the fictional Weiss family of German Jews and that of a rising member of the SS (Michael Moriarty), who gradually becomes a merciless war criminal. Streep travelled to Germany and Austria for filming while her partner, actor John Cazale, who had been diagnosed with lung cancer, remained in New York. Upon her return, Streep found that Cazale's illness had progressed, and she nursed him until his death in March 1978. Streep starred opposite Dustin Hoffman in the legal drama Kramer vs. Kramer (Robert Benton, 1979). It tells the story of a couple's (Streep and Dustin Hoffmann) divorce, its impact on their young son (Justin Henry), and the subsequent evolution of their relationship and views on parenting. For Kramer vs. Kramer, Streep won both the Golden Globe Award and the Academy Award for Best Supporting Actress, which she famously left in the ladies' room after giving her speech.
Meryl Streep's first leading role was in the British romantic drama The French Lieutenant's Woman (Karel Reisz, 1981), a story within a story drama. The film paired Streep with Jeremy Irons as contemporary actors, telling their modern story, as well as the Victorian era drama they were performing. She got an Oscar nomination for her performance. Streep won the Oscar for Best Actress for Sophie's Choice (Alan J. Pakula, 1982). Streep was very determined to get the role. After obtaining a bootlegged copy of the script, she went after Pakula, and threw herself on the ground, begging him to give her the part. She portrayed a Polish survivor of Auschwitz, caught in a love triangle between a young naïve writer (Peter MacNicol) and a Jewish intellectual (Kevin Kline). Janet Maslin of The New York Times wrote: "Though it's far from a flawless movie, 'Sophie's Choice' is a unified and deeply affecting one. Thanks in large part to Miss Streep's bravura performance, it's a film that casts a powerful, uninterrupted spell." In 1983, Streep played her first non-fictional character, the nuclear whistleblower and labor union activist Karen Silkwood, who died in a suspicious car accident while investigating alleged wrongdoing at the Kerr-McGee plutonium plant, in Mike Nichols' biographical drama Silkwood (Mike Nichols, 1983) with Cher. Then she portrayed a fighter for the French Resistance during World War II in the British drama Plenty (Fred Schepisi, 1985), adapted from the play by David Hare. Her next release, the epic romantic drama Out of Africa (Sydney Pollack, 1985), established her as a Hollywood superstar. In the film, Streep starred as the Danish writer Karen Blixen, opposite Robert Redford's Denys Finch Hatton. It earned her another Oscar nomination. Karina Longworth notes in 'Meryl Streep: Anatomy of an Actor' (2013) that the dramatic success of Out of Africa led to a backlash of critical opinion against Streep in the years that followed, especially as she was now demanding $4 million a picture. Unlike other stars at the time, such as Sylvester Stallone and Tom Cruise, Streep "never seemed to play herself", and certain critics felt her technical finesse led people to literally see her acting.
Meryl Streep's other Oscar-nominated roles were in Ironweed (Héctor Babenco, 1987) with Jack Nicholson, the Australian drama Evil Angels/A Cry in the Dark (Fred Schepisi, 1988), the comedy-drama Postcards from the Edge (Mike Nichols, 1990) with Shirley MacLaine, the romantic drama The Bridges of Madison County (Clint Eastwood, 1995), One True Thing (Carl Franklin, 1998) with Renee Zellweger, the musical drama Music of the Heart (Wes Craven, 1999), Adaptation (Spike Jonze, 2002) starring Nicholas Cage, the comedy-drama The Devil Wears Prada (David Frankel, 2006) with Anne Hathaway, the period drama Doubt (John Patrick Shanley, 2008), the comedy-drama Julie & Julia (Nora Ephron, 2009) with Amy Adams, August: Osage County (John Wells, 2013) with Julia Roberts, the musical fantasy Into the Woods (Rob Marshall, 2014), the biographical comedy-drama Florence Foster Jenkins (Stephen Frears, 2016) with Hugh Grant, and the historical political thriller The Post (Steven Spielberg, 2017), starring Tom Hanks. Streep won the Best Actress Oscar again for The Iron Lady (Phyllida Lloyd, 2011), the British-French biographical drama based on the life and career of Margaret Thatcher. While the film was met with mixed reviews, Streep's performance was widely acclaimed, and considered to be one of the greatest of her career. Her stage roles include The Public Theater's 2001 revival of 'The Seagull', and her television roles include two projects for HBO, the acclaimed miniseries Angels in America (2003), for which her performance won her another Emmy Award, and the drama series Big Little Lies (2019). Streep has also been the recipient of many honorary awards. She was awarded Commander of the Order of the Arts and Letters by French culture minister Jean-Jacques Aillagon in 2003. In the cinema, she appeared as Emmeline Pankhurst, a British political activist and leader of the British suffragette movement who helped women win the right to vote in the period drama Suffragette (Sarah Gavron, 2015), co-starring Carey Mulligan and Helena Bonham Carter. Streep reprised the role of Donna Sheridan in the musical sequel Mamma Mia! Here We Go Again (Ol Parker, 2018). She also played a supporting part in Mary Poppins Returns (Rob Marshall, ), starring Emily Blunt in the title role. In 2019, she starred in the biographical comedy The Laundromat (Steven Soderberg, 2019), the first Netflix film in which Streep starred. The film focused on the Panama Papers in particular and Beneficial ownership in general. Streep was whistleblower John Doe who released incriminating documents to the media. In addition, she played Aunt March in Little Women (Greta Gerwig, 2019). Despite her stardom, for decades Streep has managed to maintain a relatively normal personal life. Streep lived with actor John Cazale for three years until his death from lung cancer in March 1978. Streep married sculptor Don Gummer six months after Cazale's death. They have four children: one son and three daughters, son Henry Wolfe Gummer (1979), a musician; daughters Mary Willa 'Mamie' Gummer (1983), an actress; Grace Jane Gummer (1986), an actress; and Louisa Jacobson Gummer (1991), a model. In February 2019, Streep became a grandmother for the first time, through her eldest daughter Mamie.
Sources: Wikipedia and IMDb.
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West-German postcard by Kolibri-Verlag, Minden-Westf, no. 395. Photo: M.G.M. Paul Newman in Cat on a Hot Tin Roof (Richard Brooks, 1958).
American film actor Paul Newman (1925-2008) was a matinee idol with the most famous blue eyes of Hollywood, who often played detached yet charismatic anti-heroes and rebels. He was nominated for nine acting Academy Awards in five different decades and won the Oscar for The Color of Money (1986). He was also a prominent social activist, a major proponent of actors' creative rights, and a noted philanthropist.
Paul Leonard Newman was born in 1925, in Shaker Heights, Ohio, a suburb of Cleveland. He was the second son of Arthur Sigmund Newman and Theresa Fetsko. His father was a Jewish businessman who owned a successful sporting goods store. His mother was a practicing Christian Scientist with an interest in the creative arts, and it rubbed off on her son. At age 10, he performed in a stage production of 'Saint George and the Dragon' at the Cleveland Play House. He also acted in high school plays. By 1950, the 25-year-old Newman had been kicked out of Ohio University, where he belonged to the Phi Kappa Tau fraternity, for unruly behavior (denting the college president's car with a beer keg), served three years in the United States Navy during World War II as a radio operator, graduated from Ohio's Kenyon College, married his first wife, actress Jacqueline "Jackie" Witte, and had his first child, Scott. That same year, his father died. When he became successful in later years, Newman said if he had any regrets it would be that his father was not around to witness his success. He brought Jackie back to Shaker Heights and he ran his father's store for a short period. Then, knowing that wasn't the career path he wanted to take, he sold his interest in the store to his brother and moved with Jackie and Scott to New Haven, Connecticut. There he attended Yale University's School of Drama. While doing a play there, Newman was spotted by two agents, who invited him to come to New York City to pursue a career as a professional actor. After moving to New York, he acted in guest spots for various television series, and in 1953 came a big break. He got the part of understudy of the lead role in the successful Broadway play 'Picnic' by William Inge. Through this play, he met actress Joanne Woodward, who was also an understudy in the play. While they got on very well and there was a strong attraction, Newman was married and his second child, Susan, was born that year. During this time, Newman was accepted into the much admired and popular New York Actors Studio, although he did not actually audition. In 1954, a film Newman was very reluctant to do was released, the failed costume drama The Silver Chalice (Victor Saville, 1954). He considered his performance in this costume epic to be so bad that he took out a full-page ad in Variety apologising for it to anyone who might have seen it. He immediately wanted to return to the stage, and performed in 'The Desperate Hours'. In 1956, he got the chance to redeem himself in the film world by portraying boxer Rocky Graziano in Somebody Up There Likes Me (Robert Wise, 1956) with Pier Angeli. The role of Rocky was originally awarded to James Dean, who died before filming began. Critics praised Newman's performance. Dean also was signed to play Billy the Kid in The Left Handed Gun (Arthur Penn, 1958), but that role was also inherited by Newman after Dean's death. With a handful of films to his credit, he was cast in The Long, Hot Summer (1958), an acclaimed adaptation of a pair of William Faulkner short stories. His co-star was Joanne Woodward. During the shooting of this film, they realised they were meant to be together and by now, so did his then-wife Jackie, who gave Newman a divorce. He and Woodward wed in Las Vegas in January 1958. They went on to have three daughters together. They raised them in Westport, Connecticut. In 1959, Newman received his first Academy Award nomination for Best Actor, in Cat on a Hot Tin Roof (Richard Brooks, 1958), based on the Pulitzer Prize-winning play by Tennessee Williams. Well-received by both critics and audiences, Cat on Hot Tin Roof was MGM's most successful release of 1958 and became the third highest-grossing film of that year.
Paul Newman traveled back to Broadway to star in Tennessee Williams' 'Sweet Bird of Youth'. Upon his return to the West Coast, he bought himself out of his Warner Bros. contract before starring in the smash From the Terrace (Mark Robson, 1960) with Joanne Woodward. Exodus (Otto Preminger, 1960), another major hit, quickly followed. The 1960s would bring Paul Newman into superstar status, as he became one of the most popular actors of the decade. In 1961, he played one of his most memorable roles as pool shark "Fast" Eddie Felson in The Hustler (Robert Rossen, 1961) with Jackie Gleason and Piper Laurie. It garnered him the first of three Best Actor Oscar nominations during the decade. The other two were for the Western Hud (Marin Ritt, 1963), and the superb chain-gang drama Cool Hand Luke (Jack Smight, 1967). He also appeared in the political thriller Torn Curtain (Alfred Hitchcock, 1966) with Julie Andrews. The film, set in the Cold War, is about an American scientist who appears to defect behind the Iron Curtain to East Germany. Other minor hits were the mystery Harper (Jack Smight, 1966), with Lauren Bacall, and the Western Hombre (Martin Ritt, 1967), based on the novel by Elmore Leonard and co-starring Fredric March. In 1968, his debut directorial effort Rachel, Rachel (Paul Newman, 1968) was given good marks. He directed three actors to Oscar nominations: Joanne Woodward (Best Actress, Rachel, Rachel (1968)), Estelle Parsons (Best Supporting Actress, Rachel, Rachel (1968)), and Richard Jaeckel (Best Supporting Actor, Sometimes a Great Notion (1971)). Newman won a Golden Globe Award for his direction of Rachel, Rachel (1968). 1969 brought the popular screen duo of Newman and Robert Redford together for the first time when Butch Cassidy and the Sundance Kid (George Roy Hill, 1969) was released. It was a box office smash. Through the 1970s, Newman had hits and misses from such popular films The Sting (George Roy Hill, 1973) with Robert Redford, which won the 1973 Best Picture Oscar, and the star-studded disaster epic The Towering Inferno (John Guillermin, 1974), to lesser-known films as the Western The Life and Times of Judge Roy Bean (Robert Altman, 1972) with Jacqueline Bisset, to a cult classic, the sports comedy Slap Shot (George Roy Hill, 1977) with Michael Ontkean. In 1978, Newman's only son, Scott, died of a drug overdose. After Scott's death, Newman's personal life and film choices moved in a different direction.
Paul Newman's acting work in the 1980s and on is what is often most praised by critics today. He became more at ease with himself and it was evident in The Verdict (Sidney Lumet, 1982) with Charlotte Rampling, for which he received his sixth Best Actor Oscar nomination. In 1987, he finally received his first Oscar for The Color of Money (Marin Scorsese, 1986) with Tom Cruise, almost thirty years after Woodward had won hers. Friend and director of Somebody Up There Likes Me (1956), Robert Wise accepted the award on Newman's behalf as the actor did not attend the ceremony. Previously, Newman had been nominated as the same character in The Hustler (Robert Rossen, 1961). In total, he was nominated for the Oscar nine times: Best Lead Actor for Cat on a Hot Tin Roof (Richard Brooks, 1958), The Hustler (Robert Rossen, 1961), Hud (Marin Ritt, 1963), Cool Hand Luke (Stuart Rosenberg, 1967), Absence of Malice (Sydney Pollack, 1981), The Verdict (Sidney Lumet, 1982), The Color of Money (Martin Scorsese, 1986), Nobody's Fool (Robert Benton, 1994)) and finally for Best Supporting Actor in Road to Perdition (Sam Mendes, 2002). In 1994 Newman also played alongside Tim Robbins as the character Sidney J. Mussburger in the Coen Brothers comedy The Hudsucker Proxy. Films were not the only thing on his mind during this period. A passionate race car driver since the early 1970s (despite being color-blind), he was a co-founder of Newman-Haas racing in 1982. He also founded 'Newman's Own', a line of food products, featuring mainly spaghetti sauces and salad dressings. The company made more than $100 million in profits over the years, all of which he donated to various charities. He also started The Hole in the Wall Gang Camps, an organization for children with serious illness. He was as well known for his philanthropic ways and highly successful business ventures as he was for his legendary actor status. Newman's marriage to Woodward lasted a half-century. Connecticut was their primary residence after leaving Hollywood and moving East in 1960. Renowned for his sense of humor, in 1998 he quipped that he was a little embarrassed to see his salad dressing grossing more than his films. During his later years, he still attended races, was much involved in his charitable organisations, and in 2006, he opened a restaurant called Dressing Room, which helps out the Westport Country Playhouse, a place in which Newman took great pride. In 2003, Newman appeared in a Broadway revival of Thornton Wilder's 'Our Town', receiving his first Tony Award nomination for his performance. The animated Disney-Pixar comedy Cars (John Lasseter, 2006) was his final film. It was the highest-grossing film of his career. In 2007, while the public was largely unaware of the serious illness from which he was suffering, Newman made some headlines when he said he was losing his invention and confidence in his acting abilities and that acting was "pretty much a closed book for me". A smoker for many years, Paul Newman died in 2008, aged 83, from lung cancer. With his first wife Jackie, he had three children, Scott, Stephanie, and Susan. Susan Kendall Newman is well known for stage acting and her philanthropic activities. His three daughters with Joanne Woodward are actress Melissa Newman, Nell Potts, and Claire Newman. Nine years after Paul Newman's death, he reprised his role as Doc Hudson in Cars 3 (2017): unused recordings from Cars (2006) were used as new dialogue.
Sources: Tom McDonough/Robert Sieger (IMDb), Jason Ankeny (AllMovie), AllMovie, Wikipedia, and IMDb.
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This is the paludicola ssp. found in coastal FL where it nests in mangroves. A tad larger than the nominate discolor. Tigertail Beach.
British postcard in the Picturegoer Series, London, no. 436c. Photo: Radio Pictures.
Ann Harding (1902–1981) was an American film actress. She was signed by Pathe and made her debut, with Fredric March in Paris Bound (1929). She became a leading lady, and was nominated for the Oscar for Best Actress in 1931 for her work in Holiday (1930). She was the gentle, refined heroine as in The Animal Kingdom (1932), wherein she played Daisy, the rejected fiancée of Leslie Howard.
Ann Harding was born Dorothy Walton Gatley in San Antonio, Texas, in 1902. The daughter of Army captain George G. Gatley and his wife Elizabeth Walton Gatley, Ann spent a lot of time traveling around the US whenever her West Point-educated father was transferred. Moving to such places as Illinois, Kentucky, New Jersey, Cuba, and Pennsylvania made it very hard to put down roots. By the time the family settled in New York, Ann was well out of high school. Ann first appeared on the stage while she spent a year attending Bryn Mawr College. She became a clerk with the Metropolitan Life Insurance Co., her college education put aside owing to financial difficulties. she went to work as a freelance script reader with the film company Famous Players-Lasky. After attending a play in New York City, Ann discovered that the acting company was holding auditions for a part, and she decided to give it a try. To her surprise, she won a large part. She received critical acclaim for her role in 'Inheritors' (1921) and decided she would continue her budding career. Because her father opposed her career choice, she used the stage name, Ann Harding. For the next eight years, Ann performed in a variety of stage productions and became Broadway's bright new star. In 1929, Harding was signed by Pathe Studios and made her film debut as Mary Hutton in the Pre-Code early-talkie film Paris Bound (Edward H. Griffith. 1929), co-starring with Fredric March. Later that year she starred with her husband, Harry Bannister (whom she married in 1926 and divorced in 1932) in Her Private Affair (Paul L. Stein, 1929). The film was an enormous commercial success. Harding's performances were heralded by the critics, who cited her diction and stage experience as assets to the then-new medium of "talking pictures." Her role in Condemned! (Wesley Ruggles, 1929) opposite Ronald Colman, for which she was loaned out to United Artists, rounded out her work for that year. Back at Pathe, she starred in the romantic comedy Holiday (Edward H. Griffith, 1930), the film that solidified her image as an actress. During this period, she was generally considered to be one of cinema's most beautiful actresses, with her waist-length blonde hair being one of her most noted physical attributes. Next up was The Girl of the Golden West (John Francis Dillon, 1930), which again had her husband in the second role.
Ann Harding was a leading lady now. She was loaned out to Fox to play Lady Isabella in East Lynne (Frank Lloyd, 1931) opposite Clive Brook. During production, her husband would show up on the set and try to tell the director how to run the film. He was finally banned from the set, and it hastened the demise of Ann's marriage to him. She was the gentle, refined heroine as in The Animal Kingdom (Edward H. Griffith, 1932), wherein she played Daisy, the rejected fiancée of Leslie Howard. By 1933, her popularity started to decline as she appeared in a parade of tearjerkers as the beautiful, innocent, self-sacrificing woman, and film work became harder for her to obtain. After appearing in the British-made Love from a Stranger (Rowland V. Lee, 1937), she married conductor Werner Janssen. Ann took a five-year hiatus from acting, not appearing on-screen until Eyes in the Night (Fred Zinnemann, 1942) with Edward Arnold. After Christmas Eve (Edwin L. Marin, 1947), she appeared second-billed in Two Weeks with Love (Roy Rowland, 1950) starring Jane Powell and Ricardo Montalban, followed by The Unknown Man (Richard Thorpe, 1951) with Walter Pidgeon. Her final films were Strange Intruder (Irving Rapper, 1956) starring Edmund Purdom, and The Man in the Gray Flannel Suit (Nunnally Johnson, 1956), in which she appeared once again with Fredric March, the man with whom she started her career. She worked occasionally in television between 1955 and 1965, and she appeared in two plays in the early 1960s, returning to the stage after an absence of over 30 years. In 1962, she starred in 'General Seeger', directed by and co-starring George C. Scott, and in 1964 she appeared in 'Abraham Cochrane' and 'The Corn is Green'. After her 1965 retirement, she resided in Sherman Oaks, California. In 1981, Ann Harding passed away there, at age 79. Harding had a daughter, Jane (1928-2005) with her first husband, Harry Bannister. Their divorce in 1932 led to a year-and-a-half-long custody battle. Her second marriage, to Werner Janssen, ended in divorce in 1963. By this marriage, Harding had two stepchildren, Alice and Werner Jr. Harding began living with Grace Kaye, an adult companion, later known as Grace Kaye Harding. Harding referred to Kaye as her daughter. Following her death, Ann Harding was interred at Forest Lawn Memorial Park (Hollywood Hills) in Los Angeles, California, in the Court of Remembrance.
Sources: Tony Fontana (IMDb), Denny Jackson (IMDb), Wikipedia, and IMDb.
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The brown pelican (Pelecanus occidentalis) is a bird of the pelican family, Pelecanidae, one of three species found in the Americas and one of two that feed by diving into water. It is found on the Atlantic Coast from New Jersey to the mouth of the Amazon River, and along the Pacific Coast from British Columbia to Peru, including the Galapagos Islands. The nominate subspecies in its breeding plumage has a white head with a yellowish wash on the crown. The nape and neck are dark maroon–brown. The upper sides of the neck have white lines along the base of the gular pouch, and the lower fore neck has a pale yellowish patch. The male and female are similar, but the female is slightly smaller. The nonbreeding adult has a white head and neck. The pink skin around the eyes becomes dull and gray in the nonbreeding season. It lacks any red hue, and the pouch is strongly olivaceous ochre-tinged and the legs are olivaceous gray to blackish-gray.
The brown pelican mainly feeds on fish, but occasionally eats amphibians, crustaceans, and the eggs and nestlings of birds. It nests in colonies in secluded areas, often on islands, vegetated land among sand dunes, thickets of shrubs and trees, and mangroves. Females lay two or three oval, chalky white eggs. Incubation takes 28 to 30 days with both sexes sharing duties. The newly hatched chicks are pink, turning gray or black within 4 to 14 days. About 63 days are needed for chicks to fledge. Six to 9 weeks after hatching, the juveniles leave the nest, and gather into small groups known as pods.
The brown pelican is the national bird of Saint Martin, Barbados, Saint Kitts and Nevis, and the Turks and Caicos Islands, and the official state bird of Louisiana, appearing on the flag, seal, or coat of arms of each. It has been rated as a species of least concern by the International Union for Conservation of Nature. It was listed under the United States Endangered Species Act from 1970 to 2009, as pesticides such as dieldrin and DDT threatened its future in the Southeastern United States and California. In 1972, the use of DDT was banned in Florida, followed by the rest of the United States. Since then, the brown pelican's population has increased. In 1903, Theodore Roosevelt set aside the first National Wildlife Refuge, Florida's Pelican Island, to protect the species from hunters.
Taxonomy
The brown pelican was described by Swedish zoologist Carl Linnaeus in the 1766 12th edition of his Systema Naturae, where it was given the binomial name of Pelecanus occidentalis. It belongs to the New World clade of the genus Pelecanus.
Five subspecies of the brown pelican are recognized. At least some of these subspecies are genetically distinct despite similar phenotypes. The subspecies differ from one another in size, coloration of the throat pouch (among other bare parts) in breeding condition, and/or certain breeding plumage details, as well as geographic range.
The brown pelican is part of a clade that includes the Peruvian pelican (P. thagus) and American white pelican (P. erythrorhynchos); brown and Peruvian pelicans are sister taxa, with American white pelican a more distant relative. The Peruvian pelican was previously considered a subspecies of the brown pelican, but is now considered a separate species on the basis of its much greater size (around double the weight of the brown pelican), differences in bill color and plumage, and a lack of evidence of hybridization between the forms where their ranges approach and overlap. (In captivity, the brown pelican is known to have hybridized with both the American white pelican and the more distantly related great white pelican.)
In 1932, James L. Peters divided Pelecanus into three subgenera, placing brown pelican (including Peruvian pelican) in a monospecific Leptopelicanus, American white pelican in a monospecific Cyrtopelicanus, and all the rest in the subgenus Pelecanus, a treatment which was also followed by Jean Dorst and Raoul J. Mougin in 1979. Andrew Elliott in 1992, and Joseph B. Nelson in 2005, considered the deepest division among pelicans to lie between brown (plus Peruvian) pelican on the one hand, and the white-plumaged pelicans on the other (among which the large ground-nesting American white, Australian, great white, and Dalmatian pelicans were thought to form a clade, and the smaller tree-nesting pink-backed and spot-billed pelicans were likewise considered sister taxa). In 1993, Paul Johnsgard hypothesized that the Americas were colonized relatively late in pelican evolution, with the family originating in Africa or South Asia; however, he later supported the prevailing view that brown (with Peruvian) was the most divergent pelican (and considered American white and great white pelicans to be close relatives, implying two independent dispersals of pelicans into the Americas, with that of the ancestor of brown and Peruvian pelicans occurring early on). Sibley and Ahlquist's DNA-DNA hybridization studies and UPGMA tree published in 1990 supported brown pelican as sister to a clade comprising all the white-plumaged pelicans analyzed, including American white pelican (although the relationships among the latter group differed).
With better genetic data and more modern methods, a new phylogenetic hypothesis of pelican relationships has arisen, which contrasts with the traditional view of brown and Peruvian being the most divergent pelicans based on their distinctive plumage and behavior (and early molecular data). Rather than the brown-plumaged pelicans and white-plumaged pelicans forming two reciprocally monophyletic groups, the American white pelican is sister to brown and Peruvian pelicans, the three together forming an exclusively New World pelican clade. (Among the other pelicans, pink-backed, Dalmatian, and spot-billed pelicans are close relatives, together sister to Australian pelican. Great white pelican has no particularly close relatives; while it may be sister to the previous four, this relationship had low statistical support.)
The brown pelican is the smallest of the eight extant pelican species, but is often one of the larger seabirds in their range nonetheless. It measures 1 to 1.52 m (3 ft 3 in to 5 ft 0 in) in length and has a wingspan of 2.03 to 2.28 m (6 ft 8 in to 7 ft 6 in). The weight of adults can range from 2 to 5 kg (4.4 to 11.0 lb), about half the weight of the other pelicans found in the Americas, the Peruvian and American white pelicans. The average weight in Florida of 47 females was 3.17 kg (7.0 lb), while that of 56 males was 3.7 kg (8.2 lb). Like all pelicans, it has a very long bill, measuring 280 to 348 mm (11.0 to 13.7 in) in length.
The nominate subspecies in its breeding plumage has a white head with a yellowish wash on the crown. The nape and neck are dark maroon–brown. The upper sides of the neck have white lines along the base of the gular pouch, and the lower foreneck has a pale yellowish patch. The feathers at the center of the nape are elongated, forming short, deep chestnut crest feathers. It has a silvery gray mantle, scapulars, and upperwing coverts (feathers on the upper side of the wings), with a brownish tinge. The lesser coverts have dark bases, which gives the leading edge of the wing a streaky appearance. The uppertail coverts (feathers above the tail) are silvery white at the center, forming pale streaks. The median (between the greater and the lesser coverts), primary (connected to the distal forelimb), secondary (connected to the ulna), and greater coverts (feathers of the outermost, largest, row of upperwing coverts) are blackish, with the primaries having white shafts and the secondaries having variable silver-gray fringes. The tertials (feathers arising in the brachial region) are silver-gray with a brownish tinge. The underwing has grayish-brown remiges with white shafts to the outer primary feathers. The axillaries and covert feathers are dark, with a broad, silver–gray central area. The tail is dark gray with a variable silvery cast. The lower mandible is blackish, with a greenish-black gular pouch at the bottom for draining water when it scoops out prey. The breast and belly are dark, and the legs and feet black. It has a grayish white bill tinged with brown and intermixed with pale carmine spots. The crest is short and pale reddish-brown in color. The back, rump, and tail are streaked with gray and dark brown, sometimes with a rusty hue. The male and female are similar, but the female is slightly smaller. It is exceptionally buoyant due to the internal air sacks beneath its skin and in its bones. It is as graceful in the air as it is clumsy on land.
The nonbreeding adult has a white head and neck, and the pre-breeding adult has a creamy yellow head. The pink skin around the eyes becomes dull and gray in the non-breeding season. It lacks any red hue, and the pouch is strongly olivaceous ochre tinged and the legs are olivaceous gray to blackish-gray. It has pale blue to yellowish white irides which become brown during the breeding season. During courtship, the bill becomes pinkish red to pale orange, redder at the tip, and the pouch is blackish. Later in the breeding season the bill becomes pale ash-gray over most of the upper jaw and the basal third of the mandible.
The juvenile is similar, but is grayish-brown overall and has paler underparts. The head, neck, and thighs are dusky-brown, and the abdomen is dull white. The plumage of the male is similar to a fully adult female, although the male's head feathers are rather rigid. The tail and flight feathers are browner than those of the adult. It has short, brown upperwing coverts, which are often darker on greater coverts, and dull brownish-gray underwing coverts with a whitish band at the center. The irides are dark brown and the facial skin is bluish. It has a gray bill which is horn-yellow to orange near the tip, with a dark gray to pinkish-gray pouch. It acquires adult plumage at over 3 years of age, when the feathers on the neck become paler, the upperparts become striped, the greater upperwing and median coverts become grayer, and the belly acquires dark spots.
The brown pelican is readily distinguished from the American white pelican by its nonwhite plumage, smaller size, and habit of diving for fish from the air, as opposed to co-operative fishing from the surface. It and the Peruvian pelican are the only true marine pelican species.
The brown pelican produces a wide variety of harsh, grunting sounds, such as a low-pitched hrrraa-hrra, during displays. The adult also rarely emits a low croak, while young frequently squeal.
The brown pelican lives on the Atlantic, Gulf, and Pacific Coasts in the Americas. On the Atlantic Coast, it is found from the New Jersey coast to the mouth of the Amazon River. Along the Pacific Coast, it is found from British Columbia to northern Peru, including the Galapagos Islands. After nesting, North American birds move in flocks further north along the coasts, returning to warmer waters for winter. In the non-breeding season, it is found as far north as Canada. It is a rare and irregular visitor south of Piura in Peru, where generally it is replaced by the Peruvian pelican, and can occur as a non-breeding visitor south at least to Ica during El Niño years. Small numbers of brown pelicans have been recorded from Arica in far northern Chile. It is fairly common along the coast of California, South Carolina, North Carolina, Georgia, the West Indies, and many Caribbean islands as far south as Guyana. Along the Gulf Coast, it inhabits Alabama, Texas, Florida, Mississippi, Louisiana, and Mexico.
The brown pelican is a strictly marine species, primarily inhabiting marine subtidal, warm estuarine, and marine pelagic waters. It is also found in mangrove swamps, and prefers shallow waters, especially near salty bays and beaches. It avoids the open sea, seldom venturing more than 20 miles from the coast. Some immature birds may stray to inland freshwater lakes. Its range may also overlap with the Peruvian pelican in some areas along the Pacific coast of South America. It roosts on rocks, water, rocky cliffs, piers, jetties, sand beaches, and mudflats.
Most brown pelican populations are resident (nonmigratory) and dispersive (species moving from its birth site to its breeding site, or its breeding site to another breeding site). Some migration is observed, especially in the northern parts of the species's range, but these movements are often erratic, depending on local conditions.
While usually restricted to coastal regions, brown pelicans occasionally wander inland, and there are records of vagrant individuals across much of the interior of North America. The species also occasionally wanders along the coasts of the Americas outside its normal range, with vagrants reported as far north as Southeast Alaska and Newfoundland, as far south as central Chile (well into the range of the closely related Peruvian pelican), and as far east in South America as Alagoas. Rare inland vagrants, generally caused by hurricanes or El Niño phenomena, have been reported from the Colombian Andes. They were first recorded in July 2009 in the Interandean Valley, where they remained for at least 161 days. There are four records far inland in Amazônia Legal, along the Amazon River and its tributaries.
The brown pelican is a very gregarious bird; it lives in flocks of both sexes throughout the year. In level flight, brown pelicans fly in groups, with their heads held back on their shoulders and their bills resting on their folded necks. They may fly in a V formation, but usually in regular lines or single file, often low over the water's surface. To exclude water from the nasal passage, they have narrower internal regions of the nostrils.
The brown pelican is a piscivore, primarily feeding on fish. Menhaden may account for 90% of its diet, and the anchovy supply is particularly important to the brown pelican's nesting success. Other fish preyed on with some regularity includes pigfish, pinfish, herring, sheepshead, silversides, mullets, sardines, minnows, and topminnows. Brown pelicans residing in Southern California rely especially heavily on pacific sardine as a major food source which can compose up to 26% of their diet, making them one of the top three predators of sardines in the area. Non-fish prey includes crustaceans, especially prawns, and it occasionally feeds on amphibians and the eggs and nestlings of birds (egrets, common murres and its own species).
As the brown pelican flies at a maximum height of 18 to 21 m (60 to 70 ft) above the ocean, it can spot schools of fish while flying. When foraging, it dives bill-first like a kingfisher, often submerging completely below the surface momentarily as it snaps up prey. Besides its sister species, the Peruvian pelican, this is the only pelican to primarily forage via diving, all other extant pelican merely float on the waters' surface when foraging. Upon surfacing, it spills the water from its throat pouch before swallowing its catch. Only the Peruvian pelican shares this active foraging style (although that species never dives from such a great height), while other pelicans forage more inactively by scooping up corralled fish while swimming on the water surface. It is an occasional target of kleptoparasitism by other fish-eating birds such as gulls, skuas, and frigatebirds. They are capable of drinking saline water due to the high capacity of their salt glands to excrete salt.
The brown pelican is a monogamous breeder within a breeding season, but does not pair for life. Nesting season peaks during March and April. The male chooses a nesting site and performs a display of head movements to attract a female. At the proposed nest site, major courtship displays such as head swaying, bowing, turning, and upright (standing on its legs without any support) are performed by both the sexes. They may also be accompanied by low raaa calls.
Once a pair forms a bond, overt communication between them is minimal. It is a colonial species, with some colonies maintained for many years. Probably owing to disturbance, tick infestation, or alteration in food supply, colonies frequently shift. It nests in secluded area, often on islands, vegetated spots among sand dunes, thickets of shrubs and trees, and in mangroves, although sometimes on cliffs, and less often in bushes or small trees. Nesting territories are clumped, as individual territories may be at a distance of just 1 m (3.3 ft) from each other. They are usually built by the female from reeds, leaves, pebbles, and sticks, and consist of feather-lined impressions protected with a 10 to 25 cm (3.9 to 9.8 in) rim of soil and debris. They are usually found 0.9 to 3 m (3 to 10 ft) above the ground. Renesting may occur if eggs are lost from the nest early in the breeding season.
There are usually two to three, or sometimes even four, oval eggs in a clutch, and only one brood is raised per year. The egg is chalky white, and can measure about 76 mm (3.0 in) in length and 51 mm (2.0 in) in width. Incubation takes 28 to 30 days with both sexes sharing duties, keeping the eggs warm by holding them on or under their webbed feet. It takes 28 to 30 days for the eggs to hatch, and about 63 days to fledge. After that, the juvenile leave the nest and gather into small groups known as pods. The newly hatched chicks are pink and weigh about 60 g (0.13 lb). Within 4 to 14 days, they turn gray or black. After that, they develop a coat of white, black or grayish down. Fledging success may be as high as 100% for the first hatched chick, 60% for the second chick, and just 6% for the third chick.
The parents regurgitate predigested food for the young to feed upon until they reach their fledging stage. After about 35 days, the young venture out of the nest by walking. The young start flying about 71 to 88 days after hatching. The adults remain with them until some time afterwards and continue to feed them. In the 8- to 10-month period during which they are cared for, the nestling pelicans are fed by regurgitated, partially digested food of around 70 kg (150 lb) of fish. The young reach sexual maturity (and full adult plumage) at anywhere from three to five years of age. A brown pelican has been recorded to have lived for over 31 years in captivity.
Predation is occasional at colonies, and predators of eggs and young (usually small nestlings are threatened but also occasionally up to fledgling size depending on the size of the predator) can include gulls, raptors (especially bald eagles), spiny-tailed iguanas, alligators, vultures, feral cats, feral dogs, raccoons, fish crows, and corvids. Predation is likely reduced if the colony is on an island. Although it is rare, bobcats have been documented eating both the offspring and injured adults. Predation on adult brown pelicans is rarely reported, but cases where they have fallen prey to bald eagles have been reported. Also, South American sea lions and unidentified large sharks have been observed to prey on adult brown pelicans by seizing them from beneath while the birds are sitting on ocean waters. The invasive red imported fire ant is known to prey on hatchlings. Like all pelicans, brown pelicans are highly sensitive to disturbances by humans (including tourists or fishermen) at their nests, and may even abandon their nests. Due to their size, non-nesting adults are rarely predated. Brown pelicans have several parasitic worms such as Petagiger, Echinochasmus, Phagicola longus, Mesostephanus appendiculatoides, Contracaecum multipapillatum, and Contracaecum bioccai, from its prey diet of black mullets, white mullets, and other fish species.
The brown pelican is now a staple of crowded coastal regions and is at some risk by fishermen (monofilament fishing line and hooks) and boaters. In the early twentieth century, hunting was a major cause of its death, and people still hunt adults for their feathers and collect eggs on the Caribbean coasts, in Latin America, and occasionally in the United States, even though it is protected under the Migratory Bird Treaty Act of 1918.
Distribution
The brown pelican (Pelecanus occidentalis) is a bird of the pelican family, Pelecanidae, one of three species found in the Americas and one of two that feed by diving into water. It is found on the Atlantic Coast from New Jersey to the mouth of the Amazon River, and along the Pacific Coast from British Columbia to Peru, including the Galapagos Islands. The nominate subspecies in its breeding plumage has a white head with a yellowish wash on the crown. The nape and neck are dark maroon–brown. The upper sides of the neck have white lines along the base of the gular pouch, and the lower fore neck has a pale yellowish patch. The male and female are similar, but the female is slightly smaller. The nonbreeding adult has a white head and neck. The pink skin around the eyes becomes dull and gray in the nonbreeding season. It lacks any red hue, and the pouch is strongly olivaceous ochre-tinged and the legs are olivaceous gray to blackish-gray.
The brown pelican mainly feeds on fish, but occasionally eats amphibians, crustaceans, and the eggs and nestlings of birds. It nests in colonies in secluded areas, often on islands, vegetated land among sand dunes, thickets of shrubs and trees, and mangroves. Females lay two or three oval, chalky white eggs. Incubation takes 28 to 30 days with both sexes sharing duties. The newly hatched chicks are pink, turning gray or black within 4 to 14 days. About 63 days are needed for chicks to fledge. Six to 9 weeks after hatching, the juveniles leave the nest, and gather into small groups known as pods.
The brown pelican is the national bird of Saint Martin, Barbados, Saint Kitts and Nevis, and the Turks and Caicos Islands, and the official state bird of Louisiana, appearing on the flag, seal, or coat of arms of each. It has been rated as a species of least concern by the International Union for Conservation of Nature. It was listed under the United States Endangered Species Act from 1970 to 2009, as pesticides such as dieldrin and DDT threatened its future in the Southeastern United States and California. In 1972, the use of DDT was banned in Florida, followed by the rest of the United States. Since then, the brown pelican's population has increased. In 1903, Theodore Roosevelt set aside the first National Wildlife Refuge, Florida's Pelican Island, to protect the species from hunters.
Taxonomy
The brown pelican was described by Swedish zoologist Carl Linnaeus in the 1766 12th edition of his Systema Naturae, where it was given the binomial name of Pelecanus occidentalis. It belongs to the New World clade of the genus Pelecanus.
Five subspecies of the brown pelican are recognized. At least some of these subspecies are genetically distinct despite similar phenotypes. The subspecies differ from one another in size, coloration of the throat pouch (among other bare parts) in breeding condition, and/or certain breeding plumage details, as well as geographic range.
ImageSubspeciesDistribution
P. o. californicus (Ridgway, 1884)This subspecies breeds on the Pacific coast of California and Baja California, and south to Jalisco. Its non-breeding range extends north along the Pacific coast to British Columbia, and south to Guatemala. It is rarely found in El Salvador.
P. o. carolinensis (Gmelin, 1789)This subspecies breeds in the eastern United States from Maryland south along the Atlantic, Gulf, and Caribbean coasts and south to Honduras and its Pacific coasts, Costa Rica, and Panama. Its non-breeding range is from southern New York to Venezuela.
P. o. occidentalis (Linnaeus, 1766)This subspecies breeds in the Greater and Lesser Antilles, the Bahamas, and along the Caribbean coast of the West Indies, Colombia, and Venezuela, up to Trinidad and Tobago.
P. o. murphyi (Wetmore, 1945)This subspecies is found from western Colombia to Ecuador, and is a non-breeding visitor to northern Peru.
P. o. urinator (Wetmore, 1945)This subspecies is found on the Galapagos Islands.
The brown pelican is part of a clade that includes the Peruvian pelican (P. thagus) and American white pelican (P. erythrorhynchos); brown and Peruvian pelicans are sister taxa, with American white pelican a more distant relative. The Peruvian pelican was previously considered a subspecies of the brown pelican, but is now considered a separate species on the basis of its much greater size (around double the weight of the brown pelican), differences in bill color and plumage, and a lack of evidence of hybridization between the forms where their ranges approach and overlap. (In captivity, the brown pelican is known to have hybridized with both the American white pelican and the more distantly related great white pelican.)
In 1932, James L. Peters divided Pelecanus into three subgenera, placing brown pelican (including Peruvian pelican) in a monospecific Leptopelicanus, American white pelican in a monospecific Cyrtopelicanus, and all the rest in the subgenus Pelecanus, a treatment which was also followed by Jean Dorst and Raoul J. Mougin in 1979. Andrew Elliott in 1992, and Joseph B. Nelson in 2005, considered the deepest division among pelicans to lie between brown (plus Peruvian) pelican on the one hand, and the white-plumaged pelicans on the other (among which the large ground-nesting American white, Australian, great white, and Dalmatian pelicans were thought to form a clade, and the smaller tree-nesting pink-backed and spot-billed pelicans were likewise considered sister taxa). In 1993, Paul Johnsgard hypothesized that the Americas were colonized relatively late in pelican evolution, with the family originating in Africa or South Asia; however, he later supported the prevailing view that brown (with Peruvian) was the most divergent pelican (and considered American white and great white pelicans to be close relatives, implying two independent dispersals of pelicans into the Americas, with that of the ancestor of brown and Peruvian pelicans occurring early on). Sibley and Ahlquist's DNA-DNA hybridization studies and UPGMA tree published in 1990 supported brown pelican as sister to a clade comprising all the white-plumaged pelicans analyzed, including American white pelican (although the relationships among the latter group differed).
With better genetic data and more modern methods, a new phylogenetic hypothesis of pelican relationships has arisen, which contrasts with the traditional view of brown and Peruvian being the most divergent pelicans based on their distinctive plumage and behavior (and early molecular data). Rather than the brown-plumaged pelicans and white-plumaged pelicans forming two reciprocally monophyletic groups, the American white pelican is sister to brown and Peruvian pelicans, the three together forming an exclusively New World pelican clade. (Among the other pelicans, pink-backed, Dalmatian, and spot-billed pelicans are close relatives, together sister to Australian pelican. Great white pelican has no particularly close relatives; while it may be sister to the previous four, this relationship had low statistical support.)
Description
The brown pelican is the smallest of the eight extant pelican species, but is often one of the larger seabirds in their range nonetheless. It measures 1 to 1.52 m (3 ft 3 in to 5 ft 0 in) in length and has a wingspan of 2.03 to 2.28 m (6 ft 8 in to 7 ft 6 in). The weight of adults can range from 2 to 5 kg (4.4 to 11.0 lb), about half the weight of the other pelicans found in the Americas, the Peruvian and American white pelicans. The average weight in Florida of 47 females was 3.17 kg (7.0 lb), while that of 56 males was 3.7 kg (8.2 lb). Like all pelicans, it has a very long bill, measuring 280 to 348 mm (11.0 to 13.7 in) in length.
The nominate subspecies in its breeding plumage has a white head with a yellowish wash on the crown. The nape and neck are dark maroon–brown. The upper sides of the neck have white lines along the base of the gular pouch, and the lower foreneck has a pale yellowish patch. The feathers at the center of the nape are elongated, forming short, deep chestnut crest feathers. It has a silvery gray mantle, scapulars, and upperwing coverts (feathers on the upper side of the wings), with a brownish tinge. The lesser coverts have dark bases, which gives the leading edge of the wing a streaky appearance. The uppertail coverts (feathers above the tail) are silvery white at the center, forming pale streaks. The median (between the greater and the lesser coverts), primary (connected to the distal forelimb), secondary (connected to the ulna), and greater coverts (feathers of the outermost, largest, row of upperwing coverts) are blackish, with the primaries having white shafts and the secondaries having variable silver-gray fringes. The tertials (feathers arising in the brachial region) are silver-gray with a brownish tinge. The underwing has grayish-brown remiges with white shafts to the outer primary feathers. The axillaries and covert feathers are dark, with a broad, silver–gray central area. The tail is dark gray with a variable silvery cast. The lower mandible is blackish, with a greenish-black gular pouch at the bottom for draining water when it scoops out prey. The breast and belly are dark, and the legs and feet black. It has a grayish white bill tinged with brown and intermixed with pale carmine spots. The crest is short and pale reddish-brown in color. The back, rump, and tail are streaked with gray and dark brown, sometimes with a rusty hue. The male and female are similar, but the female is slightly smaller. It is exceptionally buoyant due to the internal air sacks beneath its skin and in its bones. It is as graceful in the air as it is clumsy on land.
The nonbreeding adult has a white head and neck, and the pre-breeding adult has a creamy yellow head. The pink skin around the eyes becomes dull and gray in the non-breeding season. It lacks any red hue, and the pouch is strongly olivaceous ochre tinged and the legs are olivaceous gray to blackish-gray. It has pale blue to yellowish white irides which become brown during the breeding season. During courtship, the bill becomes pinkish red to pale orange, redder at the tip, and the pouch is blackish. Later in the breeding season the bill becomes pale ash-gray over most of the upper jaw and the basal third of the mandible.
The juvenile is similar, but is grayish-brown overall and has paler underparts. The head, neck, and thighs are dusky-brown, and the abdomen is dull white. The plumage of the male is similar to a fully adult female, although the male's head feathers are rather rigid. The tail and flight feathers are browner than those of the adult. It has short, brown upperwing coverts, which are often darker on greater coverts, and dull brownish-gray underwing coverts with a whitish band at the center. The irides are dark brown and the facial skin is bluish. It has a gray bill which is horn-yellow to orange near the tip, with a dark gray to pinkish-gray pouch. It acquires adult plumage at over 3 years of age, when the feathers on the neck become paler, the upperparts become striped, the greater upperwing and median coverts become grayer, and the belly acquires dark spots.
The brown pelican is readily distinguished from the American white pelican by its nonwhite plumage, smaller size, and habit of diving for fish from the air, as opposed to co-operative fishing from the surface. It and the Peruvian pelican are the only true marine pelican species.
The brown pelican produces a wide variety of harsh, grunting sounds, such as a low-pitched hrrraa-hrra, during displays. The adult also rarely emits a low croak, while young frequently squeal.
Distribution and habitat
The brown pelican lives on the Atlantic, Gulf, and Pacific Coasts in the Americas. On the Atlantic Coast, it is found from the New Jersey coast to the mouth of the Amazon River. Along the Pacific Coast, it is found from British Columbia to northern Peru, including the Galapagos Islands. After nesting, North American birds move in flocks further north along the coasts, returning to warmer waters for winter. In the non-breeding season, it is found as far north as Canada. It is a rare and irregular visitor south of Piura in Peru, where generally it is replaced by the Peruvian pelican, and can occur as a non-breeding visitor south at least to Ica during El Niño years. Small numbers of brown pelicans have been recorded from Arica in far northern Chile. It is fairly common along the coast of California, South Carolina, North Carolina, Georgia, the West Indies, and many Caribbean islands as far south as Guyana. Along the Gulf Coast, it inhabits Alabama, Texas, Florida, Mississippi, Louisiana, and Mexico.
The brown pelican is a strictly marine species, primarily inhabiting marine subtidal, warm estuarine, and marine pelagic waters. It is also found in mangrove swamps, and prefers shallow waters, especially near salty bays and beaches. It avoids the open sea, seldom venturing more than 20 miles from the coast. Some immature birds may stray to inland freshwater lakes. Its range may also overlap with the Peruvian pelican in some areas along the Pacific coast of South America. It roosts on rocks, water, rocky cliffs, piers, jetties, sand beaches, and mudflats.
Migration
Most brown pelican populations are resident (nonmigratory) and dispersive (species moving from its birth site to its breeding site, or its breeding site to another breeding site). Some migration is observed, especially in the northern parts of the species's range, but these movements are often erratic, depending on local conditions.
While usually restricted to coastal regions, brown pelicans occasionally wander inland, and there are records of vagrant individuals across much of the interior of North America. The species also occasionally wanders along the coasts of the Americas outside its normal range, with vagrants reported as far north as Southeast Alaska and Newfoundland, as far south as central Chile (well into the range of the closely related Peruvian pelican), and as far east in South America as Alagoas. Rare inland vagrants, generally caused by hurricanes or El Niño phenomena, have been reported from the Colombian Andes. They were first recorded in July 2009 in the Interandean Valley, where they remained for at least 161 days. There are four records far inland in Amazônia Legal, along the Amazon River and its tributaries.
Behavior
The brown pelican is a very gregarious bird; it lives in flocks of both sexes throughout the year. In level flight, brown pelicans fly in groups, with their heads held back on their shoulders and their bills resting on their folded necks. They may fly in a V formation, but usually in regular lines or single file, often low over the water's surface. To exclude water from the nasal passage, they have narrower internal regions of the nostrils.
Feeding
The brown pelican is a piscivore, primarily feeding on fish. Menhaden may account for 90% of its diet, and the anchovy supply is particularly important to the brown pelican's nesting success. Other fish preyed on with some regularity includes pigfish, pinfish, herring, sheepshead, silversides, mullets, sardines, minnows, and topminnows. Brown pelicans residing in Southern California rely especially heavily on pacific sardine as a major food source which can compose up to 26% of their diet, making them one of the top three predators of sardines in the area. Non-fish prey includes crustaceans, especially prawns, and it occasionally feeds on amphibians and the eggs and nestlings of birds (egrets, common murres and its own species).
As the brown pelican flies at a maximum height of 18 to 21 m (60 to 70 ft) above the ocean, it can spot schools of fish while flying. When foraging, it dives bill-first like a kingfisher, often submerging completely below the surface momentarily as it snaps up prey. Besides its sister species, the Peruvian pelican, this is the only pelican to primarily forage via diving, all other extant pelican merely float on the waters' surface when foraging. Upon surfacing, it spills the water from its throat pouch before swallowing its catch. Only the Peruvian pelican shares this active foraging style (although that species never dives from such a great height), while other pelicans forage more inactively by scooping up corralled fish while swimming on the water surface. It is an occasional target of kleptoparasitism by other fish-eating birds such as gulls, skuas, and frigatebirds. They are capable of drinking saline water due to the high capacity of their salt glands to excrete salt.
Breeding
The brown pelican is a monogamous breeder within a breeding season, but does not pair for life. Nesting season peaks during March and April. The male chooses a nesting site and performs a display of head movements to attract a female. At the proposed nest site, major courtship displays such as head swaying, bowing, turning, and upright (standing on its legs without any support) are performed by both the sexes. They may also be accompanied by low raaa calls.
Once a pair forms a bond, overt communication between them is minimal. It is a colonial species, with some colonies maintained for many years. Probably owing to disturbance, tick infestation, or alteration in food supply, colonies frequently shift. It nests in secluded area, often on islands, vegetated spots among sand dunes, thickets of shrubs and trees, and in mangroves, although sometimes on cliffs, and less often in bushes or small trees. Nesting territories are clumped, as individual territories may be at a distance of just 1 m (3.3 ft) from each other. They are usually built by the female from reeds, leaves, pebbles, and sticks, and consist of feather-lined impressions protected with a 10 to 25 cm (3.9 to 9.8 in) rim of soil and debris. They are usually found 0.9 to 3 m (3 to 10 ft) above the ground. Renesting may occur if eggs are lost from the nest early in the breeding season.
There are usually two to three, or sometimes even four, oval eggs in a clutch, and only one brood is raised per year. The egg is chalky white, and can measure about 76 mm (3.0 in) in length and 51 mm (2.0 in) in width. Incubation takes 28 to 30 days with both sexes sharing duties, keeping the eggs warm by holding them on or under their webbed feet. It takes 28 to 30 days for the eggs to hatch, and about 63 days to fledge. After that, the juvenile leave the nest and gather into small groups known as pods. The newly hatched chicks are pink and weigh about 60 g (0.13 lb). Within 4 to 14 days, they turn gray or black. After that, they develop a coat of white, black or grayish down. Fledging success may be as high as 100% for the first hatched chick, 60% for the second chick, and just 6% for the third chick.
The parents regurgitate predigested food for the young to feed upon until they reach their fledging stage. After about 35 days, the young venture out of the nest by walking. The young start flying about 71 to 88 days after hatching. The adults remain with them until some time afterwards and continue to feed them. In the 8- to 10-month period during which they are cared for, the nestling pelicans are fed by regurgitated, partially digested food of around 70 kg (150 lb) of fish. The young reach sexual maturity (and full adult plumage) at anywhere from three to five years of age. A brown pelican has been recorded to have lived for over 31 years in captivity.
Predation is occasional at colonies, and predators of eggs and young (usually small nestlings are threatened but also occasionally up to fledgling size depending on the size of the predator) can include gulls, raptors (especially bald eagles), spiny-tailed iguanas, alligators, vultures, feral cats, feral dogs, raccoons, fish crows, and corvids. Predation is likely reduced if the colony is on an island. Although it is rare, bobcats have been documented eating both the offspring and injured adults. Predation on adult brown pelicans is rarely reported, but cases where they have fallen prey to bald eagles have been reported. Also, South American sea lions and unidentified large sharks have been observed to prey on adult brown pelicans by seizing them from beneath while the birds are sitting on ocean waters. The invasive red imported fire ant is known to prey on hatchlings. Like all pelicans, brown pelicans are highly sensitive to disturbances by humans (including tourists or fishermen) at their nests, and may even abandon their nests. Due to their size, non-nesting adults are rarely predated. Brown pelicans have several parasitic worms such as Petagiger, Echinochasmus, Phagicola longus, Mesostephanus appendiculatoides, Contracaecum multipapillatum, and Contracaecum bioccai, from its prey diet of black mullets, white mullets, and other fish species.
Relationship with humans
The brown pelican is now a staple of crowded coastal regions and is at some risk by fishermen (monofilament fishing line and hooks) and boaters. In the early twentieth century, hunting was a major cause of its death, and people still hunt adults for their feathers and collect eggs on the Caribbean coasts, in Latin America, and occasionally in the United States, even though it is protected under the Migratory Bird Treaty Act of 1918.
Depictions in culture
The brown pelican is the national bird of Saint Martin, Barbados, Saint Kitts and Nevis, and the Turks and Caicos Islands. In 1902, it was made a part of the official Louisiana seal and, in 1912, a pelican and her young became part of the Flag of Louisiana as well. One of Louisiana's state nicknames is "The Pelican State", and the brown pelican is the official state bird of Louisiana. It is one of the mascots of Tulane University, present on its seal, and is also present on the crest of the University of the West Indies. The National Basketball Association (NBA)'s New Orleans Pelicans are named in the honor of the brown pelican.
In the 1993 film The Pelican Brief, based on the novel of the same name by John Grisham, a legal brief speculates that the assassins of two supreme court justices were motivated by a desire to drill for oil on a Louisiana marshland that was a habitat of the endangered brown pelican. In the same year, Jurassic Park showed a pod of brown pelicans at the end of the film. In 1998, American conductor David Woodard performed a requiem for a California brown pelican on the seaward limit of the berm of a beach where the animal had fallen: 152–153 In the 2003 Disney/Pixar film Finding Nemo, a brown pelican (voiced by Geoffrey Rush in an Australian accent) was illustrated as a friendly, virtuous talking character named Nigel.
Since 1988, the brown pelican has been rated as least concern on the IUCN Red List of Endangered species based on its large range—greater than 20,000 km2 (7700 mi2)—and an increasing population trend. The population size is also well beyond the threshold for vulnerable species. The nominate race population is thought to number at least 290,000 in the West Indies, and 650,000 globally. In 1903, Theodore Roosevelt set aside Pelican Island, now known as Pelican Island National Wildlife Refuge, to solely protect the brown pelican from hunters.
Starting in the 1940s with the invention and extensive use of pesticides such as DDT, the brown pelican population had drastically declined due to a lack of breeding success. By the 1960s, it had almost disappeared along the Gulf Coast and, in southern California, it had suffered almost total reproductive failure, due to DDT usage in the United States. The brown pelican was listed under the United States Endangered Species Act from 1970 to 2009. A research group from the University of Tampa, headed by Ralph Schreiber, conducted research in Tampa Bay, and found that DDT caused the pelican eggshells to be too thin to support the embryo to maturity. In 1972, the United States Environmental Protection Agency (USEPA) banned DDT usage in the United States and limited the use of other pesticides. There has been a decline in chemical contaminant levels in brown pelican eggs since then, and a corresponding increase in its nesting success. It became extinct in 1963 in Louisiana. Between 1968 and 1980, the Louisiana Department of Wildlife and Fisheries' reintroduction program re-established the brown pelican, and its population numbers in California and Texas were restored due to improved reproduction and natural recolonization of the species. By 1985, its population in the eastern United States, including Florida, Georgia, South Carolina, Alabama, and northward along the Atlantic Coast, had recovered and the species was removed from the Endangered Species List. Its population has grown by about 68% per decade over a period of 40 years in North America, and this trend appears to be continuing. It is still listed as endangered in the Pacific Coast region of its range and in the southern and central United States. Although the United States Gulf Coast populations in Louisiana and Texas are still listed as endangered, they were recently estimated in 2009 about 12,000 breeding pairs. Since that time the Deepwater Horizon oil spill has adversely affected populations, and current population figures are not available.
The brown pelican abundance has steadily recovered from the drastic population decreases in the 1940s, however bottom up control threatens the Southern California populations as food sources become diminished. It is common for forage fish populations to experience regular fluctuations, however there has been a consistent decrease in the Pacific sardine population beginning as early as 2014. In 2019 these declines were found to have reached levels which were a mere 10% of the highest reported abundances. Fluctuations in sardine populations have largely been attributed to bottom-up control, primarily including climate variability and ocean temperature. The significant decrease in pacific sardine population can be linked to the levels of nitrogen within their habitat, a limiting factor in plankton production. Pacific sardines in the California current system rely on wind driven upwelling to push cooler, nitrogen rich waters towards the surface, maintaining a sustainable, nutrient abundant environment. Continued environmental disruptions, such as El Niño, rising ocean temperatures, and increased commercial fishing, have drastic effects on nutrient cycling within the California current system, leading to lasting impacts on Pacific sardine productivity and reproductive success.
The brown pelican has been predicted to have high vulnerability to declining sardine populations . At the lowest levels of sardine abundance, the brown pelican population has been predicted to decline up to 50%. Even with a more moderate decline in sardine abundance (50% relative abundance), brown pelicans have been predicted to decrease by up to 27%. A recent decline in brown pelican breeding success coincides with the population decline of the Pacific sardine. Between 2014 and 2016, brown pelicans experienced a continuous breeding failure. These breeding failures have been characterized by decreased numbers of pelicans arriving at nesting colonies, large scale abandonment and early migration due to an inability to feed hatchlings, and sub-optimal breeding by those who do attempt to breed. Breeding success is greatly reduced by oceanic anomalies, specifically warm-phase anomalies that increase the intensity of upwellings. Increased upwellings disrupt marine productivity and forage fish availability. These trends have important implications for the health and conservation of brown pelicans, as well as other seabirds.
Seabirds have become increasingly important as an indicator species. They are often used in order to indirectly track changes in fish stocks, ecosystem health, and climate change. Environmental changes tend to have fast acting impacts on marine bird populations due to the simplicity of their trophic cascade, allowing for complex, long term trends in ecosystem health and resources to be easily realized and tracked. Brown pelicans have proven to be a useful indicator in determining the effects of the well-established fishing industry in Southern California. Sardine fishery in the Gulf of California has been showing signs of overfishing since the early 1990s. Sardine population and abundance, however, is difficult to monitor and obtain indicators for. Since lacking food availability has negative implications for breeding success in seabirds, seabird diet, and breeding success have been used to indirectly measure the population status of the fish they feed on. This model has been shown to work using brown pelicans as an indicator species. As the proportion of sardines in the brown pelican's diet decreases, the success of fisheries declines to a lesser extent. When eventually the sardine abundance has declined enough for brown pelicans to move away and begin feeding on other forage fish, commercial fishing still would be fishing in significant numbers. This indicates that even when fisheries are not seeing signs of declining sardine abundance, brown pelicans may have already been affected to the point of locating other food sources. This availability of sardines may decline even further during El Niño anomalies, when thermoclines prevent brown pelicans from reaching their prey. Brown pelican diet will mostly indicate declines in sardine abundance for fisheries during the same season, as brown pelicans feed mostly on the same adult fish that are commercially fished. Although brown pelicans serve as an important indicator species for fisheries, declining sardine abundance due to both climate changes and overfishing have huge implications on overall ecosystem health, within or outside the individual trophic cascade.
Nominate subspecies clamator.
Near San Hilarion [230m], Tarapoto - Bellavista Road, San Martin, Peru
Nominated by Gaia.
And though i already did it, if Gaia asks me, i have to :D
But i do not have anymore to show of me at home, so this is all folks! :)
I like here that you can see i like animals, i was a goof (and let´s face it, still am), i could concentrate doing my thing since very little (normally drawing or something creative), I LOVE the beach (here enjoying my banana XD) , i was a bit of a tomboy, and i found my inspiration early in life LOL
And yeah yeah, i tag YOU!! (typical)
Spoil me showing me your baby pics!!!!
Instruction 35
1. Nominate something you are going to go out and hunt for - the more abstract the better
I went to a street festival for families with young children. I was hunting for kids doing funny things
2. Give yourself a time constraint
I had about 2 hours time this afternoon
3. Go out and start work
4. Ask yourself why everything else that you encounter is so much more engaging than what you are hunting for
The instruction or the event and place where I'm going has influence on my perception but beside this I shoot everything interesting crossing my path. Statement 4 is absolutely true for me.
5. Ask yourself whether the time constraint is a useful tool
Maybe useful for professionals. I'm amateur and have a non photography day job and a family life as well. Due to that my time is already limited.
- Richard Wentworth
One more shot of the Mecanoo designed, RIBA Stirling Prize nominated Library of Birmingham interior before I move on. This is the glass lift that goes up to the very top floor, unfortunately for both of my visits the lift was out of action......
Click here for more photos of this building : www.flickr.com/photos/darrellg/sets/72157642094938354
From Wikipedia : "The Library of Birmingham is a public library in Birmingham, England. It is situated on the west side of the city centre at Centenary Square, beside the Birmingham Rep (to which it connects, and with which it shares some facilities) and Baskerville House. Upon opening on 3 September 2013, it replaced Birmingham Central Library. The library, which is estimated to have cost £188.8 million, is viewed by the Birmingham City Council as a flagship project for the city's redevelopment. It has been described as the largest public library in the United Kingdom, the largest public cultural space in Europe, and the largest regional library in Europe."
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1. Nominate something you are going to go out and hunt for - the more abstract the better
I went out looking for "sinister"
2. Give yourself a time constraint
Sunday evening was my only chance to go out to play this week
3. Go out and start work
This I did, but being an absolute amateur numpty I managed to go out with a flat camera battery (doh!) so my new time constraint became the 15% of battery left on my Iphone
4. Ask yourself why everything else that you encounter is so much more engaging than what you are hunting for
I didn't encounter anything I found remotely sinister but was distracted by the textures of this metal bridge...so decided to try (with the dying embers of phone-life) to create something sinister-ish, using the distraction. Not madly happy with the result, but thought I should stick to the rules, otherwise what's the point? :)
5. Ask yourself whether the time constraint is a useful tool
Not for novices...when you're just starting out I think you need time to explore and experiment. (By the way, lesson learned re. batteries, before anyone chastises me too severely!)
- Richard Wentworth
Dutch postcard, 1947.
American actress Teresa Wright (1918-2005) was nominated twice for the Oscar for Best Supporting Actress: in 1941 for her debut work in The Little Foxes, and in 1942 for Mrs. Miniver, winning for the latter. That same year, she received a nomination for the Oscar for Best Actress for her performance in The Pride of the Yankees (1942), opposite Gary Cooper. She is also known for her performances in Alfred Hitchcock's Shadow of a Doubt (1943) and William Wyler's The Best Years of Our Lives (1946).
Muriel Teresa Wright was born in 1918, in Harlem, New York City. She was the daughter of Martha (née Espy) and Arthur Hendricksen Wright, an insurance agent. Her parents separated when she was young. She grew up in Maplewood, New Jersey, where she attended Columbia High School. After seeing Helen Hayes star in 'Victoria Regina' at the Broadhurst Theatre in New York City in 1936, Wright took an interest in acting and began playing leading roles in school plays. She earned a scholarship to the Wharf Theater in Provincetown, Massachusetts, where she was an apprentice for two summers. Following her high school graduation in 1938, she went to New York, shortened her name to Teresa Wright, and was hired as understudy to Dorothy McGuire and Martha Scott for the role of Emily in Thornton Wilder's stage production of 'Our Town' at Henry Miller's Theatre. She took over the role when Scott left for Hollywood to film the on-screen version of the play. In autumn 1939, Wright began a two-year appearance in the stage play 'Life with Father', playing the role of Mary Skinner. It was there that she was discovered by Samuel Goldwyn, who came to see her in the show she had been appearing in for almost a year. Goldwyn immediately hired the young actress for the role of Bette Davis' daughter in the adaptation of Lillian Hellman's The Little Foxes (William Wyler, 1941), signing her to a five-year Hollywood contract with the Goldwyn Studios.
In 1941, Teresa Wright was nominated for the Academy Award for Best Supporting Actress for her film début in The Little Foxes. The following year, she was nominated again, this time for Best Actress for The Pride of the Yankees (Sam Wood, 1943), in which she played opposite Gary Cooper as the wife of Lou Gehrig. That same year, she won the Oscar for Best Supporting Actress as the daughter-in-law of Greer Garson's character in the American romantic war drama Mrs. Miniver (William Wyler, 1942). Wright is the first out of only nine players who have been nominated in both categories in the same year. Her three Academy Award nominations and one Academy Award in her first three films are unique. She remains the only performer to have received Oscar nominations for her first three films. In 1943, Wright appeared in the acclaimed Universal film Shadow of a Doubt (Alfred Hitchcock, 1943), playing an innocent young woman who discovers her beloved uncle (Joseph Cotten) is a serial murderer. Hitchcock thought Wright was one of the most intelligent actors he had worked with, and through his direction brought out her vivacity, warmth, and youthful idealism—characteristics uncommon in Hitchcock's heroines. In 1946, Wright delivered another notable performance in The Best Years of Our Lives (William Wyler, 1946), an award-winning film about the adjustments of servicemen returning home after World War II. Four years later, she would appear in another story of war veterans, Fred The Men (Fred Zinnemann, 1950), which starred Marlon Brando in his film début. In 1947, Wright appeared in the Western Pursued (Raoul Walsh, 1947), opposite Robert Mitchum. The moody "Freudian Western" was written by her first husband Niven Busch. The following year, she starred with David Niven, Farley Granger, and Evelyn Keyes in Enchantment (Irving Reis, 1948), a story of two generations of lovers in parallel romances. Wright received glowing reviews for her performance. In December 1948, after rebelling against the studio system that brought her fame, Teresa Wright had a public falling out with Samuel Goldwyn, which resulted in the cancellation of Wright's contract with his studio.
In the 1950s, Teresa Wright appeared in several unsuccessful films, including The Capture (John Sturges, 1950), Something to Live For (George Stevens, 1952), California Conquest (Lew Landers, 1952), the Film Noir The Steel Trap (Andrew L. Stone, 1952) with Joseph Cotten, Count the Hours (Don Siegel, 1953), the comedy-drama The Actress (George Cukor, 1953), and the Western Track of the Cat (William A. Wellman, 1954), opposite Robert Mitchum again. Despite the poor box-office showing of these films, Wright was usually praised for her performances. Toward the end of the decade, Wright began to work more frequently in television and theatre. She received Emmy Award nominations for her performances in the Playhouse 90 original television version of The Miracle Worker (Arthur Penn, 1957) and in the Breck Sunday Showcase feature The Margaret Bourke-White Story (Alex March, 1960). In 1955 she played Doris Walker in The 20th Century-Fox Hour remake of the classic film, Miracle on 34th Street (George Seaton, 1947), opposite MacDonald Carey and Thomas Mitchell. In the 1960s, Wright returned to the New York stage appearing in three plays: 'Mary, Mary' (1962) at the Helen Hayes Theatre in the role of Mary McKellaway, 'I Never Sang for My Father' (1968) at the Longacre Theatre in the role of Alice, and 'Who's Happy Now?' (1969) at the Village South Theatre in the role of Mary Hallen. During this period, she also toured throughout the United States in stage productions of 'Mary, Mary' (1962), 'Tchin-Tchin' (1963) in the role of Pamela Pew-Picket, and 'The Locksmith' (1965) in the role of Katherine Butler Hathaway. In addition to her stage work, Wright made numerous television appearances throughout the decade, including episodes for The Alfred Hitchcock Hour (1964), Bonanza (1964), The Defenders (1964, 1965), and Playhouse (1969).
In 1975, Teresa Wright appeared in the Broadway revival of 'Death of a Salesman', and in 1980, appeared in the revival of 'Morning's at Seven', for which she won a Drama Desk Award as a member of the Outstanding Ensemble Performance. In 1989, she received her third Emmy Award nomination for her performance in the drama series Dolphin Cove. Her last television role was in an episode of the drama series Picket Fences (1996). Wright's later film appearances included a major role in Somewhere in Time (Jeannot Szwarc, 1980), the role of the grandmother in The Good Mother (Leonard Nimoy, 1988) with Diane Keaton, and the role of Miss Birdie in John Grisham's The Rainmaker (Francis Ford Coppola, 1997), with Matt Damon and Danny DeVito. In her last decade, Wright lived quietly in her New England home in the town of Bridgewater, Connecticut, in Litchfield County, appearing occasionally at film festivals and forums and at events associated with the New York Yankees. In 1996, she reminisced about Alfred Hitchcock at the Edinburgh International Film Festival, and in 2003, she appeared on the Academy Awards show in a segment honoring previous Oscar-winners. Teresa Wright died in 2005, of a heart attack at Yale-New Haven Hospital in Connecticut at the age of 86. She is buried in Evergreen Cemetery in New Haven. Wright was married to writer Niven Busch from 1942 to 1952. They had two children: a son, Niven Terence Busch (1944); and a daughter, Mary-Kelly Busch (1947). She married playwright Robert Anderson in 1959. They divorced in 1978 but maintained a close relationship until the end of her life. In 2016, 'A Girl's Got To Breathe: The Life of Teresa Wright', by Donald Spoto, was published in February 2016.
Sources: Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
please nominate me! It'd mean the world. I was just informed that there is a contest called 20 under 20 going on. I'm 19 so my time is running out to do something like this. go to this webpage and nominate me at the bottom. I've been on flickr since 2010. Four years of hard work. Seriously I care so much about this website. I've posted almost 2,000 images. I love this community.