Offered to the City of Geneva by 'Trade Development Bank'.

 

Bronze Sculpture

Genève ⇀ Quai du Général Guisan

The Cadillac Eldorado is a personal luxury car that was manufactured and marketed by Cadillac from 1953 to 2002 over ten generations. Competitors and similar vehicles included the Lincoln Mark series, Buick Riviera, Oldsmobile Toronado and Chrysler's Imperial Coupe.

 

The Eldorado was at or near the top of the Cadillac line during early model years. The original 1953 Eldorado convertible and the Eldorado Brougham models of 1957–1960 were the most expensive models that Cadillac offered those years, and the Eldorado was never less than second in price after the Cadillac Series 75 until 1966. Eldorados carried the Fleetwood designation from 1965 through 1972.

 

NAME

The nameplate Eldorado is a contraction of two Spanish words that translate as "the gilded (i.e., golden) one" — and also refers to El Dorado, the mythical South American "Lost City of Gold" that fascinated Spanish explorers.

 

Chosen in an internal competition for a 1952 concept vehicle celebrating the company's golden anniversary, the name Eldorado was proposed by Mary-Ann Marini (née Zukosky), a secretary in Cadillac's merchandising department — and was subsequently adopted for a limited-edition convertible for model year 1953.

 

Palm Springs Life magazine incorrectly attributes the name to the Eldorado Country Club in Indian Wells, California, a favorite resort of General Motors executives in the Coachella Valley — though the resort opened in 1957, five years after Cadillac's own naming competition.

 

Cadillac began using the nameplates 'Eldorado Seville' and 'Eldorado Biarritz' to distinguish between the hardtop and convertible models (respectively) while both were offered, from 1956 through 1960 inclusively. The 'Seville' name was dropped when the hardtop was initially discontinued (1961), but the Biarritz name continued through 1964. Beginning 1965, the Eldorado became the 'Fleetwood Eldorado'. 'Biarritz' returned as an up level trim package for the Eldorado for 1977.

 

FIRST GENERATION (1953)

The Cadillac Series 62 Eldorado joined the Oldsmobile 98 Fiesta and Buick Roadmaster Skylark as top-of-the-line, limited-production specialty convertibles introduced in 1953 by General Motors to promote its design leadership. A special-bodied, low-production convertible (532 units in total), it was the production version of the 1952 El Dorado "Golden Anniversary" concept car. Along with borrowing bumper bullets (aka dagmars) from the 1951 GM Le Sabre show car, it featured a full assortment of deluxe accessories and introduced the wraparound windshield and a cut-down beltline to Cadillac standard production.

 

The expansive frontal glass and distinctive dip in the sheetmetal at the bottom of the side windows (featured on one or both of GM's other 1953 specialty convertibles) were especially beloved by General Motors' styling chief Harley Earl and subsequently widely copied by other marques. Available in four unique colors (Aztec red, Alpine white, azure blue and artisan ochre — the last is a yellow hue, although it was shown erroneously as black in the color folder issued on this rare model). Convertible tops were available in either black or white Orlon. AC was an option, as were wire wheels. The car carried no special badging other than a gold-colored "Eldorado" nameplate in the center of the dash. A hard tonneau cover, flush with the rear deck, hid the convertible top in the open car version.

 

Although technically a subseries of the Cadillac Series 62 based on the regular Series 62 convertible, sharing its engine, it was nearly twice as expensive at US$7,750. The 5,610 mm long, 2,030 mm wide vehicle came with such standard features as windshield washers, a signal seeking radio, power windows, and a heater. The Eldorado comprised only 5% of Cadillac's sales in 1953.

 

SECOND GENERATION (1954–1956)

In 1954, Eldorado lost its unique sheet metal and shared its basic body shell with standard Cadillacs. Distinguished now mainly by trim pieces, this allowed GM to lower the price and see a substantial increase in sales. The Eldorados had golden identifying crests centered directly behind the air-slot fenderbreaks and wide fluted beauty panels to decorate the lower rear bodysides. These panels were made of extruded aluminum and also appeared on a unique one of a kind Eldorado coupé built for the Reynolds Aluminum Corporation. Also included in the production Eldorado convertible were monogram plates on the doors, wire wheels, and custom interior trimmings with the Cadillac crest embossed on the seat bolsters. Two thousand one hundred and fifty Eldorados were sold, nearly four times as many as in 1953.

 

For 1955, the Eldorado's body gained its own rear end styling with high, slender, pointed tailfins. These contrasted with the rather thick, bulbous fins which were common at the time and were an example of the Eldorado once again pointing the way forward. The Eldorado sport convertible featured extras such as wide chrome body belt moldings and twin round taillights halfway up the fenders. Sales nearly doubled to 3,950.

 

For 1956, a two-door hardtop coupé version appeared, called the Eldorado Seville at which point the convertible was named the "Eldorado Biarritz". An Eldorado script finally appeared with fender crest on the car which was further distinguished by twin hood ornaments. An extra feature on the Eldorado convertible was a ribbed chrome saddle molding extending from the windshield to the rear window pillar along the beltline. With the addition of the Seville, sales rose yet again to 6,050 of which 2,150 were Sevilles. Eldorados accounted for nearly 4% of all Cadillacs sold.

 

THIRD GENERATION (1957-1960)

1957 saw the Eldorado (in both convertible and Seville hardtop bodystyles) with a revised rear-end design featuring a low, downswept fenderline capped by a pointed, in-board fin. The rear fenders were commonly referred to as "chipmunk cheeks". This concept was used for two years, but did not spawn any imitators. Series 62 Eldorados (as distinct from the Series 70 Eldorado Brougham) were further distinguished by the model name above a V-shaped rear deck ornament and on the front fenders. The rear fender and deck contour was trimmed with broad, sculptured stainless steel beauty panels. Also seen were "shark" style fins pointing towards the back of the cars. A three section built in front bumper was another exclusive trait of the Series 62 Eldorados, which came with a long list of standard features. Four specially-built 4-door hardtop Eldorado Sedan Sevilles were also built in 1957.

 

1957 was chiefly notable for the introduction of one of GM's most memorable designs, the Series 70 Eldorado Brougham. Announced in December 1956 and released around March 1957, the Eldorado Brougham was a hand-built, limited car derived from the Park Avenue and Orleans show cars of 1953-54. Designed by Ed Glowacke, it featured the first appearance of quad headlights and totally unique trim. The exterior ornamentation included wide, ribbed lower rear quarter beauty panels extending along the rocker sills and rectangularly sculptured side body "cove" highlighted with five horizontal windsplits on the rear doors. Tail styling treatments followed the Eldorado pattern. This four-door hardtop with rear-hinged rear doors was an ultra-luxury car that cost an astonishing $13,074 — twice the price of any other 1957 Eldorado and more than the Rolls-Royce Silver Cloud of the same year. It featured a stainless steel roof, self leveling air suspension, the first automatic two-position "memory" power seats, a dual four-barrel V-8, low-profile tires with thin white-walls, automatic trunk opener, cruise control, high-pressure cooling system, polarized sun visors, electric antenna, automatic-release parking brake, electric door locks, dual heating system, silver magnetized glovebox, drink tumblers, cigarette and tissue dispensers, lipstick and cologne, ladies' compact with powder puff, mirror and matching leather notebook, comb and mirror, Arpège atomizer with Lanvin perfume, automatic starter with restart function, Autronic Eye, drum-type electric clock, power windows, forged aluminum wheels and air conditioning. Buyers of Broughams had a choice of 44 full-leather interior and trim combinations and could select such items as Mouton, Karakul or lambskin carpeting.

 

There were serious difficulties with the air suspension, which proved troublesome in practice. Some owners found it cheaper to have it replaced with conventional coil springs.

 

The 1957 Eldorado Brougham joined the Sixty Special and the Series 75 as the only Cadillac models with Fleetwood bodies although Fleetwood script or crests did not appear anywhere on the exterior of the car, and so this would also mark the first time in 20 years that a Fleetwood-bodied car was paired with the Brougham name. The 1957-58 Eldorado Brougham also marked the return of the Cadillac Series 70, if only briefly. Only 400 Eldorado Broughams were sold in 1957.

 

An all-transistor signal-seeking car radio was produced by GM's Delco Radio and was first available for the 1957 Eldorado Brougham models, which was standard equipment and used 13 transistors in its circuitry.

 

For 1958, GM was promoting their fiftieth year of production, and introduced Anniversary models for each brand; Cadillac, Buick, Oldsmobile, Pontiac, and Chevrolet. The 1958 models shared a common appearance on the top models for each brand; Cadillac Eldorado Seville, Buick Roadmaster Riviera, Oldsmobile Holiday 88, Pontiac Bonneville Catalina, and the all-new Chevrolet Bel-Air Impala.

 

On 1958 2-door Eldorados, a V-shaped ornament and model identification script were mounted to the deck lid. Two-door Eldorados also had ten vertical chevron slashes ahead of the open rear wheel housings and crest medallions on the flank of the tailfins. Broad, sculptured beauty panels decorated the lower rear quarters on all Series 62 Eldorados and extended around the wheel opening to stretch along the body sills. All-new was a special-order Series 62 Eldorado Seville, of which only one was actually built.

 

The major changes to the Eldorado Brougham in 1958 were seen inside the car. The interior upper door panels were finished in leather instead of the metal finish used in 1957. New wheel covers also appeared. Forty-four trim combinations were available, along with 15 special monotone paint colors. A total of 304 Eldorado Broughams were sold in 1958. 1958 was the last year for the domestic production of the handbuilt Brougham at Cadillac's Detroit factory, as future manufacturing of the special bodies was transferred to Pininfarina of Turin, Italy.

 

The 1959 Cadillac is remembered for its huge sharp tailfins with dual bullet tail lights, two distinctive rooflines and roof pillar configurations, new jewel-like grille patterns and matching deck lid beauty panels. In 1959 the Series 62 became the Series 6200. De Villes and 2-door Eldorados were moved from the Series 62 to their own series, the Series 6300 and Series 6400 respectively, though they all, including the 4-door Eldorado Brougham (which was moved from the Series 70 to Series 6900), shared the same 3,302 mm wheelbase. New mechanical items were a "scientifically engineered" drainage system and new shock absorbers. All Eldorados were characterized by a three-deck, jeweled, rear grille insert, but other trim and equipment features varied. The Seville and Biarritz models had the Eldorado name spelled out behind the front wheel opening and featured broad, full-length body sill highlights that curved over the rear fender profile and back along the upper beltline region. Engine output was an even 345 hp (257 kW) from the 6.4 L engine. Standard equipment included power brakes, power steering, automatic transmission, back-up lamps, windshield wipers, two-speed wipers, wheel discs, outside rearview mirror, vanity mirror, oil filter, power windows, six way power seats, heater, fog lamps, remote control deck lid, radio and antenna with rear speaker, power vent windows, air suspension, electric door locks and license frames. The Eldorado Brougham also came with Air conditioning, automatic headlight dimmer, acruise control standard over the Seville and Biarritz trim lines.

 

The 1960 Cadillacs had smoother, more restrained styling. General changes included a full-width grille, the elimination of pointed front bumper guards, increased restraint in the application of chrome trim, lower tailfins with oval shaped nacelles and front fender mounted directional indicator lamps. External variations on the Seville two-door hardtop and Biarritz convertible took the form of bright body sill highlights that extended across the lower edge of fender skirts and Eldorado lettering on the sides of the front fenders, just behind the headlamps. Standard equipment included power brakes, power steering, automatic transmission, dual back-up lamps, windshield wipers, two-speed wipers, wheel discs, outside rearview mirror, vanity mirror, oil filter, power windows, six-way power seats, heater, fog lamps, Eldorado engine, remote control trunk lock, radio with antenna and rear speaker, power vent windows, air suspension, electric door locks, license frames, and five whitewall tires. Technical highlights were finned rear drums and an X-frame construction. Interiors were done in Chadwick cloth or optional Cambray cloth and leather combinations. The last Eldorado Seville was built in 1960.

 

A different Eldorado Brougham was sold for 1959 and 1960. These cars were not quite so extravagantly styled but were very unusual pieces in themselves. Priced at $13,075, they cost $1 more, each, than their older siblings. The company contracted out the assembly to Pininfarina of Italy, with whom the division has had a long-running relationship, and these Eldorados were essentially hand-built in Italy. Ironically only now did it acquire Fleetwood wheel discs and doorsill moldings, presumably because the design work and final touches were still being done by Fleetwood. Discreet, narrow taillights integrated into modest tailfins, and a squared-off rear roof line with rear ventiplanes caused the Italian-built Brougham to contrast sharply to the rounded roof lines, and especially the new "rocketship" taillights and flamboyant fins of the standard 1959 Cadillacs, which are a feature only of that year. A vertical crest medallion with Brougham script plate appeared on the front fenders and a single, thin molding ran from the front to rear along the mid-sides of the body. It did not sport Eldorado front fender letters or body sill headlights. A fin-like crest, or "skeg," ran from behind the front wheel opening to the rear of the car on the lower bodysides and there were special crest medallions on the trailing edge of the rear fenders. The Brougham's styling cues would prove to indicate where standard Cadillac styling would head from 1960 through the early-mid-1960s. The standard equipment list was pared down to match those of other Eldorados, plus Cruise Control, Autronic Eye, air conditioning and E-Z Eye glass. The Brougham build-quality was not nearly to the standard of the Detroit hand-built 1957–1958 models, and thus the 1959–1960 Broughams did not sell as well as their forebears. However, collector interest and values for these cars remain high. The Eldorado Brougham was moved to its own unique Series 6900 for its remaining two years.

 

The 1960 Cadillac Eldorado Biarritz 6467E is featured as Maurice Minnifield's vehicle in the 1990s television series Northern Exposure.

 

FOURTH GENERATION (1961–1964)

Cadillac was restyled and re-engineered for 1961. The Eldorado Biarritz convertible was technically reclassified as a subseries of the De Ville (Series 6300), a status it would keep through 1964. An Eldorado convertible would remain in the Cadillac line through 1966, but its differences from the rest of the line would be generally more modest. The new grille slanted back towards both the bumper and the hood lip, along the horizontal plan, and sat between dual headlamps. New forward slanting front pillars with non-wraparound windshield glass were seen. The Eldorado Biarritz featured front series designation scripts and a lower body "skeg" trimmed with a thin three quarter length spear molding running from behind the front wheel opening to the rear of the car. Standard equipment included power brakes, power steering, automatic transmission, dual back up lights, windshield washer, dual speed wipers, wheel discs, plain fender skirts, outside rearview mirror, vanity mirror, oil filter, power windows, 6-way power bench seat or bucket seats, power vent windows, whitewall tires, and remote control trunk lock. Rubberized front and rear coil springs replaced the trouble prone air suspension system. Four-barrel induction systems were now the sole power choice and dual exhaust were no longer available. With the Seville and Brougham gone sales fell to 1,450.

 

A mild face lift characterized Cadillac styling trends for 1962. A flatter grille with a thicker horizontal center bar and more delicate cross-hatched insert appeared. Ribbed chrome trim panel, seen ahead of the front wheel housings in 1961, were now replaced with cornering lamps and front fender model and series identification badges were eliminated. More massive front bumper end pieces appeared and housed rectangular parking lamps. At the rear tail lamps were now housed in vertical nacelles designed with an angled peak at the center. A vertically ribbed rear beauty panel appeared on the deck lid latch panel. Cadillac script also appeared on the lower left side of the radiator grille. Standard equipment included all of last year’s equipment plus remote controlled outside rearview mirror, heater and defroster and front cornering lamps. Cadillac refined the ride and quietness, with more insulation in the floor and behind the firewall.

 

In 1963 Eldorado Biarritz joined the Cadillac Sixty Special and the Cadillac Series 75 as the only Cadillac models with Fleetwood bodies and immediately acquired Fleetwood crests on its rear quarters[26] and Fleetwood rocker panel moldings. The 1963 Eldorado was also the first Fleetwood bodied convertible since the Cadillac Series 75 stopped offering four- and two-door convertible body styles and production of the Cadillac Series 90 (V16) ceased in 1941. In overall terms the 1963 Cadillac was essentially the same as the previous year. Exterior changes imparted a bolder and longer look. Hoods and deck lids were redesigned. The front fenders projected 4.625 inches further forward than in 1962 while the tailfins were trimmed down somewhat to provide a lower profile. Body side sculpturing was entirely eliminated. The slightly V-shaped radiator grille was taller and now incorporated outer extensions that swept below the flush-fender dual headlamps. Smaller circular front parking lamps were mounted in those extensions. The Eldorado also had a rectangular grid pattern rear decorative grille. A total of 143 options including bucket seats with wool, leather or nylon upholstery fabrics and wood veneer facings on dash, doors and seatbacks, set an all-time record for interior appointment choices. Standard equipment was the same as the previous year. The engine was entirely changed, though the displacement and output remained the same, 6.4 l and 325 hp (242 kW).

It was time for another facelift in 1964 and really a minor one. The main visual cue indicating an Eldorado Biarritz was simply the lack of fender skirts. New up front was a bi-angular grille that formed a V-shape along both its vertical and horizontal planes. The main horizontal grille bar was now carried around the body sides. Outer grille extension panels again housed the parking and cornering lamps. It was the 17th consecutive year for the Cadillac tailfins with a new fine-blade design carrying on the tradition. Performance improvements including a larger V8 engine were the dominant changes for the model run. Equipment features were same as in 1963 for the most part. Comfort Control, a completely automatic heating and air conditioning system controlled by a dial thermostat on the instrument panel, was introduced as an industry first. The engine was bumped to 7 l, with 340 hp (253.5 kW) available. Performance gains from the new engine showed best in the lower range, at 30 to 80 km/h traffic driving speeds. A new technical feature was the Turbo-Hydramatic transmission, also used in the De Ville and the Sixty Special.

 

FITH GENERATION (1965–1966)

The Eldorado became a Fleetwood sub-series in 1965, although there was strictly speaking no separate Fleetwood series at this time. It was consequently marketed as the Cadillac Fleetwood Eldorado, in a similar fashion to the Cadillac Fleetwood Series 75 and the Cadillac Fleetwood Sixty Special. The Biarritz nomenclature was finally dropped from sales literature, probably because there was no need to distinguish the convertible from the long absent Seville and Brougham. This was the last generation to be installed with rear wheel drive.

 

In 1966 changes included a somewhat coarser mesh for the radiator grille insert, which was now divided by a thick, bright metal horizontal center bar housing rectangular parking lamps at the outer ends. Separate rectangular side marker lamps replaced the integral grille extension designs. There was generally less chrome on all Cadillac models this year. Cadillac crests and V-shaped moldings, front and rear, were identifiers. Cadillac "firsts" this season included variable ratio steering and optional front seats with carbon cloth heating pads built into the cushions and seatbacks. Comfort and convenience innovations were headrests, reclining seats and an AM/FM stereo system. Automatic level control was available. Engineering improvements made to the perimeter frame increased ride and handling ease. Newly designed piston and oil rings and a new engine mounting system and patented quiet exhaust were used.

 

SIXTH GENERATION (1967–1970)

The Eldorado was radically redesigned in 1967 to capitalize on the burgeoning era's personal luxury car market. Promoted as a "personal" Cadillac, it shared the E-body with the second-generation Buick Riviera and the Oldsmobile Toronado, which had been introduced the previous year. To enhance its distinctiveness, Cadillac adopted the Toronado's front-wheel drive Unified Powerplant Package, adapted to a standard Cadillac 429 V8 coupled to a Turbo-Hydramatic 425 automatic transmission. Based on the Turbo-Hydramatic 400, the THM425 placed the torque converter next to the planetary gearbox, which it drove through a metal, motorcycle-style roller chain. Disc brakes were optional, and new standard safety equipment included an energy absorbing steering column and generously padded instrument panel. The Unified Powerplant Package was later shared with the GMC Motorhome starting in 1972.

 

The new Eldorado was a great departure from the previous generation, which had become little more than a dressed-up version of Cadillac's De Ville. Its crisp styling, initiated by GM styling chief Bill Mitchell, was distinctive and unique, more angular than the streamlined Riviera and Toronado. This was the only production Cadillac to be equipped with concealed headlights behind vacuum operated doors.

 

Performance was 0–60 mph (0–96 km/h) in less than nine seconds and a top speed of 120 mph (192 km/h). Roadability and handling were highly praised by contemporary reviews, and sales were excellent despite high list prices. Its sales of 17,930 units, nearly three times the previous Eldorado high, helped give Cadillac its best year ever.

 

In 1968, the Eldorado received Cadillac's new 375 hp (280 kW) (SAE gross) 7.7 L V8, and disc brakes became standard. Only slight exterior changes were made to comply with new federal safety legislation. Sales set another record at 24,528, with Eldorados accounting for nearly 11% of all Cadillacs sold.

 

In 1969 hidden headlamps were eliminated, and a halo vinyl roof was available as an option, joined later in the model year by a power sunroof.

 

In 1970 the Eldorado introduced the new 8.2 L V8 engine, the largest-ever production V8, rated SAE gross 400 hp (298 kW) and 550 lb·ft (746 N·m), which would remain exclusive until it became standard on all full size Cadillacs in the 1975 model year.

 

SEVENTH GENERATION (1971–1978)

The Eldorado underwent a substantial redesign in 1971, growing two inches in length but six in wheelbase. The result was a rounder, much heavier looking automobile, made even more rotund by the return of standard fender skirts. While Eldorado door glass remained frameless, the hardtop rear quarter windows were deleted, replaced by a fixed "opera window" in the widened "C" pillar. A convertible model rejoined the line-up. This 126.3-inch (3,210 mm) wheelbase version Eldorado would run through 1978, receiving facelifts in 1973 and 1975. Sales in 1971 set a new record at 27,368.

 

In 1972 sales rose to 40,074.

 

Performance was not competitive with contemporary premium personal luxury cars. However, none but the Lincoln were 6 passenger vehicles.

 

In 1973 the Eldorado was removed from the Fleetwood series and reestablished as its own series. The '73 models received a facelift featuring new front and rear bumpers, egg-crate grille, decklid, rear fenders and taillamps.

 

The Cadillac Eldorado was chosen as the pace car for the Indy 500 in 1973. Cadillac produced 566 of these special pace car convertibles. Thirty-three were used at the track during the race week, with the remainder distributed to U.S. Cadillac dealers one per dealership. Total sales soared to 51,451, over a sixth of all Cadillac sales.

 

1974 models featured a redesigned rear bumper, to meet the new 5 mile impact federal design regulation. Styling changes include horizontal taillamps, and a fine mesh grille. Inside, there was a new, redesigned instrument panel, marketed in sales literature as "space age" and shared with all 1974 Cadillacs.

 

For 1975, the Eldorado was given rectangular headlamps, full rear wheel openings sans fender skirts and crisper lines which resulted in a much sleeker appearance reminiscent of the 1967-70 models.

 

In 1976 GM heavily promoted the Eldorado convertibles as "the last American convertible". Some 14,000 would be sold, many purchased as investments. The final 200 were designated as "Bicentennial Edition" commemorating America's 200th birthday. These cars were white with a dual-color red/blue pinstripe along the upper bodyside. When GM reintroduced Eldorado convertibles for the 1984 model year, owners of 1976 Eldorados felt they had been deceived and launched an unsuccessful class action lawsuit.

 

In 1977 the Eldorado received a new grille with a finer crosshatch pattern. The convertible was dropped (although Custom Coach of Lima, Ohio converted a few new 1977 and 1978s Eldorados into coach convertibles using salvaged parts from earlier models). The 8.2L V8 of 1970-76 gave way to a new 7L V8 with 180 bhp (134 kW). For the first time in 1977 all GM E-body cars were front-wheel drive, as the Riviera underwent a two-year hiatus before joining them in 1979.

 

A new grille was the only major change in 1978. The Eldorado was totally redisigned for 1979.

 

ELDORADO BIARRITZ

Unlike the Cadillac Sixty Special and De Ville, Eldorado did not have a unique luxury package to provide it with a title change (such as the "d'Elegance" package). This was rectified in mid-year 1976 with the Biarritz package. A unique trim feature of Biarritz, a name that had not been used since the 1964 model year (although the Eldorado was Fleetwood bodied from the 1963 model year on, the Fleetwood designation was only applied to all Eldorados produced from the 1965 through 1972 model years) was a brushed stainless steel roof covering the front passenger compartment for model years 1979-1985. This was a styling cue reminiscent of the 1957/58 Eldorado Brougham. The rear half of the roof was covered with a heavily padded landau vinyl top accented with large "opera" lights. The interior featured "pillowed"-style, "tufted" velour or leather seating, with contrasting piping, along with an array of other options available.

 

The 1978 Biarritz option packages consisted of the Eldorado Custom Biarritz ($1,865.00); w/Astroroof ($2,946.00); w/Sunroof ($2,746.00) and Eldorado Custom Biarritz Classic ($2,466.00); w/Astroroof ($3,547.00); w/Sunroof ($3,347.00).

 

For the 1978 Eldorado model year only, 2,000 Eldorado Custom Biarritz Classics were produced in Two-Tone Arizona Beige/Demitasse Brown consisting of 1,499 with no Astroroofs or no Sunroofs; 475 with Astroroofs; 25 with Sunroofs and one (1) was produced with a Power Sliding T-Top. Only nine of the latter are known to have been retrofitted by the American Sunroof Company under the direction of General Motors' Cadillac Motor Division.

 

The Biarritz option stayed with the Eldorado through the 1991 model year. Some of the original styling cues vanished after the 1985 model year, such as the brushed stainless steel roofing and the interior seating designs, but the Biarritz remained unique just the same.

 

EIGHTH GENERATION (1979–1985)

A new, trimmer Eldorado was introduced for 1979, for the first time sharing its chassis with both the Buick Riviera and Oldsmobile Toronado. Smaller, more fuel efficient 350 and 368 in³ (5.7 and 6.0 L) V8's replaced the 500 and 425 in³ (8.2 and 7.0 L) engines. A diesel 350 was available as an option.

 

In 1980, the gas 350 was replaced with the 368 except in California, where the Oldsmobile 350 was used. In both the 1980 Seville and Eldorado (which shared frames) the 368s came with DEFI (later known as throttle body injection when it was later used with other GM corporate engines), whereas in the larger RWD Cadillacs it came only with a 4-barrel Quadrajet carburetor. Independent rear suspension was adopted, helping retain rear-seat and trunk room in the smaller body. The most notable styling touch was an extreme notchback roofline. The Eldorado Biarritz model resurrected the stainless-steel roof concept from the first Brougham. The Eldorado featured frameless door glass, and the rear quarter windows re-appeared as they did before 1971, without a thick "B" pillar. The cars were not true hardtops, as the rear quarter windows were fixed. Sales set a new record at 67,436.[citation needed]

 

For 1981, Cadillac offered the V8-6-4 variable displacement variant of the 368 engine, which was designed to deactivate some cylinders when full power was not needed, helping meet GM's government fuel economy ("CAFE") averages. It was a reduced bore version of the 1968 model-year 472, sharing that engine's stroke and also that of the model-year 1977–1979 425. The engine itself was extremely rugged and durable, but its complex electronics were the source of customer complaints.

 

Another engine was introduced for 1982. The 4.1 L HT-4100 was an in-house design that mated cast-iron heads to an aluminum block. Some HT-4100s were replaced under warranty.

 

From 1982 through 1985, Cadillac offered an 'Eldorado Touring Coupe', with heavier duty suspension, alloy wheels, blackwall tires, minimal exterior ornamentation and limited paint colors. These were marketed as 'driver's cars' and included bucket seats and a center console.

 

In 1984, Cadillac also introduced a convertible version of Eldorado Biarritz. It was 91 kg heavier featuring the same interior as other Biarritz versions. The model year of 1985 was the last year for the ASC, Inc., aftermarket conversion Eldorado convertible. Total sales set an all-time record of 77,806, accounting for about 26% of all Cadillacs sold.

 

Prior to the 'official' 1984 and 1985 Eldorado convertibles marketed by Cadillac, some 1979-83 Eldorados were made into coach convertibles by independent coachbuilders e.g. American Sunroof Corporation, Custom Coach (Lima, Ohio - this coachbuilder turned a few 1977 and 1978 Eldorados into convertibles), Hess & Eisenhardt. The same coachbuilders also converted the Oldsmobile Toronado and Buick Riviera into a ragtop.

 

Late in the 1985 model year, an optional 'Commemorative Edition' package was announced, in honor of the last year of production for this version of the Eldorado. Exclusive features included gold-tone script and tail-lamp emblems, specific sail panel badges, gold-background wheel center caps, and a "Commemorative Edition" badge on the steering wheel horn pad. Leather upholstery (available in Dark Blue or White, or a two-tone with Dark Blue and White) was included in the package, along with a Dark Blue dashboard and carpeting. Exterior colors were Cotillion White or Commodore Blue.

 

NINTH GENERATION (1986–1991)

The Eldorado was downsized again in 1986. In a fairly extreme makeover it lost about 16" in length and some 350 pounds in weight. Just like in previous generations, the Eldorado shared its chassis with the Oldsmobile Toronado and Buick Riviera, as well as Eldorado's four-door companion, the Cadillac Seville. However, the coupés from Buick and Oldsmobile both utilized Buick's 3.8 liter V6 engine, while Cadillac continued to use their exclusive 4.1 liter V8. The convertible bodystyle was ceded to the Cadillac Allanté roadster.

 

The $24,251 Eldorado was now the same size that GM's own compact cars had been only a few years earlier, and considerably smaller than Lincoln's competing Mark VII, and no similar offering from Chrysler as the Imperial coupe was discontinued in 1983. Its styling seemed uninspired and stubby, and in a final unfortunate flourish, for the first time the Eldorado abandoned its "hardtop" heritage and featured framed door glass. News reports later indicated that GM had been led astray by a consultant's prediction that gasoline would be at $3 per gallon in the U.S. by 1986, and that smaller luxury cars would be in demand. In fact, gasoline prices were less than half that. With a sales drop of 60%, seldom has any model experienced a more precipitous fall. Production was only about a fifth of what it had been just two years earlier.

 

Aside from a longer, 5 year/50,000 mile warranty, Eldorado received very few changes for 1987. A price drop, to $23,740, did not raise sales any, as only 17,775 were made this year (21,342 for 1986). The standard suspension, with new taller 75 series (previously 70) tires and hydro-elastic engine mounts, was slightly retuned for a softer ride, while the optional ($155) Touring Suspension, with deflected-disc strut valves and 15" alloy wheels, remained for those desiring a firmer ride. As part of a federal requirement to discourage "chop-shop" thieves, major body panels were etched with the VIN. Also new, a combination cashmere cloth with leather upholstery, and locking inertia seat belt reels for rear seat passengers, which allowed for child-seat installation in the outboard seating positions in back. The formal cabriolet roof was added this year. Available for $495 on the base Eldorado, it featured a padded covering over the rear half of the roof, and turned the rear side glass into smaller opera windows. One of Eldorado's most expensive singluar options was the Motorola cellular telephone mounted inside the locking center arm rest. Priced at $2,850, it had been reworked this year for easier operation, and featured a hidden microphone mounted between the sun visors for hands-free operation. Additionally, the telephone featured a clever radio mute control: activated when the telephone and radio were in use at the same time, it automatically decreased the rear speaker's audio volume, and over-rode the front music speakers to be used for the hands-free telephone. On an interesting note, the square marker lamp, located on the bumper extension molding just behind the rear wheel well on 1986 and '87 Eldorado models, would suddenly re-appear on the 1990 & '91 Seville (base models only) and Eldorado Touring Coupé.

1988 was met with an extensive restyle, and sales nearly doubled from the previous year, up to 33,210. While the wheelbase, doors, roof, and glass remained relatively unchanged, new body panels gave the 1988 model a more identifiable "Eldorado" appearance. Now available in just 17 exterior colors (previously 19), the new Eldorado was 3" longer than last year. Underneath the restyled hood was Cadillac's new 155 horsepower 4.5 liter V8. A comprehensive anti-lock braking system, developed by Teves, was newly available. Longer front fenders held "bladed" tips, and a new grille above the revamped front bumper. In back, new three-sided tail lamps - reminiscent of the 1987 Deville - appeared along with a new bumper and trunk lid. Bladed 14" aluminum wheels remained standard, while an optional 15" snowflake-pattern alloy wheel was included with the Touring Suspension option. The interior held wider front seat headrests and swing-away door pull handles (replacing the former door pull straps). New upholstery patterns, along with shoulder belts for outboard rear-seat passengers, appeared for both base and Biarritz models, with the latter bringing back the tufted-button design - last seen in the 1985 Eldorado Biarritz. A new vinyl roof option, covering the full roof top, featured a band of body color above the side door and windows - similar to the style used until 1978. This replaced the "cabriolet roof" option, which covered the rear half of the roof, introduced just a year earlier. With the Biarritz option package, the padded vinyl roof covered just the rear quarter of the roof top, behind the rear side windows. Biarritz also included slender vertical opera lamps, as in 1986 and '87, but now added a spear molding (similar to the style used on the 1976 - 1985 Eldorado Biarritz) that ran from the base of the roof top, continuing horizontally along the door, and down to the front fender tip. The standard power antenna was moved from the front passenger fender to the rear passenger fender. Pricing went up this year - to $24,891. This 1988 restyle would be the last, until the model was replaced by an all-new Eldorado for 1992.

 

TENTH GENERATION (1992–2002)

The 1992 Eldorado was all new, drawing both interior and exterior styling cues from the 1988 Cadillac Solitaire show car. It was significantly larger than its predecessor – approximately 11" longer, 3" wider, and substantially heavier. Window glass was once again frameless, and shortly after introduction Cadillac's new Northstar V8 became available in both 270 and 295 hp (220 kW) variants, replacing the 200 hp (150 kW) 4.9 L. Sales were up, though never again at record heights.

 

The Eldorado continued for the rest of the decade with incremental changes and tapering sales. A passenger side airbag was added as standard equipment in 1993. Styling was freshened in 1995, with updated bumpers front and rear, side cladding, and a new grille. In 1996, the interior received attention, with a new upholstery style, larger analog gauge cluster, relocated climate control system, updated stereo faces and standard daytime running lights. The ETC receives rain-sensing wipers called "Rainsense."

 

In 1997, the Integrated Chassis Control System was added. It involved microprocessor integration of engine, traction control, Stabilitrak electronic stability control, steering, and adaptive continuously variable road sensing suspension CVRSS, with the intent of improving responsiveness to driver input, performance, and overall safety. Similar to Toyota/Lexus Vehicle Dynamics Integrated Management VDIM.

 

In the wake of declining sales, circulating reports that the Eldorado would get a redesign for 1999 — similar to that which the Seville underwent for 1998 — would prove false as the car soldiered on largely unchanged into the new millennium, although it did get some upgrades from the 1999 Seville.

 

The car was sold under Cadillac ETC (Eldorado Touring Coupe) and ESC (Eldorado Sport Coupe) trim.

 

In 2001 GM announced that the Eldorado's 50th model year (2002) would be its last. To mark the end of the nameplate, a limited production run of 1,596 cars in red or white - the colors available on the original 1953 convertible - were produced in three batches of 532, signifying the Eldorado's first year of production. These last cars featured specially tuned exhaust notes imitating their forerunners from a half-century earlier, and a dash-mounted plaque indicating each car's sequence in production.

 

Production ended on April 22, 2002, with the Lansing Craft Centre retooled to build the Chevrolet SSR.

 

WIKIPEDIA

 

The Flatiron Building, originally the Fuller Building, is a triangular 22-story, 285-foot-tall (86.9 m) steel-framed landmarked building located at 175 Fifth Avenue in the eponymous Flatiron District neighborhood of the borough of Manhattan, New York City. Designed by Daniel Burnham and Frederick Dinkelberg, it was one of the tallest buildings in the city upon its 1902 completion, at 20 floors high, and one of only two "skyscrapers" north of 14th Street—the other being the Metropolitan Life Insurance Company Tower, one block east. The building sits on a triangular block formed by Fifth Avenue, Broadway, and East 22nd Street—where the building's 87-foot (27 m) back end is located—with East 23rd Street grazing the triangle's northern (uptown) peak. As with numerous other wedge-shaped buildings, the name "Flatiron" derives from its resemblance to a cast-iron clothes iron.

 

Called "one of the world's most iconic skyscrapers and a quintessential symbol of New York City", the building anchors the south (downtown) end of Madison Square and the north (uptown) end of the Ladies' Mile Historic District. The neighborhood around it is called the Flatiron District after its signature, iconic building. The building was designated a New York City landmark in 1966, was added to the National Register of Historic Places in 1979, and was designated a National Historic Landmark in 1989.

 

The Flatiron Building sits on a triangular block formed by Fifth Avenue to the west, Broadway to the east, and East 22nd Street to the south. The western and eastern facades converge, forming a "peak" at its northern corner where Fifth Avenue and Broadway intersect with East 23rd Street. The shape of the site arises from Broadway's diagonal alignment relative to the Manhattan street grid. The site measures 197.5 feet (60.2 m) on Fifth Avenue, 214.5 feet (65.4 m) on Broadway, and 86 feet (26 m) on 22nd Street. Above the ground level, all three corners of the triangle are curved.

 

Adjacent buildings include the Toy Center to the north, the Sohmer Piano Building to the southwest, the Scribner Building to the south, and Madison Green to the southeast. Entrances to the New York City Subway's 23rd Street station, served by the R and ​W trains, are adjacent to the building. The Flatiron Building is at the northern end of the Ladies' Mile Historic District, which extends between 15th Street to the south and 24th Street to the north. By the 1990s, the blocks south of the building had also become known as the Flatiron District

 

At the beginning of March 1901, media outlets reported that the Newhouse family was planning to sell "Eno's flatiron" for about $2 million to Cumberland Realty Company, an investment partnership created by Harry S. Black, CEO of the Fuller Company. The Fuller Company was the first true general contractor that dealt with all aspects of buildings' construction (except for design), and they specialized in erecting skyscrapers. Black intended to construct a new headquarters building on the site, despite the recent deterioration of the surrounding neighborhood. At the end of that March, the Fuller Company organized a subsidiary to develop a building on the site. The sale was finalized in May 1901.

 

Black hired Daniel Burnham's architectural firm to design a 21-story building on the site in February 1901. It would be Burnham's first in New York City, the tallest building in Manhattan north of the Financial District, and the first skyscraper north of Union Square (at 14th Street). The Northwestern Salvage and Wrecking Company began razing the site in May 1901, after the majority of existing tenants' leases had expired. Most of the Cumberland's remaining tenants readily vacated the building in exchange for monetary compensation. The sole holdout was Winfield Scott Proskey, a retired colonel who refused to move out until his lease expired later that year. Cumberland Realty unsuccessfully attempted to deactivate Proskey's water and gas supply, and Proskey continued to live in the Cumberland while contractors demolished all of the surrounding apartments. By the end of May 1901, Cumberland Realty discovered that Proskey was bankrupt, and his creditors took over the lease and razed the rest of the Cumberland that June.

 

The New York Herald published an image of the site on June 2, 1901, with the caption "Flatiron Building". The project's structural engineer, Corydon Purdy, filed plans for a 20-story building on the site were filed that August. The Flatiron Building was not the first building of its triangular ground-plan, although it was the largest at the time of its completion. Earlier buildings with a similar shape include a triangular Roman temple built on a similarly constricted site in the city of Verulamium, Britannia; Bridge House, Leeds, England (1875); the I.O.O.F. Centennial Building (1876) in Alpena, Michigan; and the English-American Building in Atlanta (1897). The Real Estate Record and Guide published a drawing of the building in October 1901; though the drawing was captioned "The Cumberland", it was very similar to the Flatiron Building's final design.

 

The Atlantic Terra Cotta Company began producing architectural terracotta pieces for the building in August 1901. Around the same time, the New York City Department of Buildings (DOB) indicated that it would refuse to approve Purdy's initial plans unless the engineers submitted detailed information about the framework, fireproofing, and wind-bracing systems. Purdy complied with most of the DOB's requests, submitting detailed drawings and documents, but he balked at the department's requirement that the design include fire escapes. For reasons that are unclear, the DOB dropped its requirement that the building contain fire escapes. In addition, the building was originally legally required to contain metal-framed windows, although this would have increased the cost of construction. The city's Board of Building Commissioners had granted an exemption to Black's syndicate, prompting allegations of favoritism. A new Buildings Department commissioner was appointed at the beginning of 1902, promising to enforce city building codes; this prompted general contractor Thompson–Starrett Co. to announce that the building's window frames would be made of fireproof wood with a copper coating.

 

The building's steel frame was manufactured by the American Bridge Company in Pennsylvania. The frame had risen above street level by January 1902. Construction was then halted for several weeks, first because of a delay in steel shipments, then because of a blizzard that occurred in February. Further delays were caused by a strike at the factory of Hecla Iron Works, which was manufacturing elevators and handrails for the building. The steel was so meticulously pre-cut that, according to The New York Times, the steel pieces could be connected "without so much as the alteration of a bored hole, or the exchange of a tiny rivet". Workers used air-powered tools to rivet the steel beams together, since such equipment was more efficient than steam-powered tools at conducting power over long distances. The frame was complete by February 1902, and workers began installing the terracotta tiles as the framework of the top stories were being finished. By mid-May, the building was half-covered by terracotta tiling. The terracotta work was completed the next month, and the scaffolding in front of the building was removed. The Fifth Avenue Building Company had invested $1.5 million in the project.

 

Officials of the Fuller Company announced in August 1902 that the structure would be officially named after George A. Fuller, founder of the Fuller Company and "father of the skyscraper", who had died two years earlier. By then, the site had been known as the "flatiron" for several years; according to Christopher Gray of The New York Times, Burnham's and Fuller's architectural drawings even labeled the structure as the "Flatiron Building". Although the Fuller name was used for some time after the building's completion, locals persisted in calling it the Flatiron, to the displeasure of Harry Black and the building's contractors. In subsequent years, the edifice officially came to be known as the Flatiron Building, and the Fuller name was transferred to a newer 40-story structure at 597 Madison Avenue.

 

In the weeks before the official opening, the Fuller Company distributed six-page brochures to potential tenants and real-estate brokers. The brochures advertised the building as being "ready for occupancy" on October 1, 1902. The Fuller Company took the 19th floor for its headquarters. When completed, the Flatiron Building was much taller than others in the neighborhood; when New York City Fire Department officials tested the building's standpipes in November 1902, they found that "the 'flat-iron' building would be of great aid in fighting the fire" in any surrounding buildings. Following the building's completion, the surrounding neighborhood evolved from an entertainment district to a commercial hub. Initially, the building was topped by a flagpole, which was maintained by one man, "Steeplejack" Kay, for four decades. Henry Clay Frick expressed interest in purchasing the structure in 1904 for $5 million, but he ultimately withdrew his offer.

 

During the building's construction, Black had suggested that the "cowcatcher" retail space be installed at the northern tip of the building, occupying 93 square feet (8.6 m2) of unused space at the extreme northern end of the lot. This would maximize use of the building's lot and produce some retail income. Burnham initially refused to consider Black's suggestion, and, in April 1902, Black asked a draftsman at the Fuller Company to draw up plans for the retail space. Black submitted plans for the annex to the DOB in May 1902. The DOB rejected the initial plans because the walls were too thin, but the department approved a revised proposal that June, to Burnham's disapproval. The retail space in the "cowcatcher" was leased by United Cigar Stores.

 

Another addition to the building not in the original plan was the penthouse, which was constructed after the rest of the building had been completed. By 1905, the Fuller Company needed to expand its technical drawing facilities. As a result, the company filed plans for a penthouse with the New York City Department of Buildings that March. The penthouse would cost $10,000 and would include fireproof partitions and a staircase from the existing 20th floor. The penthouse, intended for use as artists' studios, was quickly rented out to artists such as Louis Fancher, many of whom contributed to the pulp magazines which were produced in the offices below.

 

New York, often called New York City or simply NYC, is the most populous city in the United States, located at the southern tip of New York State on one of the world's largest natural harbors. The city comprises five boroughs, each of which is coextensive with a respective county. It is a global city and a cultural, financial, high-tech, entertainment, and media center with a significant influence on commerce, health care, scientific output, life sciences, research, technology, education, politics, tourism, dining, art, fashion, and sports. Home to the headquarters of the United Nations, New York is an important center for international diplomacy, and is sometimes described as the world's most important city and the capital of the world.

 

With an estimated population in 2022 of 8,335,897 distributed over 300.46 square miles (778.2 km2), the city is the most densely populated major city in the United States. New York has more than double the population of Los Angeles, the nation's second-most populous city. New York is the geographical and demographic center of both the Northeast megalopolis and the New York metropolitan area, the largest metropolitan area in the U.S. by both population and urban area. With more than 20.1 million people in its metropolitan statistical area and 23.5 million in its combined statistical area as of 2020, New York City is one of the world's most populous megacities. The city and its metropolitan area are the premier gateway for legal immigration to the United States. As many as 800 languages are spoken in New York, making it the most linguistically diverse city in the world. In 2021, the city was home to nearly 3.1 million residents born outside the U.S., the largest foreign-born population of any city in the world.

 

New York City traces its origins to Fort Amsterdam and a trading post founded on the southern tip of Manhattan Island by Dutch colonists in approximately 1624. The settlement was named New Amsterdam (Dutch: Nieuw Amsterdam) in 1626 and was chartered as a city in 1653. The city came under English control in 1664 and was renamed New York after King Charles II granted the lands to his brother, the Duke of York. The city was temporarily regained by the Dutch in July 1673 and was renamed New Orange; however, the city has been named New York since November 1674. New York City was the capital of the United States from 1785 until 1790. The modern city was formed by the 1898 consolidation of its five boroughs: Manhattan, Brooklyn, Queens, The Bronx, and Staten Island, and has been the largest U.S. city ever since.

 

Anchored by Wall Street in the Financial District of Lower Manhattan, New York City has been called both the world's premier financial and fintech center and the most economically powerful city in the world. As of 2022, the New York metropolitan area is the largest metropolitan economy in the world with a gross metropolitan product of over US$2.16 trillion. If the New York metropolitan area were its own country, it would have the tenth-largest economy in the world. The city is home to the world's two largest stock exchanges by market capitalization of their listed companies: the New York Stock Exchange and Nasdaq. New York City is an established safe haven for global investors. As of 2023, New York City is the most expensive city in the world for expatriates to live. New York City is home to the highest number of billionaires, individuals of ultra-high net worth (greater than US$30 million), and millionaires of any city in the world

 

The written history of New York City began with the first European explorer, the Italian Giovanni da Verrazzano in 1524. European settlement began with the Dutch in 1608 and New Amsterdam was founded in 1624.

 

The "Sons of Liberty" campaigned against British authority in New York City, and the Stamp Act Congress of representatives from throughout the Thirteen Colonies met in the city in 1765 to organize resistance to Crown policies. The city's strategic location and status as a major seaport made it the prime target for British seizure in 1776. General George Washington lost a series of battles from which he narrowly escaped (with the notable exception of the Battle of Harlem Heights, his first victory of the war), and the British Army occupied New York and made it their base on the continent until late 1783, attracting Loyalist refugees.

 

The city served as the national capital under the Articles of Confederation from 1785 to 1789, and briefly served as the new nation's capital in 1789–90 under the United States Constitution. Under the new government, the city hosted the inauguration of George Washington as the first President of the United States, the drafting of the United States Bill of Rights, and the first Supreme Court of the United States. The opening of the Erie Canal gave excellent steamboat connections with upstate New York and the Great Lakes, along with coastal traffic to lower New England, making the city the preeminent port on the Atlantic Ocean. The arrival of rail connections to the north and west in the 1840s and 1850s strengthened its central role.

 

Beginning in the mid-19th century, waves of new immigrants arrived from Europe dramatically changing the composition of the city and serving as workers in the expanding industries. Modern New York traces its development to the consolidation of the five boroughs in 1898 and an economic and building boom following the Great Depression and World War II. Throughout its history, New York has served as a main port of entry for many immigrants, and its cultural and economic influence has made it one of the most important urban areas in the United States and the world. The economy in the 1700s was based on farming, local production, fur trading, and Atlantic jobs like shipbuilding. In the 1700s, New York was sometimes referred to as a breadbasket colony, because one of its major crops was wheat. New York colony also exported other goods included iron ore as a raw material and as manufactured goods such as tools, plows, nails and kitchen items such as kettles, pans and pots.

 

The area that eventually encompassed modern day New York was inhabited by the Lenape people. These groups of culturally and linguistically related Native Americans traditionally spoke an Algonquian language now referred to as Unami. Early European settlers called bands of Lenape by the Unami place name for where they lived, such as "Raritan" in Staten Island and New Jersey, "Canarsee" in Brooklyn, and "Hackensack" in New Jersey across the Hudson River from Lower Manhattan. Some modern place names such as Raritan Bay and Canarsie are derived from Lenape names. Eastern Long Island neighbors were culturally and linguistically more closely related to the Mohegan-Pequot peoples of New England who spoke the Mohegan-Montauk-Narragansett language.

 

These peoples made use of the abundant waterways in the New York region for fishing, hunting trips, trade, and occasionally war. Many paths created by the indigenous peoples are now main thoroughfares, such as Broadway in Manhattan, the Bronx, and Westchester. The Lenape developed sophisticated techniques of hunting and managing their resources. By the time of the arrival of Europeans, they were cultivating fields of vegetation through the slash and burn technique, which extended the productive life of planted fields. They also harvested vast quantities of fish and shellfish from the bay. Historians estimate that at the time of European settlement, approximately 5,000 Lenape lived in 80 settlements around the region.

 

The first European visitor to the area was Giovanni da Verrazzano, an Italian in command of the French ship La Dauphine in 1524. It is believed he sailed into Upper New York Bay, where he encountered native Lenape, returned through the Narrows, where he anchored the night of April 17, and left to continue his voyage. He named the area New Angoulême (La Nouvelle-Angoulême) in honor of Francis I, King of France of the royal house of Valois-Angoulême and who had been Count of Angoulême from 1496 until his coronation in 1515. The name refers to the town of Angoulême, in the Charente département of France. For the next century, the area was occasionally visited by fur traders or explorers, such as by Esteban Gomez in 1525.

 

European exploration continued on September 2, 1609, when the Englishman Henry Hudson, in the employ of the Dutch East India Company, sailed the Half Moon through the Narrows into Upper New York Bay. Like Christopher Columbus, Hudson was looking for a westerly passage to Asia. He never found one, but he did take note of the abundant beaver population. Beaver pelts were in fashion in Europe, fueling a lucrative business. Hudson's report on the regional beaver population served as the impetus for the founding of Dutch trading colonies in the New World. The beaver's importance in New York's history is reflected by its use on the city's official seal.

 

The first Dutch fur trading posts and settlements were in 1614 near present-day Albany, New York, the same year that New Netherland first appeared on maps. Only in May 1624 did the Dutch West India Company land a number of families at Noten Eylant (today's Governors Island) off the southern tip of Manhattan at the mouth of the North River (today's Hudson River). Soon thereafter, most likely in 1626, construction of Fort Amsterdam began. Later, the Dutch West Indies Company imported African slaves to serve as laborers; they were forced to build the wall that defended the town against English and Indian attacks. Early directors included Willem Verhulst and Peter Minuit. Willem Kieft became director in 1638 but five years later was embroiled in Kieft's War against the Native Americans. The Pavonia Massacre, across the Hudson River in present-day Jersey City, resulted in the death of 80 natives in February 1643. Following the massacre, Algonquian tribes joined forces and nearly defeated the Dutch. Holland sent additional forces to the aid of Kieft, leading to the overwhelming defeat of the Native Americans and a peace treaty on August 29, 1645.

 

On May 27, 1647, Peter Stuyvesant was inaugurated as director general upon his arrival and ruled as a member of the Dutch Reformed Church. The colony was granted self-government in 1652, and New Amsterdam was incorporated as a city on February 2, 1653. The first mayors (burgemeesters) of New Amsterdam, Arent van Hattem and Martin Cregier, were appointed in that year. By the early 1660s, the population consisted of approximately 1500 Europeans, only about half of whom were Dutch, and 375 Africans, 300 of whom were slaves.

 

A few of the original Dutch place names have been retained, most notably Flushing (after the Dutch town of Vlissingen), Harlem (after Haarlem), and Brooklyn (after Breukelen). Few buildings, however, remain from the 17th century. The oldest recorded house still in existence in New York, the Pieter Claesen Wyckoff House in Brooklyn, dates from 1652.

 

On August 27, 1664, four English frigates under the command of Col. Richard Nicolls sailed into New Amsterdam's harbor and demanded New Netherland's surrender, as part of an effort by King Charles II's brother James, Duke of York, the Lord High Admiral to provoke the Second Anglo-Dutch War. Two weeks later, Stuyvesant officially capitulated by signing Articles of Surrender and in June 1665, the town was reincorporated under English law and renamed "New York" after the Duke, and Fort Orange was renamed "Fort Albany". The war ended in a Dutch victory in 1667, but the colony remained under English rule as stipulated in the Treaty of Breda. During the Third Anglo-Dutch War, the Dutch briefly recaptured the city in 1673, renaming the city "New Orange", before permanently ceding the colony of New Netherland to England for what is now Suriname in November 1674 at the Treaty of Westminster.

 

The colony benefited from increased immigration from Europe and its population grew faster. The Bolting Act of 1678, whereby no mill outside the city was permitted to grind wheat or corn, boosted growth until its repeal in 1694, increasing the number of houses over the period from 384 to 983.

 

In the context of the Glorious Revolution in England, Jacob Leisler led Leisler's Rebellion and effectively controlled the city and surrounding areas from 1689 to 1691, before being arrested and executed.

 

Lawyers

In New York at first, legal practitioners were full-time businessmen and merchants, with no legal training, who had watched a few court proceedings, and mostly used their own common sense together with snippets they had picked up about English law. Court proceedings were quite informal, for the judges had no more training than the attorneys.

 

By the 1760s, the situation had dramatically changed. Lawyers were essential to the rapidly growing international trade, dealing with questions of partnerships, contracts, and insurance. The sums of money involved were large, and hiring an incompetent lawyer was a very expensive proposition. Lawyers were now professionally trained, and conversant in an extremely complex language that combined highly specific legal terms and motions with a dose of Latin. Court proceedings became a baffling mystery to the ordinary layman. Lawyers became more specialized and built their reputation, and their fee schedule, on the basis of their reputation for success. But as their status, wealth and power rose, animosity grew even faster. By the 1750s and 1760s, there was a widespread attack ridiculing and demeaning the lawyers as pettifoggers (lawyers lacking sound legal skills). Their image and influence declined. The lawyers organized a bar association, but it fell apart in 1768 during the bitter political dispute between the factions based in the Delancey and Livingston families. A large fraction of the prominent lawyers were Loyalists; their clientele was often to royal authority or British merchants and financiers. They were not allowed to practice law unless they took a loyalty oath to the new United States of America. Many went to Britain or Canada (primarily to New Brunswick and Nova Scotia) after losing the war.

 

For the next century, various attempts were made, and failed, to build an effective organization of lawyers. Finally a Bar Association emerged in 1869 that proved successful and continues to operate.

 

By 1700, the Lenape population of New York had diminished to 200. The Dutch West Indies Company transported African slaves to the post as trading laborers used to build the fort and stockade, and some gained freedom under the Dutch. After the seizure of the colony in 1664, the slave trade continued to be legal. In 1703, 42% of the New York households had slaves; they served as domestic servants and laborers but also became involved in skilled trades, shipping and other fields. Yet following reform in ethics according to American Enlightenment thought, by the 1770s slaves made up less than 25% of the population.

 

By the 1740s, 20% of the residents of New York were slaves, totaling about 2,500 people.

 

After a series of fires in 1741, the city panicked over rumors of its black population conspiring with some poor whites to burn the city. Historians believe their alarm was mostly fabrication and fear, but officials rounded up 31 black and 4 white people, who over a period of months were convicted of arson. Of these, the city executed 13 black people by burning them alive and hanged the remainder of those incriminated.

 

The Stamp Act and other British measures fomented dissent, particularly among Sons of Liberty who maintained a long-running skirmish with locally stationed British troops over Liberty Poles from 1766 to 1776. The Stamp Act Congress met in New York City in 1765 in the first organized resistance to British authority across the colonies. After the major defeat of the Continental Army in the Battle of Long Island in late 1776, General George Washington withdrew to Manhattan Island, but with the subsequent defeat at the Battle of Fort Washington the island was effectively left to the British. The city became a haven for loyalist refugees, becoming a British stronghold for the entire war. Consequently, the area also became the focal point for Washington's espionage and intelligence-gathering throughout the war.

 

New York was greatly damaged twice by fires of suspicious origin, with the Loyalists and Patriots accusing each other of starting the conflagration. The city became the political and military center of operations for the British in North America for the remainder of the war. Continental Army officer Nathan Hale was hanged in Manhattan for espionage. In addition, the British began to hold the majority of captured American prisoners of war aboard prison ships in Wallabout Bay, across the East River in Brooklyn. More Americans lost their lives aboard these ships than died in all the battles of the war. The British occupation lasted until November 25, 1783. George Washington triumphantly returned to the city that day, as the last British forces left the city.

 

Starting in 1785 the Congress met in the city of New York under the Articles of Confederation. In 1789, New York became the first national capital under the new Constitution. The Constitution also created the current Congress of the United States, and its first sitting was at Federal Hall on Wall Street. The first Supreme Court sat there. The United States Bill of Rights was drafted and ratified there. George Washington was inaugurated at Federal Hall. New York remained the national capital until 1790, when the role was transferred to Philadelphia.

 

During the 19th century, the city was transformed by immigration, a visionary development proposal called the Commissioners' Plan of 1811 which expanded the city street grid to encompass all of Manhattan, and the opening of the Erie Canal in 1825, which connected the Atlantic port to the vast agricultural markets of the Midwestern United States and Canada. By 1835, New York had surpassed Philadelphia as the largest city in the United States. New York grew as an economic center, first as a result of Alexander Hamilton's policies and practices as the first Secretary of the Treasury.

 

In 1842, water was piped from a reservoir to supply the city for the first time.

 

The Great Irish Famine (1845–1850) brought a large influx of Irish immigrants, and by 1850 the Irish comprised one quarter of the city's population. Government institutions, including the New York City Police Department and the public schools, were established in the 1840s and 1850s to respond to growing demands of residents. In 1831, New York University was founded by U.S. Secretary of the Treasury Albert Gallatin as a non-denominal institution surrounding Washington Square Park.

 

This period started with the 1855 inauguration of Fernando Wood as the first mayor from Tammany Hall. It was the political machine based among Irish Americans that controlled the local Democratic Party. It usually dominated local politics throughout this period and into the 1930s. Public-minded members of the merchant community pressed for a Central Park, which was opened to a design competition in 1857; it became the first landscape park in an American city.

 

During the American Civil War (1861–1865), the city was affected by its history of strong commercial ties to the South; before the war, half of its exports were related to cotton, including textiles from upstate mills. Together with its growing immigrant population, which was angry about conscription, sympathies among residents were divided for both the Union and Confederacy at the outbreak of war. Tensions related to the war culminated in the Draft Riots of 1863 led by Irish Catholics, who attacked black neighborhood and abolitionist homes. Many blacks left the city and moved to Brooklyn. After the Civil War, the rate of immigration from Europe grew steeply, and New York became the first stop for millions seeking a new and better life in the United States, a role acknowledged by the dedication of the Statue of Liberty in 1886.

 

From 1890 to 1930, the largest cities, led by New York, were the focus of international attention. The skyscrapers and tourist attractions were widely publicized. Suburbs were emerging as bedroom communities for commuters to the central city. San Francisco dominated the West, Atlanta dominated the South, Boston dominated New England; Chicago dominated the Midwest United States. New York City dominated the entire nation in terms of communications, trade, finance, popular culture, and high culture. More than a fourth of the 300 largest corporations in 1920 were headquartered here.

 

In 1898, the modern City of New York was formed with the consolidation of Brooklyn (until then an independent city), Manhattan, and outlying areas. Manhattan and the Bronx were established as two separate boroughs and joined with three other boroughs created from parts of adjacent counties to form the new municipal government originally called "Greater New York". The Borough of Brooklyn incorporated the independent City of Brooklyn, recently joined to Manhattan by the Brooklyn Bridge; the Borough of Queens was created from western Queens County (with the remnant established as Nassau County in 1899); and the Borough of Richmond contained all of Richmond County. Municipal governments contained within the boroughs were abolished, and the county governmental functions were absorbed by the city or each borough. In 1914, the New York State Legislature created Bronx County, making five counties coterminous with the five boroughs.

 

The Bronx had a steady boom period during 1898–1929, with a population growth by a factor of six from 200,000 in 1900 to 1.3 million in 1930. The Great Depression created a surge of unemployment, especially among the working class, and a slow-down of growth.

 

On June 15, 1904, over 1,000 people, mostly German immigrant women and children, were killed when the excursion steamship General Slocum caught fire and sank. It is the city's worst maritime disaster. On March 25, 1911, the Triangle Shirtwaist Factory fire in Greenwich Village took the lives of 146 garment workers. In response, the city made great advancements in the fire department, building codes, and workplace regulations.

 

Throughout the first half of the 20th century, the city became a world center for industry, commerce, and communication, marking its rising influence with such events as the Hudson-Fulton Celebration of 1909. Interborough Rapid Transit (the first New York City Subway company) began operating in 1904, and the railroads operating out of Grand Central Terminal and Pennsylvania Station thrived.

 

From 1918 to 1920, New York City was affected by the largest rent strike wave in its history. Somewhere between several 10,000's and 100,000's of tenants struck across the city. A WW1 housing and coal shortage sparked the strikes. It became marked both by occasional violent scuffles and the Red Scare.  It would lead to the passage of the first rent laws in the nations history.

 

The city was a destination for internal migrants as well as immigrants. Through 1940, New York was a major destination for African Americans during the Great Migration from the rural American South. The Harlem Renaissance flourished during the 1920s and the era of Prohibition. New York's ever accelerating changes and rising crime and poverty rates were reduced after World War I disrupted trade routes, the Immigration Restriction Acts limited additional immigration after the war, and the Great Depression reduced the need for new labor. The combination ended the rule of the Gilded Age barons. As the city's demographics temporarily stabilized, labor unionization helped the working class gain new protections and middle-class affluence, the city's government and infrastructure underwent a dramatic overhaul under Fiorello La Guardia, and his controversial parks commissioner, Robert Moses, ended the blight of many tenement areas, expanded new parks, remade streets, and restricted and reorganized zoning controls.

 

For a while, New York ranked as the most populous city in the world, overtaking London in 1925, which had reigned for a century.[58] During the difficult years of the Great Depression, the reformer Fiorello La Guardia was elected as mayor, and Tammany Hall fell after eighty years of political dominance.

 

Despite the effects of the Great Depression, some of the world's tallest skyscrapers were built during the 1930s. Art Deco architecture—such as the iconic Chrysler Building, Empire State Building, and 30 Rockefeller Plaza— came to define the city's skyline. The construction of the Rockefeller Center occurred in the 1930s and was the largest-ever private development project at the time. Both before and especially after World War II, vast areas of the city were also reshaped by the construction of bridges, parks and parkways coordinated by Robert Moses, the greatest proponent of automobile-centered modernist urbanism in America.

 

Returning World War II veterans and immigrants from Europe created a postwar economic boom. Demands for new housing were aided by the G.I. Bill for veterans, stimulating the development of huge suburban tracts in eastern Queens and Nassau County. The city was extensively photographed during the post–war years by photographer Todd Webb.

 

New York emerged from the war as the leading city of the world, with Wall Street leading the United States ascendancy. In 1951, the United Nations relocated from its first headquarters in Flushing Meadows Park, Queens, to the East Side of Manhattan. During the late 1960s, the views of real estate developer and city leader Robert Moses began to fall out of favor as the anti-urban renewal views of Jane Jacobs gained popularity. Citizen rebellion stopped a plan to construct an expressway through Lower Manhattan.

 

After a short war boom, the Bronx declined from 1950 to 1985, going from predominantly moderate-income to mostly lower-income, with high rates of violent crime and poverty. The Bronx has experienced an economic and developmental resurgence starting in the late 1980s that continues into today.

 

The transition away from the industrial base toward a service economy picked up speed, while the jobs in the large shipbuilding and garment industries declined sharply. The ports converted to container ships, costing many traditional jobs among longshoremen. Many large corporations moved their headquarters to the suburbs or to distant cities. At the same time, there was enormous growth in services, especially finance, education, medicine, tourism, communications and law. New York remained the largest city and largest metropolitan area in the United States, and continued as its largest financial, commercial, information, and cultural center.

 

Like many major U.S. cities, New York suffered race riots, gang wars and some population decline in the late 1960s. Street activists and minority groups such as the Black Panthers and Young Lords organized rent strikes and garbage offensives, demanding improved city services for poor areas. They also set up free health clinics and other programs, as a guide for organizing and gaining "Power to the People." By the 1970s the city had gained a reputation as a crime-ridden relic of history. In 1975, the city government avoided bankruptcy only through a federal loan and debt restructuring by the Municipal Assistance Corporation, headed by Felix Rohatyn. The city was also forced to accept increased financial scrutiny by an agency of New York State. In 1977, the city was struck by the New York City blackout of 1977 and serial slayings by the Son of Sam.

 

The 1980s began a rebirth of Wall Street, and the city reclaimed its role at the center of the worldwide financial industry. Unemployment and crime remained high, the latter reaching peak levels in some categories around the close of the decade and the beginning of the 1990s. Neighborhood restoration projects funded by the city and state had very good effects for New York, especially Bedford-Stuyvesant, Harlem, and The Bronx. The city later resumed its social and economic recovery, bolstered by the influx of Asians, Latin Americans, and U.S. citizens, and by new crime-fighting techniques on the part of the New York Police Department. In 1989, New York City elected its first African American Mayor, David Dinkins. He came out of the Harlem Clubhouse.

 

In the late 1990s, the city benefited from the nationwide fall of violent crime rates, the resurgence of the finance industry, and the growth of the "Silicon Alley", during the dot com boom, one of the factors in a decade of booming real estate values. New York was also able to attract more business and convert abandoned industrialized neighborhoods into arts or attractive residential neighborhoods; examples include the Meatpacking District and Chelsea (in Manhattan) and Williamsburg (in Brooklyn).

 

New York's population reached an all-time high in the 2000 census; according to census estimates since 2000, the city has continued to grow, including rapid growth in the most urbanized borough, Manhattan. During this period, New York City was a site of the September 11 attacks of 2001; 2,606 people who were in the towers and in the surrounding area were killed by a terrorist attack on the World Trade Center, an event considered highly traumatic for the city but which did not stop the city's rapid regrowth. On November 3, 2014, One World Trade Center opened on the site of the attack. Hurricane Sandy brought a destructive storm surge to New York in the evening of October 29, 2012, flooding numerous streets, tunnels, and subway lines in Lower Manhattan. It flooded low-lying areas of Brooklyn, Queens, and Staten Island. Electrical power was lost in many parts of the city and its suburbs.

French postcard by Publistar, offered by Corvisart, Epinal, no. 919. Photo: United-Press.

 

American actor, artist, and author Gardner McKay (1932- 2001) was best known for the lead role in the TV series Adventures in Paradise (1959-1962), based loosely on the writings of James Michener. He quit acting and became a writer in 1970.

 

George Cadogan Gardiner McKay was born in 1932 in New York City. 'Gard' was the son of ad executive Hugh Deane McKay and socialite Catherine "Kitty" Gardner McKay. His father's business took the family to Paris, where McKay attended private schools. The family returned to the United States shortly before the outbreak of World War II; McKay and his older brother, Hugh, lived with grandparents in Lexington, Kentucky. He attended Cornell University in Ithaca, New York for two years, where he majored in art. He wrote for The Cornell Daily Sun and the campus magazine. He dropped out of school at the age of 19 following the death of his father and moved to Greenwich Village where he worked as a sculptor and writer. McKay also took up photography and saw some of his work published in The New York Times and Life magazine. McKay's sculpting appeared in the Museum of Modern Art in New York, and at an exhibit of his work, McKay attracted the attention of photographer Richard Avedon. Avedon invited McKay to Paris to shoot a series of photographs with models Suzy Parker and Barbara Mullen, cavorting in Paris bistros and nightclubs. The photo series led to a modelling career. Town and Country magazine did a piece on McKay and his sculptures in its Man About Town section, which led to an offer from an agent. McKay impressed Dore Schary, who signed him to a contract with MGM. For that studio, he appeared in episodes of The Thin Man (1957) and appeared uncredited in the film Raintree County (Edward Dmytryk, 1957), with Elizabeth Taylor and Montgomery Clift. McKay left MGM and had television guest roles on Death Valley Days (1958), The Silent Service (1958), and Jefferson Drum (1958). In 1957–1958, McKay played United States Army Lieutenant Dan Kelly in the 38-episode syndicated western series Boots and Saddles, with co-stars Jack Pickard and Patrick McVey. At 20th Century Fox, he screen-tested for a TV series based on The Gunslinger but failed to get the role. The test did, however, net him a long-term contract at the studio.

 

Gardner McKay was spotted at the studio coffee shop by Dominick Dunne who was searching for an actor to star in his planned TV series Adventures in Paradise. Dunne later said, "I didn't know who he was. He was an extraordinarily handsome guy. I said, 'Are you an actor?' I gave him my card and said, 'If you're interested, call me.'" McKay called, and ten actors were tested for the role. Dunne said of McKay: "His (test) was the worst, but everybody reacted to him, I mean everybody – especially the women." Although previously unknown to the public, McKay was featured on the cover of the 6 July 1959 issue of Life just two months before the series premiered. The article noted that he had been around boats since childhood and was an experienced seaman. His character, Adam Troy, is a Korean War veteran who purchased the two-masted 82-foot (25 m) schooner Tiki III and sailed the South Pacific. The show ran for three seasons on ABC from 1959–1962, for a total of 91 episodes. During the series' run, McKay had bit roles in the Fox films Holiday for Lovers (Henry Levin, 1959) with Clifton Webb and The Right Approach (David Butler, 1961) starring Frankie Vaughan. McKay returned to Hollywood in 1963 and had a support role in Fox's The Pleasure Seekers (Jean Negulesco, 1964) starring Ann-Margret. "It took me 100 hours to become a good actor," McKay later said. "Then I committed professional suicide." McKay had just decided to end his acting career, when he got a phone call from the noted director George Cukor, offering him the opportunity to star in a romantic comedy film opposite Marilyn Monroe. The film was Something's Got to Give. McKay had made up his mind and turned it down. Cukor and Monroe were shocked. Monroe phoned him to see if she could get him to change his mind. McKay said, "She was so delightful on the phone, so winning, so seductive in a way," but he said no. He added, "I didn’t belong in acting." The part went to Dean Martin and the film was never completed. McKay's final film was I Sailed to Tahiti with an All Girl Crew (Richard L. Bare, 1968).

 

Gardner McKay went sailing in the Caribbean and South America for a year and a half. "Not doing anything really," he said later. "I didn't give myself an excuse for being there." He moved to Paris, where he had lived as a boy.

McKay left Hollywood to pursue his interest in photography, sculpture, and writing. He exhibited his sculpture at the Museum of Modern Art in New York City, besides holding individual exhibitions. His lifeboat rescue photographs of the Andrea Doria were published internationally. McKay wrote many plays and novels and was a literary critic for the Los Angeles Herald Examiner between 1977 and 1982. He taught writing classes at the University of California at Los Angeles, the University of Southern California, the University of Alaska, and the University of Hawaii. He wrote and co-directed the TV film Me (Gardner McKay, Allan Muir, 1973) and wrote the script for another TV movie, Sea Marks (Ron Maxwell, Steven Robman, 1976), based on his play. 'Sea Marks' His play 'Toyer' was produced by the Arena Players Repertory Theater in New York in 1993 and in London at the Arts Theatre in 2009. Gardner bought a wooded property in Beverly Hills and kept a menagerie of animals including lions, cheetahs, dogs, and a monkey which he brought back from his sojourn to South America. McKay's awards included three National Endowment for the Arts fellowships for playwriting, the Drama Critics Circle Award for Best Play, and Sidney Carrington Prize. He was a winner of the Canadian Regional Drama Festival and runner-up in the Hemingway Short Story Contest. Gardner McKay settled in Hawaii, where he died in Honolulu from prostate cancer in 2001 at the age of 69. He was survived by his wife since 1980, Madeleine Madigan, a painter, and two children, son Tristan and daughter Liza. Gardner is buried in Kentucky. Gardner Mckay is immortalised in the Jimmy Buffett song 'We Are the People Our Parents Warned Us About' (1983) that appeared on his 'One Particular Harbour' album with the line "Hey hey, Gardner McKay... Take us on the Leaky Tiki with you... Clear skies bound for Shanghai".

 

Sources: Wikipedia and IMDb.

 

For more postcards, a bio and clips check out our blog European Film Star Postcards.

Promo Samples size 9, never worn.

French postcard by Editions P.I., Paris, offered by Les Carbones Korès 'Carboplane', no. 727. Photo: Paramount, 1956.

 

Legendary American comedian, actor and director Jerry Lewis (1926-2017) scored in just about every branch of show business: nightclubs, radio, television, concerts, films and records. Lewis rose to fame in a comedy duo with Dean Martin, and his slapstick humor carried him through decades of film, television, stage and radio shows.

 

Jerry Lewis was born Joseph Levitch in 1926, in Newark, New Jersey. He grew up performing in a vaudeville family. His father, Daniel Levitch, who went by the stage name Danny Lewis, was a master of ceremonies and vaudeville entertainer. His mother, Rae Lewis, played piano for the New York City radio station WOR and was her husband's musical director. Lewis began following in his parents' footsteps, making his debut at the age of 5, singing "Brother, Can You Spare a Dime?" at "Borscht Belt" nightclubs in the Catskill Mountains in New York. at the age of 15, Jerry Lewis dropped out of school to pursue a full-time career as a performer. He devised a comedy routine known as the "Record Act" in which he mimed and mouthed the lyrics to operatic and popular songs while a phonograph played the songs offstage. Lewis worked as a theater usher and soda jerk to make ends meet. He grew depressed and was on the verge of giving up on his show-business dreams when a friend of his father's, the comedian Max Coleman, convinced him to give comedy another shot. Lewis soon caught the attention of another comedian, Irving Kaye, who became the young comic's manager and helped his career along through more Borscht Belt appearances. In 1946, singer Dean Martin joined Lewis as a performer at the 500 Club, and one of the greatest partnerships in the history of American show business was born. Their zany act began with Martin singing a song only to be interrupted by Lewis, with the routine soon devolving into a hilarious improvised sequence that included ad-libbed insults, food fights and frequent banter with the audience. Billed as Martin and Lewis, the duo became such an instantaneous success that in a matter of months they went from earning $250 a week to a whopping $5,000. They made a successful transition to the big screen with My Friend Irma (George Marshall, 1949), based on the popular radio series of the same name. This was followed by a sequel My Friend Irma Goes West (Hal Walker, 1950).

 

Over the next decade, Dean Martin and Jerry Lewis made 16 films together, including The Stooge (Norman Taurog, 1952), The Caddy (Norman Taurog, 1952), Artists and Models (Frank Tashlin, 1955), co-starring Shirley MacLaine and Dorothy Malone, and finally Hollywood or Bust (Frank Tashlin, 1956) with Anita Ekberg. The pair also made frequent television appearances on The Ed Sullivan Show and The Colgate Comedy Hour. However, by the mid-1950s their partnership and friendship began to fray as Lewis received greater national attention and, as he admitted later, drove Martin away with his egotism and insensitivity. The two split ways, both professionally and personally, in 1956. Teaming with director Frank Tashlin, whose background as a Warner Bros. Looney Tunes cartoon director suited Lewis's brand of humor, he starred in five more films, The Sad Sack (1957), Rock-A-Bye Baby (1958), The Geisha Boy (1958), Don't Give Up The Ship (1959) and even appeared uncredited as Itchy McRabbitt in Li'l Abner (1959). Lewis also enjoyed solo success with films like The Delicate Delinquent (1957), The Ladies Man (1961) and The Nutty Professor (1963). He made his directorial debut with the comedy The Bellboy (1960). The film marked the pioneering use of a video assist system, providing Lewis a way to see the action even though he was in the scene. Later Lewis films were Who's Minding the Store? (1963), The Patsy (1964) and The Disorderly Orderly (1964). Lewis directed and co-wrote The Family Jewels (1965) about a young heiress who must choose among six uncles, one of whom is up to no good and out to harm the girl's beloved bodyguard who practically raised her. Lewis played all six uncles and the bodyguard. Lewis would next appear in Boeing Boeing (1965). His career hit a rough patch in the 1970s, though he remained highly popular in Europe, especially in France.

 

In 1967 Jerry Lewis began teaching graduate film courses at the University of Southern California. His lectures were collected into a book, The Total Film-Maker (1971), which is considered a seminal text in the industry. After an absence of 11 years, Lewis returned to film in Hardly Working (1981), a film which he both directed and starred in. Despite being panned by critics, it eventually earned $50 million. Lewis followed this with an acclaimed performance in The King of Comedy (Martin Scorsese, 1982). He portrayed a late-night television host plagued by two obsessive fans, played by Robert De Niro and Sandra Bernhard. In 1995, lewis fulfilled his lifelong dream of acting on Broadway, as the devil in a revival of Damn Yankees. He got good reviews. Jerry Lewis was also active in the fight against muscular dystrophy, hosting the annual telethon for the Muscular Dystrophy Association from 1966 to 2010. For his efforts, Lewis was nominated for the Nobel Peace Prize in 1977. Lewis married Patti Palmer in 1944, and they had six sons together before she filed for divorce in 1980. In 1983, Lewis married SanDee Pitnick, and they adopted a daughter together. In 2009, tragedy struck when Lewis' son Joseph, the youngest of six children from his first marriage who struggled with drug addiction, committed suicide at age 45. Gary Lewis, Jerry Lewis's oldest son, also pursued a show business career as the frontman for the band Gary Lewis and the Playboys. The band had a string of Top 10 hits in the mid-1960s. Jerry Lewis died at his home in Las Vegas on 20 August 2017, at the age of 91. His final film role had been as the father of Nicolas Cage in the thriller The Trust (Alex Brewer, Benjamin Brewer, 2016). He won several awards for lifetime achievements from The American Comedy Awards, Los Angeles Film Critics Association, and Venice Film Festival, and in 2009, the Academy of Motion Picture Arts and Sciences awarded Lewis the Jean Hersholt Humanitarian Award.

 

Sources: Biography.com, Wikipedia and IMDb.

 

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

www.starnow.co.uk/christopherw33618

 

2020 Reel youtu.be/fXhm5se6H3c

 

2017 Reel www.starnow.com/media/778224

 

2016 Reel www.starnow.co.uk/media/623368

 

2015 Reel www.starnow.co.uk/media/500618

 

Crew CV crew.mandy.com/uk/crew/profile/chris-christopher-wilson

 

wartimeproductions.co.uk/index.html

 

WW2 Production Services for Film, TV, Photography & Live Events. WW2 vehicles, props uniforms, supporting artist hire.

 

Wartime Productions is a WW2 network community of some of the finest WW2 enthusiasts and professionals in the UK.

 

Here at Wartime Productions we are extremely passionate about WW2 film and TV production and can offer both uniforms and supporting artists for your film/TV production along with WW2 vehicles and equipment for hire through our own in-house inventory alongside our exclusive connections with trusted associates via Wartime Productions UK network. Acting as a WW2 fixer we can provide a range of services from WW2 Infantry, vehicles, weapons, equipment and props hire for live events, Film, TV and photography.

 

Production Services

 

WW2 Production Services for Film, TV, Photography & Live Events.

WW2 vehicles, props uniforms, supporting artist hire.

 

Wartime Productions is a WW2 network community of some of the finest WW2 enthusiasts and professionals in the UK.

 

Here at Wartime Productions we are extremely passionate about WW2 film and TV production and can offer both uniforms and supporting artists for your film/TV production along with WW2 vehicles and equipment for hire through our own in-house inventory alongside our exclusive connections with trusted associates via Wartime Productions UK network. Acting as a WW2 fixer we can provide a range of services from WW2 Infantry, vehicles, weapons, equipment and props hire for live events, Film, TV and photography.

 

Production Services

 

WW2 Vehicle Hire

WW2 Supporting artists Hire

WW2 equipment and props Hire

WW2 Historians Hire

WW2 Uniforms & Costume Hire

Filming Locations

Film Industry Professionals

French postcard by Editions P.I., Paris, offered by Les Carbones Multiplane, no. 270. Photo: Clarence Sinclair Bull / Metro-Goldwyn-Mayer, 1945.

 

American red-haired actress Lucille Ball (1911-1989) was well-known as the crazy, accident-prone, lovable Lucy Ricardo in the television series I Love Lucy (1951-1957). She appeared in numerous films in Hollywood in the 1930s and 1940s before becoming one of America's most popular television comedians in 1951. She was also a producer on I Love Lucy and subsequent television series featuring the character of "Lucy" with her company Desilu Productions, making her the first head of a major film studio in the American show business.

 

Lucille Désirée Ball was born in Jamestown, New York, in 1911. Her father was Henry Durrell Ball and her mother Desiree Eve Hunt. Her father died in 1915 before she was four. Lucille and her younger brother Fred were raised by their grandparents while their mother worked several jobs. Her grandfather was an avid supporter of the theatre and encouraged Lucy to participate in plays at school. Always willing to take responsibility for her brother and young cousins, she was a restless teenager who yearned to "make some noise". She enrolled in the John Murray Anderson School for the Dramatic Arts. There, however, she had a tough competitor who trumped her, Bette Davis. The teachers said she was 'too shy' and had no future and Ball returned home. In 1932, she moved to New York to become an actress and had success there as a mannequin and revue dancer. But her acting career did not take off till she was chosen to be a "Goldwyn Girl" and appeared in the film Roman Scandals (Frank Tuttle, 1933) starring Eddie Cantor. She was put under contract with RKO Radio Pictures and several bit roles, including one in Top Hat (Mark Sandrich, 1935). She became friends with Ginger Rogers. In the 1930s she was under contract to RKO and Columbia Pictures and slowly worked her way up from small roles, unnamed in the credits, to more substantial parts. One of her first supporting roles was in Chatterbox (George Nichols Jr., 1936) in which she plays a temperamental actress. It was one of the first times her name was mentioned in the credits. She also got a good role in the A-picture Stage Door (Gregory La Cava, 1937) with Katharine Hepburn and Ginger Rogers. She played more supporting roles, including in Room Service (William A. Seiter, 1938) with the Marx Brothers, but she rarely got leading roles in major films, however, and usually when all the major film stars at RKO had already turned down the part.

In 1940, Lucille Ball met Cuban bandleader-actor, Desi Arnaz, while filming the musical Too Many Girls (George Abbott, 1940). Despite different personalities, lifestyles, religions and ages (he was six years younger), he fell hard, too, and after a passionate romance, they eloped and were married in November 1940. The couple received a lot of media attention. Two years later, Arnaz had to join the army and was unfaithful. A knee injury allowed him to leave the army. In 1944, Ball filed for divorce but later recanted.

 

In the 1940s Lucille Ball moved to Metro-Goldwyn-Mayer, where she got better roles in films such as Du Barry Was a Lady (Roy Del Ruth, 1943) with Red Skelton and Gene Kelly, Best Foot Forward (Edward Buzzell, 1943) and the Katharine Hepburn-Spencer Tracy vehicle Without Love (Harold S. Bucquet, 1945). She failed to achieve major film success there either and returned to Columbia. She was known in Hollywood circles as the "B-movie queen" with Macdonald Carey as her "king". In 1948, she got a role in the radio comedy 'My Favorite Husband', in which she played the scatterbrained wife of a Midwestern banker. The show became a success and CBS asked her to turn it into a television series. She only wanted to do this if she could work with her husband, and they had creative control over the series. Ball wanted to work with Arnaz to save her marriage. So 'I Love Lucy' was born, the most popular and universally beloved sitcom of all time. The couple had started their own production company: Desilu Productions. CBS, however, was not impressed with the TV pilot episode, but after Ball and Arnaz toured vaudeville theatre with great success, the series came to television. As a side effect, she practically invented the sitcom and was one of the first stars to film with a live audience. The show was shot directly to film stock, unlike most other television shows of the time, which used the low-quality kinescope process to film images from a television monitor. The better quality of the Lucy show allowed it to be repeated via syndication (on independent television stations not affiliated with one of the major television networks ABC, CBS or NBC). During the production of I Love Lucy, German-born cameraman Karl Freund invented the "3-camera setup", now standard in television. Another unusual technique used on the Lucy show was to paint over unwanted shadows and hide lighting defects with paint that was kept in the studio in various shades from white to medium grey for this purpose. In 1951 her first child was born, Lucie Arnaz, followed a year later by Desi Arnaz Jr. The pregnancy was also supposed to be televised but CBS was not in favour of that, eventually, they were allowed to do it but they were not allowed to use the word "pregnant" but had to say "expecting". In 1953, Ball had to appear before the House Committee on Un-American Activities because, at the insistence of her socialist grandfather, she had registered as a supporter of the Communist Party for the 1936 primaries. In 1956, Desilu bought the RKO lot and moved there. In 1957, the last episode of I Love Lucy was aired and was followed by its sequels The Lucy-Desi Comedy Hour (1957-1960) and The Lucy Show (1962-1968), which was later renamed Here's Lucy (1968-1974).

 

In 1960, Lucille Ball and Desi Arnaz's marriage was divorced after problems Arnaz had with alcohol, drugs and other women. Lucille Ball bought his share in Desilu, making her the sole owner of the studio. In the following years, Desilu developed such popular television series as The Untouchables (1959-1963), Star Trek (1966-1969), Mission: Impossible (1966-1973) and Mannix (1967-1975). In 1967, Desilu was sold to Gulf and Western Industries, which merged Desilu with Paramount Studios, located on the property next door. Arnaz and Ball remained good friends until his death in 1986. In 1961, Ball married stand-up comedy actor Gary Morton who was 12 years younger. He had never seen her on television because he himself performed on primetime when Lucy was on TV. He got a job at Desilu. After The Lucy-Desi Comedy Hour, Lucille got a series of her own, The Lucy Show (1962-1968) with Gale Gordon and Vivian Vance. It was again a success. Vivian Vance was given the name Viv, which she got because she was tired of being addressed as Ethel on the street. In 1968, after Lucille sold Desilu, she founded Lucille Ball Production. Lucille's third sitcom was Here's Lucy (1968-1974), played with her real children, Lucie Arnaz and Desi Arnaz Jr. Also in this series, Gale Gordon was her co-star. After I Love Lucy, Lucille starred in several more films including Yours, Mine, and Ours (Melville Shavelson, 1968) with Henry Fonda, the musical Mame (Gene Saks, 1974) and the TV movie Stone Pillow (George Schaefer, 1985). In 1986, she made a comeback with the series Life with Lucy, but it flopped with critics and viewers alike. After playing for less than two months, the series was cancelled by ABC. Ball was a guest on several shows. In 1989 at the 61st Academy Awards, she presented the Academy Awards with Bob Hope, she then received a standing ovation. A month later in 1989, Lucille Ball died of aortic dissection at the age of 77. She was buried in Forest Lawn - Hollywood Hills Cemetery in Los Angeles but was later moved by her children, Desi Arnaz Jr. and Lucie Arnaz, to Lake View Cemetery in her native Jamestown.

 

Source: Wikipedia (Dutch, German and English) and IMDb.

 

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

All images available for licensing via me. I offer commercial and editorial pet photography on a commissioned basis. And with a pet picture database with thousands of hand-picked images of dogs, cats, as well as horses, I might already have what you are looking for. All pictures here can be licensed.

For licensing and commission requests: info{at}elkevogelsang.com -

FACEBOOK | INSTAGRAM | WEBSITE

© Elke Vogelsang

 

20220927_Mylo_PortraitOfMylo_9

 

licensing dog images

licensing dog photos

licensing dog photo

licensing pet photos

licensing pet photos

stock images of pets

stock images of dogs

commercial dog photographer

commercial pet photographer

commercial dog photography

commercial pet photography

commercial dog photograph

commercial pet photograph

commercial dog photographs

commercial pet photographs

studio dog photograph

studio dog photography

studio dog photographs

studio pet photograph

studio pet photography

studio pet photographs

license images of dogs

license images of pets

commercial license

commercial licenses

commercial licenses for dog photos

commercial licenses for dog photos

buy commercial license for dog photos

buy commercial license for dog photo

buy commercial license for pet photos

buy commercial license for pet photo

commercial licenses for pet photos

commercial licenses for pet photo

pet image archive

dog image archive

stock photos of dogs

stock photos of pets

buy dog photos

buy pet photos

buy cat photos

buy dog images

buy pet images

buy cat images

Fujifilm X camera

Hundefotos

Hundefotos kaufen

kommerzielle Hundefotografie

kommerzieller Hundefotograf

Haustierfotos

Haustierfotos kaufen

Lizenzen für Fotos kaufen

Bildagentur

Haustierbildagentur

Bilderagentur für Haustierfotos

Bildagentur für Hundefotos

Katzenbilder

Katzenfotos

Bildagentur für Katzenfotos

Lizenzierung von Katzenfotos

 

French postcard by Editions P.I., Paris, no. 1076, offered by Les Carbones Kores 'Carboplane'. Photo: Noa.

 

French actress Bernadette Lafont (1938) appeared in several classics of the Nouvelle Vague. Original and full of contradictions, she is both sexy and rather plain, brassy and quite serious, a mixture of intellect, sensuality and humour.

 

Bernadette Paule Anne Lafont was born in in Nîmes in the South of France in 1938. She was the daughter of a pharmacist and his wife. As a teenager, she started her career as a dancer. She entered the Opéra de Nîmes where she fell in love with her future husband, the hansome actor Gérard Blain. In Paris she met the young critic and aspiring film director Francois Truffaut, who offered her a role in his second short film, shot in Nîmes. So she made her screen debut in Les Mistons/The Mischief Makers (1957, Francois Truffaut) opposite Gérard Blain. It was a comedy about five kids, who spy on two lovers during a hot summer day. It turned out to be that she was in the right place at the right time to catch the Nouvelle Vague movement, the new wave of filmmakers that would revolutionize the cinema. She starred particularly in films by François Truffaut and Claude Chabrol. Her first feature and still one of her best-known films is Le Beau Serge/Bitter Reunion (1958, Claude Chabrol) with Gérard Blain and Jean-Claude Brialy. She had married Blain the year before but they would divorce a year later. Many Nouvelle Vague films followed. With Claude Chabrol she made À double tour/Leda (1959) starring Madeleine Robinson, Les bonnes femmes/The Good Time Girls (1960) with Stéphane Audran, and Les godelureaux/Wise Guys (1961). She appeared in Truffaut’s comedy Tire-au-flanc 62/The Army Game (1960, Claude de Givray, François Truffaut), and was the heroine of Truffaut’s Une belle fille comme moi/A Gorgeous Bird Like Me (1972, François Truffaut). For Louis Malle she did a supporting part in his comedy Le voleur/The Thief of Paris (1967, Louis Malle) starring Jean-Paul Belmondo, and for Jacques Rivette she joined the cast of Out 1, noli me tangere/Out 1 (1971, Jacques Rivette, Suzanne Schiffman) and Out 1: Spectre (1974, Jacques Rivette). Finally, she played the role of Marie, one third of the trio of lovers in La Maman et la Putain/The Mother and the Whore (1973, Jean Eustache), considered by some critics as the last film of the Nouvelle Vague.

 

A well-known film with Bernadette Lafont is La Fiancée du Pirate/A Very Curious Girl (1969, Nelly Kaplan). The success of this film about violence against women renewed her career after a difficult period. She was seen in Les stances à Sophie/Sophie’s Ways (1971, Moshé Mizrahi), the crime drama Zig Zig (1975, László Szabó) with Catherine Deneuve, and had a small part as the cellmate of Isaeblle Huppert in Violette Nozière (1978, Claude Chabrol). In Italy she appeared in the comedy Il Ladrone/The Thief (1980, Pasquale Festa Campanile). In a 1997 New York Times article, Katherine Knorr writes: “Lafont has in a tumultuous life done a bit of everything, from television movies to the stage, never quite the megastar but always a strong presence, smart and messed up all at the same time”. In the 1980’s she appeared in Chabrol’s crime films Inspecteur Lavardin/Inspector Lavardin (1986, Claude Chabrol) featuring Jean Poiret, and Masques/Masks (1987, Claude Chabrol) with Philippe Noiret. She also played in Les saisons du plaisir (1988) and other comedies of Jean-Pierre Mocky. She won the César Award for Best Actress in a Supporting Role for L'Effrontée/Charlotte and Lulu (1985, Claude Miller) starring Charlotte Gainsbourg. The energetic Lafont created in 1990 an audio visual workshop to help young actors develop their creativity. She is the co-founder and on the committee that awards the Glace Gervais and an accompanying 100,000 franc prize to works competing in the Cannes Film Festival ‘Un certain Regard’ category. The award was designed to help bolster the budding careers of filmmakers. Her Later films include Généalogies d'un crime/Genealogies of a Crime (1997, Raul Ruiz) with Catherine Deneuve, and the comedy Ripoux 3/Part-Time Cops (2003, Claude Zidi) with Philippe Noiret. In May 2007, she chaired the jury for the fifth edition of the Award for Education presented at the 60th Cannes Film Festival. After her divorce from Gérard Blain in 1959, Bernadette Lafont had married a second time to the Hungarian sculptor Diourka Medveczky. Although the marriage ended in a divorce, there were three children: actress Élisabeth Lafont, David Lafont and the late actress Pauline Lafont, who died in the summer of 1988 under tragic circumstances. She went for a walk near the family property in the Cevennes and never returned. For many weeks, police searched and the popular press went on a feeding frenzy. When Pauline's body was finally found, it became clear she had fallen down in a rough, lonely terrain. Bernadette Lafont published her autobiography in 1997, an event heralded by a grand star-studded gala in Paris. For her long service to the French motion picture industry, she was given an Honorary César Award in 2003. She was made Officier de la Légion d'honneur (Officer of the Legion of Honour) in 2009.

 

Sources: Katherine Knorr (New York Times), Sandra Brennan (AllMovie), Wikipedia, and IMDb.

All images available for licensing via me. I offer commercial and editorial pet photography on a commissioned basis. And with a pet picture database with thousands of hand-picked images of dogs, cats, as well as horses, I might already have what you are looking for. All pictures here can be licensed.

For licensing and commission requests: info{at}elkevogelsang.com -

FACEBOOK | INSTAGRAM | WEBSITE

© Elke Vogelsang

 

20240506_Lasse_LasseIsAnAdult_4

 

licensing dog images

licensing dog photos

licensing dog photo

licensing pet photos

licensing pet photos

stock images of pets

stock images of dogs

commercial dog photographer

commercial pet photographer

commercial dog photography

commercial pet photography

commercial dog photograph

commercial pet photograph

commercial dog photographs

commercial pet photographs

studio dog photograph

studio dog photography

studio dog photographs

studio pet photograph

studio pet photography

studio pet photographs

license images of dogs

license images of pets

commercial license

commercial licenses

commercial licenses for dog photos

commercial licenses for dog photos

buy commercial license for dog photos

buy commercial license for dog photo

buy commercial license for pet photos

buy commercial license for pet photo

commercial licenses for pet photos

commercial licenses for pet photo

pet image archive

dog image archive

stock photos of dogs

stock photos of pets

buy dog photos

buy pet photos

buy cat photos

buy dog images

buy pet images

buy cat images

Fujifilm X camera

Hundefotos

Hundefotos kaufen

kommerzielle Hundefotografie

kommerzieller Hundefotograf

Haustierfotos

Haustierfotos kaufen

Lizenzen für Fotos kaufen

Bildagentur

Haustierbildagentur

Bilderagentur für Haustierfotos

Bildagentur für Hundefotos

 

stories reaching into space.

concrete, wire, book pages

  

Offerte.

Geschichten ragen in den Raum.

Beton, Draht, Buchseiten.

Nail technicians and skin-care specialists (the salon workers who do the most waxing) earn a mean annual pre-tax wage of $22,150 to $31,990. This figure doesn't include tips, which can total another $4,430 to $6,398—a clear financial incentive to befriend your clients in this service-based, nonreciprocal way.

 

And yet. When it came to 38, I wanted the cash, not the compliment, to show the value of my abilities. And maybe, to compensate for how she got to leave feeling so clean and sexy—but I could still smell her body on me, ever so faintly, even after I threw away the gloves and washed my hands.

.

 

........***** All images are copyrighted by their respective authors ........

.

 

I’m not sure what the phrase “owning your sexuality” means to you, but for me, one thing it entails is responsibility: doing my best to make sexual choices that are sound for me and a partner. (That’s also part of doing consent well.)

 

If I am offering something sexually light and fun but anticipate that it will be emotionally or interpersonally complex–or if I’m feeling stressed, confused and worried about it–then I can know that easy-breezy is neither what I can expect nor earnestly offer.

.

 

............................................................................................................................................................................................

.

.....item 1).... Ms. Magazine blog ... msmagazine.com/blog/ ...

 

You are here: Home / Health / Can Sex “Just for Fun” Be Emotionally Healthy?

.

...............................................

 

img code photo ... Casual Sex ...

 

msmagazine.com/blog/files/2011/10/Casual-Sex.jpg

 

...............................................

.

 

Can Sex “Just for Fun” Be Emotionally Healthy?

October 11, 2011 by Heather Corinna

 

msmagazine.com/blog/blog/2011/10/11/can-sex-just-for-fun-...

 

This week’s installment of Heather Corinna‘s sex-and-relationships advice column tackles the issue of casual sex.

 

...Q: So excited for this new blog spot! Can you discuss whether it’s emotionally healthy to have sex outside of relationships? I want to own my sexuality, but all of the advice around me seems to be no-sex-outside-of-relationships-or-marriage. I know this depends on the individual, but any insight would be great! I’ve been toying with asking an ex–whom I am friends with–to have sex just for fun. I’m 98 percent sure he’ll agree, but I am worried about emotional health consequences. He has always wanted a much closer relationship than I do. I’m worried I’ll feel guilty for possibly leading him (or myself) into wanting more.

 

You’re right: this is a very individual and situational decision. To give some context, a recent study found that, on average, for 20-year-olds, casual sex and committed relationships led to the same level of psychological health. But individuals aren’t averages. Not everyone wants or is comfortable with sex in the same kinds of relationships or scenarios (including committed relationships). Context and interpersonal dynamics factor in, too.

 

There are some guidelines, however, that everyone can apply. When a sexual situation is likely to be sound, we usually feel good heading into it, as does anyone else involved. If we feel uncertain or predict negative feelings on anyone’s part, those are strong cues not to proceed.

 

I’m not sure what the phrase “owning your sexuality” means to you, but for me, one thing it entails is responsibility: doing my best to make sexual choices that are sound for me and a partner. (That’s also part of doing consent well.) If I am offering something sexually light and fun but anticipate that it will be emotionally or interpersonally complex–or if I’m feeling stressed, confused and worried about it–then I can know that easy-breezy is neither what I can expect nor earnestly offer.

 

Even when I’m having sex-for-sex’s-sake–which I would define as sex that takes place outside of a larger intimate relationship, without any agreed-upon, intended or implied commitment–that doesn’t mean I have zero responsibility for my emotional health or that of others. My partner (or wanna-be partner) and I still owe one another respect, care and consideration, which includes considering possible outcomes, even if we don’t intend to be there with each other for them.

 

It sounds like you’re on board with that, and you’ve already voiced your own sense that this specific situation probably isn’t sound for you or your ex. While he’d likely agree to sex, clearly some of this wouldn’t be fun for him or you, and could be an emotional landmine. While your romantic relationship may be over, you two are in a relationship: you have a history and a friendship, and it sounds like you have strong feelings for and about one another that are not only or primarily sexual. If what you want is just a roll in the proverbial hay, this isn’t likely to be it.

 

It also sounds like you’ve been curious about sex outside of romantic relationships, but you haven’t felt supported in or exposed to alternatives. So you might also want to give yourself more time to take a bit more stock of what you want and to find people to talk with who aren’t all saying the same things. If that’s not currently available to you, Sex & Single Girls is a great anthology with a diverse array of women writing about various sexual experiences. I also think Jaclyn Friedman’s new book, What You Really Really Want, could be just the thing for you.

 

My best advice is that you hold out for an opportunity to explore casual sex if and when you feel a lot better about it. That will also likely entail a partner or scenario you don’t feel so conflicted about; that feels more likely to be explosive in the ways you want, rather than the ways you don’t.

 

Check out last week’s advice about lube blues.

 

Have a sex, sexual-health or relationships question you want answered? Email it to Heather at sexandrelationships@msmagazine.com. By sending a question to that address, you acknowledge you give permission for your question to be published. Your email address and any other personally identifying information will remain private. Not all questions will receive answers.

Photo from Flickr user skampy under Creative Commons 2.0.

.

.

.............................................................................................................................................................................................

.

.....item 2).... Ms. Magazine blog ... msmagazine.com/blog ...

 

You are here: Home / Life / When the Sweet Spot Becomes a Sore Spot

.

....................................................

 

img code photo ... lesbian pride ...

 

msmagazine.com/blog/files/2011/10/lesbian-pride.jpg

 

....................................................

.

 

When the Sweet Spot Becomes a Sore Spot

October 31, 2011 by Heather Corinna

 

msmagazine.com/blog/blog/2011/10/31/when-the-sweet-spot-b...

  

Q: I’m a 21-year-old lesbian. A problem has popped up in me and my girlfriend’s sex life. When we practice tribadism with just skin, after a while a very small raw spot will show up, bringing with it a sharp pain. Both of us have this problem. Neither of us is clean-shaven, but we do trim–would shaving help? Is there anything else we can do?

 

A: Ah, friction. Sometimes it feels so awesome. Other times it hurts. Part of what makes genitals so sensitive is that genital tissue is far more delicate than other kinds of skin on our bodies. With genital friction, there’s a tipping point after which a wowie can turn into an owie.

 

To avoid being rubbed raw, first make sure you and your partner are always very well-lubricated. Lube from a bottle tends to do the job better than our bodies’ lubricant when it comes to friction-intensive sex.

 

Apply lube before you start and add more as needed throughout. Be generous and don’t skimp.

 

I checked in with Searah Deysach, the fantastic owner of Early to Bed, to see if she had any specific lube suggestions; she keeps up with brands and types like nobody’s business. She suggested a high-quality silicone lube, such as Uberlube or Sliquid Silver–they tend to be longer-lasting and slicker than water-based lubricants. But if you prefer water-based, she suggests glycerin-free brands such as Sliquid Sea or Liquid Silk (my fave), which are kinder to vulvas and vaginas than those with glycerin.

Searah and I are of one mind about hairy issues. She says, “Hair that is growing back after shaving can be especially irritating, as stubble can be vicious on delicate tissues. “ I agree. Stubble from hair removal is more likely to irritate than the softer pubic hair we tend to have when we don’t shave. If all you do is trim, chances are hair isn’t the problem.

 

Consider positioning. I’d suggest experimenting with an eye for reducing how much weight is being put on each of your genitals. Try finding ways you can scissor without anyone really being “on top” at all, like lying on your backs toe to head. Searah suggested straddling your lover’s thigh as an alternative. Similar feeling, less pain. If you do like a missionary-style V-on-V position, whoever’s on top can try to balance so less weight rests on the other person’s tender bits–e.g., by bracing their hands on a headboard. Mixing up positions often helps, too. And if and when either of you start feeling raw, don’t keep going with the activity that got you there–take a break from genital sex or at least consider that spot done for the day. If it remains raw the next day, lay off the intense pressure for as long as it takes to heal.

 

Now and then this still might happen, especially because, when we’re very aroused, pleasure can cause us to space out on signals of pain. But with these adjustments, you can probably make it a rarity instead of a norm.

 

Check out last week’s advice to a woman whose fiancé monitored her vagina’s size.

 

Have a sex, sexual-health or relationships question you want answered? Email it to Heather at sexandrelationships@msmagazine.com. By sending a question to that address, you acknowledge you give permission for your question to be published. Your email address and any other personally identifying information will remain private. Not all questions will receive answers.

 

Photo from Flickr user Gray Marchiori-Simpson under license from Creative Commons 2.0

 

Line drawing from Wikimedia Commons.

.

.

..............................................................................................................................................................................................

.

......item 3).... Slate ... www.slate.com ... HOME / DOUBLEX : WHAT WOMEN REALLY THINK ABOUT NEWS, POLITICS, AND CULTURE.

 

My Year in Waxing School

Naked people don't tip well, and more tricks of the trade.

By Virginia Sole-Smith|Posted Friday, Nov. 19, 2010, at 12:08 PM ET

 

www.slate.com/articles/double_x/doublex/2010/11/my_year_i...

 

The 38th client I worked on at Beauty U. was my first full Brazilian wax—the kind where you remove all (or almost all) of your hair below the belt. I'd waxed many bikini lines and other body parts. I'd also assisted on Brazilians, handing my teachers wax-dipped Popsicle sticks the way nurses hand over scalpels. But now, it was my turn to wield the wax, solo. "I know—I'm a hairy beast!" Client 38 apologized, hopping onto the waxing table, clad in disposable thong. "You have to fix me. I'm going on vacation with my boyfriend."

.

.................................

 

img code photo ... bikini waxing

 

www.slate.com/content/dam/slate/archive/2010/11/1_123125_...

 

.................................

.

 

She spread her legs. I put on some vinyl gloves and worked down and across her pelvis, twirling clumps of hair and trimming them free. You have to trim any hair longer than eyebrow-length to prevent "locking" with the wax. You also have to act like this is normal, even though a part of your brain is thinking, "Pubic hair, pubic hair, oh my God, pubic hair." But I was getting better at trimming, and also at acting. And so clouds of hair piled up on the paper-covered table while 38 chatted about her vacation plans (the Poconos; if she was lucky, a proposal), her C-section scar, and how she liked my red glasses.

 

The $1.8 billion business of superfluous hair removal is our most intimate and uncomfortable kind of beauty labor. When I enrolled in a 600-hour aesthetics program at my local strip mall beauty school, I knew the standard feminist rhetoric against hair removal: Women wax because we've been culturally indoctrinated to hate our bodies in their natural state. I also knew the women's magazine defense, that removing excess hair celebrates our femininity and increases sexual pleasure. And I'd been in 38's position enough to know that waxing can make you feel vulnerable in ways feminists haven't even considered and hurts more than women's magazines (or at least, their beauty advertisers) let you believe.

 

But being on the other side of the waxing table turns out to feel simultaneously more exploitative and more empowering than I ever expected. There is, for example, the moment when your client shuts off from you, closing her eyes to "relax." Your client is in charge, having commissioned you to perform this service. And yet they are also terribly vulnerable, half naked, exposed and—eyes closed—hoping for the best.

 

After I trimmed, I tested the temperature of the hot wax on the inside of my wrist and painted a stripe along 38's inner thigh, quickly covering it with a muslin strip. She tensed before I ripped, then relaxed even as her brown skin tinted pink: "That hurt so much less than last time!" I watched some spots of blood well up. "I'm going to have you do my eyebrows, too," she added. And as I waxed my way along the crevice of her inner thigh to some very sensitive parts, 38 closed her eyes, drifting into that blissful state we enter whenever a spa service goes well.

 

With most Beauty U. clients, I liked offering this respite from their harried lives and from the even more harried relationship they had with their bodies. Before beauty school began, I hoped this body shame part wouldn't be so true. Instead, I saw women hating their bodies—in subtle ways, like 38's matter-of-fact "I'm a hairy beast!"—with every spa service I performed. So I saw my role as providing a kind of safe haven of acceptance, where a client could feel comfortable enough to drift away

 

Two hours into 38's appointment, I was the one who could not relax. I had waxed right through my dinner break and my back ached from hunching over the table. I removed all the hair 38 had asked me to (all but a delicate landing strip) and cleaned up her brows. I held a hand mirror between her legs, angling it so she could decide if she was satisfied. I'd snipped off her paper thong, so we looked together like those consciousness-raising women's groups from the 1970s. Only with me still wearing my vinyl gloves, now sticky with a layer of wax.

 

By that time, I knew that 38 had two kids, was divorced, and was going back to college. I liked 38. I wanted her to enjoy vacation and get engaged and have a good life. But we weren't friends. There was nothing reciprocal in our conversation. We were taught to avoid sharing personal information about ourselves whenever possible. "Customers don't care about your life," teachers told us. "They're buying your full attention." And that seemed to work. Once clients relaxed, they told us all sorts of personal things, like when they next expected to have sex and why their mothers made them crazy. And we learned that letting clients share these intimate details was good for business. "Remember to mention something about them or their life that they've talked about previously. Keep notes about each customer on file if you need to," advised one handout. It was much like being a therapist, serving soul and body.

 

In April, the New York Post reported that "NYC Women are Strangely Bonded to the Beauticians who Wax Their Brazilians," quoting smitten spa-goers who viewed their waxers as surrogate moms. But the story didn't explain how this one-sided friendship is made all the more awkward by socioeconomic differences. No matter how friendly their relationship, the client still pays and the waxer still needs that money. Nail technicians and skin-care specialists (the salon workers who do the most waxing) earn a mean annual pre-tax wage of $22,150 to $31,990. This figure doesn't include tips, which can total another $4,430 to $6,398—a clear financial incentive to befriend your clients in this service-based, nonreciprocal way.

 

Before starting, I assumed that most clients tip the industry's expected standard of 20 percent. They don't. I wasn't surprised, for example, when 38 tipped me just $5 (under 15 percent) because we never got big tips when clients got naked. Like johns who mistake their hooker's acrobatics for true love, clients can put such emphasis on the girlfriend-bonding time that slipping us a wad of cash would destroy the fantasy.

 

If her tip had been bigger, I would have been more delighted that 38 had taken time to write a "Client Kudos!" card about me: "She was professional and friendly at the same time. … Thanks so much!" She even drew a star on top next to my name. "That makes up for the bad tip," said my classmate Campbell about my Client Kudos. "Look how happy you made her!" Most salon workers say making clients feel good is their biggest source of job satisfaction. But I'm not convinced it's enough to balance out the often exhausting, difficult, and underpaid labor. No matter how much we liked our clients, we still had to brush stray pubic hairs off our sleeves, pick seaweed-stained disposable thongs out of the shower, and work around the occasional menstruating bikini wax client.

 

But it's also true that many waxers find this work empowering because the services require such skill and our clients are so thrilled with the results. Even if we don't totally return our clients' affections, we feel a kind of sisterhood with them and our fellow salon workers, because we're all toiling away together to meet some impossible beauty standard. When Campbell and I practiced our first Brazilian together, she rubbed the back of our "client" (another classmate), singing songs to distract her from the pain. We all traded stories about waxing and then, childbirth—that other time when a woman spreads her legs in pain and the support of other women gets her through.

 

And yet. When it came to 38, I wanted the cash, not the compliment, to show the value of my abilities. And maybe, to compensate for how she got to leave feeling so clean and sexy—but I could still smell her body on me, ever so faintly, even after I threw away the gloves and washed my hands.

 

Like DoubleX on Facebook. Follow us on Twitter.

.

.

............................................................................................................................................................................................

.

.

Milang and the Murray River Boat Trade.

In 1853 the governor of SA offered a reward of £4,000 to the first river steam boat to navigate the Murray to Wentworth and beyond. Captain Francis Cadell working with William Younghusband, a close friend of the governor received the prize although Captain William Randell of Mannum reached Wentworth in his steam boat at the same time. Cadell had named his boat after the wife of the Governor, the Lady Augusta and the Governor and a small party travelled on Captain Cadell’s boat. After this financial boost Cadell went on to establish the River Murray Navigation Company based in Goolwa. Randell established his own shipping line based in Mannum. The river trade began in earnest in 1854. The prize was intercolonial transportation of goods into western NSW and southern Qld via the Darling River from Wentworth. In the 1850s there was almost no settlement in SA along the river so the money to be made was in NSW and the upper reaches of the Murray in Victoria. Randell transported flour to Echuca, for example, for overland transport from Echuca to the goldfields at Bendigo. The early river steamers and barges were manufactured along the Murray and the lakes, often at Goolwa or Mannum or in Milang. Wool was the staple product shipped down the river from NSW and the return trips took up flour, sugar, tea, pianos, furniture, engines or whatever outback stations needed. Customs duties were due at the SA/NSW/Vic border and the Qld border. Milang established a niche role for itself in the riverboat trade; it made steamers and barges, provided captains and skilled navigators and handled the bulk of supplies going up to NSW as Milang was the closest and easiest river port to Adelaide. Duranda Terrace in Milang handled 50 to 60% of all SA exports up the river. Merchants flourished here and Landseers established a large wool handling and warehousing business with offices in Morgan, Murray Bridge, Goolwa, Wentworth, Wilcannia and Mildura. But their headquarters were in Milang.

 

Albert Landseer the company founder was born in England in 1829 and was a cousin to the famous British landscape painter of the same surname. Albert studied sculpture himself but gave it up to immigrate to SA. He became the agent for Captain Cadell of Goolwa in 1856 and from that contract he expanded his business all along the river. He had ten children with his first wife and six with his second. He controlled almost all the trade through Milang and was known as the “Duke of Milang.” His business partner who contributed financial support was William Dunk. Albert Landseer died in 1906 as the river trade was starting to reduce. Landseer contributed to the district by becoming a member of parliament and was a popular local identify. Alas his four storey stone flour mill and three storey warehouse in Duranda Terrace were both demolished a long time ago. (His impressive wool store in Morgan still stands.) Landseer’s flour mill operated from around 1870 to 1890 replacing the Pavy flour mill that was established in Milang in the 1850s to supply flour for the riverboat trade. The heyday of the riverboat trade was in the 19th century. Before any railways reached western NSW almost all trade was carried on the river through SA. Railways reached western NSW and upper Victoria in the 1880s. But the river trade persisted as so many stations were situated right on the banks of the Darling River and so river transport was the easiest and cheapest right into the middle 1920s. The first jetty was constructed in Milang in 1856 to get the river trade going. It was increased in length in 1859 and again in 1869 until it was 217 metres (711 feet) long. A tram track took cargo to the end of the jetty. The great Murray flood of 1956 saw half the jetty washed away.

 

Although much of the river boat trade died away in the 1920s some services continued, especially the local steamer service across Lake Alexandrina. Once the railway from Adelaide reached Milang in 1884 a service was started to connect with the trains to take passenger and freight across the lakes to Poltalloch station, Meningie and from there overland through the Coorong to the South East and Melbourne. The paddle steamer Dispatch plied this route from 1877 between Milang and Meningie. After 1884 other vessels were also used on this route. Trade declined considerably in Milang itself after 1878 when the SA railway reached Morgan. It then became the major river port, rather than Milang.

 

Because of the river trade Milang had a thriving boat building industry. George Ross established engineering works in Milang and then branched out into boats. Ross’ major competitor was Frank Potts of Langhorne Creek who built his boats in Milang too. Potts built many of the boats used by Landseer’s company. The last boat built for Landseer was the Marion in 1897. This is the paddle steamer now in the Museum at Mannum. Another well known boat builder in Milang was C.H.F. Kruse. The register of steamers built in Milang lists:

1857The Enterprise.

1872 The Ponkaree.

1873Landseer’s floating dry dock was built and then later sold on to William Randell at Mannum in 1876.

1875The Wilcannia.

1876The Annie and the Bourke.

1877The Avoca and the Dispatch.

1878The Milang, the Elsie, the John Hart and the Victor.

1880The Mary Ann (second steamer of this name).

1891The Ada and Clara. (This was financed by the Bowmans for the lake crossing to Poltalloch Station.)

1892The Advance and the Retreat.

1897The Agnostic, the Marion and the Tarella.

1898The Etona (used by the Anglican Church for services along the Murray from Murray Bridge to Renmark.)

1911The Elsie (second steamer of this name).

Although the river trade was starting to die off in the early 20th century in 1902 the lock system was agreed upon by the states. It was mainly built to provide a constant river level free from snags in the Murray. The locks were also to control river flows in times of drought and keep the Murray navigable. The first Murray River lock was started in 1915 and finished at Blanchetown in 1922. It took another 20 years for the remaining 25 locks along the river to Albury to be completed. The final stage of this project really was the construction of the five barrages to prevent salt water from entering the lakes and Murray River. They were completed in 1940.

 

A Brief History of Milang.

The settlers of Strathalbyn were anxious to have a port near their town especially after the Wheal Ellen mine began operations in 1857. In August 1853 Captains Cadell and Randell had proved the viability of river trade. In light of this the Surveyor General Arthur Freeling ordered a township to be laid out on the shores of Lake Alexandrina near where the Bremer and Angas rivers enter the lake. A site was selected on high ground away from both river mouths. Milang was laid out by January 1854. The town had a grid pattern, like Adelaide surrounded by parklands on three sides and the lake on the other. Blocks must have sold quickly as in 1857 a private development was laid out beyond the parklands by Dr Rankine of Strathalbyn. The town name was selected from a local Aboriginal word “Millangk” which meant place of sorcery and magic. Some might argue that Milang is still a magical place!

 

Among the purchasers of the first town lots, as was to be the case in Langhorne Creek too, were the elite of Strathalbyn- the Gollans, Stirlings, Dawsons etc. Other pioneers of Milang were the Landseer family and G Chalken. Chalken owned the Lake Hotel, established in 1856 in a side street. The Pier Hotel facing the lake was built in 1857 and still stands. Landseer soon opened a general store and Post Office. He bought machinery from the original Pavy flour mill and built a new one in 1871. Around this time he also erected a large wool store and other warehouses along Duranda Terrace making him the main businessman in town. Milang blossomed overnight on the expectation of successful river trading. A South Australian Register newspaper article in 1857 described the new town thus: “Milang is becoming a very bustling little port and will shortly grow into a place of importance. Already it has two inns, a steam mill, a store of some extent, a chapel in the course of erection, a timber yard and a jetty on which there were lying on Tuesday the Symmetry twenty five tons, the Blue Jacket five tons and the Enterprise eight tons. There are now about one hundred and ten souls in the township and several hundred settlers within a radius of two or three miles. Cultivation is progressing extensively and wheat and flour are continuously shipped, and also silver and lead from Strathalbyn and the Wheal Ellen mines.” Alas Milang is no longer a bustling port or town!

 

As with most other towns the first public structures were the two hotels and the early school room in 1856. This purpose built school is still in use. The first church erected was the Church of Christ in Coxe Street in 1857. This church was enlarged in 1899 and again in 1901. By 1866 Milang had two further churches the Primitive Methodist erected in 1866 in Chapel Street and the Congregational Church erected in 1862 in Stephenson Street. The Congregational Church originally had a thatched roof and it is now the Uniting Church. The Anglican Church was not built until 1911 and its completion was financially assisted by the Dunk family. Before then Anglican services were conducted in the Institute building. Mrs Landseer laid the foundation stone of the Institute in January 1884. James Rankine of Strathalbyn opened the Institute later that year. By 1890 it was free of debt and in 1917 further additions were made to it. A District Council was formed in Milang in 1855 and the first meetings were held in nearby Belvedere. A police station opened in Milang in 1865 but Milang began to slide backwards shortly after that. The tramway to Strathalbyn in 1869 bypassed Milang despite pleas for it to travel via Milang. However they did get a rail line in 1884 to link with the Adelaide line at Sandergrove. In 1893 a butter factory opened in Milang, the Lakeside Butter Factory which exported local butter to England. It closed in 1915. It re-opened some time later and was still operating in the 1930s. The infamous shacks along the lake foreshore were built around 1948. The Milang Progress Association controlled the area until the local Council resumed control in 1967. Despite government threats to their existence the shack owners have had several reprieves and they are still there.

 

at top of main road entrance to Milang is St. Mary’s Anglican Church 1911.

 

1. Site of the former Landseer’s General Store, flour mill and warehouse and wool store. Now a row of shops.

2. Pier Hotel dating from 1857. Limestone, brick quoins, diagonal front door. Note the memorial to Captain Charles Sturt opposite the hotel.

3. Milang Butter factory. Note curved factory roof. Began as Lakeside Butter around 1894. Closed for a short time around 1904. Then operated through to mid 1930s lastly by SA Farmers Union. Milk was delivered from Meningie by lake steamer.

4. Headmaster’s House. This villa houses built around 1900 is in typical Education Department style. Turn left into Rivers Street.

5. Primary School. The first school room was built 1856. Much of the still standing old school was completed in 1865. It has a high gable, single window in the gable and a door on the side with another single window. It is the oldest purpose built school room still being used in SA for its original purpose. The rest is far more modern.

6. Old Bake House. This single storey shop has been converted into salt-box style house called the Rookery. The house was erected in the mid 1850s and the second storey was added in 1868. Shops were then added each end of the house in 1870. The house is restored. Note the small windows to the street in typical 1850s style. Made of limestone with render and whitewash it has a skillion roof. The first Church of Christ services were held here before the church opened in 1857.

7. Ted Burgess Butcher’s shop. Diagonally opposite Robert’s General Store the former shop is now a residence. Note the large shop style window to the street and the attractive concave veranda. The shop was built around 1870 and was for many years a butcher shop. Butchery ceased here in 1947.

8. Robert’s Corner Store. Originally this shop had a shingle roof with diagonal shop doors and a low roof line. It closed as a general store in 1988! Once you walk past it you might be able to see the Robert’s General store sign in the back yard. When it closed in 1988 it still had some stock that was over 60 years old. Was it past the used by date? The Roberts family operated the store from 1905 to 1988.This is a real mid 1850s building.

9. Old Lake Hotel. This hotel was licensed in 1856. It is quite impressive and has decorative corbels in cement which were used to support the roof. Note the metal air vents. It has a stripped painted veranda roof. It has many uses since it closed as a hotel many years ago. Note the old stables at the rear.

10. Milang Post Office. Postal services began in 1867 from Landseer’s store. The Post Office which looks like a residence opened in 1880. The gable end has a single window. It is across Luard Street in what was once parklands.

11. Milang Police Station. A cottage police station was opened in 1866. The fine station we can see today was built in 1874. It has a central gable and a single room breaks the front veranda. Note the decorative barge boards. It is made of local limestone with brick quoins.

12. Milang Institute. This was opened in 1884 by James Rankine. The impressive façade has good symmetry. The slightly rounded windows have semi-circular windows above them and a large round air vent in the top triangular pediment. In the 19th century everyone was concerned about ventilation whilst wearing all those skirts and jackets and ties. The building has good proportions, limestone walls and cement quoins. Note the stunning urns on the corners of the building. The outside stair case and library room were added in the 1920s and the modern supper room was added in 1962.

13. Dunk family home. Turn left in Ameroo Avenue beside the Soldiers Memorial Park. If you look at the back of the house on the opposite corner you can see the original Dunk family 1850s cottage which had the bigger Dunk residence added in Ameroo Avenue. The front house dates from the 1880s by its style. The Dunks contributed to the Anglican Church which is further up Luard Street towards Adelaide. That church was opened in 1911. Continue walking down Ameroo Avenue towards the lake. But if you want to walk further to the west along Coxe Street behind the Dunk home you will find the Church of Christ which was the first church opened in Milang in 1857.

14. Old Railway Station. Unusually for SA Milang got a wooden station. The rail service ended in 1968. The museum here is staffed by volunteers. Allow 10 -20 minutes to visit it.

 

Milang Cemetery.

Albert Landseer’s grave is here dated 1906. Adjacent plots include his first wife, 1871, and his second wife and some children. Next to Landseer is the Dunk family plots. They business partners of Landseers. Nearby is the Chalken family, the original owners of the Pier Hotel. A usual symbol for riverboat captains is an anchor on their headstones. Such graves include Captain Thomas Jones who died in 1879; Captain Dan Cremer who died in 1942; and Captain George Jeffrey Wallace who died in 1906.

 

Chassis n° 13213

 

- In-Period Group 4 preparation

- Offered with a Massini Report, FIVA and FIA Passport valid through 2034

- Retains matching numbers chassis and engine

- Eligible for numerous prestigious classic car events

- Exceptionally well-prepared

- Registered in Belgium as a road-legal example

- Boasts the historic 1974 Le Mans GTS class-winning livery, driven by Bardini & Grandet

 

Broad Arrow’s Zoute Concours Auction

Approach Golf - Het Zoute

Estimated : € 800.000 - 1.000.000

Sold for € 827.500

 

Zoute Grand Prix Car Week 2025

Knokke - Zoute

België - Belgium

October 2025

The white azaleas always offer a lovely contrast to pinks, reds, and deep reds.

 

Speaking of contrasts, who is that dark cowled, caped crusader? It's Batman!

 

"Ich bin die Fledermaus!"

 

What was that?

 

"Die Fledermaus!"

 

Right. Okay, this is not Batman but, rather, 'The Bat'. So, to recap, please enjoy the white azaleas and the caped crusader, The Bat.

 

💐🌷A🌸Z💮A🌹L🌺E🌻A🌼💕AMORE💘💖

 

A year of the shows and performers of the Bijou Planks Theater.

 

The Tick

'Pose Striking' Die Fledermaus

1994, Bandai

I offered to make this for a local Stella and Dot rep because I've always thought their logo and jewelry would be fun to replicate in sugar and other edible mediums. Had fun with this one! Handmade ring and bracelet. Cake was dark chocolate butter cake with a layer of candied ginger and white chocolate meringue buttercream.

The Haas Haus in Vienna always offers a different view—sometimes even of the past.

In its mirror façade: layers of history, fragments of architecture, and a portrait half revealed.

It’s like the city is watching itself.

 

Sony A7III | 85mm | f/5.0 | 1/4000s

 

Modernity doesn’t replace history—it reflects it.

Silver rings are really beautiful. They are designed in a pretty way to offer a beautiful crafting style. Silver jewelry is gaining the market gradually, and these pieces are defining modern trends. The love month, February is approaching and if you are planning to gift something special on that occasion, we have beautiful silver jewelry rings for her.

 

For more information please visit our site: www.silverpalaceinc.com

 

-Oilgraph on panel // 8"x8"-

I wrote about how I went from no plan to write a book to having an offer on my manuscript, all in one summer. marloland.com/blog #linkinprofile

How could I possibly resist?

All images available for licensing via me. I offer commercial and editorial pet photography on a commissioned basis. And with a pet picture database with thousands of hand-picked images of dogs, cats, as well as horses, I might already have what you are looking for. All pictures here can be licensed.

For licensing and commission requests: info{at}elkevogelsang.com -

FACEBOOK | INSTAGRAM | WEBSITE

© Elke Vogelsang

 

20231107_EasyPeasy_EasyPeasyWieselblitzed

  

licensing dog images

licensing dog photos

licensing dog photo

licensing pet photos

licensing pet photos

stock images of pets

stock images of dogs

commercial dog photographer

commercial pet photographer

commercial dog photography

commercial pet photography

commercial dog photograph

commercial pet photograph

studio dog photograph

studio dog photographs

studio pet photograph

studio pet photographs

license images of dogs

license images of pets

commercial license

commercial licenses

commercial licenses for dog photos

commercial licenses for pet photos

commercial licenses for pet photo

pet image archive

dog image archive

stock photos of dogs

stock photos of pets

buy dog photos

buy pet photos

buy cat photos

buy dog images

buy pet images

buy cat images

dog and towel

dog in towel

bathing dog

bath dog

All images available for licensing via me. I offer commercial and editorial pet photography on a commissioned basis. And with a pet picture database with thousands of hand-picked images of dogs, cats, as well as horses, I might already have what you are looking for. All pictures here can be licensed.

For licensing and commission requests: info{at}elkevogelsang.com -

FACEBOOK | INSTAGRAM | WEBSITE

© Elke Vogelsang

 

20220122_Foxy_AdobeShoot_HappySeniorSayingHi

 

licensing dog images

licensing dog photos

licensing dog photo

licensing pet photos

licensing pet photos

stock images of pets

stock images of dogs

commercial dog photographer

commercial pet photographer

commercial dog photography

commercial pet photography

commercial dog photograph

commercial pet photograph

commercial dog photographs

commercial pet photographs

studio dog photograph

studio dog photography

studio dog photographs

studio pet photograph

studio pet photography

studio pet photographs

license images of dogs

license images of pets

commercial license

commercial licenses

commercial licenses for dog photos

commercial licenses for dog photos

buy commercial license for dog photos

buy commercial license for dog photo

buy commercial license for pet photos

buy commercial license for pet photo

commercial licenses for pet photos

commercial licenses for pet photo

pet image archive

dog image archive

stock photos of dogs

stock photos of pets

buy dog photos

buy pet photos

buy cat photos

buy dog images

buy pet images

buy cat images

Fujifilm X camera

Hundefotos

Hundefotos kaufen

kommerzielle Hundefotografie

kommerzieller Hundefotograf

Haustierfotos

Haustierfotos kaufen

Lizenzen für Fotos kaufen

Bildagentur

Haustierbildagentur

Bilderagentur für Haustierfotos

Bildagentur für Hundefotos

Katzenbilder

Katzenfotos

Bildagentur für Katzenfotos

Lizenzierung von Katzenfotos

 

Offered as a free texture or background or whatever you want to use it for. If you use it, please credit me and let me know what you did. I want to see!

★MyLight Modeling Academy★ offers complete training in modeling. Classes are hold in italian, spanish and english.

From basic professional to advanced courses, our experience and knowledges are voted to help people interested in learning principle of stylings, in becoming professional models and also to the already ones, willing to enhance and improve their skills.

For further informations, just follow the LM

maps.secondlife.com/secondlife/Coffee%20Elite/11/78/4043

click on the box and subscribe the free group.

 

Teachers Team:

 

LuceMia

Owner ★MyLight Fashion Agency★

MISS V♛ ITALY 2015 - 4th runner up

 

Caesar Langer

Co-Owner ★MLFA★

MR. VIRTUAL ♛ORLD 2015

 

Joys Cuttita

Co-Owner ★MLFA★

MISS V♛ FRANCE 2016

 

Euridice Qork

MISS SL ♛ MEXICO 2015 - 2nd Runner Up

 

Offer in this format:

Have:

Want:

  

Wants

weird colored time bombs

figs that came with a time bomb

anything with time bombs

BA Sandman

BA Bandit

EG multicam fig

M110 in GM or black (Proto)

Trans protos

Weapons on sprues

Flash and shortshots

 

Not shown:

Sprues w/o weapons on them

 

In the mail:

BA case

Sprues?

Vector (maybe)

 

DAS Angebot

 

Nikon Z6 24-70 f4s

Ok, I know I've offered something of a Seddon sufficiency lately, but hopefully this will be the last one for some time. The original B&W was another of those splendid offerings from the former trade magazine, 'Bus & Coach' which I'd bought with a view to colourising. However, in view of the general detritis present, I feel sure that with a little imagination the photographer could have found a better location for it!

RAA 21G was one of a second delivery of six Pennine IVs in March 1969, for Hoeford based Gosport & Fareham Omnibus who traded as Provincial. The operator was seeking to cost effectively modernise its remarkably fascinating but antiquated fleet in the late '60s and Seddon appeared to have a solution at the time. This batch had bodies by Seddon's in house coachbuilder Pennine Coachcraft. The first slightly larger delivery had bodies built more locally to the operator by Strachans of Hamble. Both types were dual entrance, seated 40 passengers and were powered by the small Perkins 6.354 engine . . . which may or may not have been turbocharged in these buses(?) What is noticeable here is the narrow track of the axles used by Seddon, a bonus if you're building a bus of restricted width, but surely would have added to body roll on a laden standard vehicle.

View On Black

  

The Coachella Review

  

Full Blue Moon Dementia

All images available for licensing via me. I offer commercial and editorial pet photography on a commissioned basis. And with a pet picture database with thousands of hand-picked images of dogs, cats, as well as horses, I might already have what you are looking for. All pictures here can be licensed.

For licensing and commission requests: info{at}elkevogelsang.com -

FACEBOOK | INSTAGRAM | WEBSITE

© Elke Vogelsang

 

20241202_Xena_XenaLookingOnFloor_3

 

licensing dog images

licensing dog photos

licensing dog photo

licensing pet photos

licensing pet photos

stock images of pets

stock images of dogs

commercial dog photographer

commercial pet photographer

commercial dog photography

commercial pet photography

commercial dog photograph

commercial pet photograph

commercial dog photographs

commercial pet photographs

studio dog photograph

studio dog photography

studio dog photographs

studio pet photograph

studio pet photography

studio pet photographs

license images of dogs

license images of pets

commercial license

commercial licenses

commercial licenses for dog photos

commercial licenses for dog photos

buy commercial license for dog photos

buy commercial license for dog photo

buy commercial license for pet photos

buy commercial license for pet photo

commercial licenses for pet photos

commercial licenses for pet photo

pet image archive

dog image archive

stock photos of dogs

stock photos of pets

buy dog photos

buy pet photos

buy cat photos

buy dog images

buy pet images

buy cat images

Fujifilm X camera

Hundefotos

Hundefotos kaufen

kommerzielle Hundefotografie

kommerzieller Hundefotograf

Haustierfotos

Haustierfotos kaufen

Lizenzen für Fotos kaufen

Bildagentur

Haustierbildagentur

Bilderagentur für Haustierfotos

Bildagentur für Hundefotos

Katzenbilder

Katzenfotos

Bildagentur für Katzenfotos

Lizenzierung von Katzenfotos

 

All images available for licensing via me. I offer commercial and editorial pet photography on a commissioned basis. And with a pet picture database with thousands of hand-picked images of dogs, cats, as well as horses, I might already have what you are looking for. All pictures here can be licensed.

For licensing and commission requests: info{at}elkevogelsang.com -

FACEBOOK | INSTAGRAM | WEBSITE

© Elke Vogelsang

 

20240327_Mimi_MimiOnBlack_3

 

licensing dog images

licensing dog photos

licensing dog photo

licensing pet photos

licensing pet photos

stock images of pets

stock images of dogs

commercial dog photographer

commercial pet photographer

commercial dog photography

commercial pet photography

commercial dog photograph

commercial pet photograph

commercial dog photographs

commercial pet photographs

studio dog photograph

studio dog photography

studio dog photographs

studio pet photograph

studio pet photography

studio pet photographs

license images of dogs

license images of pets

commercial license

commercial licenses

commercial licenses for dog photos

commercial licenses for dog photos

buy commercial license for dog photos

buy commercial license for dog photo

buy commercial license for pet photos

buy commercial license for pet photo

commercial licenses for pet photos

commercial licenses for pet photo

pet image archive

dog image archive

stock photos of dogs

stock photos of pets

buy dog photos

buy pet photos

buy cat photos

buy dog images

buy pet images

buy cat images

Fujifilm X camera

Hundefotos

Hundefotos kaufen

kommerzielle Hundefotografie

kommerzieller Hundefotograf

Haustierfotos

Haustierfotos kaufen

Lizenzen für Fotos kaufen

Bildagentur

Haustierbildagentur

Bilderagentur für Haustierfotos

Bildagentur für Hundefotos

Katzenbilder

Katzenfotos

Bildagentur für Katzenfotos

Lizenzierung von Katzenfotos

 

I offer commercial and editorial pet photography on a commissioned basis. And with a pet picture database of more than 1400 images, I might already have what you are looking for. All pictures here can be licensed.

For licensing and commission requests: info@elkevogelsang.com

________________________

Elke Vogelsang

Commercial and editorial pet photographer

www.elkevogelsang.com

info@elkevogelsang.com

________________________

 

All pictures: © Elke Vogelsang

  

20160710_Scout_GrassTroll

We offer daily meditation, yoga, and Pilates classes. Private instruction is also available by appointment.

 

Ofrecemos diariamente clases de meditación, yoga y pilates. También están disponibles clases privadas con previa reservación.

 

Website: vallarta.grandvelas.com/

Blog: www.vallartatravelblog.com/

Facebook: www.facebook.com/grandvelasresort

Instagram: instagram.com/VelasResorts

Twitter: twitter.com/vallartagv

Google+: plus.google.com/106300596050631578509/

Pinterest: pinterest.com/vallartagv/