The view from the Octave Bar on the 47th floor of the Marriott Hotel over the roof tops of Bangkok.

 

Due to the low light I had to open the aperture out to f/3.5 and boost the ISO to 6400.

 

Reasonably happy considering this was a hand held shot.

 

Pentax K-3

Sigma 18-250mm

 

Aperture ƒ/3.5

Focal length 18.0 mm

Shutter 1/15

ISO 6400

American postcard by Coral-Lee, Rancho Cordova, CA, Personality no. #60/1980. Photo: Douglas Kirkland / Contact, 1980.

 

English film and stage actress, singer, and author Julie Andrews (1935) was a former child actress and singer who rose to prominence starring in such stage musicals as 'My Fair Lady' and 'Camelot'. She is best known for her roles in the films Mary Poppins (1964) and The Sound of Music (1965). Her voice spanned four octaves until it was damaged by a throat operation in 1997. In the 2000s she had a major revival of her film career in family films such as The Princess Diaries (2001) and the Shrek animated films (2004–2010).

 

Julie Andrews was born Julia Elizabeth Wells in Walton-on-Thames, England, in 1935. Her mother, music hall performer Barbara Wells (née Morris), was married to Edward C. ‘Ted’ Wells, a teacher of metal and woodworking, but Andrews was conceived as a result of an affair her mother had with a family friend. With the outbreak of World War II, Barbara and Ted Wells went their separate ways. Ted Wells assisted with evacuating children to Surrey during the Blitz, while Barbara joined Ted Andrews in entertaining the troops through the good offices of the Entertainments National Service Association (ENSA). Barbara and Ted Wells were soon divorced. Barbara remarried to Ted Andrews in 1939. Julie had lessons at the Cone-Ripman School, an independent arts educational school in London, and then with the famous concert soprano and voice instructor Lilian Stiles-Allen. She continued her academic education at the Woodbrook School, a local state school in Beckenham. Julie performed spontaneously and unbilled on stage with her parents for about two years beginning in 1945. She got her big break when her stepfather introduced her to Val Parnell, whose Moss Empires controlled prominent venues in London. Andrews made her professional solo debut at the London Hippodrome singing the difficult aria Je Suis Titania from Mignon as part of a musical revue called Starlight Roof in 1947. She played the Hippodrome for one year. In 1948 she became the youngest solo performer ever to be seen in a Royal Command Variety Performance. Julie followed her parents into radio and television and reportedly made her television debut on the BBC program RadiOlympia Showtime in 1949. She garnered considerable fame throughout the United Kingdom for her work on the BBC radio comedy show Educating Archie (1950- 1952). In 1954 on the eve of her 19th birthday, Julie Andrews made her Broadway debut portraying Polly Browne in the already highly successful London musical The Boy Friend. To the critics, Andrews was the stand-out performer in the show. In November 1955 Andrews was signed to appear with Bing Crosby in what is regarded as the first made-for-television movie, High Tor.

 

In 1956 Julie Andrews appeared in the Frederick Loewe and Alan Jay Lerner musical My Fair Lady as Eliza Doolittle to Rex Harrison's Henry Higgins. Richard Rodgers was so impressed with her talent that concurrent with her run in My Fair Lady she was featured in the Rodgers and Hammerstein television musical, Cinderella (Ralph Nelson, 1957). Cinderella was broadcast live and attracted an estimated 107 million viewers. She married set designer Tony Walton in 1959 in Weybridge, Surrey. They had first met in 1948 when Andrews was appearing at the London Casino in the show Humpty Dumpty. The couple filed for a divorce in 1967. In 1960 Lerner and Loewe again cast her in a period musical as Queen Guinevere in Camelot, with Richard Burton. However, movie studio head Jack Warner decided Andrews lacked sufficient name recognition for her casting in the film version of My Fair Lady; Eliza was played by the established film actress Audrey Hepburn instead. As Warner later recalled, the decision was easy, "In my business, I have to know who brings people and their money to a movie theatre box office. Audrey Hepburn had never made a financial flop." Andrews played the title role in Disney's Mary Poppins (Robert Stevenson, 1964), a lavish musical fantasy that combined live-action and animation. Walt Disney had seen a performance of Camelot and thought Andrews would be perfect for the role of the British nanny who is "practically perfect in every way!" Andrews initially declined because of pregnancy, but Disney politely insisted. Andrews and her husband headed back to the United Kingdom in 1962 for the birth of daughter Emma Katherine Walton. As a result of her performance in Mary Poppins, Andrews won the 1964 Academy Award for Best Actress and the 1965 Golden Globe Award. She and her Mary Poppins co-stars also won the 1965 Grammy Award for Best Album for Children. As a measure of ‘sweet revenge’, as Poppins songwriter Richard M. Sherman put it, Andrews closed her acceptance speech at the Golden Globes by saying, "And, finally, my thanks to a man who made a wonderful movie and who made all this possible in the first place, Mr. Jack Warner." Next, she appeared opposite James Garner in The Americanization of Emily (Arthur Hiller, 1964), which she has described as her favourite film.

 

Now, Julie Andrews was a real star, and it was her star power that helped make her third film, The Sound of Music (Robert Wise, 1965), the highest-grossing movie of its day and one of the highest-grossing of all time. For her role as Maria von Trapp, she won her second Golden Globe Award in 1966 and was nominated for the 1965 Academy Award. After completing The Sound Of Music, Andrews appeared as a guest star on the NBC-TV variety series The Andy Williams Show, which gained her an Emmy nomination. She followed this with an Emmy Award-winning colour special, The Julie Andrews Show in 1965. By the end of 1967, Andrews had appeared in the television special Cinderella; the biggest Broadway musical of its time, My Fair Lady; the largest-selling long-playing album, the original cast recording of My Fair Lady; the biggest hit in Disney's history, Mary Poppins; the highest grossing movie of 1966, Hawaii (George Roy Hill, 1966); the biggest and second biggest hits in Universal's history, Thoroughly Modern Millie (George Roy Hill, 1967) and Torn Curtain (Alfred Hitchcock, 1967); and the biggest hit in 20th Century Fox's history The Sound of Music. Then Andrews appeared in Star! (Robert Wise, 1968), a biopic of Gertrude Lawrence, and Darling Lili (Blake Edwards, 1970), co-starring Rock Hudson, but both bombed at the box office. The problem was that audiences identified her with singing, sugary-sweet nannies and governesses, and could not accept her in dramatic roles. She married Blake Edwards in 1969. They adopted two children from Vietnam: Amy in 1974 and Joanna in 1975. She continued working in television. In 1969 she shared the spotlight with singer Harry Belafonte for an NBC-TV special, An Evening with Julie Andrews and Harry Belafonte. In 1971 she appeared as a guest for the Grand Opening Special of Walt Disney World, and that same year she and Carol Burnett headlined a CBS special, Julie and Carol At Lincoln Center. In 1972–1973, Andrews starred in her own television variety series, The Julie Andrews Hour, on the ABC network. The show won seven Emmy Awards but was cancelled after one season. Between 1973 and 1975, Andrews continued her association with ABC by headlining five variety specials for the network. She guest-starred on The Muppet Show in 1977 and appeared again with the Muppets on a CBS-TV special, Julie Andrews: One Step Into Spring, which aired in 1978. Then, she made a comeback in the cinema with an appearance in 10 (1979), directed by her husband Blake Edwards. He helped to keep her on the rise by directing her to subsequent roles that were entirely different from anything she had been in before. There was the film star Sally Miles who bared her breasts on-screen in S.O.B. (1981), and the woman (Victoria Grant) playing a man (Count Victor Grezhinski) playing a woman in Victor Victoria (1982). On IMDb Tommy Peter writes: “The sheer novelty of seeing Julie Andrews in these roles, not to mention her brilliant performances in both of them, undoubtedly helped make them successes”. Her roles in Victor/Victoria earned Andrews the 1983 Golden Globe Award for Best Actress, as well as a nomination for the 1982 Academy Award for Best Actress, her third Oscar nomination. In 1987 Andrews starred in an ABC Christmas special, Julie Andrews: The Sound Of Christmas, which went on to win five Emmy Awards. Two years later she was reunited for the third time with Carol Burnett for a variety special which aired on ABC in 1989.

 

In 1991 Julie Andrews made her television dramatic debut in the ABC made-for-TV movie, Our Sons (John Erman, 1991), co-starring Ann-Margret. The following year she starred in her first television sitcom, Julie (1992), which co-starred James Farentino. In 1995 she starred in the stage musical version of Victor/Victoria, her first appearance in a Broadway show in 35 years. She was forced to quit the show towards the end of the Broadway run in 1997 when she developed vocal problems. She subsequently underwent surgery to remove non-cancerous nodules from her throat and was left unable to sing. In 1999 she was reunited with James Garner for the CBS made-for-TV movie, One Special Night (Roger Young, 1999). In the 2000 New Year's Honours, Andrews was made a Dame Commander of the Order of the British Empire (DBE). She had a career revival when she appeared in The Princess Diaries (Garry Marshall, 2001), her first Disney film since Mary Poppins (1964). She starred as Queen Clarisse Marie Renaldi and reprised the role in a sequel, The Princess Diaries 2: Royal Engagement (Garry Marshall, 2004). In The Princess Diaries 2, Andrews sang on film for the first time since having throat surgery. Andrews continued her association with Disney when she appeared as the nanny in two 2003 made-for-television movies based on the Eloise books, a series of children's books by Kay Thompson about a child who lives in the Plaza Hotel in New York City. The same year she made her debut as a theatre director, directing a revival of The Boy Friend, the musical in which she made her 1954 Broadway debut. In 2004 Andrews performed the voice of Queen Lillian in the animated blockbuster Shrek 2 (2004), reprising the role for its sequels, Shrek the Third (2007) and Shrek Forever After (2010). She narrated Enchanted (Kevin Lima, 2007), a live-action Disney musical comedy that both poked fun and paid homage to classic Disney films such as Mary Poppins. In 2007 Andrews was honoured with the Lifetime Achievement Award at the Screen Actors Guild's awards and stated that her goals included continuing to direct for the stage and possibly to produce her own Broadway musical. She published Home: A Memoir of My Early Years (2008), which she characterised as "part one" of her autobiography. Home chronicles her early years in UK's music hall circuit and ends in 1962 with her winning the role of Mary Poppins. For a Walt Disney video release, she again portrayed Mary Poppins and narrated the story of The Cat That Looked at a King in 2004. In 2010, Andrews made her London come-back after a 21-year absence (her last performance there was a Christmas concert at the Royal Festival Hall in 1989). Julie Andrews has long had something of a dual image, being both a family-friendly star and an icon for gays and lesbians. Andrews herself has acknowledged her strange status, commenting that "I'm that odd mixture of, on the one hand, being a gay icon and, on the other, having grandmas and parents grateful I'm around to be a babysitter for their kids."

 

Sources: Tommy Peter (IMDb), Wikipedia, and IMDb.

 

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

8 logarithmic poligonal spirals flagstone tessellation - Reverse.

More details Here.

Crease Pattern Here.

French postcard by Les Presses de Belleville, Paris, no. 105. Photo: Walt Disney Productions. Julie Andrews and Dick Van Dyke in Mary Poppins (Robert Stevenson, 1964). Caption: The film that won 5 Oscars.

 

English film and stage actress, singer, and author Julie Andrews (1935) was a former child actress and singer who rose to prominence starring in such stage musicals as My Fair Lady and Camelot. She is best known for her roles in the films Mary Poppins (1964) and The Sound of Music (1965). Her voice spanned four octaves until it was damaged by a throat operation in 1997. In the 2000’s she had a major revival of her film career in family films such as The Princess Diaries (2001) and the Shrek animated films (2004–2010).

 

Julie Andrews was born Julia Elizabeth Wells in Walton-on-Thames, England, in 1935. Her mother, music hall performer Barbara Wells (née Morris), was married to Edward C. ‘Ted’ Wells, a teacher of metal and woodworking, but Andrews was conceived as a result of an affair her mother had with a family friend. With the outbreak of World War II, Barbara and Ted Wells went their separate ways. Ted Wells assisted with evacuating children to Surrey during the Blitz, while Barbara joined Ted Andrews in entertaining the troops through the good offices of the Entertainments National Service Association (ENSA). Barbara and Ted Wells were soon divorced. Barbara remarried to Ted Andrews in 1939. Julie had lessons at the Cone-Ripman School, an independent arts educational school in London, and then with the famous concert soprano and voice instructor Lilian Stiles-Allen. She continued her academic education at the Woodbrook School, a local state school in Beckenham. Julie performed spontaneously and unbilled on stage with her parents for about two years beginning in 1945. She got her big break when her stepfather introduced her to Val Parnell, whose Moss Empires controlled prominent venues in London. Andrews made her professional solo debut at the London Hippodrome singing the difficult aria Je Suis Titania from Mignon as part of a musical revue called Starlight Roof in 1947. She played the Hippodrome for one year. In 1948 she became the youngest solo performer ever to be seen in a Royal Command Variety Performance. Julie followed her parents into radio and television and reportedly made her television debut on the BBC program RadiOlympia Showtime in 1949. She garnered considerable fame throughout the United Kingdom for her work on the BBC radio comedy show Educating Archie (1950- 1952). In 1954 on the eve of her 19th birthday, Julie Andrews made her Broadway debut portraying Polly Browne in the already highly successful London musical The Boy Friend. To the critics, Andrews was the stand-out performer in the show. In November 1955 Andrews was signed to appear with Bing Crosby in what is regarded as the first made-for-television movie, High Tor.

 

In 1956 Julie Andrews appeared in the Frederick Loewe and Alan Jay Lerner musical My Fair Lady as Eliza Doolittle to Rex Harrison's Henry Higgins. Richard Rodgers was so impressed with her talent that concurrent with her run in My Fair Lady she was featured in the Rodgers and Hammerstein television musical, Cinderella (Ralph Nelson, 1957). Cinderella was broadcast live and attracted an estimated 107 million viewers. She married set designer Tony Walton in 1959 in Weybridge, Surrey. They had first met in 1948 when Andrews was appearing at the London Casino in the show Humpty Dumpty. The couple filed for a divorce in 1967. In 1960 Lerner and Loewe again cast her in a period musical as Queen Guinevere in Camelot, with Richard Burton. However, movie studio head Jack Warner decided Andrews lacked sufficient name recognition for her casting in the film version of My Fair Lady; Eliza was played by the established film actress Audrey Hepburn instead. As Warner later recalled, the decision was easy, "In my business, I have to know who brings people and their money to a movie theatre box office. Audrey Hepburn had never made a financial flop." Andrews played the title role in Disney's Mary Poppins (Robert Stevenson, 1964), a lavish musical fantasy that combined live-action and animation. Walt Disney had seen a performance of Camelot and thought Andrews would be perfect for the role of the British nanny who is "practically perfect in every way!" Andrews initially declined because of pregnancy, but Disney politely insisted. Andrews and her husband headed back to the United Kingdom in 1962 for the birth of daughter Emma Katherine Walton. As a result of her performance in Mary Poppins, Andrews won the 1964 Academy Award for Best Actress and the 1965 Golden Globe Award. She and her Mary Poppins co-stars also won the 1965 Grammy Award for Best Album for Children. As a measure of ‘sweet revenge’, as Poppins songwriter Richard M. Sherman put it, Andrews closed her acceptance speech at the Golden Globes by saying, "And, finally, my thanks to a man who made a wonderful movie and who made all this possible in the first place, Mr. Jack Warner." Next, she appeared opposite James Garner in The Americanization of Emily (Arthur Hiller, 1964), which she has described as her favourite film.

 

Now, Julie Andrews was a real star, and it was her star power that helped make her third film, The Sound of Music (Robert Wise, 1965), the highest-grossing movie of its day and one of the highest-grossing of all time. For her role as Maria von Trapp, she won her second Golden Globe Award in 1966 and was nominated for the 1965 Academy Award. After completing The Sound Of Music, Andrews appeared as a guest star on the NBC-TV variety series The Andy Williams Show, which gained her an Emmy nomination. She followed this with an Emmy Award-winning colour special, The Julie Andrews Show in 1965. By the end of 1967, Andrews had appeared in the television special Cinderella; the biggest Broadway musical of its time, My Fair Lady; the largest-selling long-playing album, the original cast recording of My Fair Lady; the biggest hit in Disney's history, Mary Poppins; the highest grossing movie of 1966, Hawaii (George Roy Hill, 1966); the biggest and second biggest hits in Universal's history, Thoroughly Modern Millie (George Roy Hill, 1967) and Torn Curtain (Alfred Hitchcock, 1967); and the biggest hit in 20th Century Fox's history The Sound of Music. Then Andrews appeared in Star! (Robert Wise, 1968), a biopic of Gertrude Lawrence, and Darling Lili (Blake Edwards, 1970), co-starring Rock Hudson, but both bombed at the box office. The problem was that audiences identified her with singing, sugary-sweet nannies and governesses, and could not accept her in dramatic roles. She married Blake Edwards in 1969. They adopted two children from Vietnam: Amy in 1974 and Joanna in 1975. She continued working in television. In 1969 she shared the spotlight with singer Harry Belafonte for an NBC-TV special, An Evening with Julie Andrews and Harry Belafonte. In 1971 she appeared as a guest for the Grand Opening Special of Walt Disney World, and that same year she and Carol Burnett headlined a CBS special, Julie and Carol At Lincoln Center. In 1972–1973, Andrews starred in her own television variety series, The Julie Andrews Hour, on the ABC network. The show won seven Emmy Awards but was cancelled after one season. Between 1973 and 1975, Andrews continued her association with ABC by headlining five variety specials for the network. She guest-starred on The Muppet Show in 1977 and appeared again with the Muppets on a CBS-TV special, Julie Andrews: One Step Into Spring, which aired in 1978. Then, she made a comeback in the cinema with an appearance in 10 (1979), directed by her husband Blake Edwards. He helped to keep her on the rise by directing her to subsequent roles that were entirely different from anything she had been in before. There was the film star Sally Miles who bared her breasts on-screen in S.O.B. (1981), and the woman (Victoria Grant) playing a man (Count Victor Grezhinski) playing a woman in Victor Victoria (1982). On IMDb Tommy Peter writes: “The sheer novelty of seeing Julie Andrews in these roles, not to mention her brilliant performances in both of them, undoubtedly helped make them successes”. Her roles in Victor/Victoria earned Andrews the 1983 Golden Globe Award for Best Actress, as well as a nomination for the 1982 Academy Award for Best Actress, her third Oscar nomination. In 1987 Andrews starred in an ABC Christmas special, Julie Andrews: The Sound Of Christmas, which went on to win five Emmy Awards. Two years later she was reunited for the third time with Carol Burnett for a variety special which aired on ABC in 1989.

 

In 1991 Julie Andrews made her television dramatic debut in the ABC made-for-TV movie, Our Sons (John Erman, 1991), co-starring Ann-Margret. The following year she starred in her first television sitcom, Julie (1992), which co-starred James Farentino. In 1995 she starred in the stage musical version of Victor/Victoria, her first appearance in a Broadway show in 35 years. She was forced to quit the show towards the end of the Broadway run in 1997 when she developed vocal problems. She subsequently underwent surgery to remove non-cancerous nodules from her throat and was left unable to sing. In 1999 she was reunited with James Garner for the CBS made-for-TV movie, One Special Night (Roger Young, 1999). In the 2000 New Year's Honours, Andrews was made a Dame Commander of the Order of the British Empire (DBE). She had a career revival when she appeared in The Princess Diaries (Garry Marshall, 2001), her first Disney film since Mary Poppins (1964). She starred as Queen Clarisse Marie Renaldi and reprised the role in a sequel, The Princess Diaries 2: Royal Engagement (Garry Marshall, 2004). In The Princess Diaries 2, Andrews sang on film for the first time since having throat surgery. Andrews continued her association with Disney when she appeared as the nanny in two 2003 made-for-television movies based on the Eloise books, a series of children's books by Kay Thompson about a child who lives in the Plaza Hotel in New York City. The same year she made her debut as a theatre director, directing a revival of The Boy Friend, the musical in which she made her 1954 Broadway debut. In 2004 Andrews performed the voice of Queen Lillian in the animated blockbuster Shrek 2 (2004), reprising the role for its sequels, Shrek the Third (2007) and Shrek Forever After (2010). She narrated Enchanted (Kevin Lima, 2007), a live-action Disney musical comedy that both poked fun and paid homage to classic Disney films such as Mary Poppins. In 2007 Andrews was honoured with the Lifetime Achievement Award at the Screen Actors Guild's awards and stated that her goals included continuing to direct for the stage and possibly to produce her own Broadway musical. She published Home: A Memoir of My Early Years (2008), which she characterised as "part one" of her autobiography. Home chronicles her early years in UK's music hall circuit and ends in 1962 with her winning the role of Mary Poppins. For a Walt Disney video release, she again portrayed Mary Poppins and narrated the story of The Cat That Looked at a King in 2004. In 2010, Andrews made her London come-back after a 21-year absence (her last performance there was a Christmas concert at the Royal Festival Hall in 1989). Julie Andrews has long had something of a dual image, being both a family-friendly star and an icon for gays and lesbians. Andrews herself has acknowledged her strange status, commenting that "I'm that odd mixture of, on the one hand, being a gay icon and, on the other, having grandmas and parents grateful I'm around to be a babysitter for their kids."

 

Sources: Tommy Peter (IMDb), Wikipedia, and IMDb.

 

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

G-BIRN, Shorts SD-330-200 (CN SH3067) of Loganair seen at a wet and horrible Prestwick International Air Show on 6 June 1981. Originally delivered to Loganair in April of that year, the aircraft was returned to Short Bros in 1984 then leased to various UK commuter lines latterly with Gill Air. Re-registered G-BPMA in January 1989, the aircraft was declared a write off after being overturned by strong winds at Glasgow Airport in February of that year. The fuselage appeared to have survived at the Octave Chanute Air Museum, Rantoul, Illinois, USA but following the closure of that museum in 2015, it's fate is unknown. Scanned from an original not very sharp 35 mm colour transparency via Hasselblad X-5.

Romanian postcard by Casa Filmului Acin, no. 201.

 

English film and stage actress, singer, and author Julie Andrews (1935) was a former child actress and singer who rose to prominence starring in such stage musicals as 'My Fair Lady' and 'Camelot'. She is best known for her roles in the films Mary Poppins (1964) and The Sound of Music (1965). Her voice spanned four octaves until it was damaged by a throat operation in 1997. In the 2000s she had a major revival of her film career in family films such as The Princess Diaries (2001) and the Shrek animated films (2004–2010).

 

Julie Andrews was born Julia Elizabeth Wells in Walton-on-Thames, England, in 1935. Her mother, music hall performer Barbara Wells (née Morris), was married to Edward C. ‘Ted’ Wells, a teacher of metal and woodworking, but Andrews was conceived as a result of an affair her mother had with a family friend. With the outbreak of World War II, Barbara and Ted Wells went their separate ways. Ted Wells assisted with evacuating children to Surrey during the Blitz, while Barbara joined Ted Andrews in entertaining the troops through the good offices of the Entertainments National Service Association (ENSA). Barbara and Ted Wells were soon divorced. Barbara remarried to Ted Andrews in 1939. Julie had lessons at the Cone-Ripman School, an independent arts educational school in London, and then with the famous concert soprano and voice instructor Lilian Stiles-Allen. She continued her academic education at the Woodbrook School, a local state school in Beckenham. Julie performed spontaneously and unbilled on stage with her parents for about two years beginning in 1945. She got her big break when her stepfather introduced her to Val Parnell, whose Moss Empires controlled prominent venues in London. Andrews made her professional solo debut at the London Hippodrome singing the difficult aria Je Suis Titania from Mignon as part of a musical revue called Starlight Roof in 1947. She played the Hippodrome for one year. In 1948 she became the youngest solo performer ever to be seen in a Royal Command Variety Performance. Julie followed her parents into radio and television and reportedly made her television debut on the BBC program RadiOlympia Showtime in 1949. She garnered considerable fame throughout the United Kingdom for her work on the BBC radio comedy show Educating Archie (1950- 1952). In 1954 on the eve of her 19th birthday, Julie Andrews made her Broadway debut portraying Polly Browne in the already highly successful London musical The Boy Friend. To the critics, Andrews was the stand-out performer in the show. In November 1955 Andrews was signed to appear with Bing Crosby in what is regarded as the first made-for-television movie, High Tor.

 

In 1956 Julie Andrews appeared in the Frederick Loewe and Alan Jay Lerner musical My Fair Lady as Eliza Doolittle to Rex Harrison's Henry Higgins. Richard Rodgers was so impressed with her talent that concurrent with her run in My Fair Lady she was featured in the Rodgers and Hammerstein television musical, Cinderella (Ralph Nelson, 1957). Cinderella was broadcast live and attracted an estimated 107 million viewers. She married set designer Tony Walton in 1959 in Weybridge, Surrey. They had first met in 1948 when Andrews was appearing at the London Casino in the show Humpty Dumpty. The couple filed for a divorce in 1967. In 1960 Lerner and Loewe again cast her in a period musical as Queen Guinevere in Camelot, with Richard Burton. However, movie studio head Jack Warner decided Andrews lacked sufficient name recognition for her casting in the film version of My Fair Lady; Eliza was played by the established film actress Audrey Hepburn instead. As Warner later recalled, the decision was easy, "In my business, I have to know who brings people and their money to a movie theatre box office. Audrey Hepburn had never made a financial flop." Andrews played the title role in Disney's Mary Poppins (Robert Stevenson, 1964), a lavish musical fantasy that combined live-action and animation. Walt Disney had seen a performance of Camelot and thought Andrews would be perfect for the role of the British nanny who is "practically perfect in every way!" Andrews initially declined because of pregnancy, but Disney politely insisted. Andrews and her husband headed back to the United Kingdom in 1962 for the birth of daughter Emma Katherine Walton. As a result of her performance in Mary Poppins, Andrews won the 1964 Academy Award for Best Actress and the 1965 Golden Globe Award. She and her Mary Poppins co-stars also won the 1965 Grammy Award for Best Album for Children. As a measure of ‘sweet revenge’, as Poppins songwriter Richard M. Sherman put it, Andrews closed her acceptance speech at the Golden Globes by saying, "And, finally, my thanks to a man who made a wonderful movie and who made all this possible in the first place, Mr. Jack Warner." Next, she appeared opposite James Garner in The Americanization of Emily (Arthur Hiller, 1964), which she has described as her favourite film.

 

Now, Julie Andrews was a real star, and it was her star power that helped make her third film, The Sound of Music (Robert Wise, 1965), the highest-grossing movie of its day and one of the highest-grossing of all time. For her role as Maria von Trapp, she won her second Golden Globe Award in 1966 and was nominated for the 1965 Academy Award. After completing The Sound Of Music, Andrews appeared as a guest star on the NBC-TV variety series The Andy Williams Show, which gained her an Emmy nomination. She followed this with an Emmy Award-winning colour special, The Julie Andrews Show in 1965. By the end of 1967, Andrews had appeared in the television special Cinderella; the biggest Broadway musical of its time, My Fair Lady; the largest-selling long-playing album, the original cast recording of My Fair Lady; the biggest hit in Disney's history, Mary Poppins; the highest grossing movie of 1966, Hawaii (George Roy Hill, 1966); the biggest and second biggest hits in Universal's history, Thoroughly Modern Millie (George Roy Hill, 1967) and Torn Curtain (Alfred Hitchcock, 1967); and the biggest hit in 20th Century Fox's history The Sound of Music. Then Andrews appeared in Star! (Robert Wise, 1968), a biopic of Gertrude Lawrence, and Darling Lili (Blake Edwards, 1970), co-starring Rock Hudson, but both bombed at the box office. The problem was that audiences identified her with singing, sugary-sweet nannies and governesses, and could not accept her in dramatic roles. She married Blake Edwards in 1969. They adopted two children from Vietnam: Amy in 1974 and Joanna in 1975. She continued working in television. In 1969 she shared the spotlight with singer Harry Belafonte for an NBC-TV special, An Evening with Julie Andrews and Harry Belafonte. In 1971 she appeared as a guest for the Grand Opening Special of Walt Disney World, and that same year she and Carol Burnett headlined a CBS special, Julie and Carol At Lincoln Center. In 1972–1973, Andrews starred in her own television variety series, The Julie Andrews Hour, on the ABC network. The show won seven Emmy Awards but was cancelled after one season. Between 1973 and 1975, Andrews continued her association with ABC by headlining five variety specials for the network. She guest-starred on The Muppet Show in 1977 and appeared again with the Muppets on a CBS-TV special, Julie Andrews: One Step Into Spring, which aired in 1978. Then, she made a comeback in the cinema with an appearance in 10 (1979), directed by her husband Blake Edwards. He helped to keep her on the rise by directing her to subsequent roles that were entirely different from anything she had been in before. There was the film star Sally Miles who bared her breasts on-screen in S.O.B. (1981), and the woman (Victoria Grant) playing a man (Count Victor Grezhinski) playing a woman in Victor Victoria (1982). On IMDb Tommy Peter writes: “The sheer novelty of seeing Julie Andrews in these roles, not to mention her brilliant performances in both of them, undoubtedly helped make them successes”. Her roles in Victor/Victoria earned Andrews the 1983 Golden Globe Award for Best Actress, as well as a nomination for the 1982 Academy Award for Best Actress, her third Oscar nomination. In 1987 Andrews starred in an ABC Christmas special, Julie Andrews: The Sound Of Christmas, which went on to win five Emmy Awards. Two years later she was reunited for the third time with Carol Burnett for a variety special which aired on ABC in 1989.

 

In 1991 Julie Andrews made her television dramatic debut in the ABC made-for-TV movie, Our Sons (John Erman, 1991), co-starring Ann-Margret. The following year she starred in her first television sitcom, Julie (1992), which co-starred James Farentino. In 1995 she starred in the stage musical version of Victor/Victoria, her first appearance in a Broadway show in 35 years. She was forced to quit the show towards the end of the Broadway run in 1997 when she developed vocal problems. She subsequently underwent surgery to remove non-cancerous nodules from her throat and was left unable to sing. In 1999 she was reunited with James Garner for the CBS made-for-TV movie, One Special Night (Roger Young, 1999). In the 2000 New Year's Honours, Andrews was made a Dame Commander of the Order of the British Empire (DBE). She had a career revival when she appeared in The Princess Diaries (Garry Marshall, 2001), her first Disney film since Mary Poppins (1964). She starred as Queen Clarisse Marie Renaldi and reprised the role in a sequel, The Princess Diaries 2: Royal Engagement (Garry Marshall, 2004). In The Princess Diaries 2, Andrews sang on film for the first time since having throat surgery. Andrews continued her association with Disney when she appeared as the nanny in two 2003 made-for-television movies based on the Eloise books, a series of children's books by Kay Thompson about a child who lives in the Plaza Hotel in New York City. The same year she made her debut as a theatre director, directing a revival of The Boy Friend, the musical in which she made her 1954 Broadway debut. In 2004 Andrews performed the voice of Queen Lillian in the animated blockbuster Shrek 2 (2004), reprising the role for its sequels, Shrek the Third (2007) and Shrek Forever After (2010). She narrated Enchanted (Kevin Lima, 2007), a live-action Disney musical comedy that both poked fun and paid homage to classic Disney films such as Mary Poppins. In 2007 Andrews was honoured with the Lifetime Achievement Award at the Screen Actors Guild's awards and stated that her goals included continuing to direct for the stage and possibly to produce her own Broadway musical. She published Home: A Memoir of My Early Years (2008), which she characterised as "part one" of her autobiography. Home chronicles her early years in UK's music hall circuit and ends in 1962 with her winning the role of Mary Poppins. For a Walt Disney video release, she again portrayed Mary Poppins and narrated the story of The Cat That Looked at a King in 2004. In 2010, Andrews made her London come-back after a 21-year absence (her last performance there was a Christmas concert at the Royal Festival Hall in 1989). Julie Andrews has long had something of a dual image, being both a family-friendly star and an icon for gays and lesbians. Andrews herself has acknowledged her strange status, commenting that "I'm that odd mixture of, on the one hand, being a gay icon and, on the other, having grandmas and parents grateful I'm around to be a babysitter for their kids."

 

Sources: Tommy Peter (IMDb), Wikipedia, and IMDb.

 

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

Lockheed EC-121K Warning Star

US Navy

Octave Chanute Air Museum

Rantoul,IL 12/6/2014

The museum shut it's doors forever on 30th December 2015 due to financial issues.

Romanian postcard by Casa Filmului Acin, no. 191. Julie Andrews in Thoroughly Modern Millie (George Roy Hill, 1967).

 

English film and stage actress, singer, and author Julie Andrews (1935) was a former child actress and singer who rose to prominence starring in such stage musicals as 'My Fair Lady' and 'Camelot'. She is best known for her roles in the films Mary Poppins (1964) and The Sound of Music (1965). Her voice spanned four octaves until it was damaged by a throat operation in 1997. In the 2000’s she had a major revival of her film career in family films such as The Princess Diaries (2001) and the Shrek animated films (2004–2010).

 

Julie Andrews was born Julia Elizabeth Wells in Walton-on-Thames, England, in 1935. Her mother, music hall performer Barbara Wells (née Morris), was married to Edward C. ‘Ted’ Wells, a teacher of metal and woodworking, but Andrews was conceived as a result of an affair her mother had with a family friend. With the outbreak of World War II, Barbara and Ted Wells went their separate ways. Ted Wells assisted with evacuating children to Surrey during the Blitz, while Barbara joined Ted Andrews in entertaining the troops through the good offices of the Entertainments National Service Association (ENSA). Barbara and Ted Wells were soon divorced. Barbara remarried Ted Andrews in 1939. Julie had lessons at the Cone-Ripman School, an independent arts educational school in London, and then with the famous concert soprano and voice instructor Lilian Stiles-Allen. She continued her academic education at the Woodbrook School, a local state school in Beckenham. Julie performed spontaneously and unbilled on stage with her parents for about two years beginning in 1945. She got her big break when her stepfather introduced her to Val Parnell, whose Moss Empires controlled prominent venues in London. Andrews made her professional solo debut at the London Hippodrome singing the difficult aria 'Je Suis Titania' from 'Mignon' as part of a musical revue called 'Starlight Roof' in 1947. She played the Hippodrome for one year. In 1948 she became the youngest solo performer ever to be seen in a Royal Command Variety Performance. Julie followed her parents into radio and television and reportedly made her television debut on the BBC program RadiOlympia Showtime in 1949. She garnered considerable fame throughout the United Kingdom for her work on the BBC radio comedy show Educating Archie (1950-1952). In 1954 on the eve of her 19th birthday, Julie Andrews made her Broadway debut portraying Polly Browne in the already highly successful London musical 'The Boy Friend'. To the critics, Andrews was the stand-out performer in the show. In November 1955 Andrews was signed to appear with Bing Crosby in what is regarded as the first made-for-television movie, High Tor.

 

In 1956 Julie Andrews appeared in the Frederick Loewe and Alan Jay Lerner musical 'My Fair Lady' as Eliza Doolittle to Rex Harrison's Henry Higgins. Richard Rodgers was so impressed with her talent that concurrent with her run in 'My Fair Lady' she was featured in the Rodgers and Hammerstein television musical, Cinderella (Ralph Nelson, 1957). Cinderella was broadcast live and attracted an estimated 107 million viewers. She married set designer Tony Walton in 1959 in Weybridge, Surrey. They had first met in 1948 when Andrews was appearing at the London Casino in the show 'Humpty Dumpty'. The couple filed for a divorce in 1967. In 1960 Lerner and Loewe again cast her in a period musical as Queen Guinevere in 'Camelot', with Richard Burton. However, movie studio head Jack Warner decided Andrews lacked sufficient name recognition for her casting in the film version of 'My Fair Lady'; Eliza was played by the established film actress Audrey Hepburn instead. As Warner later recalled, the decision was easy, "In my business, I have to know who brings people and their money to a movie theatre box office. Audrey Hepburn had never made a financial flop." Andrews played the title role in Disney's Mary Poppins (Robert Stevenson, 1964), a lavish musical fantasy that combined live-action and animation. Walt Disney had seen a performance of 'Camelot' and thought Andrews would be perfect for the role of the British nanny who is "practically perfect in every way!" Andrews initially declined because of pregnancy, but Disney politely insisted. Andrews and her husband headed back to the United Kingdom in 1962 for the birth of daughter Emma Katherine Walton. As a result of her performance in Mary Poppins, Andrews won the 1964 Academy Award for Best Actress and the 1965 Golden Globe Award. She and her Mary Poppins co-stars also won the 1965 Grammy Award for Best Album for Children. As a measure of ‘sweet revenge’, as Poppins songwriter Richard M. Sherman put it, Andrews closed her acceptance speech at the Golden Globes by saying, "And, finally, my thanks to a man who made a wonderful movie and who made all this possible in the first place, Mr. Jack Warner." Next, she appeared opposite James Garner in The Americanization of Emily (Arthur Hiller, 1964), which she has described as her favourite film.

 

Now, Julie Andrews was a real star, and it was her star power that helped make her third film, The Sound of Music (Robert Wise, 1965), the highest-grossing movie of its day and one of the highest-grossing of all time. For her role as Maria von Trapp, she won her second Golden Globe Award in 1966 and was nominated for the 1965 Academy Award. After completing The Sound Of Music, Andrews appeared as a guest star on the NBC-TV variety series The Andy Williams Show, which gained her an Emmy nomination. She followed this with an Emmy Award-winning color special, The Julie Andrews Show in 1965. By the end of 1967, Andrews had appeared in the television special Cinderella; the biggest Broadway musical of its time, 'My Fair Lady'; the largest-selling long-playing album, the original cast recording of 'My Fair Lady'; the biggest hit in Disney's history, Mary Poppins; the highest-grossing movie of 1966, Hawaii (George Roy Hill, 1966); the biggest and second-biggest hits in Universal's history, Thoroughly Modern Millie (George Roy Hill, 1967) and Torn Curtain (Alfred Hitchcock, 1967); and the biggest hit in 20th Century Fox's history The Sound of Music. Then Andrews appeared in Star! (Robert Wise, 1968), a biopic of Gertrude Lawrence, and Darling Lili (Blake Edwards, 1970), co-starring Rock Hudson, but both bombed at the box office. The problem was that audiences identified her with singing, sugary-sweet nannies and governesses, and could not accept her in dramatic roles. She married Blake Edwards in 1969. They adopted two children from Vietnam: Amy in 1974 and Joanna in 1975. She continued working in television. In 1969 she shared the spotlight with singer Harry Belafonte for an NBC-TV special, An Evening with Julie Andrews and Harry Belafonte. In 1971 she appeared as a guest for the Grand Opening Special of Walt Disney World, and that same year she and Carol Burnett headlined a CBS special, Julie and Carol At Lincoln Center. In 1972–1973, Andrews starred in her own television variety series, The Julie Andrews Hour, on the ABC network. The show won seven Emmy Awards but was cancelled after one season. Between 1973 and 1975, Andrews continued her association with ABC by headlining five variety specials for the network. She guest-starred on The Muppet Show in 1977 and appeared again with the Muppets on a CBS-TV special, Julie Andrews: One Step Into Spring, which aired in 1978. Then, she made a splash in the cinema with an appearance in 10 (1979), directed by her husband Blake Edwards. He helped to keep her on the rise by directing her in subsequent roles that were entirely different from anything she had been seen in before. There was the film star Sally Miles who bared her breasts on-screen in S.O.B. (1981), and the woman (Victoria Grant) playing a man (Count Victor Grezhinski) playing a woman in Victor Victoria (1982). On IMDb, Tommy Peter writes: “The sheer novelty of seeing Julie Andrews in these roles, not to mention her brilliant performances in both of them, undoubtedly helped make them successes”. Her roles in Victor/Victoria earned Andrews the 1983 Golden Globe Award for Best Actress, as well as a nomination for the 1982 Academy Award for Best Actress, her third Oscar nomination. In 1987 Andrews starred in an ABC Christmas special, Julie Andrews: The Sound Of Christmas, which went on to win five Emmy Awards. Two years later she was reunited for the third time with Carol Burnett for a variety special which aired on ABC in 1989.

 

In 1991 Julie Andrews made her television dramatic debut in the ABC made-for-TV movie, Our Sons (John Erman, 1991), co-starring Ann-Margret. The following year she starred in her first television sitcom, Julie (1992), which co-starred James Farentino. In 1995 she starred in the stage musical version of Victor/Victoria, her first appearance in a Broadway show in 35 years. She was forced to quit the show towards the end of the Broadway run in 1997 when she developed vocal problems. She subsequently underwent surgery to remove non-cancerous nodules from her throat and was left unable to sing. In 1999 she was reunited with James Garner for the CBS made-for-TV movie, One Special Night (Roger Young, 1999). In the 2000 New Year's Honours, Andrews was made a Dame Commander of the Order of the British Empire (DBE). She had a career revival when she appeared in The Princess Diaries (Garry Marshall, 2001), her first Disney film since Mary Poppins (1964). She starred as Queen Clarisse Marie Renaldi and reprised the role in a sequel, The Princess Diaries 2: Royal Engagement (Garry Marshall, 2004). In The Princess Diaries 2, Andrews sang on film for the first time since having throat surgery. Andrews continued her association with Disney when she appeared as the nanny in two 2003 made-for-television movies based on the Eloise books, a series of children's books by Kay Thompson about a child who lives in the Plaza Hotel in New York City. The same year she made her debut as a theatre director, directing a revival of 'The Boy Friend', the musical in which she made her 1954 Broadway debut. In 2004 Andrews performed the voice of Queen Lillian in the animated blockbuster Shrek 2 (2004), reprising the role for its sequels, Shrek the Third (2007) and Shrek Forever After (2010). She narrated Enchanted (Kevin Lima, 2007), a live-action Disney musical comedy that both poked fun and paid homage to classic Disney films such as Mary Poppins. In 2007 Andrews was honoured with the Lifetime Achievement Award at the Screen Actors Guild's awards and stated that her goals included continuing to direct for the stage and possibly produce her own Broadway musical. She published 'Home: A Memoir of My Early Years' (2008), which she characterised as "part one" of her autobiography. 'Home' chronicles her early years in UK's music hall circuit and ends in 1962 with her winning the role of Mary Poppins. For a Walt Disney video release, she again portrayed Mary Poppins and narrated the story of 'The Cat That Looked at a King' in 2004. In 2010, Andrews made her London come-back after a 21-year absence (her last performance there was a Christmas concert at the Royal Festival Hall in 1989). Julie Andrews has long had something of a dual image, being both a family-friendly star and an icon for gays and lesbians. Andrews herself has acknowledged her strange status, commenting that "I'm that odd mixture of, on the one hand, being a gay icon and, on the other, having grandmas and parents grateful I'm around to be a babysitter for their kids."

 

Sources: Tommy Peter (IMDb), Wikipedia, and IMDb.

 

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

Les Marches Folkloriques de l'Entre-Sambre-et-Meuse trouvent leurs origines dans les processions de croix banales du moyen-âge. Celles-ci avaient lieu dans l'octave de la Pentecôte et étaient destinées à rendre hommage et à permettre de verser l'obole à l'abbaye suzeraine voisine dont dépendait le clergé.

L'escorte militaire qui les accompagnait avait pour but d'en rehausser l'éclat mais aussi de préserver les pèlerins contre les bandes de malfrats qui rôdaient à cette époque dans nos contrées. Ces compagnies spéciales d'archers et arbalétriers que l'on appelait "serments" furent les ancêtres des marcheurs.

 

C'est dans le courant du XVIII siècle qu'une crise importante frappa nos Marches car de plus en plus ces cérémonies devenaient un prétexte pour s'amuser et tourner le religieux en dérision, ce qui ne plut pas au clergé qui interdit ces manifestations.

Les coutumes reprendront en 1802 après le concordat signé entre Napoléon Ier et le Pape Pie VII. C'est à ce moment que les Marches prirent un nouvel essor et devinrent des escortes militaires.

En ce qui concerne les costumes adoptés dans nos manifestations aujourd'hui, ils sont du premier et du second empire. A ce sujet, il est certain que l'on a d'abord marché en premier empire car de nombreuses défroques de l'armée de Napoléon étaient disponibles dans nos régions. Ces uniformes se dégradant, nos Marcheurs ont adoptés les costumes militaires de l'époque qui a immédiatement suivi, c'est-à-dire les uniformes que l'on appelle du second empire.

Bien que l’aspect religieux ne semble pas prépondérant, il s’agit quand même d’une procession religieuse avec sortie de la châsse et des saints patrons, bénédictions, messe, …

L’un des moments les plus forts de la Saint Hubert, c’est le fameux bataillon carré. Un moment solennel, plein de tradition et avec un déroulement codifié et immuable. Il commence par une revue des troupes, suivie de décharges et de feux roulants.

 

The Folk Marches of Entre-Sambre-et-Meuse find their origins in the banal cross processions of the Middle Ages. These took place in the octave of Pentecost and were intended to pay homage and allow the payment of the mite to the neighboring suzerain abbey on which the clergy depended.

The military escort which accompanied them was intended to enhance its splendor but also to protect the pilgrims against the gangs of thugs who were roaming our region at that time. These special companies of archers and crossbowmen called "oaths" were the ancestors of the walkers.

 

It was during the 18th century that a major crisis struck our Marches because more and more these ceremonies became a pretext for having fun and making fun of religion, which did not please the clergy who banned these demonstrations.

Customs resumed in 1802 after the concordat signed between Napoleon I and Pope Pius VII. It was at this time that the Marches took on new development and became military escorts.

Regarding the costumes adopted in our demonstrations today, they are from the first and second empire. On this subject, it is certain that we first marched in the first empire because many cast-offs from Napoleon's army were available in our regions. As these uniforms deteriorated, our Walkers adopted the military costumes of the era which immediately followed, that is to say the uniforms we call the Second Empire.

Although the religious aspect does not seem predominant, it is still a religious procession with the release of the reliquary and patron saints, blessings, mass, etc.

One of the strongest moments of Saint Hubert’s Day is the famous square battalion. A solemn moment, full of tradition and with a codified and immutable sequence. It begins with a review of the troops, followed by discharges and rolling fire.

Les Marches Folkloriques de l'Entre-Sambre-et-Meuse trouvent leurs origines dans les processions de croix banales du moyen-âge. Celles-ci avaient lieu dans l'octave de la Pentecôte et étaient destinées à rendre hommage et à permettre de verser l'obole à l'abbaye suzeraine voisine dont dépendait le clergé.

L'escorte militaire qui les accompagnait avait pour but d'en rehausser l'éclat mais aussi de préserver les pèlerins contre les bandes de malfrats qui rôdaient à cette époque dans nos contrées. Ces compagnies spéciales d'archers et arbalétriers que l'on appelait "serments" furent les ancêtres des marcheurs.

 

C'est dans le courant du XVIII siècle qu'une crise importante frappa nos Marches car de plus en plus ces cérémonies devenaient un prétexte pour s'amuser et tourner le religieux en dérision, ce qui ne plut pas au clergé qui interdit ces manifestations.

Les coutumes reprendront en 1802 après le concordat signé entre Napoléon Ier et le Pape Pie VII. C'est à ce moment que les Marches prirent un nouvel essor et devinrent des escortes militaires.

En ce qui concerne les costumes adoptés dans nos manifestations aujourd'hui, ils sont du premier et du second empire. A ce sujet, il est certain que l'on a d'abord marché en premier empire car de nombreuses défroques de l'armée de Napoléon étaient disponibles dans nos régions. Ces uniformes se dégradant, nos Marcheurs ont adoptés les costumes militaires de l'époque qui a immédiatement suivi, c'est-à-dire les uniformes que l'on appelle du second empire.

Bien que l’aspect religieux ne semble pas prépondérant, il s’agit quand même d’une procession religieuse avec sortie de la châsse et des saints patrons, bénédictions, messe, …

  

The Folk Marches of Entre-Sambre-et-Meuse find their origins in the banal cross processions of the Middle Ages. These took place in the octave of Pentecost and were intended to pay homage and allow the payment of the mite to the neighboring suzerain abbey on which the clergy depended.

The military escort which accompanied them was intended to enhance its splendor but also to protect the pilgrims against the gangs of thugs who were roaming our region at that time. These special companies of archers and crossbowmen called "oaths" were the ancestors of the walkers.

 

It was during the 18th century that a major crisis struck our Marches because more and more these ceremonies became a pretext for having fun and making fun of religion, which did not please the clergy who banned these demonstrations.

Customs resumed in 1802 after the concordat signed between Napoleon I and Pope Pius VII. It was at this time that the Marches took on new development and became military escorts.

Regarding the costumes adopted in our demonstrations today, they are from the first and second empire. On this subject, it is certain that we first marched in the first empire because many cast-offs from Napoleon's army were available in our regions. As these uniforms deteriorated, our Walkers adopted the military costumes of the era which immediately followed, that is to say the uniforms we call the Second Empire.

Although the religious aspect does not seem predominant, it is still a religious procession with the release of the reliquary and patron saints, blessings, mass, etc.

 

 

Kodak Tri-X 400 EV 400 35 mm film. Self-developed in D-76 1+1 20 C. Canon FTb with Helios 44-2 58 mm f/2 lens via M42 adapte. Commercially scanned

Austrian postcard by Colorama Verlag, Salzburg. Julie Andrews in The Sound of Music (Robert Wise, 1965). Caption: Salzburg - Home of the Sound of Music. Its characteristically large, symmetrical flower-beds make Mirabell Gardens a good example of a typical baroque park. Some of the lovely choreographed singing scenes of the movie were filmed here.

 

English film and stage actress, singer, and author Julie Andrews (1935) was a former child actress and singer who rose to prominence starring in such stage musicals as 'My Fair Lady' and 'Camelot'. She is best known for her roles in the films Mary Poppins (1964) and The Sound of Music (1965). Her voice spanned four octaves until it was damaged by a throat operation in 1997. In the 2000s she had a major revival of her film career in family films such as The Princess Diaries (2001) and the Shrek animated films (2004–2010).

 

Julie Andrews was born Julia Elizabeth Wells in Walton-on-Thames, England, in 1935. Her mother, music hall performer Barbara Wells (née Morris), was married to Edward C. ‘Ted’ Wells, a teacher of metal and woodworking, but Andrews was conceived as a result of an affair her mother had with a family friend. With the outbreak of World War II, Barbara and Ted Wells went their separate ways. Ted Wells assisted with evacuating children to Surrey during the Blitz, while Barbara joined Ted Andrews in entertaining the troops through the good offices of the Entertainments National Service Association (ENSA). Barbara and Ted Wells were soon divorced. Barbara remarried to Ted Andrews in 1939. Julie had lessons at the Cone-Ripman School, an independent arts educational school in London, and then with the famous concert soprano and voice instructor Lilian Stiles-Allen. She continued her academic education at the Woodbrook School, a local state school in Beckenham. Julie performed spontaneously and unbilled on stage with her parents for about two years beginning in 1945. She got her big break when her stepfather introduced her to Val Parnell, whose Moss Empires controlled prominent venues in London. Andrews made her professional solo debut at the London Hippodrome singing the difficult aria Je Suis Titania from Mignon as part of a musical revue called Starlight Roof in 1947. She played the Hippodrome for one year. In 1948 she became the youngest solo performer ever to be seen in a Royal Command Variety Performance. Julie followed her parents into radio and television and reportedly made her television debut on the BBC program RadiOlympia Showtime in 1949. She garnered considerable fame throughout the United Kingdom for her work on the BBC radio comedy show Educating Archie (1950- 1952). In 1954 on the eve of her 19th birthday, Julie Andrews made her Broadway debut portraying Polly Browne in the already highly successful London musical The Boy Friend. To the critics, Andrews was the stand-out performer in the show. In November 1955 Andrews was signed to appear with Bing Crosby in what is regarded as the first made-for-television movie, High Tor.

 

In 1956 Julie Andrews appeared in the Frederick Loewe and Alan Jay Lerner musical My Fair Lady as Eliza Doolittle to Rex Harrison's Henry Higgins. Richard Rodgers was so impressed with her talent that concurrent with her run in My Fair Lady she was featured in the Rodgers and Hammerstein television musical, Cinderella (Ralph Nelson, 1957). Cinderella was broadcast live and attracted an estimated 107 million viewers. She married set designer Tony Walton in 1959 in Weybridge, Surrey. They had first met in 1948 when Andrews was appearing at the London Casino in the show Humpty Dumpty. The couple filed for a divorce in 1967. In 1960 Lerner and Loewe again cast her in a period musical as Queen Guinevere in Camelot, with Richard Burton. However, movie studio head Jack Warner decided Andrews lacked sufficient name recognition for her casting in the film version of My Fair Lady; Eliza was played by the established film actress Audrey Hepburn instead. As Warner later recalled, the decision was easy, "In my business, I have to know who brings people and their money to a movie theatre box office. Audrey Hepburn had never made a financial flop." Andrews played the title role in Disney's Mary Poppins (Robert Stevenson, 1964), a lavish musical fantasy that combined live-action and animation. Walt Disney had seen a performance of Camelot and thought Andrews would be perfect for the role of the British nanny who is "practically perfect in every way!" Andrews initially declined because of pregnancy, but Disney politely insisted. Andrews and her husband headed back to the United Kingdom in 1962 for the birth of daughter Emma Katherine Walton. As a result of her performance in Mary Poppins, Andrews won the 1964 Academy Award for Best Actress and the 1965 Golden Globe Award. She and her Mary Poppins co-stars also won the 1965 Grammy Award for Best Album for Children. As a measure of ‘sweet revenge’, as Poppins songwriter Richard M. Sherman put it, Andrews closed her acceptance speech at the Golden Globes by saying, "And, finally, my thanks to a man who made a wonderful movie and who made all this possible in the first place, Mr. Jack Warner." Next, she appeared opposite James Garner in The Americanization of Emily (Arthur Hiller, 1964), which she has described as her favourite film.

 

Now, Julie Andrews was a real star, and it was her star power that helped make her third film, The Sound of Music (Robert Wise, 1965), the highest-grossing movie of its day and one of the highest-grossing of all time. For her role as Maria von Trapp, she won her second Golden Globe Award in 1966 and was nominated for the 1965 Academy Award. After completing The Sound Of Music, Andrews appeared as a guest star on the NBC-TV variety series The Andy Williams Show, which gained her an Emmy nomination. She followed this with an Emmy Award-winning colour special, The Julie Andrews Show in 1965. By the end of 1967, Andrews had appeared in the television special Cinderella; the biggest Broadway musical of its time, My Fair Lady; the largest-selling long-playing album, the original cast recording of My Fair Lady; the biggest hit in Disney's history, Mary Poppins; the highest grossing movie of 1966, Hawaii (George Roy Hill, 1966); the biggest and second biggest hits in Universal's history, Thoroughly Modern Millie (George Roy Hill, 1967) and Torn Curtain (Alfred Hitchcock, 1967); and the biggest hit in 20th Century Fox's history The Sound of Music. Then Andrews appeared in Star! (Robert Wise, 1968), a biopic of Gertrude Lawrence, and Darling Lili (Blake Edwards, 1970), co-starring Rock Hudson, but both bombed at the box office. The problem was that audiences identified her with singing, sugary-sweet nannies and governesses, and could not accept her in dramatic roles. She married Blake Edwards in 1969. They adopted two children from Vietnam: Amy in 1974 and Joanna in 1975. She continued working in television. In 1969 she shared the spotlight with singer Harry Belafonte for an NBC-TV special, An Evening with Julie Andrews and Harry Belafonte. In 1971 she appeared as a guest for the Grand Opening Special of Walt Disney World, and that same year she and Carol Burnett headlined a CBS special, Julie and Carol At Lincoln Center. In 1972–1973, Andrews starred in her own television variety series, The Julie Andrews Hour, on the ABC network. The show won seven Emmy Awards but was cancelled after one season. Between 1973 and 1975, Andrews continued her association with ABC by headlining five variety specials for the network. She guest-starred on The Muppet Show in 1977 and appeared again with the Muppets on a CBS-TV special, Julie Andrews: One Step Into Spring, which aired in 1978. Then, she made a comeback in the cinema with an appearance in 10 (1979), directed by her husband Blake Edwards. He helped to keep her on the rise by directing her to subsequent roles that were entirely different from anything she had been in before. There was the film star Sally Miles who bared her breasts on-screen in S.O.B. (1981), and the woman (Victoria Grant) playing a man (Count Victor Grezhinski) playing a woman in Victor Victoria (1982). On IMDb Tommy Peter writes: “The sheer novelty of seeing Julie Andrews in these roles, not to mention her brilliant performances in both of them, undoubtedly helped make them successes”. Her roles in Victor/Victoria earned Andrews the 1983 Golden Globe Award for Best Actress, as well as a nomination for the 1982 Academy Award for Best Actress, her third Oscar nomination. In 1987 Andrews starred in an ABC Christmas special, Julie Andrews: The Sound Of Christmas, which went on to win five Emmy Awards. Two years later she was reunited for the third time with Carol Burnett for a variety special which aired on ABC in 1989.

 

In 1991 Julie Andrews made her television dramatic debut in the ABC made-for-TV movie, Our Sons (John Erman, 1991), co-starring Ann-Margret. The following year she starred in her first television sitcom, Julie (1992), which co-starred James Farentino. In 1995 she starred in the stage musical version of Victor/Victoria, her first appearance in a Broadway show in 35 years. She was forced to quit the show towards the end of the Broadway run in 1997 when she developed vocal problems. She subsequently underwent surgery to remove non-cancerous nodules from her throat and was left unable to sing. In 1999 she was reunited with James Garner for the CBS made-for-TV movie, One Special Night (Roger Young, 1999). In the 2000 New Year's Honours, Andrews was made a Dame Commander of the Order of the British Empire (DBE). She had a career revival when she appeared in The Princess Diaries (Garry Marshall, 2001), her first Disney film since Mary Poppins (1964). She starred as Queen Clarisse Marie Renaldi and reprised the role in a sequel, The Princess Diaries 2: Royal Engagement (Garry Marshall, 2004). In The Princess Diaries 2, Andrews sang on film for the first time since having throat surgery. Andrews continued her association with Disney when she appeared as the nanny in two 2003 made-for-television movies based on the Eloise books, a series of children's books by Kay Thompson about a child who lives in the Plaza Hotel in New York City. The same year she made her debut as a theatre director, directing a revival of The Boy Friend, the musical in which she made her 1954 Broadway debut. In 2004 Andrews performed the voice of Queen Lillian in the animated blockbuster Shrek 2 (2004), reprising the role for its sequels, Shrek the Third (2007) and Shrek Forever After (2010). She narrated Enchanted (Kevin Lima, 2007), a live-action Disney musical comedy that both poked fun and paid homage to classic Disney films such as Mary Poppins. In 2007 Andrews was honoured with the Lifetime Achievement Award at the Screen Actors Guild's awards and stated that her goals included continuing to direct for the stage and possibly to produce her own Broadway musical. She published Home: A Memoir of My Early Years (2008), which she characterised as "part one" of her autobiography. Home chronicles her early years in UK's music hall circuit and ends in 1962 with her winning the role of Mary Poppins. For a Walt Disney video release, she again portrayed Mary Poppins and narrated the story of The Cat That Looked at a King in 2004. In 2010, Andrews made her London come-back after a 21-year absence (her last performance there was a Christmas concert at the Royal Festival Hall in 1989). Julie Andrews has long had something of a dual image, being both a family-friendly star and an icon for gays and lesbians. Andrews herself has acknowledged her strange status, commenting that "I'm that odd mixture of, on the one hand, being a gay icon and, on the other, having grandmas and parents grateful I'm around to be a babysitter for their kids."

 

Sources: Tommy Peter (IMDb), Wikipedia, and IMDb.

 

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

Vintage American postcard. Caricature by Al Hirschfeld. Caption on the back: “JULIE ANDREWS as the STAR! Drawn by the distinguished American artist, Al Hirschfeld, during a visit to the set of the Robert Wise Film, STAR !, directed by Robert Wise, produced by Saul Chaplin and released by 20th Century Fox.” Collection: Marlene Pilaete.

 

Al Hirschfeld (1903-2003) was a major 20th Century’s American illustrator, famous for his caricatures of celebrities, including Broadway and movie stars, singers, and politicians.

 

English film and stage actress, singer, and author Julie Andrews (1935) was a former child actress and singer who rose to prominence starring in such stage musicals as My Fair Lady and Camelot. She is best known for her roles in the films Mary Poppins (1964) and The Sound of Music (1965). Her voice spanned four octaves until it was damaged by a throat operation in 1997. In the 2000s she had a major revival of her film career in family films such as The Princess Diaries (2001) and the Shrek animated films (2004–2010).

 

Julie Andrews was born Julia Elizabeth Wells in Walton-on-Thames, England, in 1935. Her mother, music hall performer Barbara Wells (née Morris), was married to Edward C. ‘Ted’ Wells, a teacher of metal and woodworking, but Andrews was conceived as a result of an affair her mother had with a family friend. With the outbreak of World War II, Barbara and Ted Wells went their separate ways. Ted Wells assisted with evacuating children to Surrey during the Blitz, while Barbara joined Ted Andrews in entertaining the troops through the good offices of the Entertainments National Service Association (ENSA). Barbara and Ted Wells were soon divorced. Barbara remarried Ted Andrews in 1939. Julie had lessons at the Cone-Ripman School, an independent arts educational school in London, then with the famous concert soprano and voice instructor Lilian Stiles-Allen. She continued her academic education at the Woodbrook School, a local state school in Beckenham. Julie performed spontaneously and unbilled on stage with her parents for about two years beginning in 1945. She got her big break when her stepfather introduced her to Val Parnell, whose Moss Empires controlled prominent venues in London. Andrews made her professional solo debut at the London Hippodrome singing the difficult aria Je Suis Titania from Mignon as part of a musical revue called Starlight Roof in 1947. She played the Hippodrome for one year. In 1948 she became the youngest solo performer ever to be seen in a Royal Command Variety Performance. Julie followed her parents into radio and television and reportedly made her television debut on the BBC program RadiOlympia Showtime in 1949. She garnered considerable fame throughout the United Kingdom for her work on the BBC radio comedy show Educating Archie (1950- 1952). In 1954 on the eve of her 19th birthday, Julie Andrews made her Broadway debut portraying Polly Browne in the already highly successful London musical The Boy Friend. To the critics, Andrews was the stand-out performer in the show. In November 1955 Andrews was signed to appear with Bing Crosby in what is regarded as the first made-for-television movie, High Tor.

 

In 1956 Julie Andrews appeared in the Frederick Loewe and Alan Jay Lerner musical My Fair Lady as Eliza Doolittle to Rex Harrison's Henry Higgins. Richard Rodgers was so impressed with her talent that concurrent with her run in My Fair Lady she was featured in the Rodgers and Hammerstein television musical, Cinderella (Ralph Nelson, 1957). Cinderella was broadcast live and attracted an estimated 107 million viewers. She married set designer Tony Walton in 1959 in Weybridge, Surrey. They had first met in 1948 when Andrews was appearing at the London Casino in the show Humpty Dumpty. The couple filed for a divorce in 1967. In 1960 Lerner and Loewe again cast her in a period musical as Queen Guinevere in Camelot, with Richard Burton. However, movie studio head Jack Warner decided Andrews lacked sufficient name recognition for her casting in the film version of My Fair Lady; Eliza was played by the established film actress Audrey Hepburn instead. As Warner later recalled, the decision was easy, "In my business, I have to know who brings people and their money to a movie theatre box office. Audrey Hepburn had never made a financial flop." Andrews played the title role in Disney's Mary Poppins (Robert Stevenson, 1964), a lavish musical fantasy that combined live-action and animation. Walt Disney had seen a performance of Camelot and thought Andrews would be perfect for the role of the British nanny who is "practically perfect in every way!" Andrews initially declined because of pregnancy, but Disney politely insisted. Andrews and her husband headed back to the United Kingdom in 1962 for the birth of daughter Emma Katherine Walton. As a result of her performance in Mary Poppins, Andrews won the 1964 Academy Award for Best Actress and the 1965 Golden Globe Award. She and her Mary Poppins co-stars also won the 1965 Grammy Award for Best Album for Children. As a measure of ‘sweet revenge’, as Poppins songwriter Richard M. Sherman put it, Andrews closed her acceptance speech at the Golden Globes by saying, "And, finally, my thanks to a man who made a wonderful movie and who made all this possible in the first place, Mr. Jack Warner." Next, she appeared opposite James Garner in The Americanization of Emily (Arthur Hiller, 1964), which she has described as her favourite film.

 

Now, Julie Andrews was a real star, and it was her star power that helped make her third film, The Sound of Music (Robert Wise, 1965), the highest-grossing movie of its day and one of the highest-grossing of all time. For her role as Maria von Trapp, she won her second Golden Globe Award in 1966 and was nominated for the 1965 Academy Award. After completing The Sound Of Music, Andrews appeared as a guest star on the NBC-TV variety series The Andy Williams Show, which gained her an Emmy nomination. She followed this with an Emmy Award-winning color special, The Julie Andrews Show in 1965. By the end of 1967, Andrews had appeared in the television special Cinderella; the biggest Broadway musical of its time, My Fair Lady; the largest-selling long-playing album, the original cast recording of My Fair Lady; the biggest hit in Disney's history, Mary Poppins; the highest-grossing movie of 1966, Hawaii (George Roy Hill, 1966); the biggest and second-biggest hits in Universal's history, Thoroughly Modern Millie (George Roy Hill, 1967) and Torn Curtain (Alfred Hitchcock, 1967); and the biggest hit in 20th Century Fox's history The Sound of Music. Then Andrews appeared in Star! (Robert Wise, 1968), a biopic of Gertrude Lawrence, and Darling Lili (Blake Edwards, 1970), co-starring Rock Hudson, but both bombed at the box office. The problem was that audiences identified her with singing, sugary-sweet nannies and governesses, and could not accept her in dramatic roles. She married Blake Edwards in 1969. They adopted two children from Vietnam: Amy in 1974 and Joanna in 1975. She continued working in television. In 1969 she shared the spotlight with singer Harry Belafonte for an NBC-TV special, An Evening with Julie Andrews and Harry Belafonte. In 1971 she appeared as a guest for the Grand Opening Special of Walt Disney World, and that same year she and Carol Burnett headlined a CBS special, Julie and Carol At Lincoln Center. In 1972–1973, Andrews starred in her own television variety series, The Julie Andrews Hour, on the ABC network. The show won seven Emmy Awards, but was canceled after one season. Between 1973 and 1975, Andrews continued her association with ABC by headlining five variety specials for the network. She guest-starred on The Muppet Show in 1977 and appeared again with the Muppets on a CBS-TV special, Julie Andrews: One Step Into Spring, which aired in 1978. Then, she made a splash in the cinema with an appearance in 10 (1979), directed by husband Blake Edwards. He helped to keep her on the rise by directing her in subsequent roles that were entirely different from anything she had been seen in before. There was the film star Sally Miles who bared her breasts on-screen in S.O.B. (1981), the woman (Victoria Grant) playing a man (Count Victor Grezhinski) playing a woman in Victor Victoria (1982). On IMDb, Tommy Peter writes: “the sheer novelty of seeing Julie Andrews in these roles, not to mention her brilliant performances in both of them, undoubtedly helped make them successes”. Her roles in Victor/Victoria earned Andrews the 1983 Golden Globe Award for Best Actress, as well as a nomination for the 1982 Academy Award for Best Actress, her third Oscar nomination. In 1987 Andrews starred in an ABC Christmas special, Julie Andrews: The Sound Of Christmas, which went on to win five Emmy Awards. Two years later she was reunited for the third time with Carol Burnett for a variety special which aired on ABC in 1989.

 

In 1991 Julie Andrews made her television dramatic debut in the ABC made-for-TV movie, Our Sons (John Erman, 1991), co-starring Ann-Margret. The following year she starred in her first television sitcom, Julie (1992), which co-starred James Farentino. In 1995 she starred in the stage musical version of Victor/Victoria, her first appearance in a Broadway show in 35 years. She was forced to quit the show towards the end of the Broadway run in 1997 when she developed vocal problems. She subsequently underwent surgery to remove non-cancerous nodules from her throat and was left unable to sing. In 1999 she was reunited with James Garner for the CBS made-for-TV movie, One Special Night (Roger Young, 1999). In the 2000 New Year's Honours, Andrews was made a Dame Commander of the Order of the British Empire (DBE). She had a career revival when she appeared in The Princess Diaries (Garry Marshall, 2001), her first Disney film since Mary Poppins (1964). She starred as Queen Clarisse Marie Renaldi and reprised the role in a sequel, The Princess Diaries 2: Royal Engagement (Garry Marshall, 2004). In The Princess Diaries 2, Andrews sang on film for the first time since having throat surgery. Andrews continued her association with Disney when she appeared as the nanny in two 2003 made-for-television movies based on the Eloise books, a series of children's books by Kay Thompson about a child who lives in the Plaza Hotel in New York City. The same year she made her debut as a theatre director, directing a revival of The Boy Friend, the musical in which she made her 1954 Broadway debut. In 2004 Andrews performed the voice of Queen Lillian in the animated blockbuster Shrek 2 (2004), reprising the role for its sequels, Shrek the Third (2007) and Shrek Forever After (2010). She narrated Enchanted (Kevin Lima, 2007), a live-action Disney musical comedy that both poked fun and paid homage to classic Disney films such as Mary Poppins. In 2007 Andrews was honoured with the Lifetime Achievement Award at the Screen Actors Guild's awards and stated that her goals included continuing to direct for the stage and possibly to produce her own Broadway musical. She published Home: A Memoir of My Early Years (2008), which she characterised as "part one" of her autobiography. Home chronicles her early years in UK's music hall circuit and ends in 1962 with her winning the role of Mary Poppins. For a Walt Disney video release she again portrayed Mary Poppins and narrated the story of The Cat That Looked at a King in 2004. In 2010, Andrews made her London come-back after a 21 year absence (her last performance there was a Christmas concert at the Royal Festival Hall in 1989). Julie Andrews has long had something of a dual image, being both a family-friendly star and an icon for gays and lesbians. Andrews herself has acknowledged her strange status, commenting that "I'm that odd mixture of, on the one hand, being a gay icon and, on the other, having grandmas and parents grateful I'm around to be a babysitter for their kids."

 

Sources: Tommy Peter (IMDb), Wikipedia, and IMDb.

 

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

"Come, Holy Spirit!" Elevation of the Sacred Host during a Dominican rite Mass in the Chapel of the Descent of the Holy Spirit in the Rosary Shrine in London.

Architecte: Octave Raquin

Physical reality is a consciousness program created by digital codes. Numbers, numeric codes, define our existence. Human DNA, our genetic memory, is encoded to be triggered by digital codes at specific times and frequencies. Those codes awaken the mind to the change and evolution of consciousness.

 

11:11 is one of those codes, meaning activation of DNA.

You will note that seeing 11 11 frequently creates synchronicities in your life.

 

Master or Power Number. In Numerology 11 represents impractical idealism, visionary, refinement of ideals, intuition, revelation, artistic and inventive genius, avant-garde, androgynous, film, fame, refinement fulfilled when working with a practical partner.

 

Eleven is a higher octave of the number two . It carries psychic vibrations and has an equal balance of masculine and feminine properties.

 

Because eleven contains many gifts such as psychic awareness and a keen sense of sensitivity, it also has negative effects such as treachery and betrayal from secret enemies.

All About 11:11

 

11:11 Synchronicity- Repetitive Numbers and Their Meaning

Number Sequences from Our Spirit Guides

 

11:11 And Other Repetitive, Synchronistic Numbers

 

Many associate 11:11 with a wake-up code/alarm as they see it on digit clocks and watches. It can Many associate 11:11 with a wake-up code/alarm as they see it on digit clocks and watches. It can also be seen as a key to unlock the subconscious mind, our genetic encoded memories, that we are spirits having a physical experience, not physical beings embarking on a spiritual experience. also be seen as a key to unlock the subconscious mind, our genetic encoded memories, that we are spirits having a physical experience, not physical beings embarking on a spiritual experience.

 

11:11 or derivatives of these numbers, 111 and 11, are digits that repeat in time thus a metaphor for reality as patterns that repeat in time for us to experience. This can refer to the rise and fall of civilizations, our personal experiences and lessons, loops in time. They are cycles of time that create and recreate following the blueprint.

Ellie Crystal and 11:11

 

In 1991, when I was hosting the talk show “The Metaphysical Experience”, a woman named Solara was my guest. Her topic was Activation of the 11:11 Doorway. It was all about ascension and the beginning of awareness of the 11:11 code. In 1995, a Crystalinks’ reader named Joe emailed about his experiences with the numbers 111:111, hence the file you are reading was first created and in so doing I took a long hard look at this phenomena experienced by those around me. Each time Joe was about to go through another major spiritual awakening, an epiphany of some kind, those numbers would appear in his physical experience to signal the upcoming change. The numbers say, “Pay attention!”

 

SPIRITUAL PSYCHOLOGY: Carl Jung, the father of analytical psychology, was fascinated by numerology. Not only did he study various numbers and their meanings, but he also looked at how (and why) our culture was (and still is) fascinated with numbers.

 

11 represents spiraling twin strands of human DNA moving into higher frequency of consciousness.

 

11 represents balance.

 

11+11=22=4=Time. 22 is a Master or Alchemic Number.

 

Some souls see a Golden Age emerging, as told by the ancient prophets. Gold refers to Alchemy , the alchemical changes that are taking place in our bodies in the evolution of consciousness.

 

Reality as a geometric design is based on numbers (universal language) that repeat in cycles to create the linear time experiment. In Pythagorean Numerolgy, a cycle is based on 9. 9 = End. 9/11 = end of the DNA biogen(et)ic program running at the moment.

 

We all have one or more numeric codes that follow the blueprint of Sacred Geometry. It is about the spirals of consciousness, Fibonacci Numbers, the Golden Spiral, also found in perfection, in the exact proportions in the Great Pyramid . We all have one or more numeric codes that follow the blueprint of Sacred Geometry. It is about the spirals of consciousness, Fibonacci Numbers, the Golden Spiral, also found in perfection, in the exact proportions in the Great Pyramid .

 

Most digital codes that evoke memory are double digits or countdowns such as 1, 2, 3, 4 ,5 or 5, 4, 3, 2, 1, 0, which goes to Zero Point Merge

You will experience a sudden awakening after which reality is never the same. You are going to create clarity, healing and balance for yourself. Do not expect others in your life to be on this journey with you. It is yours alone as it is for most souls. You will have to seek new friends of like mind who are also being triggered by the digits. Once you open the Digital Door, there is no going back. Your soul will automatically and quickly move you from level to level of experience until you ‘get it’. Your consciousness is expanding and therefore you will, manifest faster and with greater comprehension, becoming more aware of the meaning of synchronicities that will become more and more frequent. They are created by your soul creates to help you remember that you are a soul spark in a physical program that is about to end, evolve back to higher consciousness.

 

Once you see your numeric codes, you have activated something in your DNA codes and they will continue to appear until you ‘get the message’ … it is ‘time’ to move on.

 

Upon seeing your digit encoded numbers, you may feel a sense of urgency or related emotions. Chill out! For NOW there is TIME!

 

The numbers usually signal changes in the patterns of your life.

 

They may confirm something that you are experiencing whenever the numbers appear to you.

 

You may dream also about the numbers, linked with things you do not as yet understand, or wake up at the same time every night with those numbers on your digital clock, ie. 11:11

Paranormailist Uri Geller on 11:11

 

The Doorway, The 11: 11

 

This can presently be perceived as a crack between two worlds.

 

As we unite together as One, bringing together our fragments of the key, we not only create the key, but we make visible the Doorway.It is like a bridge which has the inherent potential of linking together two very different spirals of energy.

 

As we unite together as One, bringing together our fragments of the key, we not only create the key, but we make visible the Doorway.

 

Thus this bridge functions as an invisible door or a doorway into the Invisible realm.

 

The 11:11 is the bridge to an entirely different spiral of evolution.

 

The symbol of 11:11 was pre-encoded into our cellular memory banks long ago.

The 11:11 is the bridge to an entirely different spiral of evolution.

 

The symbol of 11:11 was pre-encoded into our cellular memory banks long ago.

 

Returning our cycle of incarnations upon the Earth. The 11.11 has rested dormantly within us since that faraway position under time-release mechanization, combined with sealed orders which would only open when the 11.11 was fully activated. It has been gently sleeping, awaiting the moment of triggering. And now the 11:11 is finally activated…

 

11:11 is the pre-encoded trigger and the key to the mysteries of the universe and beyond.

 

Some of you have recognized this symbol as something of significance, yet have been unaware of its true meaning. With the advent of digital clocks many years ago, the significance of 11:11 began to make itself felt, often appearing on clocks at times of accelerated awareness. For those of you who have know that 11:11 was something special, we now need you to come forth into positions of leadership. For you are important parts of the key.

 

11 isn’t just a precursor to danger etc – it’s the whole point! 1+1 = 2 – unity, togetherness, peace. September 11 was a tragic event – no-one would question that – but if it leads to people realizing that the only way for this race to survive is togetherness and peace, maybe those deaths will not be in vain.

Number Sequences From The Angels

 

by Doreen Virtue, Ph.D.

The angels do their best to get our attention and to communicate with us. In this way, they help us heal our own lives. However, we often discount the signs they give us, writing them off as mere The angels do their best to get our attention and to communicate with us. In this way, they help us heal our own lives. However, we often discount the signs they give us, writing them off as mere coincidences or our imagination. The angels say: “We can’t write our messages to you in the sky. You’ve got to pay attention and believe when you see any patterns forming in your life — especially in response to any questions or prayers you’ve posed. When you hear the same song repeatedly or see the same number sequence, who do you think is behind this?coincidences or our imagination. The angels say: “We can’t write our messages to you in the sky. You’ve got to pay attention and believe when you see any patterns forming in your life — especially in response to any questions or prayers you’ve posed. When you hear the same song repeatedly or see the same number sequence, who do you think is behind this? Your angels, of course!”

Your angels often communicate messages to you by showing you sequences of numbers. They do this in two ways. First, they subtly whisper in your ear so you’ll look up in time to notice the clock’s time or a phone number on a billboard. The angels hope you’ll be aware that you’re seeing this same number sequence repeatedly. For instance, you may frequently see the number sequence 111, and it seems every time you look at a clock the time reads 1:11 or 11:11.

 

The second way in which angels show you meaningful number sequences is by physically arranging for, say, a car to drive in front of you that has a specific license plate number they want you to see. Those who are aware of this phenomenon become adept at reading the meaning of various license plates. In this way, the angels will actually give you detailed messages. Here are the basic meanings of various number sequences. However, your own angels will tell you if your situation holds a different meaning for you. Ask your angels, “What are you trying to tell me?” and they’ll happily give you additional information to help decode their numeric meanings.

 

111 — Monitor your thoughts carefully, and be sure to only think about what you want, not what you don’t want. This sequence is a sign that there is a gate of opportunity opening up, and your thoughts are manifesting into form at record speeds. The 111 is like the bright light of a flash bulb. It means the universe has just taken a snapshot of your thoughts and is manifesting them into form. Are you pleased with what thoughts the universe has captured? If not, correct your thoughts (ask your angels to help you with this if you have difficulty controlling or monitoring your thoughts).

 

222 — Our newly planted ideas are beginning to grow into reality. Keep watering and nurturing them, and soon they will push through the soil so you can see evidence of your manifestation. In other words, don’t quit five minutes before the miracle. Your manifestation is soon going to be evident to you, so keep up the good work! Keep holding positive thoughts, keep affirming, and continue visualizing.

 

333 — The Ascended Masters are near you, desiring you to know that you have their help, love, and companionship. Call upon the Ascended Masters often, especially when you see the number 3 patterns around you. Some of the more famous Ascended Masters include: Jesus, Moses, Mary, Quan Yin, and Yogananda.

 

444 — The angels are surrounding you now, reassuring you of their love and help. Don’t worry because the angels’ help is nearby.

 

555 — Buckle your seatbelts. A major life change is upon you. This change should not be viewed as being “positive” or “negative,” since all change is but a natural part of life’s flow. Perhaps this change is an answer to your prayers, so continue seeing and feeling yourself being at peace.

 

666 — Your thoughts are out of balance right now, focused too much on the material world. This number sequence asks you to balance your thoughts between heaven and earth. Like the famous “Sermon on the Mount,” the angels ask you to focus on spirit and service, and know your material and emotional needs will automatically be met as a result.

 

777 — The angels applaud you…congratulations, you’re on a roll! Keep up the good work and know your wish is coming true. This is an extremely positive sign and means you should also expect more miracles to occur.

 

888 — A phase of your life is about to end, and this is a sign to give you forewarning to prepare. This number sequence may mean you are winding up an emotional career, or relationship phase. It also means there is light at the end of the tunnel. In addition, it means, “The crops are ripe. Don’t wait to pick and enjoy them.” In other words, don’t procrastinate making your move or enjoying 999 — Completion. This is the end of a big phase in your personal or global life. Also, it is a message to lightworkers involved in Earth healing and means, "Get to work because Mother Earth needs you right now."fruits of your labor.

 

999 — Completion. This is the end of a big phase in your personal or global life. Also, it is a message to lightworkers involved in Earth healing and means, “Get to work because Mother Earth needs you right now.”

 

000 — A reminder you are one with God, and to feel the presence of your Creator’s love within you. Also, it is a sign that a situation has gone full circle.

 

source

 

George Barnard’s 11:11 Theory

 

Essentially, George Barnard explains that 11:11 is the calling card for brings that are half angels and half humans. 1,111 were the ones left faithful the the Divine after rebellion and throughout the centuries their numbers have increased. They bring a message to humanity. When these beings are around, try to watch for them messing up electricity at the same time you see the numbers. They come in and out to this dimension very fast. The book that first identified these beings is the Urantia book.

 

In his decades of research, these beings have identified themselves with their individual names. Why do they contact you?

 

George’s theory:

 

Well we only have theories on this. They have not yet explained who they pick. It could be as simple as:

 

because they can prompt you, and others are not receptive. It does seem that most contactees have excellent latent psychic abilities. This follows – if they can trigger your brain to look somewhere, or at a clock at the right time, then they can impress a wider range of thoughts into your mind too.

or because you have unique skills or abilities that they would like to utilize

or because you are either already in an important role, or will be in an important role. We are not suggesting you are running the country, but you might be a teacher, or a painter, or a musician – someone who will influence many people. The Correcting Time will be a time when orthodoxy fails, and folks will be looking for answers. And they will be fearful. They will need reassurance. You may thus be the leading edge – the early adopters of new paradigms.

Their courtesy call is an invitation to raise awareness that spirit need to progress.

 

source

 

The Nature of Synchronicity

 

by Scott Rabalais

 

Patience is good. Synchronicity is better. Patience can be defined as bearing or enduring without complaint. It is the act of “giving time” to that which will come to fruition. It is the hope of things to come.

 

Note that patience implies the waiting game, that is, “I don’t have it now, but with time it will come to me.” For example, suppose I have plans to work in my garden this morning. However, a storm has appeared and the weather prohibits me from tending to the garden. I can say to myself, “I will be patient and in due time I will be able to work in my garden.” And wait I will. And I can easily become anxious, as I sit and watch the weather pass by, waiting, waiting and waiting furthermore.

 

On the other hand, synchronicity is that which knows no waiting or enduring. It recognizes that all is complete in the moment. It provides all in this very moment. It knows there is a perfect time and place for all, and one who experiences synchronicity knows of the harmony between the person and the completeness of the moment. One in synchronicity is not waiting for the rain to stop so that the garden may be tilled, but instead appreciates the rain in all its splendor, along with the situation that it creates in the moment.

 

Instead of tending to the garden, the fall of the rain may give me reason to sit down a write a letter to an old friend. So rather than focusing on what could be done, I instead focus on that which is in the moment and what is given to me irrespective of my plans or wishes.

 

From a separation consciousness point of view, patience is that which fills the chasm of time. From the position of now, I project that I want something to occur that is currently in the position of later. There is a chasm — between the present and the future. That is the “reality” of time that we create in our heads, and yet time is not real. Or, it is real only so far as we construct it out of our separation consciousness.

 

Synchronicity works in the now and only in the now. It is the result of full acceptance and allowance of life and its quality of flow. It is born from the stillness of the mind, in listening to that which is brought to us by the universe. It is the natural flow of life, irrespective of our conditioning, our wants and our plans. When we drop the thinking, that which is beyond thought is allowed to manifest itself in our experience. And the quality of such manifestation is Perfection, is synchronistic and is divine. It's getting out of the way for The Way.Synchronicity works in the now and only in the now. It is the result of full acceptance and allowance of life and its quality of flow. It is born from the stillness of the mind, in listening to that which is brought to us by the universe. It is the natural flow of life, irrespective of our conditioning, our wants and our plans. When we drop the thinking, that which is beyond thought is allowed to manifest itself in our experience. And the quality of such manifestation is Perfection, is synchronistic and is divine. It’s getting out of the way for The Way.

 

Synchronicity is the essence of unity consciousness, a quality of the natural flow of life. The flower blooms in perfect synchronicity with the natural elements of the sun, the water, the wind and the soil. It does hope to bloom in the winter, nor does does it have plans or wishes to bloom during the cold months. Instead, it lives in a synchronistic relationship with all elements in its experience and grows when it is best for it to be supported by the elements, and vice versa. It blooms at its perfect time, in harmony with that which surrounds it and interrelates with it.

 

Patience is waiting. How can one be complete if one is waiting for that which is not yet evident? Even patient waiting is waiting. Like the passenger in the train station awaiting the arrival of his train, he may be on the constant outlook for the appearance of the train down the tracks. In his constant glances down the track, he is anxious and in desire of that which is not yet in his experiential field. Instead, he may have a seat on a station bench, taking pleasure in watching lilies sway in the field across the tracks. And as he does so, lo and behold, the train will come into his awareness in its own time. And it is in that moment he can bring his awareness to the arrival of the train. It is in the moment.

 

Synchronicity is a gift of the universe, available to use in every moment. It is the subtle and sweet music of existence that we can hear if we only listen. If we attend only to the clamoring of our minds, we will be unable to manifest the harmonious flow of synchronicity from unity consciousness. Our dance to this synchronistic flow is experiential ecstasy. It is the effortless dance of the of the self with the universe.

 

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There are 8 Acorns - 2 (5&6) are blurred together!

Republic F-84F Thunderstreak

US Air Force

Thunderbirds

Octave Chanute Air Museum

Rantoul,IL 12/6/2014

What is it about electronic music that makes it impossible for some to stand still? What is it about country music that makes others want to throw wherever the sound is coming from out the nearest window? What is it about 432 Hz that makes us feel so relaxed?

Music is a force to be reckoned with. Certain songs bring you to tears while others get you exhilarated and inspired for a once dreaded workout. People create playlists for when they’re downhearted, happy and almost every emotion in-between.

Music affects more than your psyche, as well. It is also known to affect internal functions like blood pressure, speed or slow down your heart rate, reduce anxiety and even help with digestion, amongst many other things. What most people don’t know though is how it does this. I mean, what is music made of? What properties make up the landscape of sounds that create a song?

Well in short, it's all about frequencies and, the way we feel, the way the brain responds when we listen, depends on the combination of frequencies in the track. This is known as the frequency response This simple theory will help you understand the fuss surrounding the slightly more complicated theory of the power of 432 Hz. The Earth’s Heartbeat (The Schumann Resonance) To understand this whole 432 Hz thing, we need to first learn about the Schumann Resonance, which will ultimately explain this number’s importance. German physicist Winfried Otto Schumann documented the Schumann Resonance in 1952.

He understood that global electromagnetic resonances exist within the cavity between the Earth’s surface and the inner edge of the ionosphere and are excited and activated by lightning.

He determined that the frequency of these electromagnetic waves are very low, ranging anywhere from 7.86 Hz to 8 Hz.

This frequency is essentially the Earth’s heartbeat; the frequency the Earth beats at. Now, 432 Hz resonates with the frequency of 8 Hz. And here’s how… On the musical scale where A has a frequency of 440 Hz, the note C is at about 261.656 Hz.

On the other hand, if we take 8 Hz as our starting point and work upwards by five octaves (i.e. by the seven notes in the scale five times), we reach a frequency of 256 Hz in whose scale the note A has a frequency of 432 Hz. This frequency, which is at the top end of the Theta range and at the start of the Alpha range, makes us feel very relaxed but conscious and open to intuitive learning. Listening to a concentrated recording of music at this frequency, like a binaural beats track, will synchronize (entrain) the brain to this state and induce the aforementioned effects.

Think for a moment about all the frequencies that travel through your brain in a given day: cell phones, Wi-Fi, radio and microwaves. All these exist at different frequencies and pull our brain from one frequency to the next. The brain is on a constant yo-yo, being pinged at by different frequencies: it’s no wonder these devices emitting artificial electromagnetic radiation have been linked to cancer, depression and insomnia. So it makes sense that if we spent more time being attuned to the natural electromagnetic pulses of the earth (the heartbeat of Mother Nature) – at 432 Hz – we would, in turn, feel more centered, balanced, conscious and peaceful. ✓ Try Our 432Hz Meditation Today! 432 Hz Vs the Commercial Standard 440 Hz Okay, so now we understand that, why the hell isn't all music tuned to 432 Hz! Well, it has been during some periods, and many greats have lobbied for it, but it didn't work out that way. And here's why…

According to music theory, A=432 Hz is mathematically consistent with the universe. This is known as Verdi’s ‘A’ – named after Giuseppe Verdi, a famous Italian composer.

Verdi and many other musicians, like Mozart, tuned their music to this frequency because of its healing energy and the natural ‘feel good’ properties it evoked in the audience. In fact, Verdi wrote to the Congress of Italian Musicians to have 432 Hz approved as the standard tuning. Subsequently, this was unanimously approved in 1881 and recommended further by physicists Joseph Sauveur and Felix Savart, as well as by the Italian scientist Bartolomeo Grassi Landi. However, it wasn't enough. Even though this was approved in Italy at the time, music is not tuned at 432 Hz as standard today. This is because The American Federation of Musicians accepted the 440 Hz as the standard pitch in 1917. Then, in 1940, the United States introduced 440 Hz worldwide. London followed suit, and in 1953 440 Hz was approved as the general tuning standard for musical pitch there. What? I know. Weird. Since then, 440 Hz has since stood the test of time, despite geniuses like Verdi and many great producers and composers agreeing that this frequency is disharmonic because it has no scientific relationship to the physical laws that govern our universe. Historical Use of 432 Hz: Ancient Greece, Egypt & Tibet Further evidence of a 432 Hz preference is found in ancient Greece, where instruments associated with Orpheus – the God of Music – were tuned at 432 Hz. And get this, according to international researcher and musician Ananda Bosman, the majority of instruments unearthed from ancient Egyptian sites are tuned to, yes, you guessed it, A=432 Hz! The evidence doesn’t stop there, either.

Using a Korg Tuner, like this one, sound researcher Jamie Buturff discovered that many CD recordings of Tibetan monks’ singing bowls were tuned at 432 Hz. This is undoubtedly because of the frequency's direct link to Mother Nature and natural ability to make people relax for meditative purposes. 432 hz music ✓ Experience Our 432Hz Meditation Today!

432 Hz Conspiracy Theories The mathematical theory behind 432 Hz and its endorsement by famous musicians cannot be doubted, neither can the fact that the Earth is tuned at this frequency. However, the Internet, like it does with so many things, has injected this science with mystery, sparking a number of conspiracy theories. It's not surprising though. Considering that musical greats and ancient societies preferred 432 Hz, but the US and UK ignored this and chose 440 Hz, it was bound to make people suspicious. Most theories centre around the belief that the 440 Hz frequency was deliberately adopted by governments/regimes as a way to manipulate and control the masses, making then lethargic, often borderline depressed and therefore easily influenced, Perhaps the most popular conspiracy theory is that of Nazi Germany. It is suggested that the regime decided to adopt 440 Hz as standard, avoiding 432 Hz at all costs and developing other influential frequencies alongside it designed to assist in the control of people's minds.

Joseph Goebbels, who served as a prime minister of propaganda for the German Third Reich, and whose job was to spread the Nazi message, supposedly directed this mission.

He apparently used music containing concentrated 440 Hz frequencies and others to induce fear and hostility in the masses. People listening to this music were essentially prisoners of their own aggressive consciousness.

While this certainly is an interesting theory, there is no proof to back up this claim. Why You Need More 432 Hz Music in Your Life It is no surprise that when listening to the same music tuned at the two different frequencies (432 Hz and 440 Hz), most people say they feel a sense of relaxation after having listening to the 432 Hz version. However, the average person, distinguishing between the two by ear would be difficult, and on a first listen the effects might not be that pronounced.

Over time though, you will naturally feel more pleasant listening to 432 Hz music instead of 440 Hz – because your brain will become attuned to the frequency of the Earth. 440 Hz, despite being forced upon us as a music tuning pitch standard, is not in harmony with the frequency of the Earth. It is alien to us as a species. We are part of Mother Nature, and therefore playing the brain music that isn't tuned at this frequency over a prolonged period of time will of course make you feel out of sync.

Could this be the reason that certain types of music cause behavioural issues and intense negative emotional reactions in some people? Possibly. Of course, a person might not realise that they are being affected by the frequency. Every day you hear music tuned at 440 Hz, so it is unlikely that you would stop and think, I feel quite agitated and out of sorts lately; must be all that 440 Hz music. But the reality is that it could well be the reason for days when you can't quite place why you feel imbalanced and misaligned with life. Humans are a part of nature like every other animal and plant species, so it makes absolute sense that aligning your energy with the Earth will naturally make you feel more peaceful and happier. We all know music has healing properties: Music therapists use music to help restore memory in Alzheimer’s patients, improve basic motor skills in stroke victims and help many more suffering from a range of different things. We also know that listening to specific frequencies in concentrated amounts, entrains the brain to specific states of well-being. And all the evidence, scientifically from nature, mathematically from music theory and endorsed by the likes of Verdi and Mozart, points towards the fact that 432 Hz is an extremely powerful tuning frequency, from which instruments should be tuned. For this reason, we have produced our own 432 Hz binaural beats meditation, which you can use to attune your brain to the Earth's frequency for increased well-being. Not only will you feel a calming effect after listening, regular listening will decrease feelings of stress and anxiety and in turn promote natural healing and a deeper connection with all sentient beings and the world at large. It's time to tune yourself to the heartbeat of the planet.

 

www.binauralbeatsmeditation.com/432-hz-truth-behind-natur...

 

Gather ’round, kids. Those of you with tinfoil hats may wish to ensure that they’re fitted snuggly. What I’m about to tell you will shake your faith in all the music you’ve heard in your life.

If you look down the right paths, it becomes clear that governments and various security apparatuses have used music to control us using music. All the music of the West that’s based on the standard 12-tone scale is used for the management of crowds as well as thought control.Let’s begin with some music theory. If musical performances were to sound the same the world over, some standardization was required. As early as 1885, the Music Commission of the Italian Government declared that all instruments and orchestras should use a tuning fork that vibrated at 440 Hz, which was different from the original standard of 435 Hz and the competing 432 Hz used in France.

In 1917, the American Federation of Musicians endorsed the Italians, followed by a further push for 440 Hz in the 1940s.With the help of Verdi, 432 Hz appeared as a reference at the end of the 19th century. In 1939, gear change: the International Federation of National Standards Associations, now known as the International Organization for Standardization, decided on a standard pitch at 440 Hz. This decision was ratified a few years later at an international conference in London in 1953, despite protests from Italians and French people, who were attached to Verdi's 432 Hz. Finally, in January 1975, the 440 Hz pitch became a standard (ISO 16:1975), which subsequently defined its use in all music conservatories. The 440 Hz frequency has therefore won the institutional battle, becoming an international standard.

This hegemony, and the dates on which it solidified, did not fail to provoke a reaction from conspiracy fighters of all kinds. Indeed, the promulgation in 1939 of the 440 at the expense of the 432 led to a musical coup d'état by the Nazis - the Germans had very early, around 1700, chosen the 440 Hz. With Hitler's desire to rebuild the great lost Germanic empire, music was instrumentalized, becoming a spearhead of this lost desire for greatness. Perhaps, as Amaury Cambuzat wisely points out, "they were based on a statement by Plato: if you want to control the people, start by controlling their music. The Nazis having proven their ability to recover and their obsession with imposing standards (as they adopted the swastika symbol)...". Music would therefore only be a collateral victim.There is no international conspiracy to prefer 440Hz to 432, but conspiracy theories are getting out of hand. With calculations that Nostradamus would not deny, some "specialists" are having a field day on the Web. The 432Hz would thus be "the setting that makes the golden reason of the PHI universe vibrate and unifies the properties of light, time, space, matter, gravity and magnetism with biology, the code of DNA and consciousness. When our atoms and DNA begin to resonate in harmony with the spiral pattern of nature, our sense of connection to nature is said to be "enlarged". The number 432 is also reflected in the reports of the Sun, the Earth, the Moon, the precession of the equinoxes, the Great Pyramid of Egypt, Stonehenge, Sri Yantra and many other sacred sites," says Esprits Science Métaphysiques.com. This galimatias, which puts DNA and consciousness on a scientific equal footing, brews up a delirious mysticism, proposes clever calculations that would almost prove that 432 is God's other name. In 1953, a worldwide agreement was signed. Signatories declared that middle “A” on the piano be forevermore tuned to exactly 440 Hz. This frequency became the standard ISO-16 reference for tuning all musical instruments based on the chromatic scale, the one most often used for music in the West. All the other notes are tuned in standard mathematical ratios leading to and from 440 Hz.

This tone standard is now universally accepted, which is why a piano in Toronto sounds exactly the same as a piano in China.

Weirdly, no one can say for sure why this frequency was chosen in the first place. In fact, there those among us who vehemently disagree with this standard. In fact, they consider the 440 Hz middle “A” to be an abomination against nature. Adherents to this theory claim that a more “natural” frequency for middle “A” is 438 Hz. Others believe that the correct middle “A” is 432 Hz (also known as Verdi’s A) because it has “a pure tone of math fundamental to nature” and is “mathematically consistent with the patterns of the universe, vibrating with Phi, the Golden Ratio. They point to how this pitch can be connected to everything from nautilus shells to the works of the ancients, including the construction of the Great Pyramid. Furthermore, 432 Hz resonates with 8 Hz (the Schumann Resonance), the documented fundamental electromagnetic “beat” of Earth. It just feels better. Research says that music tuned from this frequency is easier to listen to, brighter, clearer, and contains more inherent dynamic range. As a result, music with this tuning need not be played at higher volumes and thus reduces the risk of hearing damage.If the importance of musical frequency remains undeniable, since the human body is intrinsically sensitive to its environment, wanting to discern a pitch superior to all is ineptitude. Amaury Cambuzat remains convinced "that none of these tuning fork frequencies, whether 440 Hz or others, is absolute. This frequency would have to be continuously modulated and modified according to places, seasons, and so many other biological factors to be able to approach a "perfect vibration" frequency. Again, assuming that the latter exists. 432 Hz could become the majority frequency nowadays but certainly not universal. To affirm such a theory, it would be necessary to deny that everything is in motion, in constant evolution, not to take into account the peoples who rely on their traditional way of singing and playing their instruments in direct relation with their senses, their culture and what surrounds them, and certainly not on a standard pitch at 432 or 440 Hz". The more radical among middle “A” haters insist that the true frequency should be 528 Hz because it’s a “digital bio-holographic precipitation crystallization [and] miraculous manifestation of diving frequency vibrations.” I have no idea what that means. Here’s where the conspiracy comes in. There is allegedly something sinister and evil about 440 Hz. It is said that the Rockefeller Foundation had an interest in making sure the United States adopted the 440 Hz standard in 1935 as part of a “war on consciousness” leading to “musical cult control.” Without going too far down this rat hole, this theory says that tuning all music to 440 Hz turns it into a military weapon. I quote from one of the many online articles on the subject: “The monopolization of the music industry features this imposed frequency that is ‘herding’ populations into greater aggression, psychosocial agitation, and emotional distress predisposing people to physical illnesses and financial impositions profiting the agents, agencies, and companies engaged in the monopoly.” Going a little deeper, we end up at the doorstep of the Nazis. It is said that propaganda minister Joseph Goebbels insisted that on 440 Hz tuning in Germany because he believed it made people think and feel in specific ways, making them “a prisoner of a certain consciousness.” And if you’re trying to mobilize the population for Der Fuhrer, that’s exactly what you want, right? There’s more from the Tinfoil Headphones crowd: “The powers that be are successfully lowering the vibrations of not only the young generation but the rest of us as well. These destructive frequencies entrain the thoughts towards disruption, disharmony, and disunity. Additionally, they also stimulate the controlling organ of the body — the brain — into disharmonious resonance, which ultimately creates disease and war.” There’s something to think about the next time you pop in some earbuds. Does listening to music make you feel more warlike and diseased? I’ve also been told that the different effects these frequencies have on our chakras. Songs tuned to 440 Hz work on the third eye chakra (the “thinking”) while 432 Hz stimulates the heart chakra (the “feeling”). Therefore, 432 Hz music increases the spiritual development of the listener. It may even have healing properties.

There are numerous organizations advocating a universal switch to 432 Hz, but that would involve upsetting worldwide standards, not to mention the construction and re-tuning of millions of musical instruments. Nice idea, but it ain’t gonna happen. If that idea stressed you out, please meditate on this special 432 Hz music.If many artists would have set their frequencies at 432 Hz like Jim Morrison, Janis Joplin or John Lennon (very strong presumptions still weigh on Imagine), their choices did not derive from an obsession for purity, perfection or the so-called superiority of one pitch over the other but only from a research, an artistic curiosity that experiments and decompartmentalizes the norms to better embrace their diversity.

 

globalnews.ca/news/4194106/440-hz-conspiracy-music/

 

The building is designed as a cultural and residential complex.[2] The original 1966 brick façade of the Kaispeicher A, formerly a warehouse, was retained at the base of the building. On top of this a footprint-matching superstructure rests on its own foundation exhibiting a glassy exterior and a wavy roof line. About one thousand glass windows are curved.[17] The building has 26 floors with the first eight floors within the brick façade. It reaches its highest point with 108 meters at the western side.[2] The footprint of the building measures 120,000 m2. A curved escalator from the main entrance at the east side connects the ground floor with an observation deck, the Plaza, at the 8th floor, the top of the brick section. The Plaza is accessible by the public. It offers a view of Hamburg and the Elbe. From the Plaza the foyer of the concert hall can be reached.

 

The Elbphilharmonie has three concert venues. The Great Concert Hall can accommodate 2,100 visitors whereby the performers are in the center of the hall surrounded by the audience in the vineyard style arrangement. The acoustics were designed by Yasuhisa Toyota who installed about 10,000 individually microshaped drywall plates to disperse sound waves.[17] The Great Concert Hall contains a pipe organ with 69 registers built by Klais Orgelbau. The Recital Hall is intended for the performance of recitals, chamber music and jazz concerts; it can hold an audience of 550 people.[2] In addition, there is the Kaistudio that allows for 170 visitors and is intended to serve educational activities.[17] The consultant for the scenography of the concert hall was Ducks Scéno.

 

The easternmost part of the building is rented by Westin as the Westin Hamburg Hotel that opened on 4 November 2016.[18] The hotel offers 244 rooms between the 9th and 20th floors. The lobby in the 8th floor can be accessed from the Plaza. The upper floors west of the concert hall accommodate 45 luxury apartments. The complex also houses conference rooms, restaurants, bars, and a spa. A parking garage for 433 cars is part of the building complex as well.

 

en.wikipedia.org/wiki/Elbphilharmonie

French postcard. Photo: Walt Disney Productions. Julie Andrews and Dick Van Dyke in Mary Poppins (Robert Stevenson, 1964).

 

English film and stage actress, singer, and author Julie Andrews (1935) was a former child actress and singer who rose to prominence starring in such stage musicals as My Fair Lady and Camelot. She is best known for her roles in the films Mary Poppins (1964) and The Sound of Music (1965). Her voice spanned four octaves until it was damaged by a throat operation in 1997. In the 2000’s she had a major revival of her film career in family films such as The Princess Diaries (2001) and the Shrek animated films (2004–2010).

 

Julie Andrews was born Julia Elizabeth Wells in Walton-on-Thames, England, in 1935. Her mother, music hall performer Barbara Wells (née Morris), was married to Edward C. ‘Ted’ Wells, a teacher of metal and woodworking, but Andrews was conceived as a result of an affair her mother had with a family friend. With the outbreak of World War II, Barbara and Ted Wells went their separate ways. Ted Wells assisted with evacuating children to Surrey during the Blitz, while Barbara joined Ted Andrews in entertaining the troops through the good offices of the Entertainments National Service Association (ENSA). Barbara and Ted Wells were soon divorced. Barbara remarried to Ted Andrews in 1939. Julie had lessons at the Cone-Ripman School, an independent arts educational school in London, then with the famous concert soprano and voice instructor Lilian Stiles-Allen. She continued her academic education at the Woodbrook School, a local state school in Beckenham. Julie performed spontaneously and unbilled on stage with her parents for about two years beginning in 1945. She got her big break when her stepfather introduced her to Val Parnell, whose Moss Empires controlled prominent venues in London. Andrews made her professional solo debut at the London Hippodrome singing the difficult aria Je Suis Titania from Mignon as part of a musical revue called Starlight Roof in 1947. She played the Hippodrome for one year. In 1948 she became the youngest solo performer ever to be seen in a Royal Command Variety Performance. Julie followed her parents into radio and television and reportedly made her television debut on the BBC program RadiOlympia Showtime in 1949. She garnered considerable fame throughout the United Kingdom for her work on the BBC radio comedy show Educating Archie (1950- 1952). In 1954 on the eve of her 19th birthday, Julie Andrews made her Broadway debut portraying Polly Browne in the already highly successful London musical The Boy Friend. To the critics, Andrews was the stand-out performer in the show. In November 1955 Andrews was signed to appear with Bing Crosby in what is regarded as the first made-for-television movie, High Tor.

 

In 1956 Julie Andrews appeared in the Frederick Loewe and Alan Jay Lerner musical My Fair Lady as Eliza Doolittle to Rex Harrison's Henry Higgins. Richard Rodgers was so impressed with her talent that concurrent with her run in My Fair Lady she was featured in the Rodgers and Hammerstein television musical, Cinderella (Ralph Nelson, 1957). Cinderella was broadcast live and attracted an estimated 107 million viewers. She married set designer Tony Walton in 1959 in Weybridge, Surrey. They had first met in 1948 when Andrews was appearing at the London Casino in the show Humpty Dumpty. The couple filed for a divorce in 1967. In 1960 Lerner and Loewe again cast her in a period musical as Queen Guinevere in Camelot, with Richard Burton. However movie studio head Jack Warner decided Andrews lacked sufficient name recognition for her casting in the film version of My Fair Lady; Eliza was played by the established film actress Audrey Hepburn instead. As Warner later recalled, the decision was easy, "In my business I have to know who brings people and their money to a movie theatre box office. Audrey Hepburn had never made a financial flop." Andrews played the title role in Disney's Mary Poppins (Robert Stevenson, 1964), a lavish musical fantasy that combined live-action and animation. Walt Disney had seen a performance of Camelot and thought Andrews would be perfect for the role of the British nanny who is "practically perfect in every way!" Andrews initially declined because of pregnancy, but Disney politely insisted. Andrews and her husband headed back to the United Kingdom in 1962 for the birth of daughter Emma Katherine Walton. As a result of her performance in Mary Poppins, Andrews won the 1964 Academy Award for Best Actress and the 1965 Golden Globe Award. She and her Mary Poppins co-stars also won the 1965 Grammy Award for Best Album for Children. As a measure of ‘sweet revenge’, as Poppins songwriter Richard M. Sherman put it, Andrews closed her acceptance speech at the Golden Globes by saying, "And, finally, my thanks to a man who made a wonderful movie and who made all this possible in the first place, Mr. Jack Warner." Next she appeared opposite James Garner in The Americanization of Emily (Arthur Hiller, 1964), which she has described as her favourite film.

 

Now, Julie Andrews was a real star, and it was her star power that helped make her third film, The Sound of Music (Robert Wise, 1965), the highest-grossing movie of its day and one of the highest-grossing of all time. For her role as Maria von Trapp, she won her second Golden Globe Award in 1966 and was nominated for the 1965 Academy Award. After completing The Sound Of Music, Andrews appeared as a guest star on the NBC-TV variety series The Andy Williams Show, which gained her an Emmy nomination. She followed this with an Emmy Award-winning color special, The Julie Andrews Show in 1965. By the end of 1967, Andrews had appeared in the television special Cinderella; the biggest Broadway musical of its time, My Fair Lady; the largest-selling long-playing album, the original cast recording of My Fair Lady; the biggest hit in Disney's history, Mary Poppins; the highest grossing movie of 1966, Hawaii (George Roy Hill, 1966); the biggest and second biggest hits in Universal's history, Thoroughly Modern Millie (George Roy Hill, 1967) and Torn Curtain (Alfred Hitchcock, 1967); and the biggest hit in 20th Century Fox's history The Sound of Music. Then Andrews, appeared in Star! (Robert Wise, 1968), a biopic of Gertrude Lawrence, and Darling Lili (Blake Edwards, 1970), co-starring Rock Hudson, but both bombed at the box office. The problem was that audiences identified her with singing, sugary-sweet nannies and governesses, and could not accept her in dramatic roles. She married Blake Edwards in 1969. They adopted two children from Vietnam: Amy in 1974 and Joanna in 1975. She continued working in television. In 1969 she shared the spotlight with singer Harry Belafonte for an NBC-TV special, An Evening with Julie Andrews and Harry Belafonte. In 1971 she appeared as a guest for the Grand Opening Special of Walt Disney World, and that same year she and Carol Burnett headlined a CBS special, Julie and Carol At Lincoln Center. In 1972–1973, Andrews starred in her own television variety series, The Julie Andrews Hour, on the ABC network. The show won seven Emmy Awards, but was cancelled after one season. Between 1973 and 1975, Andrews continued her association with ABC by headlining five variety specials for the network. She guest-starred on The Muppet Show in 1977 and appeared again with the Muppets on a CBS-TV special, Julie Andrews: One Step Into Spring, which aired in 1978. Then, she made a in the cinema with an appearance in 10 (1979), directed by husband Blake Edwards. He helped to keep her on the rise by directing her in subsequent roles that were entirely different from anything she had been seen in before. There was the film star Sally Miles who bared her breasts on-screen in S.O.B. (1981), the woman (Victoria Grant) playing a man (Count Victor Grezhinski) playing a woman in Victor Victoria (1982). On IMDb Tommy Peter writes: “the sheer novelty of seeing Julie Andrews in these roles, not to mention her brilliant performances in both of them, undoubtedly helped make them successes”. Her roles in Victor/Victoria earned Andrews the 1983 Golden Globe Award for Best Actress, as well as a nomination for the 1982 Academy Award for Best Actress, her third Oscar nomination. In 1987 Andrews starred in an ABC Christmas special, Julie Andrews: The Sound Of Christmas, which went on to win five Emmy Awards. Two years later she was reunited for the third time with Carol Burnett for a variety special which aired on ABC in 1989.

 

In 1991 Julie Andrews made her television dramatic debut in the ABC made-for-TV movie, Our Sons (John Erman, 1991), co-starring Ann-Margret. The following year she starred in her first television sitcom, Julie (1992), which co-starred James Farentino. In 1995 she starred in the stage musical version of Victor/Victoria, her first appearance in a Broadway show in 35 years. She was forced to quit the show towards the end of the Broadway run in 1997 when she developed vocal problems. She subsequently underwent surgery to remove non-cancerous nodules from her throat and was left unable to sing. In 1999 she was reunited with James Garner for the CBS made-for-TV movie, One Special Night (Roger Young, 1999). In the 2000 New Year's Honours, Andrews was made a Dame Commander of the Order of the British Empire (DBE). She had a career revival when she appeared in The Princess Diaries (Garry Marshall, 2001), her first Disney film since Mary Poppins (1964). She starred as Queen Clarisse Marie Renaldi and reprised the role in a sequel, The Princess Diaries 2: Royal Engagement (Garry Marshall, 2004). In The Princess Diaries 2, Andrews sang on film for the first time since having throat surgery. Andrews continued her association with Disney when she appeared as the nanny in two 2003 made-for-television movies based on the Eloise books, a series of children's books by Kay Thompson about a child who lives in the Plaza Hotel in New York City. The same year she made her debut as a theatre director, directing a revival of The Boy Friend, the musical in which she made her 1954 Broadway debut. In 2004 Andrews performed the voice of Queen Lillian in the animated blockbuster Shrek 2 (2004), reprising the role for its sequels, Shrek the Third (2007) and Shrek Forever After (2010). She narrated Enchanted (Kevin Lima, 2007), a live-action Disney musical comedy that both poked fun and paid homage to classic Disney films such as Mary Poppins. In 2007 Andrews was honoured with the Lifetime Achievement Award at the Screen Actors Guild's awards and stated that her goals included continuing to direct for the stage and possibly to produce her own Broadway musical. She published Home: A Memoir of My Early Years (2008), which she characterised as "part one" of her autobiography. Home chronicles her early years in UK's music hall circuit and ends in 1962 with her winning the role of Mary Poppins. For a Walt Disney video release she again portrayed Mary Poppins and narrated the story of The Cat That Looked at a King in 2004. In 2010, Andrews made her London come-back after a 21 year absence (her last performance there was a Christmas concert at the Royal Festival Hall in 1989). Julie Andrews has long had something of a dual image, being both a family-friendly star and an icon for gays and lesbians. Andrews herself has acknowledged her strange status, commenting that "I'm that odd mixture of, on the one hand, being a gay icon and, on the other, having grandmas and parents grateful I'm around to be a babysitter for their kids."

 

Sources: Tommy Peter (IMDb), Wikipedia, and IMDb.

Chesterton, Indiana

Free download under CC Attribution (CC BY 4.0). Please credit the artist and rawpixel.com.

 

Georges de Feure or Georges Joseph Van Sluÿters (1868-1943) was a French painter, theatrical designer and industrial art designer in the Symbolism and Art Nouveau movement. Living a Bohemian lifestyle at Montmartre in Paris, his circle of friends included composers, Claude Debussy and Maurice Ravel. Feure was recognized as an important symbolist painter. His pictorial work was inspired by the poems of Charles Baudelaire, with various representations of the femme fatale. He also worked as an illustrator for “Courrier Français” and “Le Figaro Illustré”. We have digitally enhanced some of his artworks, including his poster design for “Les Maîtres de l’affiche” and “Jeanne d’Arc magazine”. They are free to download under the CC0 licence.

 

Higher resolutions with no attribution required can be downloaded: https://www.rawpixel.com/board/1338149/georges-de-feure-artworks-i-hd-public-domain-art-paintings?sort=curated&mode=shop&page=1

2020

Les Marches Folkloriques de l'Entre-Sambre-et-Meuse trouvent leurs origines dans les processions de croix banales du moyen-âge. Celles-ci avaient lieu dans l'octave de la Pentecôte et étaient destinées à rendre hommage et à permettre de verser l'obole à l'abbaye suzeraine voisine dont dépendait le clergé.

L'escorte militaire qui les accompagnait avait pour but d'en rehausser l'éclat mais aussi de préserver les pèlerins contre les bandes de malfrats qui rôdaient à cette époque dans nos contrées. Ces compagnies spéciales d'archers et arbalétriers que l'on appelait "serments" furent les ancêtres des marcheurs.

 

C'est dans le courant du XVIII siècle qu'une crise importante frappa nos Marches car de plus en plus ces cérémonies devenaient un prétexte pour s'amuser et tourner le religieux en dérision, ce qui ne plut pas au clergé qui interdit ces manifestations.

Les coutumes reprendront en 1802 après le concordat signé entre Napoléon Ier et le Pape Pie VII. C'est à ce moment que les Marches prirent un nouvel essor et devinrent des escortes militaires.

En ce qui concerne les costumes adoptés dans nos manifestations aujourd'hui, ils sont du premier et du second empire. A ce sujet, il est certain que l'on a d'abord marché en premier empire car de nombreuses défroques de l'armée de Napoléon étaient disponibles dans nos régions. Ces uniformes se dégradant, nos Marcheurs ont adoptés les costumes militaires de l'époque qui a immédiatement suivi, c'est-à-dire les uniformes que l'on appelle du second empire.

Bien que l’aspect religieux ne semble pas prépondérant, il s’agit quand même d’une procession religieuse avec sortie de la châsse et des saints patrons, bénédictions, messe, …

L’un des moments les plus forts de la Saint Hubert, c’est le fameux bataillon carré. Un moment solennel, plein de tradition et avec un déroulement codifié et immuable. Il commence par une revue des troupes, suivie de décharges et de feux roulants.

 

The Folk Marches of Entre-Sambre-et-Meuse find their origins in the banal cross processions of the Middle Ages. These took place in the octave of Pentecost and were intended to pay homage and allow the payment of the mite to the neighboring suzerain abbey on which the clergy depended.

The military escort which accompanied them was intended to enhance its splendor but also to protect the pilgrims against the gangs of thugs who were roaming our region at that time. These special companies of archers and crossbowmen called "oaths" were the ancestors of the walkers.

 

It was during the 18th century that a major crisis struck our Marches because more and more these ceremonies became a pretext for having fun and making fun of religion, which did not please the clergy who banned these demonstrations.

Customs resumed in 1802 after the concordat signed between Napoleon I and Pope Pius VII. It was at this time that the Marches took on new development and became military escorts.

Regarding the costumes adopted in our demonstrations today, they are from the first and second empire. On this subject, it is certain that we first marched in the first empire because many cast-offs from Napoleon's army were available in our regions. As these uniforms deteriorated, our Walkers adopted the military costumes of the era which immediately followed, that is to say the uniforms we call the Second Empire.

Although the religious aspect does not seem predominant, it is still a religious procession with the release of the reliquary and patron saints, blessings, mass, etc.

One of the strongest moments of Saint Hubert’s Day is the famous square battalion. A solemn moment, full of tradition and with a codified and immutable sequence. It begins with a review of the troops, followed by discharges and rolling fire.

Les Marches Folkloriques de l'Entre-Sambre-et-Meuse trouvent leurs origines dans les processions de croix banales du moyen-âge. Celles-ci avaient lieu dans l'octave de la Pentecôte et étaient destinées à rendre hommage et à permettre de verser l'obole à l'abbaye suzeraine voisine dont dépendait le clergé.

L'escorte militaire qui les accompagnait avait pour but d'en rehausser l'éclat mais aussi de préserver les pèlerins contre les bandes de malfrats qui rôdaient à cette époque dans nos contrées. Ces compagnies spéciales d'archers et arbalétriers que l'on appelait "serments" furent les ancêtres des marcheurs.

 

C'est dans le courant du XVIII siècle qu'une crise importante frappa nos Marches car de plus en plus ces cérémonies devenaient un prétexte pour s'amuser et tourner le religieux en dérision, ce qui ne plut pas au clergé qui interdit ces manifestations.

Les coutumes reprendront en 1802 après le concordat signé entre Napoléon Ier et le Pape Pie VII. C'est à ce moment que les Marches prirent un nouvel essor et devinrent des escortes militaires.

En ce qui concerne les costumes adoptés dans nos manifestations aujourd'hui, ils sont du premier et du second empire. A ce sujet, il est certain que l'on a d'abord marché en premier empire car de nombreuses défroques de l'armée de Napoléon étaient disponibles dans nos régions. Ces uniformes se dégradant, nos Marcheurs ont adoptés les costumes militaires de l'époque qui a immédiatement suivi, c'est-à-dire les uniformes que l'on appelle du second empire.

Bien que l’aspect religieux ne semble pas prépondérant, il s’agit quand même d’une procession religieuse avec sortie de la châsse et des saints patrons, bénédictions, messe, …

  

The Folk Marches of Entre-Sambre-et-Meuse find their origins in the banal cross processions of the Middle Ages. These took place in the octave of Pentecost and were intended to pay homage and allow the payment of the mite to the neighboring suzerain abbey on which the clergy depended.

The military escort which accompanied them was intended to enhance its splendor but also to protect the pilgrims against the gangs of thugs who were roaming our region at that time. These special companies of archers and crossbowmen called "oaths" were the ancestors of the walkers.

 

It was during the 18th century that a major crisis struck our Marches because more and more these ceremonies became a pretext for having fun and making fun of religion, which did not please the clergy who banned these demonstrations.

Customs resumed in 1802 after the concordat signed between Napoleon I and Pope Pius VII. It was at this time that the Marches took on new development and became military escorts.

Regarding the costumes adopted in our demonstrations today, they are from the first and second empire. On this subject, it is certain that we first marched in the first empire because many cast-offs from Napoleon's army were available in our regions. As these uniforms deteriorated, our Walkers adopted the military costumes of the era which immediately followed, that is to say the uniforms we call the Second Empire.

Although the religious aspect does not seem predominant, it is still a religious procession with the release of the reliquary and patron saints, blessings, mass, etc.

 

"Octave Thanet" was the masculine pen name of Alice French, who was famous a hundred and twenty-five years ago for her socially perceptive fiction. She and her partner, Jane Allen Crawford, hosted the literary and artistic life of Eastern Iowa at their home in Davenport. Ever expansive, French became fascinated with the art, techniques, and chemistry of photography. She set up a darkroom in her home and went on several photo expeditions. "An adventure in photography" is a travelogue as well as a manual, including darkroom formulae, advice on framing and shooting photographs, and copious reproductions of her own photos and Jane's. The Alice French house in Davenport is now landmarked on the National Register of Historic Places

52-0898 Boeing C-97G Stratofreighter Preserved at museum entrance. Aircraft was destined for break up after the closure of the museum. Octave Chanute Air Museum 20th July 2012

Shikra, Chamundi Hills, Mysore, Karnataka, INDIA

Dutch collectors card.

 

English film and stage actress, singer, and author Julie Andrews (1935) was a former child actress and singer who rose to prominence starring in such stage musicals as 'My Fair Lady' and 'Camelot'. She is best known for her roles in the films Mary Poppins (1964) and The Sound of Music (1965). Her voice spanned four octaves until it was damaged by a throat operation in 1997. In the 2000s she had a major revival of her film career in family films such as The Princess Diaries (2001) and the Shrek animated films (2004–2010).

 

Julie Andrews was born Julia Elizabeth Wells in Walton-on-Thames, England, in 1935. Her mother, music hall performer Barbara Wells (née Morris), was married to Edward C. ‘Ted’ Wells, a teacher of metal and woodworking, but Andrews was conceived as a result of an affair her mother had with a family friend. With the outbreak of World War II, Barbara and Ted Wells went their separate ways. Ted Wells assisted with evacuating children to Surrey during the Blitz, while Barbara joined Ted Andrews in entertaining the troops through the good offices of the Entertainments National Service Association (ENSA). Barbara and Ted Wells were soon divorced. Barbara remarried to Ted Andrews in 1939. Julie had lessons at the Cone-Ripman School, an independent arts educational school in London, and then with the famous concert soprano and voice instructor Lilian Stiles-Allen. She continued her academic education at the Woodbrook School, a local state school in Beckenham. Julie performed spontaneously and unbilled on stage with her parents for about two years beginning in 1945. She got her big break when her stepfather introduced her to Val Parnell, whose Moss Empires controlled prominent venues in London. Andrews made her professional solo debut at the London Hippodrome singing the difficult aria Je Suis Titania from Mignon as part of a musical revue called Starlight Roof in 1947. She played the Hippodrome for one year. In 1948 she became the youngest solo performer ever to be seen in a Royal Command Variety Performance. Julie followed her parents into radio and television and reportedly made her television debut on the BBC program RadiOlympia Showtime in 1949. She garnered considerable fame throughout the United Kingdom for her work on the BBC radio comedy show Educating Archie (1950- 1952). In 1954 on the eve of her 19th birthday, Julie Andrews made her Broadway debut portraying Polly Browne in the already highly successful London musical The Boy Friend. To the critics, Andrews was the stand-out performer in the show. In November 1955 Andrews was signed to appear with Bing Crosby in what is regarded as the first made-for-television movie, High Tor.

 

In 1956 Julie Andrews appeared in the Frederick Loewe and Alan Jay Lerner musical My Fair Lady as Eliza Doolittle to Rex Harrison's Henry Higgins. Richard Rodgers was so impressed with her talent that concurrent with her run in My Fair Lady she was featured in the Rodgers and Hammerstein television musical, Cinderella (Ralph Nelson, 1957). Cinderella was broadcast live and attracted an estimated 107 million viewers. She married set designer Tony Walton in 1959 in Weybridge, Surrey. They had first met in 1948 when Andrews was appearing at the London Casino in the show Humpty Dumpty. The couple filed for a divorce in 1967. In 1960 Lerner and Loewe again cast her in a period musical as Queen Guinevere in Camelot, with Richard Burton. However, movie studio head Jack Warner decided Andrews lacked sufficient name recognition for her casting in the film version of My Fair Lady; Eliza was played by the established film actress Audrey Hepburn instead. As Warner later recalled, the decision was easy, "In my business, I have to know who brings people and their money to a movie theatre box office. Audrey Hepburn had never made a financial flop." Andrews played the title role in Disney's Mary Poppins (Robert Stevenson, 1964), a lavish musical fantasy that combined live-action and animation. Walt Disney had seen a performance of Camelot and thought Andrews would be perfect for the role of the British nanny who is "practically perfect in every way!" Andrews initially declined because of pregnancy, but Disney politely insisted. Andrews and her husband headed back to the United Kingdom in 1962 for the birth of daughter Emma Katherine Walton. As a result of her performance in Mary Poppins, Andrews won the 1964 Academy Award for Best Actress and the 1965 Golden Globe Award. She and her Mary Poppins co-stars also won the 1965 Grammy Award for Best Album for Children. As a measure of ‘sweet revenge’, as Poppins songwriter Richard M. Sherman put it, Andrews closed her acceptance speech at the Golden Globes by saying, "And, finally, my thanks to a man who made a wonderful movie and who made all this possible in the first place, Mr. Jack Warner." Next, she appeared opposite James Garner in The Americanization of Emily (Arthur Hiller, 1964), which she has described as her favourite film.

 

Now, Julie Andrews was a real star, and it was her star power that helped make her third film, The Sound of Music (Robert Wise, 1965), the highest-grossing movie of its day and one of the highest-grossing of all time. For her role as Maria von Trapp, she won her second Golden Globe Award in 1966 and was nominated for the 1965 Academy Award. After completing The Sound Of Music, Andrews appeared as a guest star on the NBC-TV variety series The Andy Williams Show, which gained her an Emmy nomination. She followed this with an Emmy Award-winning colour special, The Julie Andrews Show in 1965. By the end of 1967, Andrews had appeared in the television special Cinderella; the biggest Broadway musical of its time, My Fair Lady; the largest-selling long-playing album, the original cast recording of My Fair Lady; the biggest hit in Disney's history, Mary Poppins; the highest grossing movie of 1966, Hawaii (George Roy Hill, 1966); the biggest and second biggest hits in Universal's history, Thoroughly Modern Millie (George Roy Hill, 1967) and Torn Curtain (Alfred Hitchcock, 1967); and the biggest hit in 20th Century Fox's history The Sound of Music. Then Andrews appeared in Star! (Robert Wise, 1968), a biopic of Gertrude Lawrence, and Darling Lili (Blake Edwards, 1970), co-starring Rock Hudson, but both bombed at the box office. The problem was that audiences identified her with singing, sugary-sweet nannies and governesses, and could not accept her in dramatic roles. She married Blake Edwards in 1969. They adopted two children from Vietnam: Amy in 1974 and Joanna in 1975. She continued working in television. In 1969 she shared the spotlight with singer Harry Belafonte for an NBC-TV special, An Evening with Julie Andrews and Harry Belafonte. In 1971 she appeared as a guest for the Grand Opening Special of Walt Disney World, and that same year she and Carol Burnett headlined a CBS special, Julie and Carol At Lincoln Center. In 1972–1973, Andrews starred in her own television variety series, The Julie Andrews Hour, on the ABC network. The show won seven Emmy Awards but was cancelled after one season. Between 1973 and 1975, Andrews continued her association with ABC by headlining five variety specials for the network. She guest-starred on The Muppet Show in 1977 and appeared again with the Muppets on a CBS-TV special, Julie Andrews: One Step Into Spring, which aired in 1978. Then, she made a comeback in the cinema with an appearance in 10 (1979), directed by her husband Blake Edwards. He helped to keep her on the rise by directing her to subsequent roles that were entirely different from anything she had been in before. There was the film star Sally Miles who bared her breasts on-screen in S.O.B. (1981), and the woman (Victoria Grant) playing a man (Count Victor Grezhinski) playing a woman in Victor Victoria (1982). On IMDb Tommy Peter writes: “The sheer novelty of seeing Julie Andrews in these roles, not to mention her brilliant performances in both of them, undoubtedly helped make them successes”. Her roles in Victor/Victoria earned Andrews the 1983 Golden Globe Award for Best Actress, as well as a nomination for the 1982 Academy Award for Best Actress, her third Oscar nomination. In 1987 Andrews starred in an ABC Christmas special, Julie Andrews: The Sound Of Christmas, which went on to win five Emmy Awards. Two years later she was reunited for the third time with Carol Burnett for a variety special which aired on ABC in 1989.

 

In 1991 Julie Andrews made her television dramatic debut in the ABC made-for-TV movie, Our Sons (John Erman, 1991), co-starring Ann-Margret. The following year she starred in her first television sitcom, Julie (1992), which co-starred James Farentino. In 1995 she starred in the stage musical version of Victor/Victoria, her first appearance in a Broadway show in 35 years. She was forced to quit the show towards the end of the Broadway run in 1997 when she developed vocal problems. She subsequently underwent surgery to remove non-cancerous nodules from her throat and was left unable to sing. In 1999 she was reunited with James Garner for the CBS made-for-TV movie, One Special Night (Roger Young, 1999). In the 2000 New Year's Honours, Andrews was made a Dame Commander of the Order of the British Empire (DBE). She had a career revival when she appeared in The Princess Diaries (Garry Marshall, 2001), her first Disney film since Mary Poppins (1964). She starred as Queen Clarisse Marie Renaldi and reprised the role in a sequel, The Princess Diaries 2: Royal Engagement (Garry Marshall, 2004). In The Princess Diaries 2, Andrews sang on film for the first time since having throat surgery. Andrews continued her association with Disney when she appeared as the nanny in two 2003 made-for-television movies based on the Eloise books, a series of children's books by Kay Thompson about a child who lives in the Plaza Hotel in New York City. The same year she made her debut as a theatre director, directing a revival of The Boy Friend, the musical in which she made her 1954 Broadway debut. In 2004 Andrews performed the voice of Queen Lillian in the animated blockbuster Shrek 2 (2004), reprising the role for its sequels, Shrek the Third (2007) and Shrek Forever After (2010). She narrated Enchanted (Kevin Lima, 2007), a live-action Disney musical comedy that both poked fun and paid homage to classic Disney films such as Mary Poppins. In 2007 Andrews was honoured with the Lifetime Achievement Award at the Screen Actors Guild's awards and stated that her goals included continuing to direct for the stage and possibly to produce her own Broadway musical. She published Home: A Memoir of My Early Years (2008), which she characterised as "part one" of her autobiography. Home chronicles her early years in UK's music hall circuit and ends in 1962 with her winning the role of Mary Poppins. For a Walt Disney video release, she again portrayed Mary Poppins and narrated the story of The Cat That Looked at a King in 2004. In 2010, Andrews made her London come-back after a 21-year absence (her last performance there was a Christmas concert at the Royal Festival Hall in 1989). Julie Andrews has long had something of a dual image, being both a family-friendly star and an icon for gays and lesbians. Andrews herself has acknowledged her strange status, commenting that "I'm that odd mixture of, on the one hand, being a gay icon and, on the other, having grandmas and parents grateful I'm around to be a babysitter for their kids."

 

Sources: Tommy Peter (IMDb), Wikipedia, and IMDb.

 

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

Picacho, AZ.

 

Hasselblad 503cw. Fujichrome 64T Type II (expired 02/07). Cross Processed.

 

an outing with whickus

  

REFORD GARDENS | LES JARDINS DE METIS

  

Beautiful flowers at Reford Gardens.

  

Mrs Elsie Reford loved visiting that village (Saint Octave de Metis) close to Reford Gardens.

  

Reference: Elsie's Paradise, The Reford Gardens, Alexander Reford, 2004, ISBN 2-7619-1921-1, That book is a must for Reford Gardens lovers!

  

''Elsie often ventured into the back country near the gardens, admiring the hilly country behind the village of St. Octave.'' (page 99)

  

''One thing I can do that no one else can is to pass the love that I feel for this place and this woman'' Alexander Reford

  

Visit : www.refordgardens.com/

  

From Wikipedia:

  

Elsie Stephen Meighen - born January 22, 1872, Perth, Ontario - and Robert Wilson Reford - born in 1867, Montreal - got married on June 12, 1894.

  

Elsie Reford was a pioneer of Canadian horticulture, creating one of the largest private gardens in Canada on her estate, Estevan Lodge in eastern Québec. Located in Grand-Métis on the south shore of the St. Lawrence River, her gardens have been open to the public since 1962 and operate under the name Les Jardins de Métis and Reford Gardens.

  

Born January 22, 1872 at Perth, Ontario, Elsie Reford was the eldest of three children born to Robert Meighen and Elsie Stephen. Coming from modest backgrounds themselves, Elsie’s parents ensured that their children received a good education. After being educated in Montreal, she was sent to finishing school in Dresden and Paris, returning to Montreal fluent in both German and French, and ready to take her place in society.

  

She married Robert Wilson Reford on June 12, 1894. She gave birth to two sons, Bruce in 1895 and Eric in 1900. Robert and Elsie Reford were, by many accounts, an ideal couple. In 1902, they built a house on Drummond Street in Montreal. They both loved the outdoors and they spend several weeks a year in a log cabin they built at Lac Caribou, south of Rimouski. In the autumn they hunted for caribou, deer, and ducks. They returned in winter to ski and snowshoe. Elsie Reford also liked to ride. She had learned as a girl and spent many hours riding on the slopes of Mount Royal. And of course, there was salmon-fishing – a sport at which she excelled.

  

In her day, she was known for her civic, social, and political activism. She was engaged in philanthropic activities, particularly for the Montreal Maternity Hospital and she was also the moving force behind the creation of the Women’s Canadian Club of Montreal, the first women club in Canada. She believed it important that the women become involved in debates over the great issues of the day, « something beyond the local gossip of the hour ». Her acquaintance with Lord Grey, the Governor-General of Canada from 1904 to 1911, led to her involvement in organizing, in 1908, Québec City’s tercentennial celebrations. The event was one of many to which she devoted herself in building bridges with French-Canadian community.

  

During the First World War, she joined her two sons in England and did volunteer work at the War Office, translating documents from German into English. After the war, she was active in the Victorian Order of Nurses, the Montreal Council of Social Agencies, and the National Association of Conservative Women.

  

In 1925 at the age of 53 years, Elsie Reford was operated for appendicitis and during her convalescence, her doctor counselled against fishing, fearing that she did not have the strength to return to the river.”Why not take up gardening?” he said, thinking this a more suitable pastime for a convalescent woman of a certain age. That is why she began laying out the gardens and supervising their construction. The gardens would take ten years to build, and would extend over more than twenty acres.

  

Elsie Reford had to overcome many difficulties in bringing her garden to life. First among them were the allergies that sometimes left her bedridden for days on end. The second obstacle was the property itself. Estevan was first and foremost a fishing lodge. The site was chosen because of its proximity to a salmon river and its dramatic views – not for the quality of the soil.

  

To counter-act nature’s deficiencies, she created soil for each of the plants she had selected, bringing peat and sand from nearby farms. This exchange was fortuitous to the local farmers, suffering through the Great Depression. Then, as now, the gardens provided much-needed work to an area with high unemployment. Elsie Reford’s genius as a gardener was born of the knowledge she developed of the needs of plants. Over the course of her long life, she became an expert plantsman. By the end of her life, Elsie Reford was able to counsel other gardeners, writing in the journals of the Royal Horticultural Society and the North American Lily Society. Elsie Reford was not a landscape architect and had no training of any kind as a garden designer. While she collected and appreciated art, she claimed no talents as an artist.

  

Elsie Stephen Reford died at her Drummond Street home on November 8, 1967 in her ninety-sixth year.

  

In 1995, the Reford Gardens ("Jardins de Métis") in Grand-Métis were designated a National Historic Site of Canada, as being an excellent Canadian example of the English-inspired garden.(Wikipedia)

  

Visit : en.wikipedia.org/wiki/Elsie_Reford

  

LES JARDINS DE MÉTIS

  

Créés par Elsie Reford de 1926 à 1958, ces jardins témoignent de façon remarquable de l’art paysager à l’anglaise. Disposés dans un cadre naturel, un ensemble de jardins exhibent fleurs vivaces, arbres et arbustes. Le jardin des pommetiers, les rocailles et l’Allée royale évoquent l’œuvre de cette dame passionnée d’horticulture. Agrémenté d’un ruisseau et de sentiers sinueux, ce site jouit d’un microclimat favorable à la croissance d’espèces uniques au Canada. Les pavots bleus et les lis, privilégiés par Mme Reford, y fleurissent toujours et contribuent , avec d’autres plantes exotiques et indigènes, à l’harmonie de ces lieux.

  

Created by Elsie Reford between 1926 and 1958, these gardens are an inspired example of the English art of the garden. Woven into a natural setting, a series of gardens display perennials, trees and shrubs. A crab-apple orchard, a rock garden, and the Long Walk are also the legacy of this dedicated horticulturist. A microclimate favours the growth of species found nowhere else in Canada, while the stream and winding paths add to the charm. Elsie Reford’s beloved blue poppies and lilies still bloom and contribute, with other exotic and indigenous plants, to the harmony of the site.

  

Commission des lieux et monuments historiques du Canada

 

Historic Sites and Monuments Board of Canada.

 

Gouvernement du Canada – Government of Canada

  

© Copyright

 

This photo and all those in my Photostream are protected by copyright. No one may reproduce, copy, transmit or manipulate them without my written permission.

 

Luxembourg, April 2009.

Maker: Maximilien Octave Leconte-Lorot (1867 -

Born: France

Active: France

Medium: gelatin silver print

Size: 9 7/8 in x 6 1/2 in

Location:

 

Object No. 2021.720

Shelf: B-38

 

Publication:

 

Other Collections:

 

Provenance:

 

Notes: The son of a winegrower who would later become a gardener, Maximilien Octave Leconte was born on December 12, 1867 in Saint-Jean-le-Blanc (Loiret). In 1887, when he appeared before the review board, he was a photographer living in Orléans (Loiret). On February 3, 1891, he married Georgette Héliade Lorot, seamstress and daughter of an organ builder. He signed his photos Lecomte then Leconte-Lorot. After his marriage, he lived with his in-laws at 56, rue Saint-Marceau at least until January 1893; then at 72 bis on the same street. In 1901, he was listed at 12, rue Dauphine and then at 24 of the same street in 1906. It is not known until when he was active in Orléans.

 

To view our archive organized by themes and subjects, visit: OUR COLLECTIONS

 

For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE

2020

North American P-51H Mustang

USAAF

Octave Chanute Air Museum

Rantoul,IL 12/6/2014

Marked as 44-64195 flown by Claude J. Crenshaw with the 82nd Fighter Group. Aircraft is named "Louisiana Heatwave"

Nice view of the engine which is the V12 Packard-Merlin V-1650-9.

The museum shut it's doors on the 30th December 2015 due to financial issues.

The circle completes a full octave, from D to D like the Yin and the Yang. The dynamics of light and darkness describe the vibrational world of color and sound.

This is a cross-shaped photograph of the holy Monastery of “Theotokos PROUSSIOTISSA” (aka ‘Panagia Proussiotissa’) at Proussos, Evrytania, Greece. The monastery celebrates on August 23, i.e. on the ‘Apodosis’ (aka Octave or giving-back or afterfeast) of the Dormition of Theotokos (the Blessed Virgin Mary).

 

Ἀπολυτίκιον:

 

Τῆς Ἑλλάδος ἁπάσης

Σὺ προΐστασαι πρόμαχος

καὶ τερατουργὸς ἐξαισίων

τῇ ἐκ Προύσσης εἰκόνι Σου,

Πανάχραντε Παρθένε Μαριάμ,

καὶ γὰρ φωτίζεις ἐν τάχει τοὺς τυφλοὺς

δεινούς τε ἀπελαύνεις δαίμονας·

καὶ παραλύτους δὲ συσφίγγεις, Ἀγαθή,

κρημνῶν τε σώζεις καὶ πάσης

βλάβης τοὺς Σοὶ προστρέχοντας.

Δόξα τῷ Σῷ ἀσπόρῳ τοκετῷ,

δόξα τῷ Σὲ θαυμαστώσαντι,

δόξα τῷ ἐνεργοῦντι διὰ Σοῦ

τοιαῦτα τέρατα.

 

Not exactly what I was going for technically but I decided to keep it anyway.