View allAll Photos Tagged room_services
The Tour must go on! On our way from the Johanniter Sanatorium to a wonderful abandoned Insane Asylum we stopped for a break in this pretty 5(Urbex) Stars Hotel
at the Crossroads in the dark deep Forest.
This was taken Feb 2013.
Pentax 67II + AE prism + SMC 90mm f/2.8. Hand Held.
From National Center for Child Health and Development, Setagaya-ku, Tokyo, Japan.
Fujifilm PRO400H.
Arsusha, filled with meat and quiet contentment taking luxure nap before next meal!
P.S. Answering to some comments: Arsusha -13 years old respectable British man!
Brigette and Junie called for a special treat from room service. 😀 The room was our room at the Strater Hotel in Durango, Colorado, where we stayed in 2018. The little room service maid is my Volks mini Dollfie, Chibi Rose, a small 20 cm (about 9 inches) doll.
Built in 1887, the historic Strater Hotel (Historic Hotels of America Member) is a prominent downtown Durango, Colorado landmark located two blocks north of the Durango & Silverton Narrow Gauge Railroad, one hour east of Mesa Verde National Park, and in the heart of the rugged San Juan Mountains. Experience the Old West, fine dining, shopping, and many year-round indoor and outdoor activities. The hotel is home to the world's largest collection of American Victorian Walnut Antiques.
One from my archives.
July 2008 when i went on the ocean liner the QE2.
Four months later it was retired and went to Dubai to be turned into a floating hotel.
Sadly that never happened and its still there rotting away.
Happy memories.
Spanish collectors card by Graficas Valencia, Valencia. Photo: Filmofono. The Marx Brothers in Room Service (William A. Seiter, 1938). The Spanish title was El Hotel de los Lios.
The Marx Brothers was the name for a group of American-Jewish comedians from the first half of the 20th century who were actually brothers. Their career started in theatre, but they became world-famous through their films. They are known for their wild, anarchic and often surrealist humour. Their jokes consist of slapstick, but also puns and intelligent dialogue. With their rebellious jokes, they were the forerunners of generations of anti-sentimental comedians. Five brothers together formed The Marx Brothers, even though the five of them never actually performed at the same time: Harpo, Chico, Groucho, Gummo and Zeppo.
The eldest brother, Chico (1887-1961) was born Leonard Marx. Manfred was actually the eldest, but he died as a child. Chico was the one who decided to make musical comedies with his other brothers. At the time, he had learnt an Italian accent to convince any anti-Semites in the neighbourhood that he was Italian and not a Jew. This accent, along with his talent as a piano player, became one of his trademarks. In the films, he usually fulfilled the role of a sly and shady con man, the confidant of Harpo, a confident pianist and the sceptical assistant of Groucho.
Harpo (1888-1964) was born Adolph and changed his name to Arthur in WWI because he found the name too German. As an actor, Harpo played the role of a mute, who never speaks but expresses himself through sign language, whistling and using his horn. Like a cross between a child and a wild beast, he sets everything in motion, harassing everyone, pulling the most peculiar things out of his coat (such as a candle burning on two sides, a coiled rope, a pin-up poster, etc.), and chasing women with his horn. His pseudonym "Harpo" was derived from the fact that he played the harp, for which there was a musical interlude in almost every film.
Groucho (1890-1977) was born Julius Henry Marx. His trademarks were his grin, thick cigar, waddling gait and sarcastic remarks, insults and puns. In the films, he was constantly trying to get money or women, talking everyone under the table with his witty and intelligent remarks. He was also a singer and some of his songs have become classics, such as 'Lydia the Tattooed Lady'.
Gummo (1892-1977) was born Milton and was the least-known Marx Brother. He was the one who first performed with Groucho, but before the big Broadway success came he had stopped acting. For years, he was his brother's manager.
Zeppo (1901-1979) was born Herbert Marx and was the youngest of the Marx Brothers. He took over the role of Gummo when the latter quit. Zeppo was the romantic declarer. Though he could take on more versatile roles, he was typecast as the most serious of the four.
The Marx Brothers were the five surviving sons of Sam and Minnie Marx. The family lived in Yorkville on New York's Upper East Side, a neighbourhood sandwiched between the Irish-German and Italian quarters. Their career already began at the beginning of the century in vaudeville shows, with which their maternal uncle, Al Shean, had already been successful. Groucho was the first to embark on a career on stage, but initially with very little success. Their mother and sister also appeared on stage with their sons at times. However, the focus soon shifted from music and singing with humorous segues to comedy with musical interludes. The different roles of musicians and comedians crystallised relatively early. While Chico developed the stereotype of the womaniser with an Italian accent who was always chasing the chicks, Groucho dropped his accent as a German during the First World War due to a lack of popularity. Harpo remained speechless on stage, as he had the greatest successes playing his jokes as a mime in a red or, in films, blond curly wig, or playing his grandmother's old harp. A classroom sketch in which Groucho tried to teach his brothers evolved into the comedy show 'I'll Say She Is which became their first success on Bradway and in England. This was followed by two more Broadway hits: 'The Cocoanuts' and 'Animal Crackers'. The Marx Brothers' shows became popular at a time when Hollywood was experiencing the transition from silent film to talkies. The brothers signed a contract with Paramount Pictures and thus launched their film career.
The last two Broadway shows of The Marx Brothers became their first films, The Cocoanuts (Robert Florey, 1929) and Animal Crackers (Victor Heerman, 1930). Their next film was Money Business (Norman Z. McLeod, 1931). Between 1932 and 1933, a total of 26 episodes of the radio show 'Flywheel, Shyster & Flywheel' were made, with Groucho voicing the lawyer Waldorf T. Flywheel and Chico voicing his sidekick Emmanuel Ravelli. The first three episodes were broadcast under the title 'Beagle, Shyster & Beagle'. The title was then changed after a New York lawyer named "Beagle" threatened to sue. Some of the dialogue from the radio broadcasts was later used in the Marx Brothers films. Their most successful film of the early period was Horse Feathers (Norman Z. McLeod, 1932), a satire on the American college system. But Duck Soup (Leo McCarey, 1933), generally considered their masterpiece, had much less success. It marked their break with Paramount. Zeppo, who always played serious roles, stopped making films after this. The Marx Brothers' first five films are generally considered their best, expressing their surrealist and anarchic humour in its purest form. The three remaining brothers moved to Metro-Goldwyn-Mayer and changed the formula of their subsequent films. Their remaining films were given romantic plots and serious musical interludes, often intended as resting points between the often hilarious comic sketches. In A Night at the Opera (Sam Wood, 1935), a satire on the opera world, the brothers help two young singers in love. The film was very successful and was followed by the equally popular A Day at the Races (Sam Wood, 1937), where they kicked up a fuss at a race track. Several less memorable films followed until 1941. After the war, two more films A Night in Casablanca (Archie Mayo, 1946) and Love Happy (David Miller, 1949) followed to pay off Chico's gambling debts. This was followed by the mediocre film The Story of Mankind (Irwin Allen, 1957), and a television special The Incredible Jewel Robbery (1959). These productions were already interludes, while each brother had already picked up a career of his own. Chico and Harpo continued on stage and Groucho had started a career as a radio and television entertainer. With his television and radio show 'You Bet Your Life', he became one of the most popular show hosts of the 1950s in the USA. The first episodes of the show were still broadcast live, as was customary at the time. But because Groucho's unbridled wordplay caused headaches for those in charge of the show, they deviated from this for later episodes and the programme was broadcast as a recording. He also wrote a number of books. Gummo and Zeppo ran a theatre agency together. A final film project planned for 1960, starring the Marx Brothers once again and directed by Billy Wilder, did not materialise due to Chico's poor health. It was to be an anti-war satire in the style of Duck Soup. Even Groucho, who at the time was no longer very interested in further Marx Brothers films, is said to have been enthusiastic about the project because he considered Billy Wilder to be one of the best directors.
Sources: Wikipedia (Dutch and German) and IMDb.
And, please check out our blog European Film Star Postcards.
Spanish postcard, no. 2872.
Ann Miller (1923-2004) was an American dancer, singer and actress. She was famed for her speed in tap dancing and her style of glamour: massive black bouffant hair, heavy makeup with a splash of crimson lipstick, and fashions that emphasized her lithe figure and long dancer's legs. Miller is best remembered for her work in the classic Hollywood musicals Easter Parade (1948), On the Town (1949) and Kiss Me Kate (1953).
Ann Miller was born Johnnie Lucille Ann Collier in 1923 on her grandparent's ranch in Chireno, Texas. Her father wanted a boy, so Ann was named Johnnie, and she later went by Lucille. Her father was a well-known criminal lawyer who had defended famous gangsters Bonnie and Clyde and Baby Face Nelson. Mrs. Collier enrolled her three-year-old little girl in dancing lessons to help strengthen her legs, which had become weakened from a case of rickets. When Miller was ten she met Bill 'Bojangles' Robinson at a local theatre and he gave her a quick tap-dancing lesson. She liked that style of dance very much and decided to concentrate on it with further lessons. After her parents divorced, she went with her mother to Hollywood, determined to get into show business. The eleven-year-old brunette, pretending to be of legal age, was soon hired to dance for $25 a week at the Sunset Club, a small lounge where gambling went on upstairs. Using the stage name of Ann Miller, she practiced her machine-gun tapping for the thrilled patrons. She also danced at the seedy Black Cat Club, where she scooped up the coins customers threw into her skirt to help pay the bills. Before long, Ann was netting unbilled extra roles in the films Anne of Green Gables (1934) and The Good Fairy (1935), and she got to dance in Devil On Horseback (1936). The next year the thirteen-year-old was dancing for a four-month run in a show at the popular Bal Tabarin nightclub in San Francisco. There, she was discovered by comedian Benny Rubin and future comedian, actress Lucille Ball. Ball introduced Miller to executives at RKO Studios. Pretending she was eighteen with the help of a fake birth certificate supplied by her father, Ann landed a seven-year contract and a role in the film New Faces of 1937 (1937).
Ann Miller's first great part was in Stage Door (1937), in which she danced with Ginger Rogers and acted with Lucille Ball, Katharine Hepburn, and Eve Arden. Other films in which Ann appeared include Radio City Revels (1937), the Oscar winner You Can't Take It With You (1938) with Jean Arthur and James Stewart, and Room Service (1938) with the Marx Brothers. Miller introduced Lucille Ball to Desi Arnaz, and, some years later, the famous couple bought RKO and re-named it DesiLu. Ann's last film at the studio was Too Many Girls (1940), in which she co-starred with friends Lucy and Desi. She then appeared on Broadway in George White's Scandals in 1939 and 1940, for which she won rave reviews. In 1940 Miller moved to Republic Pictures, where she enlivened Melody Ranch (1940) with Gene Autrey in his first musical film, and Hit Parade of 1941 (1941). Other films followed, many aimed at promoting the war effort, which includes True To The Army (1942), Priorities On Parade (1942), Reveille With Beverly (1943), What's Buzzin' Cousin? (1943), Hey Rookie (1944), and Jam Session (1944). In 1945, Ann briefly dated powerful MGM boss Louis B. Mayer. When the much older mogul asked Ann to marry him, she turned him down. Moaning and groaning to her on the phone, the dramatic Mayer swallowed sleeping pills and immediately sent his chauffeur to summon Ann to his death bed. An ambulance arrived first and he recovered. Later, Ann married Reese Milner, a rich steel heir, and they lived on the biggest ranch in California where they raised prized Hereford cattle. The marriage ended quickly after Reese threw Ann down the stairs of their home. Pregnant Miller filed for divorce from her hospital bed, with her broken back in a steel harness. Her baby, Mary, died a few hours after birth. Later, painfully returning to Mayer for a job, he told her, "If you'd married me, none of this would have happened."
Ann Miller was still in a back brace when she danced to Shakin' The Blues Away in Easter Parade (1948), co-starring Fred Astaire and Judy Garland. She received fantastic reviews, and MGM gave Ann a seven-year contract. Ann then proceeded to make her most spectacular Technicolor musicals including On The Town (1949), Small Town Girl (1952), Kiss Me Kate (1953) which was extravagantly filmed in 3-D, and Hit The Deck (1955). Her last musical was a remake of the 1939 film The Women, named The Opposite Sex (1956). The glamorous, outgoing, and articulate Ann was also hired as MGM's Good Will Ambassador. She travelled the world in gorgeous designer ensembles while representing her studio with personal appearances and speaking engagements. When she flew to Morocco in July of 1957 to appear with Bob Hope on the Timex TV Hour, she entertained five thousand troops in 120-degree weather as she sang 'Too Darn Hot', and soon set a record for the world's fastest tap-dancing at 500 taps a minute. In 1958, Miller married her second millionaire, Texas oilman Bill Moss who, she quipped, "...looked exactly like my first husband. Three months later, he broke my arm." A third marriage to another oilman, Arthur Cameron, was annulled within a year, though they remained friends. From 1966-1970, Ann became a hit on Broadway in 'Mame'. In 1970 she turned to television and starred in a commercial for Heinz's Great American Soups, in which Miller tap-danced on an eight-foot can of soup surrounded by dozens of high-kicking chorus girls, 20-foot fountains, and a 24- piece orchestra. Then, tapping her way back into her kitchen, her husband cried, "Why must you make such a big production out of everything?" The song she sang was written by humorist Stan Freberg and choreographed by Danny Daniels. In 1972, in St. Louis, on the opening night of the musical show 'Anything Goes', Ann was knocked in the head by the steel beam of a fire curtain. Although as a consequence she was unable to walk for two years and suffered permanant vertigo, her life actually had been saved by her well-known, stiff, enormous, lacquered black wig. In 1979, she made a comeback and a fortune in 'Sugar Babies' with former teenage Hollywood acting schoolmate Mickey Rooney. The popular show ran for two years on Broadway and seven more years on the road. In 1998 she appeared in a successful revival of Stephen Sondheim's 'Follies' at the Paper Mill Playhouse in New Jersey. In 1972, Miller published her autobiography, 'Miller's High Life', and more memoirs in 1981 with 'Tops In Taps'. Her last screen appearance was playing Coco in director David Lynch's critically acclaimed Mulholland Drive (2001). Ann Miller died of lung cancer in Los Angeles, California in 2004. She was buried next to her miscarried daughter, which reads "Beloved Baby Daughter Mary Milner November 12, 1946". The Smithsonian Institution displays her favourite pair of tap shoes, which she playfully nicknamed "Moe and Joe".
Sources: Steve Starr (The Entertainment Magazine), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Fotografía & Post-Producción: Rodrigo Adonis
Vestuario , Maquillaje yProducción : Kevin Kobek
Romina Norambuena
Modelos: Javier Arumi, Constanza Silva, Tomás Castillo & Madeleynne Triviño
agradecimientos especiales a Romina Norambuena y Hotel patrimonial
Photo shoot with Amanda Swan at her home studio in Woking, 18 December 2012.
Copyright © ‘H’ Photography (www.hphotography.me.uk)
All Rights Reserved.
Not to be used without prior permission from the Copyright Holder. This image must not be syndicated or transferred to other systems or third parties. Storage and archiving is not permitted. Any unauthorised use or reproduction of this image will constitute a violation of copyright.
Models Website I Girls and Guns Website I facebook profile I facebook models page I facebook Girls & Guns page I Twitter I Instagram I Model Mayhem I Madcow Models I Purple Port
Glazed - Off To The Mall Collection
📍http://maps.secondlife.com/secondlife/The%20Grand%20Event/113/30/47
56s
A European Starling feeding its young in a tree trunk nest grabbed from the Red-bellied Woodpecker, seems unperturbed by my presence.
EOS 7D, EF 300 4.o L IS USM, f4, 1/500, ISO 400
Best viewed large on black.
Yes, you guessed it. I'm preparing for our daughters wedding and the troopers are running up the hotel bill. $$$$$. I think they got into the mini bar too. $$$!