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Tras la sesión matinal por Bujaruelo en la que sacamos un par de fotos a nuestro gusto y después de comer en el refugio de Bujaruelo un xuletón regado con un Ramón Bilbao 2015 (vale muy la pena comer en el refugio, calidad /precio excelente). no todo va ser fotografía...haha
Nos acercamos a la Pradera de Ordesa pues teníamos muy buenas referencias de un fotógrafo que nos encontramos en Bujaruelo, queríamos también hacer las ultimas luces de la Fraucata con el reflejo en el Arazas, primer problema el río seco con solo una pequeña xarca con la que pude hacer algo...y al final no hubo luces...buaaaaaa
Pero el par de horas que estuvimos deambulando por la Pradera fueron de infarto, la luz era muy buena y no sabías a donde mirar y disparar, es el mejor otoño que he pillado en muchos años en esta zona.
Cuando todo es bello. (Delta del Ebro - Cataluña)
Quan tot és bell. (Delta de l'Ebre . Catalunya).
When everything is beautiful. (Ebro Delta - Catalonia)
Español:
Un querido amigo mío me llamó y me preguntó, has estado alguna vez en el delta del Ebro para hacer fotos de la salida del Sol? Le contesté que no había estado nunca, no.
Me respondió pues prepárate para ver algo sorprendente, salimos mañana.!!
Me levanté a las tres de la madrugada, era de noche aún y con todo el equipo y cámaras en dirección hacia el Delta.
Llegamos de noche y no sabía el lugar exacto donde me llevaron por que todo era negro y con frio, mucho frio era un 30 de Diciembre
Nos pusimos estratégicamente para no molestarnos uno a mi derecha y el otro a la izquierda, con el trípode dentro del agua y equipados con botas de agua.
Preparé mis cámaras la Nikon sobre el trípode y mi querida Lumix en la mano para poder hacer ángulos bajos sobre el agua. Y como sé que la salida del sol es mucho más rápida que la puesta, debes apresurarte en disparar para lograr el mayor número de fotos y estudiar el entorno que en unos 100 metros podíamos cambia los primeros planos para realizar un mayor número de fotos distintas
Empieza el espectáculo, pasamos de vernos con luz de linternas a aparecer un cielo azul que parecía la iluminación de un pesebre en miniatura, ya me vino la ansiedad de capturarlo todo ahora aquí, con la Nikon y ahora allí con la Lumix, no paraba de decir tacos… muchos tacos… de ver aquel espectáculo de luz y color del azul al naranja y después al amarillo, después otra vez azul, aquello era un orgasmo de satisfacción al ver que las había capturado, que tenía la belleza del lugar y el espectáculo en mis tarjetas de memoria.
Guau! Fue una media hora muy intensa… una autentica gozada, tal como me anunció mi querido amigo al ser la primera vez que lo experimentaba.
Pasas del silencio total al pequeño rumor del movimiento del agua y el despertar de las aves, no hay palabras para definir tanta belleza.
Esta fotografía fue tomada con mi Lumix FZ 150 con óptica 25 mm Leica con diafragma f/8 velocidad obturación 1/160 y a 400 ISO sujetada a mano sin trípode.
Espero os guste. Antoni Gallart.
English:
A dear friend of mine called me and asked me, have you ever been to the Ebro Delta to take pictures of the sunrise? I replied that I had never been, no.
He replied as well, get ready to see something surprising, we leave tomorrow. !!
I woke up at three in the morning, it was still night and with all the equipment and cameras in the direction of the Delta.
We arrived at night and I did not know the exact place where they took me because everything was black and cold, very cold it was a December 30
We strategically positioned ourselves so as not to disturb one on my right and the other on the left, with the tripod in the water and equipped with wellies.
I prepared my cameras the Nikon on the tripod and my beloved Lumix in hand to be able to make low angles on the water. And since I know that the sunrise is much faster than the sunset, you must hurry to shoot to achieve the largest number of photos and study the environment that in about 100 meters we could change the close-ups to take a greater number of different photos
The show begins, we went from seeing ourselves with lantern light to a blue sky that seemed like the illumination of a miniature manger, the anxiety came to capture everything now here, with the Nikon and now there with the Lumix, I did not stop say tacos ... many tacos ... to see that show of light and color from blue to orange and then to yellow, then again blue, that was an orgasm of satisfaction when seeing that he had captured them, that he had the beauty of the place and the spectacle on my memory cards.
Wow! It was a very intense half hour ... a real joy, as my dear friend announced to me as it was the first time I experienced it.
You go from total silence to the small rumor of the movement of the water and the awakening of the birds, there are no words to define such beauty.
This photo was taken with my Lumix FZ 150 with Leica 25mm optics with 1/160 shutter speed f / 8 aperture and 400 ISO hand held without tripod.
I hope you like it. Antoni Gallart.
‼️NEW BLOG POST‼️
✨Featuring✨
📍Noche. Xabi Harness Fatpack @Reborn Event
Reborn Event LM:
maps.secondlife.com/secondlife/eBody/64/252/23
Mainstore LM:
maps.secondlife.com/secondlife/Beach%20Bay/190/198/2503
📍Unorthodox Drea Puffs @Mainstore
Mainstore LM:
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📍Savage x Orgasmo - Dan Boxer @Mainstore
Savage Store LM:
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📍SLAUGHTER - DARK MUSE EVO X BOM @Mainstore
Mainstore LM:
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‼️NEW BLOG POST‼️
✨Featuring✨
📍Noche. Xabi Harness Fatpack @Reborn Event
Reborn Event LM:
maps.secondlife.com/secondlife/eBody/64/252/23
Mainstore LM:
maps.secondlife.com/secondlife/Beach%20Bay/190/198/2503
📍Unorthodox Drea Puffs @Mainstore
Mainstore LM:
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📍Savage x Orgasmo - Dan Boxer @Mainstore
Savage Store LM:
maps.secondlife.com/secondlife/Oni/86/15/3
📍SLAUGHTER - DARK MUSE EVO X BOM @Mainstore
Mainstore LM:
maps.secondlife.com/secondlife/Blackbrier%20Forest/161/91...
Domenica mattina ore 7.09 - San Siro Milano
Inter - Bayern,
prendete l'orgasmo più forte che avete provato.
Moltiplicatelo per mille.
Neanche allora ci siete vicini.
(Mark Renton)
Tumblr || Carbonmade || THE FACE || Torinoanalogica
Chinche de mezquite (Thasus gigas). Zona urbana de Guadalajara, Jal. México.
“…,,,,Thasus Gigas, viven y se alimentan de los mezquites. Y representan una de las principales fuentes de proteínas para las comunidades Otomíes (Hñahñu) y Chichimecas Jonaces.
Las tantarrias forman parte de la gastronomía tradicional en estados del centro de México (Guanajuato, Querétaro, Edo de México, Hidalgo, etc.), sin embargo, cada vez es más común encontrarlas como protagonistas de platillos de la gastronomía contemporánea, “
"...,,,,Thasus Gigas, live and feed on mesquite trees. And they represent one of the main sources of protein for the Otomí (Hñahñu) and Chichimeca Jonaces communities.
Tantarrias are part of the traditional gastronomy in central Mexican states (Guanajuato, Querétaro, Edo de México, Hidalgo, etc.), however, it is more and more common to find them as protagonists of contemporary gastronomy dishes, "The Tantarrias are also part of the traditional gastronomy of the region.
From: elxoconostle.com/2019/06/03/tantarrias/
Vive particularmente en zonas áridas en matorrales de mezquite (Prosopis sp.) y huizache (Acacia sp.). En estos ecosistemas se alimenta de la savia, hojas tiernas y de las vainas verdes de varias especies de leguminosas como mezquites (Prosopis laevigata, P. juliflora, P. velutina) y huizaches (Acacia farnesiana), y otras como palo verde (Parkinsonia aculeata), pata de vaca (Bauhinia variegata), palo santo (Platymiscium trifoliolatum), y plumerillos (Calliandra sp.). Cuando son abundantes los xamui pueden reducir la producción de semillas de los árboles de los que se alimentan. Se distribuye desde el sur de Arizona en Estados Unidos hasta Chiapas, México.
It lives particularly in arid zones in mesquite (Prosopis sp.) and huizache (Acacia sp.) thickets. In these ecosystems it feeds on the sap, tender leaves and green pods of several species of legumes such as mesquite (Prosopis laevigata, P. juliflora, P. velutina) and huizache (Acacia farnesiana), and others such as palo verde (Parkinsonia aculeata), pata de vaca (Bauhinia variegata), palo santo (Platymiscium trifoliolatum), and plumerillos (Calliandra sp.). When abundant, xamui can reduce the seed production of the trees on which they feed. It is distributed from southern Arizona in the United States to Chiapas, Mexico.
From: es.m.wikipedia.org/wiki/Thasus_gigas
goula.lat/xamues-o-tantarrias-el-insecto-que-es-un-orgasm...
oi perreo en la casa de alguien q semi conosco
mañana ventas en el forestal
y el lunes mi ultima entrada a clases de toda mi vida
D:
Ecco: è bastato che gli cambiassimo il vaso... e guarda qua! Un'orgia di fiori!
E che gli facciamo a 'ste piante?
"Se mignola ad aprile s'avrà un barile, se mignola di maggio s'avrà uno staggio, se mignola di giugno s'avrà un pugno"
No se detiene en la sonrisa de nadie, ella solo viaja; viaja por lunares y espaldas infinitas, por algún que otro cuello rasponado, se estremece entre brazos fuertes y definidos, a veces incluso, sin más remedio, se sostiene sobre los oblicuos de aquellos que prometieron envolverla con sus manos. Ella suda entre las sábanas de aquellos cuyo olor se queda anclado a sus pezones.
Nadie olvida sus caderas, se mueren por su culo; pero es ella, su pelo alborotado y sus ojeras de por la mañana los que quieren ser ideados.
Quizás, algún día, ella encuentre a esa persona que la haga detonar y que le escriba mil poesias saturadas de descargas eléctricas.
Quizás converja con aquellas manos que sepan cómo cuidarla, se sumerjan en lo más abismal y oculto de su mente, decidan permanecer allí sin miedo, y sin recelo, llamarlo hogar.
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Todos los derechos reservados / All rights reserved.
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Here if you pay attention you'll see the nice man, carring a nice machine gun, protecting all the dignataries that were in town last week.
It's nice to see that Democracy is still in place here.
That the dictator of Iran can step foot here and not be disturb or "exterminated".
That the Prime Minister of Israel can also voice his thoughts and everybody stays nice and calm, it's just amazing.
Well done ...
Agora.
Uma mulher comentou na minha foto que ela era "orgasmica".
Eu ate estremessi de alegria.
Ai eu falei pra ela assim.
Pois eh, ate as nuvens teem orgasmos
pois quando Deus lambe a mesma
ela jorra as vezes
com barulho, lamento
e jatos de spray
(ja viram um desses?).
Bom demais ...
Alegrando a terra
as flores e os pardais ....
NYC 09/28/12
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Todos los derechos reservados / All rights reserved.
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Me acostumbré a tu risa y a merendarme tus besos (y mis ganas). Descubrí dónde comienza un beso y dónde termina. Inundé mis días con tus cosquillas. Coloreé esquinas y grité hasta quedarme sin voz. Lloré y estallé en una carcajada. Dejé de planear y di a Wally por perdido. Me columpié en tus pestañas y me mordí el labio mientras llegaba aquel orgasmo. Quité la foto que nos hicimos en el fotomatón y la sustituí por la polaroid que nos hicimos en el metro. Te quise y te odié a partes iguales.
Todo. Lo hice todo.
Inspired by the original picture of David Lachapelle.
for more Portrait just click here
Better if press ' L'
Terror. Desesperación. Ahogo.
Eso es lo que sentía cuando sus manos frías rozaban siquiera sus tobillos. Temía romperse, temía temblar y exponerse. Cuando en la oscuridad, las manos subían lentamente por las piernas, su vello se erizaba, su columna vertebral se arqueaba en un puente que unía dos mundos distintos, el de la realidad temerosa y el de la culminación de su interior más puro.
A veces fantaseaba cuando estaba sola, de rodillas en la penumbra de la habitación, fingiendo ser una mujer buena, una mujer que ignoraba el placer. Pero después, cuando las manos subían serpenteando entre sus vetas, se estremecía como una niña quejumbrosa y diminuta, negando con la cabeza.
–No por favor, no.
Las manos se detenían a mitad de camino y ella, jadeante, se recostaba encogida sobre sí misma. Con terror, desesperación, ahogo.
Se preguntaba si las demás también se sentirían así o si aquello sería pasajero. Después, con el tiempo descubrió que no se trataba de un compromiso, de una obligación, sino que llegaría el momento en que las manos adecuadas recorrieran el camino completo y ella cruzara ese puente. Y así fue. Una madrugada de domingo, sin pensarlo, sin debatirse, los dedos largos de pianista de aquel hombre desconocido cruzaron la frontera de lo permitido y tiraron con suavidad de sus bragas, de sus carnes, de su miedo. Tanto tiró que el terror se filtró por los poros de su piel y desapareció antes de que pudiera despedirse. La noche fue cálida y excitante y ella lloró recostada mientras sentía como un huracán se le enquistaba en los vértices de las costillas, como las corrientes eléctricas cosquilleaban en sus manos, en su piel, como su vientre se contraía y su respiración se agitaba. No comprendía las lágrimas pero no iba a reprimirlas. Estaba cruzando el puente, estaba abandonado la realidad para llegar a la culminación, el éxtasis de un primer orgasmo.
Parece un titulo de peli porno pero aquí de haber alguno solo está permitido el orgasmo visual :-))))
Ate quem enfim saiu
tem mais de semanas que to nisso,começou com uma blend e depois fiz isso
Espero que goste ....
Highest Explore # 247, March 23, 2011
El Pozo de los Humos
A pesar de existir numerosas versiones de esta letra, escrita por Leonard Cohen, mi favorita es la version grabada por Jeff Buckley que aparece en su album Grace. Buckely aseguraba que era un homenaje al aleluya del orgasmo.
El Pozo de los Humos es una cascada situada en el curso del río Uces, a su paso por los términos municipales de Masueco en su margen izquierda y de Pereña de la Ribera en su margen derecha, al noroeste de la provincia de Salamanca, en la Comunidad Autónoma de Castilla y León, España.
Es uno de los lugares de mayor atractivo turístico dentro del Parque Natural de Arribes del Duero.
La granítica pared por la que fluye la cortina de agua tiene una caída libre de cincuenta metros, que al llegar abajo forma una nube de vapor que se eleva por todo el contorno siendo un espectáculo inolvidable que no tiene parangón en la península ibérica.
Although there are many versions of this letter, written by Leonard Cohen, my favorite is the version recorded by Jeff Buckley that appears on his album Grace. Buckely claimed it was a tribute to the hallelujah of the orgasm.
The Well of the fumes is a waterfall located in the river Uces, as it passes through the municipalities of Masueco on the left bank and Pereña de la Ribera on the right bank, northwest of the province of Salamanca, in the Autonomous Community of Castilla y León, Spain.
It is one of the main tourist attractions in the Natural Park of Duero Arribes.
The granite wall by the flowing water curtain has a free fall of fifty meters reaching down to form a vapor cloud that rises all around to be an unforgettable experience that is unmatched in the Iberian Peninsula.
Shooter: Il COE -- Tommaso Coerini [aggiungimi su Facebook]
Post Producer: Il COE
Creative "Fairy Tales" Team: Co.Ma.Lab. Crew
-- CoMaLab WebSite [-- official web.site --]
-- CoMaLab Facebook [-- official Facebook.group --]
Models: Sisters In "DIS"Arms
- Maira "May"
- Nicole "Nicky.V"
Commitment: ONU - UNICEF - UNESCO - NATO - WWF - ECHIPIU'NEHAPIU'NEMETTA
Location: Da Non Military Zone Wood
Gears: Canon 5D Mark II + Canon 50 mm L II (the "Plasticone")
Stuff: Manfrotto 190XPro-B + Ball Head 486Rc2
Settings: ISO100
Strobes: 1 x Nissin Di866 + 1 x Jinbei 1200Ws
Strobe Position:
- 1 x Nissin Di866 camera high @1/2 bare to the models' faces and right side
- 1 x Jinbei 1200Ws @1/8 camera right to the models' left side
Processing:
a) "Ninfa" PhotoPATATA-IN-DA-WOODshop [maybe more than 70 levels...]
b) COE's Magic Post-Processing touch©
- (the only one original "COE's magic touch"...all the other "Touches"...are simply REAL FAKES! ;)
- (il solo, originale, Magic Touch© è quello del COE...tutti gli altri "Touch" sono semplici IMITAZIONI! ;)
Drugs taken: Pall Mall Blue cigarettes (about 1 pack) + the NEW Wonderfull, Amazing, Stunning and...in particular...Sexy: Ice Cream - MAGNUM "TANTA ROBA" AL PISTACCHIO"
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{ All Right Reserved from Lefotodelmaui / Il Coe / CoMaLab }
A minha próxima vida quero vivê-la de trás para a frente. Começar morto para despachar logo esse assunto.
Depois acordar num lar de idosos e sentir-me melhor a cada dia que passa.
Ser expulso porque estou demasiado saudável, ir receber a pensão e começar a trabalhar, receber logo um relógio de ouro no primeiro dia.
Trabalhar 40 anos até ser novo o suficiente para gozar a reforma. Divertir-me, embebedar-me e ser de uma forma geral promíscuo, e depois estar pronto para o liceu. Em seguida a primária, ficar criança e brincar. Não tenho responsabilidades e fico um bébé até nascer.
Por fim, passo 9 meses a flutuar num spa de luxo com aquecimento central, serviço de quartos à descrição e um quarto maior de dia para dia, e depois…
Voilá! Acabo num orgasmo!
"A minha próxima vida" | Woody Allen
____________
In my next life I want to live my life backwards. You start out dead and
get that out of the way.
Then you wake up in an old people's home feeling better every day.
You get kicked out for being too healthy, go collect your pension, and then when you start work, you get a gold watch and a party on your first day.
You work for 40 years until you're young enough to enjoy your retirement. You party, drink alcohol, and are generally promiscuous, then you are ready for high school. You then go to primary school, you become a kid, you play. You have no responsibilities, you become a baby until you are born.
And then you spend your last 9 months floating in luxurious spa like conditions with central heating and room service on tap, larger quarters every day and then Voila! You finish off as an orgasm!
I rest my case.
"Next Life" by Woody Allen
Real Life 16 - La petite mort/ The little death
La piccola morte è un'espressione francese che indica l'orgasmo.
The little death is a translation from the French "la petite mort" (Le Petit Mort/Le Petit Morte/La petite morte), a popular reference for a sexual orgasm. The term has generally been interpreted to describe the postorgasmic fainting spells some lovers suffer from. Also it can refer to spiritual release that come with orgasm, or a short period of transendence, an expenditure or spending of life force.
Speculations to its origin include current connotations of the phrase, including
- Greco-Roman belief that the oversecretion of bodily fluids would "dry out" one of the believed four humours, leading to death
- Islam's reference to sleep
*** Teenage Jesus update***
Marie-Catherine-Hortense de Villedieu nel 17esimo secolo scriveva:
Une douce langueur m'ôte le sentiment,
Je meurs entre les bras de mon fidèle Amant,
Et c'est dans cette mort que je trouve la vie.
Chaque fois que cette bouche s’ouvre, tant de mal en sort que j’ai l’impression d’être frappé par la foudre.
Allez, ces gens ont besoin de ressentir cette extase, parce que sinon ils ne la ressentiraient pas, pensant que l'orgasme du diable sort de leur bouche.
Vous n'entendez pas ?
C'est la cloche
Sempre que aquela boca se abre, sai tanta maldade que sinto por mim um raio fulminante.
Deixa, essas pessoas precisam de sentir esse êxtase, porque de outra maneira não o sentiriam, pensa que dá boca delas apenas sai um orgasmo do diabo.
Não ouves?
É a sineta
I found this in some of my boxes. Friends of mine used to get together, roast corn and watch porn and laugh our asses off.
Think of Mystery Sciene Theatre 3000 meets Orgasmo.
It's an iron-on I never put on.
- Only the poor minds are able to censor orgasms ..........
- Tan sólo las mentes pobres, son capaces de censurar los orgasmos........
Swiss-British postcard by News Productions, Baulmes / Stroud, no. 56737, 1996. Photo: Larry Shaw. Caption: Carroll Baker, New York City, 1960.
American film, stage and television actress Carroll Baker (1931) enjoyed popularity as both a serious dramatic actress and as a sex symbol. Cast in a wide range of roles during her heyday in the 1960s, Baker was especially memorable playing brash, flamboyant women, due to her beautiful features, striking blonde hair, and distinctive Southern drawl. In the late 1960s, she moved to Italy, where she starred in numerous Giallo thrillers and horror films.
Carroll Baker was born Karolina Piekarski in Johnstown, Pennsylvania, in 1931. Her parents were Virginia (née Duffy) and Polish-born William Watson Baker (Piekarski), who was a travelling salesman. After spending a year in college, she began working as the assistant of magician the Great Volta and joined a dance company. Baker moved to New York City. In 1953, she married furrier Louie Ritter, but the marriage ended the same year. She studied acting under Lee Strasberg, eventually becoming part of the famed Actors Studio, where she was an acquaintance of Marilyn Monroe and became a close friend of James Dean. Baker began her film career with a small part in Easy to Love (Charles Walters, 1953). After appearing in television commercials, she took a role in the Broadway production of All Summer Long. Then director Elia Kazan cast her as the title character in his controversial Baby Doll (1956), based on a script by Tennessee Williams. Her role as the thumb-sucking teenage bride to a failed middle-aged cotton gin owner (Karl Malden) brought Baker instant fame as well as a certain level of notoriety. It earned her an Oscar nomination and a Golden Globe. She also appeared in Giant (George Stevens, 1956) alongside Elizabeth Taylor, Rock Hudson, and James Dean.
Carroll Baker would go on to work steadily in films throughout the late fifties and early sixties. She appeared in a variety of genres: romances, such as The Miracle (Irving Rapper, 1959), co-starring a young Roger Moore, and But Not for Me (Walter Lang, 1959) with Clark Gable, as well as Westerns, including The Big Country (William Wyler, 1958) and a lead role in the epic How the West Was Won (Henry Hathaway, John Ford, George Marshall, 1962); and steamy melodramas, including the controversial independent film Something Wild (1961), directed by her then-husband Jack Garfein, in which she plays a rape victim; and Station Six-Sahara (Seth Holt, 1962). Baker was also chosen by MGM for the lead in Cat on a Hot Tin Roof, but her contract with Warner Brothers prevented her from accepting the role, which ultimately went to Elizabeth Taylor. Baker's portrayal of a Jean Harlow-type movie star in The Carpetbaggers (Edward Dmytryk, 1964) brought her a second wave of notoriety. The film was the top money-maker of that year, with domestic box-office receipts of $13,000,000 and marked the beginning of a tumultuous relationship with the film's producer, Joseph E. Levine. Based on her Carpetbaggers performance, Levine began to develop Baker as a sex symbol, casting her in the title roles of Sylvia (Gordon Douglas, 1965) and Harlow (Joseph E. Levine, 1965). Despite much pre-publicity, the latter film was not a success, and relations between Baker and Levine soured.
In the late 1960s, Carroll Baker moved to Italy after a protracted legal battle with Paramount Pictures, as well as a divorce from her second husband, Jack Garfein. The next decade, she starred in a multitude of Italian films. These included several horror films and Giallo thrillers such as L’Harem/Her Harem (Marco Ferreri, 1967) with Renato Salvatori, Il dolce corpo di Deborah/The Sweet Body of Deborah (Romolo Guerrieri, 1968) opposite Jean Sorel, and Il diavolo a sette face/The Devil Has Seven Faces (Osvaldo Civirani, 1971). She became a favourite of cult director Umberto Lenzi who directed her in the horror films Così dolce... così perversa/So Sweet... So Perverse (1969) with Jean-Louis Trintignant, Orgasmo/Paranoia (1969) with Lou Castel, Paranoia/A Quiet Place to Kill (1970), and Il coltello di ghiaccio/Knife of Ice (1972). She followed her roles in Lenzi's films with a leading role in Baba Yaga/Black Magic (Corrado Farina, 1973) as the titular witch, alongside George Eastman. In those years, film locations would take her all around the world, including Spain, Germany, the United Kingdom, and Mexico.
Carroll Baker returned to American cinema with a leading part as a beauty salon owner who provides hit men with jobs in Andy Warhol's Bad (Jed Johnson, 1977). She played a washed-up actress living among expatriates in a Spanish village in Las flores del vicio/The Sky Is Falling (Silvio Narizzano, 1979) with Dennis Hopper. She appeared in British theatre productions of Bell, Book, and Candle; Rain, Lucy Crown, and Motive. There she met her third husband, stage actor Donald Burton. Baker starred in the Walt Disney-produced horror film, The Watcher in the Woods (John Hough, 1980), alongside Bette Davis and played the mother of Dorothy Stratten in Star 80 (Bob Fosse, 1983). She also played Jack Nicholson's wife in Ironweed (Héctor Babenco, 1987). She later had supporting roles in Kindergarten Cop (Ivan Reitman, 1990) and the acclaimed thriller The Game (David Fincher, 1997), before retiring in 2002. During a career spanning 50 years, Carroll Baker appeared in over 80 roles in film, television, and theatre. In 1983, she published a well-received autobiography entitled Baby Doll: An Autobiography, and later wrote two other books, To Africa with Love, and a novel entitled A Roman Tale. Baker has two children with Jack Garfein, Blanche Baker (1956) and Herschel Garfein (1958).
Sources: AllMovie, Glamour Girls of the Silver Screen, Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
German postcard by ISV, no. T-13.
American film, stage and television actress Carroll Baker (1931) enjoyed popularity as both a serious dramatic actress and as a sex symbol. Cast in a wide range of roles during her heyday in the 1960s, Baker was especially memorable playing brash, flamboyant women, due to her beautiful features, striking blonde hair, and distinctive Southern drawl. In the late 1960s she moved to Italy, where she starred in numerous giallo thrillers and horror films.
Carroll Baker was born Karolina Piekarski in Johnstown, Pennsylvania, in 1931. Her parents were Virginia (née Duffy) and Polish born William Watson Baker (Piekarski), who was a travelling salesman. After spending a year in college, she began working as the assistant of magician the Great Volta and joined a dance company. Baker moved to New York City. In 1953, she married furrier Louie Ritter, but the marriage ended the same year. She studied acting under Lee Strasberg, eventually becoming part of the famed Actors Studio, where she was an acquaintance of Marilyn Monroe and became a close friend of James Dean. Baker began her film career with a small part in Easy to Love (Charles Walters, 1953). After appearing in television commercials, she took a role in the Broadway production of All Summer Long. Then director Elia Kazan cast her as the title character in his controversial Baby Doll (1956), based on a script by Tennessee Williams. Her role as the thumb-sucking teenage bride to a failed middle-aged cotton gin owner (Karl Malden) brought Baker instant fame as well as a certain level of notoriety. It earned her an Oscar nomination and a Golden Globe. She also appeared in Giant (George Stevens, 1956) alongside Elizabeth Taylor, Rock Hudson, and James Dean.
Carroll Baker would go on to work steadily in films throughout the late fifties and early sixties. She appeared in a variety of genres: romances, such as The Miracle (Irving Rapper, 1959), co-starring a young Roger Moore, and But Not for Me (Walter Lang, 1959) with Clark Gable, as well as westerns, including The Big Country (William Wyler, 1958) and a lead role in the epic How the West Was Won (Henry Hathaway, John Ford, George Marshall, 1962); and steamy melodramas, including the controversial independent film Something Wild (1961), directed by her then-husband Jack Garfein, in which she plays a rape victim; and Station Six-Sahara (1962). Baker was also chosen by MGM for the lead in Cat on a Hot Tin Roof, but her contract with Warner Brothers prevented her from accepting the role, which ultimately went to Elizabeth Taylor. Baker's portrayal of a Jean Harlow-type movie star in The Carpetbaggers (Edward Dmytryk, 1964) brought her a second wave of notoriety. The film was the top money-maker of that year, with domestic box-office receipts of $13,000,000 and marked the beginning of a tumultuous relationship with the film's producer, Joseph E. Levine. Based on her Carpetbaggers performance, Levine began to develop Baker as a sex symbol, casting her in the title roles of Sylvia (Gordon Douglas, 1965) and Harlow (Joseph E. Levine, 1965). Despite much pre-publicity, the latter film was not a success, and relations between Baker and Levine soured.
In the late 1960s, Carroll Baker moved to Italy after a protracted legal battle with Paramount Pictures, as well as a divorce from her second husband, Jack Garfein. The next decade, she starred in a multitude of Italian films. These included several horror films and giallo thrillers such as L’Harem/Her Harem (Marco Ferreri, 1967) with Renato Salvatori, Il dolce corpo di Deborah/The Sweet Body of Deborah (Romolo Guerrieri, 1968) opposite Jean Sorel, and Il diavolo a sette face/The Devil Has Seven Faces (Osvaldo Civirani, 1971). She became a favourite of cult director Umberto Lenzi who directed her in the horror films Così dolce... così perversa/So Sweet... So Perverse (1969) with Jean-Louis Trintignant, Orgasmo/Paranoia (1969) with Lou Castel, Paranoia/A Quiet Place to Kill (1970), and Il coltello di ghiaccio/Knife of Ice (1972). She followed her roles in Lenzi's films with a leading role in Baba Yaga/Black Magic (Corrado Farina, 1973) as the titular witch, alongside George Eastman. In those years, film locations would take her all around the world, including Spain, Germany, the United Kingdom, and Mexico. She returned to American cinema with a leading part as a beauty salon owner who provides hit men with jobs in Andy Warhol's Bad (Jed Johnson, 1977). She played a washed-up actress living among expatriates in a Spanish village in Las flores del vicio/The Sky Is Falling (Silvio Narizzano, 1979) with Dennis Hopper. She appeared in British theatre productions of Bell, Book, and Candle; Rain, Lucy Crown, and Motive. There she met her third husband, stage actor Donald Burton. Baker starred in the Walt Disney-produced horror film, The Watcher in the Woods (John Hough, 1980), alongside Bette Davis and played the mother of Dorothy Stratten in Star 80 (Bob Fosse, 1983). She also played Jack Nicholson's wife in Ironweed (Héctor Babenco, 1987). She later had supporting roles in Kindergarten Cop (Ivan Reitman, 1990) and the acclaimed thriller The Game (David Fincher, 1997), before retiring in 2002. During a career spanning 50 years, Carroll Baker appeared in over 80 roles in film, television, and theatre. In 1983, Baker published a well-received autobiography entitled Baby Doll: An Autobiography, and later wrote two other books, To Africa with Love, and a novel entitled A Roman Tale. Baker has two children with Jack Garfein, Blanche Baker (1956) and Herschel Garfein (1958).
Sources: AllMovie, Glamour Girls of the Silver Screen, Wikipedia and IMDb.