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Fado (Portuguese:destiny, fate) is a music genre which can be traced from the 1820s in Portugal, but probably with much earlier origins. In popular belief, fado is a form of music characterized by mournful tunes and lyrics, often about the sea or the life of the poor. However, in reality fado is simply a form of song which can be about anything, but must follow a certain structure.


Amália Rodrigues was a Portuguese singer and also actress. (1920 -1999)

She was known as the "Rainha do Fado" ("Queen of Fado") and was most influential in popularizing the Fado worldwide.

Rodrigues enjoyed an extensive international career between the 1950s and the 1970s.

Other well-known international fado artists such as Madredeus, Dulce Pontes and Mariza have come close, however.


Amalia is the best and I adore her so much.

Listen to her Canzone Per Te from 1970

The models that I have photographed are talented models. Some of them have become famous and professional models.

The models that I have photographed are talented models. Some of them have become famous and professional models.

The models that I have photographed are talented models. Some of them have become famous and professional models.

The models that I have photographed are talented models. Some of them have become famous and professional models.

The models that I have photographed are talented models. Some of them have become famous and professional models.

Nikki Samonas, is a Ghanaian actress who is widely regarded as one of the most beautiful women in the industry.

Recently, the young woman caused a stir online after she decided to share a n*de bathtub photo from a magazine photoshoot she had in the past.

She shared the photos yesterday on...

The models that I have photographed are talented models. Some of them have become famous and professional models.

The models that I have photographed are talented models. Some of them have become famous and professional models.

The models that I have photographed are talented models. Some of them have become famous and professional models.

The models that I have photographed are talented models. Some of them have become famous and professional models.

The models that I have photographed are talented models. Some of them have become famous and professional models.

The models that I have photographed are talented models. Some of them have become famous and professional models.

The models that I have photographed are talented models. Some of them have become famous and professional models.

The models that I have photographed are talented models. Some of them have become famous and professional models.

The models that I have photographed are talented models. Some of them have become famous and professional models.

The models that I have photographed are talented models. Some of them have become famous and professional models.

The models that I have photographed are talented models. Some of them have become famous and professional models.

The models that I have photographed are talented models. Some of them have become famous and professional models.

The models that I have photographed are talented models. Some of them have become famous and professional models.

The models that I have photographed are talented models. Some of them have become famous and professional models.


THANK YOU everyone for your visits, comments and favs!

I appreciate your invites and awards very much!


:copyright: ALL RIGHTS RESERVED. Use without permission is illegal.


~ Ellen DeGeneres, The Funny Thing Is... ~ Ellen Lee DeGeneres (born January 26, 1958) is an American comedian, television host, actress, writer, and television producer.


Monarch Butterfly landed on our Milkweed flowers ~


Ellen DeGeneres ~




Ellen was the star in the popular sitcom "Ellen" from 1994 to 1998, and has hosted her syndicated talk show The Ellen DeGeneres Show since 2003.


Her stand up career started in the early 1980s, culminating in a 1986 appearance on "The Tonight Show Starring Johnny Carson", who likened her to Bob Newhart, and invited her for an onscreen chat after her set. She was the first comedienne invited by Johnny Carson to join him, a national, and the most influential endorsement available at the time for comics. As a film actress, she starred in Mr. Wrong (1996), appeared in EDtv(1999), and The Love Letter (1999), and provided the voice of Dory in the Pixar animated film "Finding Nemo" (2003), for which she was awarded the Saturn Award for Best Supporting Actress, the first time an actress won a Saturn Award for a voice performance. In 2010 she was a judge on "American Idol" for its ninth season.


She starred in two television sitcoms, Ellen from 1994 to 1998, and "The Ellen Show" from 2001 to 2002. During the fourth season of Ellen in 1997, she came out publicly as lesbian in an appearance on "The Oprah Winfrey Show". Shortly afterwards, her character, Ellen Morgan, also came out to a therapist played by Winfrey, and the series went on to explore various LGBT issues including the coming-out process. In 2008, she married her long-time girlfriend Portia de Rossi.


DeGeneres has hosted the Academy Awards, Grammy Awards, and the Prime time Emmy's. She has authored three books, and started her own record company, Eleveneleven. She has won 13 Emmy's, 14 People's Choice Awards, and numerous other awards for her work and charitable efforts.




She liked being reminded of butterflies.


She remembered being six or seven and crying over the fates of the butterflies in her yard after learning that they lived for only a few days.


Her mother had comforted her and told her not to be sad for the butterflies, that just because their lives were short didn't mean they were tragic.


Watching them flying in the warm sun among the daisies in their garden, her mother had said to her, see, they have a beautiful life.


Alice liked remembering that.


~ Lisa Genova, "Still Alice" ~


The models that I have photographed are talented models. Some of them have become famous and professional models.

The models that I have photographed are talented models. Some of them have become famous and professional models.

Italian postcard by Levibrom, Milano.


Italian film actress Maria Fiore (1935–2004) appeared in 50 films between 1952 and 1999. Throughout the 1950s and in the early 1960s, she played in a great number of romantic comedies and musicals, often set in Naples.


Maria Fiore was born Jolanda Di Fiore in Rome in 1935. She made an impressive film debut at the young age of 17 in the neo-realistic masterpiece Due soldi di speranza/Two Cents Worth of Hope (Renato Castellani, 1952). The film is the third in director Castellani's young love trilogy. The first two were Sotto il sole di Roma (1948) and È primavera...(1950). The story concerns the romance between the strong-willed and free-spirited Carmela (Fiore) and Antonio (Vincenzo Musolino). Hal Erickson at AllMovie: “The ardor is one-sided at first, but Carmela is a determined young woman, willing to scale and conquer any obstacle in pursuing her heart's desire. Once he's ‘hooked,’ Antonio scurries from job to job to prove his financial viability. Faced with the hostility of their parents, Carmela and Antonio symbolically shed themselves of all responsibilities to others in a climactic act of stark-naked bravado.” At the 1952 Cannes Film Festival, the film shared the Grand Prix with Orson Welles’ Othello (1952). Fiore then co-starred with Sophia Loren in the drama-comedy La domenica della buona gente/Good Folk’s Sunday (Anton Giulio Majano, 1953) and played the title role opposite Henri Vidal in Scampolo 53 (Giorgio Bianchi, 1953) one of the many film versions of the Dario Niccodemi play. The next year,he played an important supporting part inCarosello napoletano/Neapolitan Carousel (Ettore Giannini, 1954), the first major Italian musical of the postwar era. Léonide Massine starred as Antonio Petito, a notable Pulcinella performer, and an important figure of Neapolitan theater in the 19th century. The film was entered into the 1954 Cannes Film Festival. During the next decade, Fiore starred in a great number of romantic comedies and musicals, often set in Naples. Titles include Graziella (Giorgio Bianchi, 1955) with Jean-Pierre Mocky, I pappagalli/The Parrots (Bruno Paolinelli, 1955) starring Aldo Fabrizi and Alberto Sordi, Serenata a Maria/Serenade for Maria (Luigi Capuano, 1957), and Malafemmena (Armando Fizzarotti, 1957). These films were popular in Italy, but less known abroad. Later, when the Peplum genre became popular, she also appeared as Joan Simons in epics like Ercole l'invincibile/Hercules the Invincible (Alvaro Mancori, 1964).


Maria Fiore disappeared from the big screen in the mid-1960s to concentrate on the dubbing firm she had set up. She returned to popular success through hit TV mini-series such as Joe Petrosino (Daniele D'Anza, 1972) with Adolfo Celi, Accadde a Lisbona/It happened in Lisbon (Daniele D'Anza, 1974) with Paolo Stoppa, L'ultimo aereo per Venezia/The last plane to Venice (Daniele D'Anza, 1977) with Massimo Girotti, Quei 36 gradini/Those 36 steps (Luigi Perelli, 1984) with Gérard Blain, Little Roma (Francesco Massaro, 1988) and Pronto Soccorso/First Aid (Francesco Massaro, 1990-1992). In the cinema she could be seen in the anthology film Se permettete parliamo di donne/Let's Talk About Women (Ettore Scola, 1964) with Vittorio Gassman, and the crime film L'onorata famiglia - Uccidere è cosa nostra/The Big Family (Tonino Ricci, 1973). In 1975, Fiore played a supporting role in the Poliziotteschi film Il giustiziere sfida la città/Syndicate Sadists (Umberto Lenzi, 1975), starring Joseph Cotten and Tomas Milian. This film, also known as Rambo's Revenge and One Just Man, was one of director Lenzi's many efforts in the crime thriller genre. Tomas Milián plays Rambo, an ex-cop who seeks revenge against two powerful crime families who were responsible for the murder of his friend. The film predates Ted Kotcheff's First Blood, the film which introduced audiences to the John Rambo of author David Morrell by seven years. Milian happened to read David Morrell's novel while flying from the U.S. to Rome. Loving the story he tried to talk some Italian producers into making a film out of it, with him starring as John Rambo. Nothing came of this, but he was allowed to use the Rambo moniker in the next Poliziottesco he starred in. Fiore’s last film was E insieme vivremo tutte le stagioni/And together we will live all seasons (Gianni Minello, 1999), starring Franco Citti. In 2004, Maria Fiore died in Rome of lung cancer, aged 68.


Sources: Hal Erickson (AllMovie), Guy Bellinger (IMDb), Wikipedia (English and Italian), and IMDb.

The models that I have photographed are talented models. Some of them have become famous and professional models.

The models that I have photographed are talented models. Some of them have become famous and professional models.

The models that I have photographed are talented models. Some of them have become famous and professional models.



Maila Nurmi was the original Queen of the Modern Gothic. Vampira, her iconic macabre creation, influenced generations of filmmakers, musicians, artists and lifestylers. Sadly, she shuffled off her mortal coil on January 10th, 2008. She was aged 86.


A Finnish-born model and actress, Maila had posed for Man Ray, Vargas and Bernard of Hollywood before being discovered at a masquerade ball by a TV producer. Her pale-skin and tight black dress complete with black wig and long, haemorrhage-red fingernails were quite unique in 1953. A year later, she became the eponymous star of The Vampira Show bringing a distinctive mix of sex, horror and death.


As the world’s first TV horror host, Vampira’s sardonic wit and eye-popping hourglass-figure made her the ghoulish fantasy of guys and ghouls across the globe, despite appearing on a show that was only broadcast in LA. Every week the voluptuous vamp would unleash blood-curdling screams and utter puns in an exotic and alluring Marlene Dietrich-like drawl – ‘I am…Vampira. I hope you all had the good fortune to have had a terrible week.’


After her show was cancelled, Maila accepted a tiny fee to appear as the reanimated corpse bride in Plan 9 From Outer Space, a role in the unfairly dubbed ‘Worst Film of all Time’, but it was one that would ensure Vampira’s immortality in popular culture.


As a star in the Golden Age of Tinsletown, Maila gigged with Liberace, dated Orson Welles, was friends with Marlon Brando and formed a tremendous kinship with James Dean, whose spirit, she claimed, haunted her for six months after his death.


Even as lady in her eighties, she was an incredible bright spark, a feisty old dame and a terrific raconteur, recalling stories from the old days with childlike glee. Like her icons-in-crime Bela Lugosi and Ed Wood, Maila Nurmi died nearly penniless, but she left behind a legacy that will endure forever.


Here's the article I wrote for Bizarre Magazine...


The Lady is a Vamp


I’m sat in Pioneer Chicken, a fast-food joint off Sunset Boulevard, deep in discussion with Vampira, the world’s first TV horror host. Maila Nurmi, the Finnish-born performer beneath the famous black wig and nails was a phenomenon in the nineteen-fifties. Her iconic gothic style, sardonic wit and eye-popping hourglass-figure made her the ghoulish fantasy of guys and ghouls across the globe, despite appearing on a show that was only broadcast to the Los Angeles area. Every week the voluptuous vamp would emerge from dry-ice studio fog to the sound of creepy organ music. She would unleash a blood-curdling scream and utter puns in an exotic, sexual, Marlene Dietrich-like drawl - “I am…Vampira. I hope you all had the good fortune to have had a terrible week."


But this is not simply an interview with a vampire. Conversing with Naila Nurmi means taking a voyeuristic journey through the lives of mythological cult icons of fifties Hollywood. It seems that Vampira’s finger was firmly on the jugular pulse of the tinsletown scene during the beat generation. Captivating tales with James Dean, Marlon Brando, and Elvis Presley pour from her octogenarian lips, memories recalled with intensity and insight.


Since Maila claims psychic capabilities, one can also add a touch of the paranormal to this Hollyweird concoction. She speaks of clairaudience, strange premonitions and visions. Most sensationally, it was such psychic sensitivity that found her haunted by the spirit of James Dean, whose death profoundly affected her.


She’s certainly one tough cookie though, that’s for sure - strongly opinionated and gutsy. Before international fame, back when she was modeling for the likes of Bernard of Hollywood, Vargas and a young Man Ray, she still wasn’t taking any crap from studio big shots. Even movie mogul Howard Hawks - who discovered Maila performing a skeleton striptease in a New York show - suffered the wrath of Vampira’s razor-witted tongue, despite having just turned Lauren Bacall into a household name.


“I thought he was stupid, so I tore up my contract,” she giggles, tucking into her rice. “I told him to kindly find a place for it in one of his numerous waste baskets.”


Yet in 1956, her outspoken manner caused her blacklisting from the system. Broke, she accepted a measly $200 to play the reanimated corpse-bride of Bela Lugosi in the trash sci-fi epic Plan 9 From Outer Space. Irony, for this movie cemented her position in popular culture and led to Tim Burton’s marvelous biopic of director Ed Wood, one that cast model Lisa Marie as Maila.


At eighty-three, she’s still hip and sharp like Vampira’s fingernails.


So how did your famous horror host role come about?


I decided I wanted to become an evangelist. I had to sponsor myself and I thought I needed $20,000. How could I do it? Well, television was just warping people’s minds, so I thought could do that - and they paid big. I thought I’d satirise soap operas, I’d take improbable people and make them do all these bourgeois things. Since Charles Addams had already done it in comic form, I wanted it to bring it to television. So that is why I made the dress, went to a masquerade ball and won first prize. They discovered me and that was the end of it. But Vampira wasn’t really acting. It was television, just a lot of hogwash.


What went wrong with the revival of Vampira in the early eighties and the subsequent launch of the Elvira character?


Well I was dealing with KTTV for three months and then they suddenly didn’t want me to come to the studio anymore. They eventually called me in to sign a contract and she was there (Cassandra Peterson). They had hired her without asking me.


So it was going to be the Vampira name?


It’s Vampira all together. She did the whole thing with the Rocky Horror people. They stole it. They stole $100 million dollars. She was in 51 markets at one time with 350 kinds of merchandise; milked my cupboard bare.


Did you successfully sue?


I sued for eight years but not successfully. Finally I ran out of money. To continue would have cost $60,000. I wrote to the judge and said, “I’m sorry, I have no money. I have to close the case.” So he charged them to pay all the expenses. That money was meant for animal welfare and she spent it on cocaine and red limousines. Boy has the devil got that bitch—it’s the devil in her blood. That slut was a big player in porno movies - she was trying to hide her background. They deemed it unwise to reveal that fact so they told her to make up stuff if she was asked. But she said, “Why make it up when it is written here?” She was pretending to be me. How dare she? She’s such a low-life, such a no talent. She’s so stupid and she has no sense of timing. No sense of humor; such a common slut that speaks Americanese. Nasal. Phlegmatic. You know, the limousines and the lovers and the houses—they can take all that. Initially they wanted me. I wouldn’t do it because I didn’t want Vampira to be anything but perfect. I certainly didn’t want it to be a streetwalker-slut like that. Angelina Jolie would be a good Vampira.


Didn’t Vampira lead you to James Dean?


With the character I had been handed the keys to the city. I wanted to see who’s who and so I attended a movie premiere. But all I could find was vapid identities, people of whom I had no interest, except for one fellow who was with Terry Moore. I thought “him, that’s the one with the tuxedo and the collar, the farm boy hair that wouldn’t stay down.” Twelve hours after, I was sitting in Googies, and Jimmy rode up on his motorcycle, the windows rattled and the rest was history. We were never apart again. We were best friends instantly, like psychic Siamese twins.


Was he openly gay to his friends?


No. As he said, “do I look like someone who would go through life with one hand tied behind my back?” That was a courageous statement in those days. Jimmy was primarily heterosexual but he used men sexually to get ahead, and if he saw someone he liked, he liked them. More often it was women, but maybe that was because he had never got the really pretty girls before. He had always got the ugly leftovers that nobody else wanted.


How much time did you spend with him?


Seventeen-hundred hours, every moment to treasure. But he was just a little boy in search of his mother. Everyone must have seen it, maybe not known what it was, not how to read it, but they saw the feeling. I was a little more psychic so I knew what it was. He had the impression she had abandoned him. But after, I found out she died of cancer and hadn’t abandoned him at all, but she did go away and leave him all alone in the world. He was an only child and it was impossible for him to relate to his father. The father had probably married his mother for her boobs or something and had nothing in common with her. She raised a boy whom she named after a poet, James Byron. And the father didn’t know poetry from a hole in the ground. He was a nice, practical, and sensible dentist.


Do you remember when you heard that James Dean had died?


Yeah I was at home with Tony Perkins (Psycho). Jack Simmons (actor in Rebel Without A Cause and friend of Dean) had just left to visit some lesbian whores that lived a block away. We knew we had to tell Jack before someone else did, but then we had to go tell Ursula (Andress), Jimmy’s ladylove. We drove up and I waited in the car because I didn’t really know her very well. It was in a dead end street, and now dark. Then suddenly, Marlon (Brando) appeared at the car - he had been hiding in the bushes. Ursula had called him in hysterics screaming, “They are trying to kill me. They’re threatening me. They think he killed himself because of me. I’m frightened! You have to come. I’m alone.” She would have used any device to get to Marlon at that time, even though she was trying to break up John Derek’s marriage. She wanted Marlon above all; she even bought the same car that he had. So he went, but looked in the windows first to be sure that she wasn’t putting him on and that she was really upset. Then Jack found him in the bushes. “Maila’s over there, in the hearse,” he said.(laughs) So he came over to offer condolences.


I heard that the spirit of James Dean visited you.


He visited a lot of people. He was very active. Now a lot of people made it up too I’m sure, but even people who weren’t psychic had experiences. He was that strong. Jimmy was following me around and was with me a lot of the time for the first six months. There would be an ashtray, I’d look and say “don’t anybody touch the ashtray, it’s gonna go up. That’s Jimmy’s sign that he’s here.” And it would go up!


Did you have psychic tendencies early on?


Yeah, I was very psychic in those days. My first husband Dean Eisner (writer of Dirty Harry and Play Misty For Me) and I lived in Laurel Canyon. He came home from work one day and said a story editor was writing a TV series about us. TV was very new and it was very easy to get anything you wanted done. He said they called it “Laurel Canyon”, but apparently sold it under the working title Bewitched. That was written about Dean Eisner and I. You see my mother was a witch. She wasn’t practicing, but she couldn’t help but be a witch. It was natural. It exuded from her, the very essence of her. And I was very psychic too.


Didn’t you share some strange, paranormal experiences with Marlon Brando?


We were sitting around and chatting in the dining room and Einstein had died just three weeks before. Marlon always had a wonderful portrait of Einstein on his headboard and sometimes he would just shove it in your face. Suddenly Marlon says, “There’s someone here. It’s Einstein. He has a message for us.” I was included in the message. “You young ones have to hurry up,” That’s what Einstein told Marlon, who wasn’t inventing it - he believed it. He may have seen it or heard it. The point is that Marlon really wanted to believe that he was a humanitarian, and Einstein was urging him to hurry up with his duties. Marlon was a very humane human being, though he didn’t know how to be humane with his own children. Some of his best friends despised him and said he was a brute and a beast and nothing in-between. He’s either the gentlest, noble of human beings or the coarsest and grossest. How do you like them apples?


What was your first introduction to any of the Ed Wood clan?


I was a young girl window-shopping on Hollywood Boulevard. I was bending low to see the detail of some shoes and someone whizzed around the corner on roller skates, almost bumped my fanny and crashed into me. “Pardon me,” said he, and “Pardon me,” said I. He was wearing an ascot and a beret. It was Bela Lugosi on roller skates. He was on his way to a cigar store.


Had you heard of Ed Wood before you met him?


Yes, because there had been an article in a newspaper, saying that he wanted to make a movie with Vampira. The nerve of him! This was before I was blacklisted. After, I had no money and I couldn’t get a job. A guy came and visited me and offered $200 to make this Ed Wood movie called Grave Robbers From Outer Space (later changed to Plan 9). I thought it was a good title at least. Oh boy! So I did it, and he came into my life right after then.


Did you find Ed Wood to be an intelligent guy?


No. But anyone who has become a phenomenon has a karmic current carrying them there. Nobody who is normal has such drive. That’s got to be driven by something larger than life. There was something there that I didn’t understand or respect because I was an intellectual snob, but it was there alright.


How did Ed Wood react when he heard you didn’t want to speak his words?


Paul Marco told him, so I don’t know. I didn’t want to hurt his feelings, but my God, I could not say those words. I wish I had them today because I threw them away. Do you know what jewels those lines must have been? I tried to say them, but I curdled my own blood. (laughs) They were awful!


Did you go to the premiere of Plan 9 From Outer Space?


Yeah. The theatre was full of people. I was backstage and I could see the images behind the screen. People were in the wings, dictating to me when to walk out, so that I was there on screen at the same time as I walked across stage. The audience booed, whistled and threw popcorn – they loved it! But I never actually got to see the film as I had to leave, then the film was banned in Los Angeles for 26 years. It never played here and Ed Wood never knew why. They hated him I guess or maybe it was because of me. But Criswell told me that the film played in a small theatre in New York for over a year and a half, with just standing room only all the time. When it was on the road in Indianapolis, even though it was pouring with rain, people queued around the block with newspapers over their heads. It was very popular. People knew it was Lugosi’s last film.


What kind of state of mind do you think Ed Wood have when he later made porn films?


He loved the porn. He was in his element. He would have been very unhappy if he had known he couldn’t have done porn again. He just kept writing them so fast. He’d write a whole pornographic book in just two days.


Did Tim Burton talk to you before he filmed the movie Ed Wood?


Yes. He introduced me to his stuffed bat. The film was accurate in some way but he wasn’t really trying to be accurate. It was a docu-drama. He was taking liberties, which he was entitled to do, but he got some of the essences correct—the ones that he should have retained. And then he embroidered a little. Johnny Depp is such a good actor and was believable as Ed Wood. Although it wasn’t exactly the same persona, his essence was there. The enthusiasm was so believable - such gung-ho enthusiasm.


Finally, is it right you had an encounter with Elvis before he became famous?


I went to Las Vegas with Liberace and met a19 year-old Elvis. I was there eating breakfast in the hotel and across the huge dining room in backlight - because the sun was shining through the windows - I could see three older men, smoking cigars, looking plump and eating. A tall, young, graceful man came in, and sat with them. Then on the intercom it said that somebody was wanted on the telephone. This young guy got up, and walked like Robert Mitchum. All I saw was his silhouette, that was it. So I paid my bill and walked past the men and said, “well congratulations, he’s going to be the biggest movie star in the world. I see he has tremendous magnetism.” “Ah,” they said, “thank you.” (laughs). And I hadn’t yet seen Elvis’ face. But the next night when he opened, I went with Liberace and his whole family. A side curtain parted and this kid comes out alone. I had never seen someone boldly standing on a stage – supposedly a heterosexual male – wearing turquoise eye shadow and grinding his hips like that. I thought, “oh-my-god. What am I seeing? This music is great.” The orchestra, one by one put down their instruments. They crossed their arms and refused to play. The audience started booing, and they booed him off the stage. Then a voice said to me – and I wasn’t on any drugs – “go around the side of the hotel and in the back, there’s a swimming pool and you’ll find someone in a canary yellow jacket.” Now I hadn’t seen a jacket like that anywhere. But I went around and in the dark moonless night, far away I could see the double doors of the casino, golden with light. They opened and a figure came into the doorway. It was Elvis, wearing a canary yellow jacket. He looked confusedly into the darkness, so I said, “I’m over here.” We walked towards each other, sat down and talked. I told him that I was a performer and that what happened was absolutely awful. He said, “every night before I go on, I talk to God and he always answers me. But tonight he didn’t answer. When them curtains opened and I saw all those white heads and them glasses, I knew why.“ I told him I admired his courage and that they only did that because they’re sheep and they do as they think they are supposed to do. One person booed and so then they all did. They’ve never, ever seen anything like you and it frightened them. But, Life Magazine are going to discover you (because that’s what they did in those days) and they will kiss your shoes.” He said, “it’s coming out Thursday” and it did. I was thirty-three and he said to me, “I know you’re getting old and all, but if you’d like to come back after the show, I’d be proud to take you back to my bungalow.” (laughs) His hallowed words! And so Elvis went back to do a second show.


Many thanks to Joe Moe and Forry for their assistance with this interview.


(Photos and Words Copyright - Mark Berry)

The models that I have photographed are talented models. Some of them have become famous and professional models.

This is the very popular intersection of Hollywood Boulevard & Highland Avenue in Los Angeles, where the renown “Hollywood Walk of Fame” begins. Just keep walking along any of the streets to find the star bearing the name of your favorite actor, actress, or singer. As long as the person you’re looking for is older than the internet, chances are that person has a star on the Boulevard!


New images of LA are now available in the “LATEST HITS” section of TIA’s official website.

Just click the link below!



German postcard by Ross Verlag, no. 8000/1, 1933-1934. Photo: Fox (20th Century Fox).


British born, German actress and singer Lilian Harvey (1906-1968) was Ufa's biggest star of the 1930s. With Willy Fritsch she formed the 'Dream Team of the European Cinema'. Their best film was the immensely popular film operetta Der Kongress tanzt/The Congress Dances (Erik Charell, 1931).


For more postcards, a bio and clips check out our blog European Film Star Postcards or follow us at Tumblr or Pinterest.



Both of them are silent. People are not Sebastian's forte... usually he's too shy, but this girl is shyer still. Plus they're about the same age... it gives him courage.



Press L to view this as it should.



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MARY JANE IRVING (1913-1983) was an American actress. She appeared in 58 films between 1917 and 1938. Born in Columbia, South Carolina, Irving began her career as a child actor in silent films. A popular child actor, Irving was relegated to secondary roles as a teen and, after her marriage to screenwriter Robert Carson in 1938, she retired from films

The models that I have photographed are talented models. Some of them have become famous and professional models.

British postcard, no. 257.


Endearing Anna Neagle (1904-1986) was a leading star in British films for over 25 years from 1932. She provided glamour and sophistication to war-torn London audiences with her lightweight musicals, comedies and historical dramas. Almost all of her films were produced and directed by Herbert Wilcox, whom she married in 1943.


Anna Neagle was born Florence Marjorie Robertson in Forest Gate (near London), in 1904. She was the daughter of Herbert Robertson, a merchant navy captain, and his wife, the former Florence Neagle. Her brother was actor Stuart Robinson. S he made her stage debut as a dancer in 1917. In 1925 she appeared in the chorus of André Charlot's revue Bubbly, and later also in C.B. Cochran's revues, where she understudied Jessie Matthews. ActorJack Buchanan encouraged her to take on a featured role in the musical Stand Up and Sing (1931), and she began using the professional name of Anna Neagle (the surname being her mother's maiden name). The play was a huge success with a total run of 604 performances. Her big break came when film producer-director Herbert Wilcox caught the show purposely to consider Buchanan for his upcoming film. He was taken (and smitten) with Anna. Photographing extremely well, Neagle was a natural for the screen and she played her first starring film role opposite Jack Buchanan in the musical Goodnight Vienna (1932, Herbert Wilcox). Neagle became an overnight favourite. Although the film cost a mere £23,000, it was a huge hit at the box office, profits from its Australian release alone being £150,000. After her starring role in The Flag Lieutenant (1932, Henry Edwards), she worked exclusively under Wilcox's direction for all but one of her subsequent films, becoming one of Britain's biggest stars. She continued in the musical genre, co-starring with Fernand Gravey (aka Fernand Gravet) in Bitter Sweet (1933), the first film version of Noel Coward's tale of ill-fated lovers. Neagle had her first major film success in the title role of Nell Gwynn (1934), as the woman who became the mistress of Charles II (Sir Cedric Hardwicke). In the United Status, the Hays Office had Wilcox add a (historically false) scene featuring the two leads getting married and also a ´framing story´ resulting in an entirely different ending. Author Graham Greene said of Nell Gwynn: "I have seen few things more attractive than Miss Neagle in breeches". Two years later, she followed up with another real-life figure, Irish actress Peg Woffington in Peg of Old Drury (1936). Neagle and Wilcox then made the backstage musical Limelight (1936) and a circus trapeze fable The Three Maxims (1937). The latter film, with a script co-written by Herman J. Mankiewicz (who later co-wrote Citizen Kane), had Neagle performing her own high-wire acrobatics. Although now highly successful in films, Neagle continued to act on stage too. In 1934, she performed as Rosalind in As You Like It and Olivia in Twelfth Night, directed by Robert Atkins. She earned critical accolades in both productions, despite the fact that she had never before done any Shakespeare.


In 1937 Anna Neagle gave her most prestigious performance so far – as Queen Victoria in the successful historical drama Victoria the Great (1937), co-starring Anton Walbrook as Prince Albert. Victoria the Great was such an international success that it resulted in Neagle and Walbrook essaying their roles again in an all-Technicolor sequel entitled Sixty Glorious Years (1938), co-starring C. Aubrey Smith as the Duke of Wellington. While the first of these films was in release, Neagle returned to the London stage in the title role in Peter Pan. The two Queen Victoria biographies were successful enough to get Wilcox and Neagle a contract with RKO Radio Pictures, and they moved to Hollywood at the end of the 1930´s. Their first American film was Nurse Edith Cavell (1939). She essayed the role of the true-lifenurse who was shot by the Germans in World War I for alleged spying. The film had a significant impact for audiences on the eve of war. In a turnabout from this serious drama, they followed with three musical comedies, all based on once-popular stage plays. The first was Irene (1940), co-starring Ray Milland. It included a Technicolor sequence, which featured Neagle singing the play's most famous song, Alice Blue Gown. She followed this film with No, No, Nanette (1940) with Victor Mature, and Sunny (1941) with Ray Bolger. During the war Anna Neagle entertained the troops. Her final American film was Forever and a Day (1943), a tale of a London family house from 1804 to the 1940 blitz. This film boasts 80 performers (mostly British), including Ray Milland, C. Aubrey Smith, Claude Rains, Charles Laughton, and – among the few Americans – Buster Keaton. Wilcox directed the sequence featuring Neagle, Milland, Smith, and Rains, while other directors who worked on the film included René Clair, Edmund Goulding, Frank Lloyd, Victor Saville and Robert Stevenson. During the war the profits and salaries were given to war relief. After the war, prints were slated to be destroyed, so that no one could profit from them. However, this never occurred.


Returning to England, Anna Neagle and Herbert Wilcox commenced with They Flew Alone (1942). Neagle added another real-life British heroines to her gallery, this time as aviatrix Amy Johnson. The film, released a year after the aviatrix’s death, was noted for inter-cutting the action with newsreel footage. They returned to filmmaking with the war-time espionage thriller The Yellow Canary (1943), co-starring Richard Greene and Margaret Rutherford. Neagle played a German-sympathiser (or that is what she seems to be at first) who is forced to go to Canada for her own safety. In reality, she's working as an undercover agent. After making this film, Neagle and Wilcox made their professional relationship a personal one as well when they married in 1943. In 1945 Neagle appeared on stage in Emma, a dramatization of Jane Austen's novel. That same year she was seen in the film I Live in Grosvenor Square, co-starring Rex Harrison. For seven straight years after WWII, she was voted top favorite English actress. She wanted Harrison again for the lead in her next film, Piccadilly Incident (1946). He proved to be unavailable, so Wilcox cast Michael Wilding in the lead. Thus was born what film critic Godfrey Winn called "the greatest team in British films". The story – of a wife, presumed dead, returning to her (remarried) husband – bears a resemblance to the Irene Dunne-Cary Grant comedy My Favorite Wife. Piccadilly Incident was chosen as Picturegoer’s Best Film of 1947. Neagle and Wilding were reunited in The Courtneys of Curzon Street (1947), a period drama that became the year's top box-office attraction. The film featured Wilding as an upper-class dandy and Neagle as the maid he marries, only to have the two of them driven apart by Victorian society. The third pairing of Neagle and Wilding in the London films, as the series of films came to be called, was in Spring in Park Lane (1948), which depicted the romance between a millionaire’s niece and a valet. Spring in Park Lane was the 1949 Picturegoer winner for Best Film, Actor and Actress. Neagle and Wilding were together for a fourth time in the Technicolor romance Maytime in Mayfair (1949). The plot is reminiscent of Roberta, as it had Wilding inheriting a dress shop owned by Neagle. David Absalom comments on his great website “These films rarely pleased the critics. This is particularly true of the "London Series" of frothy nonsense, usually co-starring Michael Wilding and usually musicals. The critics wanted neo-realist pictures depicting grim reality - the audience, who were suffering through the Austerity Years and knew all about grim reality, wanted fun and escapism. Anna Neagle pictures provided that in spades.”


By 1950, Anna Neagle was at her zenith as Britain’s top box-office actress, and in that year she made what reputedly became her own favorite film, Odette, co-starring Trevor Howard, Peter Ustinov, and Marius Goring. As Odette Sansom, she was the Anglo-French resistance fighter who was pushed to the edge of betrayal by the Nazis. Going from this real-life British heroine, she went straight on to playing Florence Nightingale in The Lady with the Lamp (1951).Returning to the stage in 1953, she scored a major success with The Glorious Days, which had a run of 476 performances. Neagle and Wilcox brought the play to the screen under the title Lilacs in the Spring (1954), co-starring Errol Flynn. In the film she plays an actress knocked out by a bomb, who dreams she is Queen Victoria and Nell Gwyn – as well as her own mother. As she begins dreaming, the film switches from black and white to color. Neagle and Flynn reteamed for a second film together, King's Rhapsody (1955), based on an Ivor Novello musical. Although Neagle performed several musical numbers for the film, most of them were cut from the final release, leaving her with essentially a supporting role. Shot in Eastmancolor and CinemaScope with location work near Barcelona, Spain, King's Rhapsody was a major flop everywhere. Neagle's (and Flynn's) box-office appeal, it seemed, was beginning to fade. Neagle's last box-office hit was My Teenage Daughter (1956), which featured her as a mother trying to prevent her daughter (Sylvia Syms) from lapsing into juvenile deliquency. Neagle and Syms worked together again on No Time For Tears (1957), also starring Anthony Quayle and Flora Robson. As directed by Cyril Frankel, this was the first film for over 20 years where Neagle was directed by someone other than Herbert Wilcox. She produced a series of films directed by her husband, including These Dangerous Years (1957), Wonderful Things! (1958), and The Heart of a Man (1959). The films all starred pop idol Frankie Vaughan, but they were out of touch with changing tastes, and lost money, resulting in Wilcox going heavily into debt. Neagle herself made her final film appearance in The Lady is a Square (1959) opposite Franke Vaughan. Herbert Wilcox was bankrupt by 1964, but his wife soon revived his fortunes. She returned to the stage the following year and made a spectacular comeback in the West End musical Charlie Girl. In it she played the role of a former ´Cochran Young Lady´ who marries a peer of the realm. Charlie Girl was a phenomenal success that ran for a staggering six years and 2,047 performances. During the show's six-year run, Neagle was made a Dame of the British Empire in1970 in recognition of her work. Two years after Charlie Girl she appeared in a revival of No, No, Nanette, which she had done onscreen three decades earlier. In 1975, she replaced Celia Johnson in The Dame of Sark and in 1978 (the year after her husband's death), she was acting in Most Gracious Lady, which was written for the Silver Jubilee of Queen Elizabeth II. Although plagued by Parkinson's disease in her later years, Neagle continued to be active well into her eighties. On TV she was last seen in an episode of Roald Dahl's Tales of the Unexpected (1983). In 1985 she appeared as the Fairy Godmother in a production of Cinderella at the London Palladium. Neagle was still working in 1986, just a few weeks before her death in West Byfleet, England, from complications of renal disease and cancer. She was 81.


Sources: Roger Phillip Mellor (Encyclopedia of British Cinema), David Absalom (, Bruce Eder (All Movie), Gary Brumburgh (IMDb), Wikipedia and IMDb.

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Is the Quest for an Ethical Reality Show Doomed?


As we have learned again and again, manipulative behavior is structurally baked in to the entire entertainment industry, which creates profoundly unequal power hierarchies used to exploit those at the bottom, whether they're contestants on a high-pressure competition show or actresses looking for their big break.


Fecha: March 8, 2018 at 04:12PM

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The models that I have photographed are talented models. Some of them have become famous and professional models.

Austrian postcard by Iris Verlag, no. 960. Photo: Verleih Engel & Walter.


Actress Magda Sonja (1895 - 1974) was one of the divas of the Austrian silent cinema. She often starred in the films of her famous husband, actor and director Friedrich Feher.


Magda Sonja was born in 1895, in Wien (Vienna), Austria-Hungary (now Austria). She started her acting career on stage at the Theater an der Wien. Later she worked as a diseuse in different cabarets of the city. She made her film debut in 1917. From 1918 on the Sacha-film studio built her up as a star as a competitor to the star of the Wiener Kunstfilm, Liane Haid. Sonja appeared in films like Das andere Ich/The Other Me (1918, Fritz Freisler) with Fritz Kortner, and Um ein Weib/Because of a Woman (1918, Ernst Marischka, Hubert Marischka). The Austrian film industry produced more than 1000 films yearly in this period. During the 1920's she would become the most popular star of Sacha-film and was able to impersonate some impressive leading roles. To her well-known films of the early 1920's belong Die Venus/The Venus (1922, Hans Homma), the Hungarian production Drakula halala/Draculas Death (1923, Károly Lajthay) and Ssanin (1924, Friedrich Feher, Boris Nevolin).


Magda Sonja achieved the height of her fame when she made a series of films with her husband, actor and director Friedrich Feher, in Germany. She played leading roles in his Das graue Haus/The Grey House (1926) with Werner Krauss, Mata Hari, die rote Tänzerin/Mata Hari, the Red Dancer (1927), and Maria Stuart/Mary Queen of Scotts (1927) with Fritz Kortner. Mata Hari was the first full-length screen treatment of the life of infamous WWI spy. The filmwas produced in Germany in 1926, a full decade after the subject's death. Magda Sonja stars as the title character, an exotic dancer whose romance with a Russian grand duke comes to an end when she falls for a handsome peasant, Grigori (Mathias Wieman). In due course, Grigori is arrested and threatened with execution unless Mata-Hari agrees to become a spy on behalf of the Russians. Ultimately betrayed by her superiors, Mata-Hari nonetheless faces the firing squad with no regrets, secure in the knowledge that her lover has been spared. When released in the U.S. in 1927, Mata-Hari was extensively ballyhooed on the strength of Magda Sonja's extraordinarily revealing costumes. Another successful production was Sensations-Prozess/That Murder in Berlin (1928) with Carl Goetz and Gustav Diessl. With the rise of the sound film her career dropped off. To her last films belong Ihr Junge/Her Boy (1931) opposite her son, Hans Feher. In 1933 she emigrated with her husband and son to England, where they made one film together, The Robber Symphony (1936), an alternate version of their earlier film Gehetzte Menschen/Harried People (1932). The Robber Symphony, is an anarchistic musical about a gang of robbers who are searching for a treasure, hidden in a pianola. The film became a surprise cult hit in the Netherlands, where it appeared for 20 years in the arthouse cinema De Uitkijk. Outside of the Netherlands the film was not a success and it would be Magda Sonja’s last film. She and Feher emigrated to the United States, but their careers went nowhere in tinseltown. Magda Sonja died in 1974. The Amsterdam filmmuseum made a wonderful fresh restaurated copy of The Robber Symphony in 2006, which was broadcasted on the Dutch television. Director Cherry Duyns made a tv documentary about the Dutch success of the film and the sad ‘werdegang’ of the Feher family in Hollywood.


Sources: Thomas Staedeli (Cyranos), Hal Erickson (All Movie Guide), Wikipedia and IMDb.

TV Week Logie Nominations In Sydney, Australia; News And Lists


Tonight in Sydney, Australia it's the TV Week Logies Nominations.


Karl Stefanovic is battling to snatch back-to-back Gold Logies after nominations for the TV Week industry awards were announced today.


After surprising many media and entertainment commentators including this agency by snatching the major prize last year, the Channel 9 Today co-host got both a Silver and Gold for most popular presenter on Australian TV.


Karl will fight the ABC's Adam Hills, Offspring star Asher Keddie, The Project co-host Carrie Bickmore, ex Home & Away siren Esther Anderson and Nine comedian presenter Hamish Blake for the top honours when the TV Week Logies are awarded on April 15.


Channel 7 leads the network pack, with 32 nominations across 22 categories, followed by Ten (26 nominations), the ABC (22 nominations), Nine (21 nominations), pay TV operator Foxtel (eight nominations) and SBS (seven nominations).


While Packed To The Rafters favourite Rebecca Gibney was overlooked for a Gold Logie nod this year, she is squared off against her TV daughter Jessica Marais for Silver as most popular actress.


Also in the running for Silver was Asher Keddie, acknowledged for her double effort - playing Nina Proudman on Ten's romantic comedy, Offspring, and publishing maverick Ita Buttrose in the ABC1 docu-drama, Paper Giants: The Birth Of Cleo.


Making their Silver Logie nomination debut are Danielle Cormack (Kate Leigh in Nine's Underbelly Razor) and Esther Anderson (Charlie Buckton on Seven's soap Home & Away).


In the TV fight for the boys, the Silver Logie for most popular actor will be fought between Daniel MacPherson (Wild Boys, Channel 7), Eddie Perfect (Offspring, Ten), Erik Thomson (Packed To The Rafters, Channel 7), Hugh Sheridan (Packed To The Rafters, Channel 7) and Ray Meagher (Home & Away, Channel 7).


Despite turning her back on a TV career for a spot on Melbourne breakfast radio this year, Chrissie Swan secured a nomination as most popular presenter for her role on Ten's morning chat show, The Circle.


The nominations were held at Sydney's Park Hyatt, hosted by Nine's Natalie Gruzlewski and Ten's Bondi Vet, Chris Brown.




TV WEEK GOLD LOGIE AWARD Most Popular TV personality

Adam Hills (Spicks And Specks, ABC1/Adam Hills In Gordon St Tonight, ABC1)

Asher Keddie (Nina Proudman,Offspring, Network Ten /Ita Buttrose, Paper Giants: The Birth Of Cleo, ABC1)

Carrie Bickmore (The Project, Network Ten)

Esther Anderson (Charlie Buckton, Home And Away, Channel Seven)

Hamish Blake (Hamish & Andy's Gap Year, Nine Network)

Karl Stefanovic (Today, Nine Network)



Daniel MacPherson (Jack Keenan, Wild Boys, Channel Seven)

Eddie Perfect (Mick Holland, Offspring, Network Ten)

Erik Thomson (Dave Rafter, Packed To The Rafters, Channel Seven)

Hugh Sheridan (Ben Rafter, Packed To The Rafters, Channel Seven)

Ray Meagher (Alf Stewart, Home And Away, Channel Seven)


TV WEEK SILVER LOGIE Most Popular Actress

Asher Keddie (Nina Proudman, Offspring, Network Ten /Ita Buttrose, Paper Giants: The Birth Of Cleo, ABC1)

Danielle Cormack (Kate Leigh, Underbelly: Razor, Nine Network /Angela Travis, East West 101, SBS)

Esther Anderson (Charlie Buckton, Home And Away, Channel Seven)

Jessica Marais (Rachel Rafter, Packed To The Rafters, Channel Seven)

Rebecca Gibney (Julie Rafter, Packed To The Rafters, Channel Seven)


TV WEEK SILVER LOGIE Most Popular Presenter

Adam Hills (Spicks And Specks,ABC1/Adam Hills In Gordon St Tonight, ABC1)

Carrie Bickmore (The Project, Network Ten)

Chrissie Swan (The Circle, Network Ten)

Hamish Blake (Hamish & Andy's Gap Year, Nine Network)

Karl Stefanovic (Today, Nine Network)



Dan Ewing (Heath Braxton, Home And Away, Channel Seven)

James Mason (Chris Pappas, Neighbours, Network Ten)

Peter Kuruvita (Host, My Sri Lanka With Peter Kuruvita, SBS)

Steve Peacocke (Darryl "Brax" Braxton, Home And Away, Channel Seven)

Tom Wren (Dr Doug Graham, Winners & Losers, Channel Seven)



Anna McGahan (Nellie Cameron, Underbelly: Razor, Nine Network)

Chelsie Preston Crayford (Tilly Devine, Underbelly: Razor, Nine Network)

Demi Harman (Sasha Bezmel, Home And Away, Channel Seven)

Melissa Bergland (Jenny Gross, Winners & Losers Channel Seven)

Tiffiny Hall (Trainer, The Biggest Loser Australia, Network Ten)



Home And Away (Channel Seven)

Offspring (Network Ten)

Packed To The Rafters (Channel Seven)

Underbelly: Razor (Nine Network)

Winners And Losers (Channel Seven)



Australia's Got Talent (Channel Seven)

Hamish & Andy's Gap Year (Nine Network)

Spicks And Specks (ABC1)

Sunrise (Channel Seven)

The Project (Network Ten)



Better Homes And Gardens (Channel Seven)

Getaway (Nine Network)

iFISH (Network Ten)

Ready Steady Cook (Network Ten)

Selling Houses Australia Extreme (LifeStyle Channel, FOXTEL



2011 AFL Grand Final (Network Ten)

Before The Game (Network Ten)

The AFL Footy Show (Nine Network)

The NRL Footy Show (Nine Network)

Wide World Of Sports (Nine Network)



Beauty And The Geek Australia (Channel Seven)

MasterChef Australia (Network Ten)

My Kitchen Rules (Channel Seven)

The Block (Nine Network)

The X Factor Australia (Channel Seven)



Bondi Rescue (Network Ten)

Bondi Vet (Network Ten)

Border Security: Australia's Front Line (Channel Seven)

RPA (Nine Network)

World's Strictest Parents (Channel Seven)


MOST OUTSTANDING NOMINEES (peer voted by industry)

TV WEEK SILVER LOGIE Most Outstanding Drama Series, Miniseries or Telemovie

Cloudstreet (Showcase, FOXTEL)

Offspring (Network Ten)

Paper Giants: The Birth Of Cleo (ABC1)

The Slap (ABC1)

Underbelly: Razor (Nine Network)


TV WEEK SILVER LOGIE Most Outstanding Actor

Alex Dimitriades (The Slap, ABC1)

David Wenham (Killing Time, TV1, FOXTEL)

Don Hany (East West 101, SBS)

Geoff Morrell (Cloudstreet, Showcase, FOXTEL)

Rob Carlton (Paper Giants: The Birth Of Cleo, ABC1)


TV WEEK SILVER LOGIE Most Outstanding Actress

Asher Keddie (Paper Giants: The Birth Of Cleo, ABC1)

Diana Glenn (Killing Time, TV1, FOXTEL)

Essie Davis (The Slap, ABC1)

Kat Stewart (Offspring, Network Ten)

Melissa George (The Slap, ABC1)



Anna McGahan (Underbelly: Razor, Nine Network)

Chelsie Preston Crayford (Underbelly: Razor, Nine Network)

Hamish Macdonald (Senior Foreign Correspondent, Network Ten)

Hamish Michael (Crownies, ABC1)

Melissa Bergland (Winners & Losers, Channel Seven)



Lockyer Valley Flood (Brisbane News, Channel Seven)

Qantas Grounded (Sky News National, Sky News Australia, FOXTEL)

Skype Scandal (Ten News At Five, Network Ten)

The Queensland Flood (Nine News, Nine Network)

Unfinished Business (SBS World News Australia, SBS)



A Bloody Business (Four Corners/Sarah Ferguson, ABC1)

After The Deluge: The Valley (Paul Lockyer, ABC1)

Rescue 500 (Sunday Night, Channel Seven)

Salma In The Square (Foreign Correspondent/Mark Corcoran, ABC1)

Tour Of Duty: Australia's Secret War (Network Ten)



Australia's Got Talent (Channel Seven)

Gruen Planet (ABC1)

Spicks And Specks (ABC1)

Talkin Bout Your Generation (Network Ten)

The Project (Network Ten)



2011 Australian Open Tennis (Channel Seven)

2011 Bathurst 1000 (Channel Seven)

2011 Melbourne Cup Carnival (Channel Seven)

State Of Origin III (Nine Network)

Tour de France 2011 (SBS)



Camp Orange: Wrong Town, (Nickelodeon, FOXTEL)

Lockie Leonard (Nine Network)

My Place (ABC3)

Saturday Disney (Channel Seven)

Scope (Network Ten)



Go Back To Where You Came From (SBS)

Leaky Boat (ABC1)

Mrs Carey's Concert (ABC1)

Outback Fight Club (SBS)

Tony Robinson Explores Australia (The History Channel, (FOXTEL)


The TV Week Logie Awards ceremony will take place at Crown Melbourne on Sunday 15th April.


Good luck to all.




TV Week Logies


TV Week


Park Hyatt, Sydney


Crown Melbourne


Eva Rinaldi Photography Flickr


Eva Rinaldi Photography


The Lantern Group


Music News Australia

Vanbrugh, Dame Irene [real name Irene Barnes] (1872–1949), actress, was born at Exeter on 2 December 1872, the fourth and youngest daughter of the Revd Reginald Henry Barnes (d. 1889), prebendary of Exeter Cathedral and vicar of Heavitree, and his wife, Frances Mary Emily, daughter of William Nation, barrister. The Nations were an old Exeter family, members of which had given great support to the theatre and had helped in the discovery of Edmund Kean. Irene was the fifth child in a family of six, Violet Vanbrugh being the eldest and Sir Kenneth Ralph Barnes the youngest. The stage name Vanbrugh was first adopted by Violet at the suggestion of Ellen Terry, who remained throughout her life an invaluable friend. Violet's successful entry upon a stage career under J. L. Toole in 1886 set Irene an example rare in those days among strictly brought-up daughters of professional men. Irene was educated at Exeter high school and by prolonged trips to the continent with her father, and at a school near Earls Court, recommended by Ellen Terry, when the family removed to London. Like Violet, Irene had a spell of training under Sarah Thorne at the Theatre Royal, Margate, where she made her first stage appearance in August 1888, as Phoebe in As You Like It. On Boxing day of the same year she made her London début, on the recommendation of Lewis Carroll, as the White Queen and the Jack of hearts in a revival of Alice in Wonderland at the Globe Theatre in Newcastle Street, Strand. She then again followed Violet's lead by joining Toole's company. She played a big round of parts in already popular plays such as Dion Boucicault's Dot and H. J. Byron's Uncle Dick's Darling. With Toole she toured Australia in 1890. On her return, still with Toole, she made her first original creations as Thea Tesman in the first play by James Barrie, his burlesque Ibsen's Ghost (1891), and as Bell Golightly in his Walker, London (1892). She then joined Herbert Tree at the Haymarket Theatre as Lettice in The Tempter (1893) by H. A. Jones. In the following year she moved to the St James's Theatre and played a number of secondary parts under the management of George Alexander, afterwards joining the company of her brother-in-law, Arthur Bourchier, at the Royalty Theatre and on an American visit. On her return to London at the Court Theatre in 1898 she created Rose in Trelawny of the ‘Wells’ by Arthur Pinero, and, during the same season, Stella in Robert Marshall's His Excellency the Governor.


Then came Irene Vanbrugh's first great triumph, her Sophy Fullgarney in the production by John Hare at the Globe Theatre of Pinero's The Gay Lord Quex (1899). As with many of her creations, Irene Vanbrugh's intelligence, sympathy, and alertness avoided extravagance in a subtle expression of class-contrast. This gave the character an intensity of appeal that was at the time something quite new. In 1901 she married Dion Boucicault the younger (1859–1929), who became her manager in 1915 and who acted with her until his death. There were to be no children. Her Letty in Pinero's play of that name at the Duke of York's Theatre (1903) was a less memorable success than some of those that had gone before. It was at the St James's Theatre as Nina Jesson in Pinero's His House in Order (1906)—a delicately temperamental study of the second wife of a pompous member of parliament—that Irene Vanbrugh touched the heights once more. She also scored notably as Marise in The Thief, adapted from Henry Bernstein, at the St James's Theatre (1907). Her Zoe Blundell, too, in Pinero's Mid-Channel at the same theatre (1909) was specially worthy of remembrance. She gave another poignant performance in the title part of W. Somerset Maugham's play Grace at the Duke of York's Theatre (1910). She created many other attractive characters of a quite different order, such as Lady Mary Lasenby in Barrie's The Admirable Crichton at the Duke of York's Theatre (1902); Kate, in his one-act play The Twelve-Pound Look at the Hippodrome (1911); and Rosalind in his one-act play of that name, also produced at the Duke of York's Theatre (1912). In this she was commanded to appear before the king at Queen Alexandra's birthday party at Sandringham. Norah Marsh in Maugham's The Land of Promise at the Duke of York's Theatre (1914) was an achievement of high merit, but its deserved success suffered from the outbreak of war. She was more fortunate with her Olivia in A. A. Milne's Mr Pim Passes By at the New Theatre (1920). Even so, she never excelled her early Pinero creations.


One of Irene Vanbrugh's latest and most appreciated successes was in Norman Ginsbury's Viceroy Sarah, in which she succeeded Edith Evans as the duchess of Marlborough for the run at the Whitehall Theatre (1935). She appeared three times in plays by G. B. Shaw, the last being as Catherine of Braganza in In Good King Charles's Golden Days when it was produced at the Malvern festival in 1939 and was afterwards presented in London at the New Theatre in 1940, only to be stopped by the war. During the battle of Britain she carried out a characteristic piece of war work by giving, with Violet Vanbrugh and Donald Wolfit, extracts from The Merry Wives of Windsor at the Strand Theatre during lunchtime.


Irene Vanbrugh, who was appointed DBE in 1941, celebrated her golden jubilee at a testimonial matinée in His Majesty's Theatre on 20 June 1938. At this she appeared in an act from The Gay Lord Quex and in one from A. A. Milne's Belinda, in which she had been seen at the New Theatre in 1918, and also in the title part of Barrie's Rosalind. The performance was attended by Queen Elizabeth and it realized over £2000, which was divided between the Elizabeth Garrett Anderson Hospital and the Theatrical Ladies' Guild. Irene Vanbrugh was constant in her promotion of every theatrical good cause; she was a particularly keen supporter of the Royal Academy of Dramatic Art, both because her brother, Sir Kenneth Barnes, was its first principal and because she was deeply conscious of its value to the art and welfare of the theatre. Notable among her charity performances was her appearance as Lady Gay Spanker in an ‘all-star’ revival at the St James's Theatre of her father-in-law's famous comedy, London Assurance (1913), given in aid of King George's Pension Fund for Actors and Actresses. In 1919 to avert selling the Academy of Dramatic Art theatre, then partly completed, she had the old film Masks and Faces remade with a star cast, as well as Shaw, Pinero, Barrie, and Sir Squire Bancroft sitting round at a council meeting.


Although Irene Vanbrugh allowed nothing to deter her main interest from the living theatre, which she loved and in the future of which she believed with her whole heart, she found time from 1933 to appear in a number of films, including Head of the Family, Catherine the Great (1934), The Way of Youth, Escape me Never (1935), Wings of the Morning (1937), and Knight without Armour (1937). Towards the close of her life she wrote an autobiography entitled To Tell my Story (1948). It contains some well-informed character sketches of the dramatists, actors, actresses, and others with whom she worked, as well as letters from Pinero, Barrie, Shaw, and others, and vivid glimpses of life in America, Australia, and other parts of the world visited during her tours. In her writings and otherwise she gave the impression of having enjoyed a career of manifold opportunity and fulfilment. Dame Irene Vanbrugh died in the National Hospital, Queen Square, London, after a short illness, on 30 November 1949.


S. R. Littlewood Oxford Dictionary of National Biography

Portrait of Marilyn Monroe taken @ Madame Tussauds Sydney.

Interesting museum of waxworks.


Have a lovely weekend everyone, sun is shining in Sydney!

~ Julia Roberts, American Actress (Born on October 28, 1967) ~


While walking around Cranes Roose Park, I saw several Red-Eared Slider Turtles swimming quickly around the lake ~


btw.... I don't agree with Julia's quote as there are good and bad in both political parties :)


Red Ear Slider Turtle


Wikipedia ~


The red-eared slider (Trachemys scripta elegans) is a semiaquatic turtle belonging to the family Emydidae. It is a subspecies of pond slider. It is the most popular pet turtle in the United States and also popular in the rest of the world. It is native only to the southern United States, but has become established in other places because of pet releases and has become an invasive species in many introduced areas, like California, where it outcompetes the native western pond turtle.


Red-eared sliders get their name from the distinctive red mark around their ears. The "slider" part of their name comes from their ability to slide off rocks and logs and into the water quickly.


( Hilde Knef +)-Für mich solls rote Rosen regnen


Rosa rossa passionale in stoffa

Passionate red rose fabric .

Hildegard Knef, voce d’oro, nacque ad Hulm in Germania nel 1925 e morì a Berlino nel 2002, dopo avere con grande coraggio lottato contro il cancro. Fu apprezzata attrice durante il Terzo Reich in Germania, ma divenne celebre all’estero solo dopo la fine della Guerra. Attrice, cantante, scrittrice interpretò “Ninotchka” a Broadway. La sua canzone più celebre è quella che potete ascoltare dal link soprastante: “Pioggia di rose rosse per me”.

Hildegard Knef, golden voice, was born in Hulm in Germany in 1925 and died in Berlin in 2002, after having fought with great courage against cancer. It was popular actress during the Third Reich in Germany, but became known abroad only after the war ended. Actress, singer, writer took "Ninotchka" on Broadway. His most famous song is that you can listen from the link above: "Rain of red roses for me."


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