Tuesday, November 22, 2005

Copenhagen, 2005

»Link Wray brændte igennem i aftes med al den trods, latter, kærlighed og power, han har i sig. En legende, lige så sikkert som Crazy Horse, en naturkraft som en tornado, en profet, der blindt hyler gennem støvet op mod solen om de fejringer og triumfer, der skal komme. Jeg så Link Wray, jeg så Amerika«

http://easydreamer.blogspot.com/

Brazil, 1992

TEREU (BRZ) C, 1992 DP = 6-2-6-4-0 (18) DI = 1.57 CD = 0.56
Breeder: HARAS SÃO JOSÉ & EXPEDICTUS
(CLOSE)
OCEAN FALLS (IRE)b. 1986
WASSL (GB)b. 1980
MILL REEF (USA)b. 1968 [CS]
NEVER BEND (USA)b. 1960 [BI]
NASRULLAH (GB)
b. 1940 [B]
LALUN (USA)
b. 1952 *
MILAN MILL (USA)*b. 1962
PRINCEQUILLO (GB)
b. 1940 [IS]
VIRGINIA WATER (USA)
gr. 1953
HAYLOFT (FR)b. 1973
TUDOR MELODY (GB)br. 1956
TUDOR MINSTREL (GB)
br. 1944 [B]
MATELDA (GB)
br. 1947
HAYMAKING (GB)b. 1963
GALIVANTER (GB)
br. 1956
HAYTIME (GB)
b. 1958
HOMING PIGEON (IRE)ch. 1975
HABITAT (USA)b. 1966 [B]
SIR GAYLORD (USA)dkb/br. 1959 [IC]
TURN-TO (IRE)
b. 1951 [BI]
SOMETHINGROYAL (USA)
b. 1952 *
LITTLE HUT (USA)*b. 1952
OCCUPY (USA)
b. 1941
SAVAGE BEAUTY (USA)
b. 1934 *
COME BACK (USA)ch. 1969
BOLD LAD (USA)ch. 1962
BOLD RULER (USA)
dkb/br. 1954 [BI]
MISTY MORN (USA)
b. 1952 *
LONG LOOK (USA)b. 1962
RIBOT (GB)
b. 1952 [CP]
SANTORIN (USA)
ch. 1956
SO NICE (BRZ)b. 1972
VASCO DE GAMA (FR)b. 1963
BEL BARAKA (FR)ch. 1955
WORDEN (FR)ch. 1949 [S]
WILD RISK (FR)
b. 1940 [P]
SANS TARES (GB)
ch. 1939
FLEUR DES NEIGES (FR)ch. 1947
NORSEMAN (FR)
b. 1940
AVILA (FR)
b. 1941
PRINCESSE BALA (FR)b. 1957
PRINCE BIO (FR)b. 1941 [C]
PRINCE ROSE (GB)
b. 1928 [C]
BIOLOGIE (FR)
ch. 1935
BALA (FR)b. 1952
THE COBBLER (GB)
b. 1945
MRS CIDYNS (GB)
b. 1945
LOVE SONG (BRZ)b. 1966
FASTENER (FR)b. 1952
NEARCO (ITY)br. 1935 [BC]
PHAROS (GB)
b. 1920 [I]
NOGARA (ITY)
b. 1928 *
FASTEN (FR)b. 1945
FASTNET (FR)
b. 1933
FRAGMENT (FR)
b. 1938
ANAPOLIS (BRZ)b. 1957
FORT NAPOLEON (FR)ch. 1947
TOURBILLON (FR)
b. 1928 [CP]
ROQUEBRUNE (FR)
ch. 1938
OPS (BRZ)b. 1949
HIGH SHERIFF (GB)
b. 1942
ELLIPSE (BRZ)
b. 1940

http://www.pedigreequery.com/tereu

Bremen, 1803

At first the commercial war continued on both sides, in the main, under its old forms; and to certain details of it we shall have occasion to return later on. Immediately after the outbreak of the war (May 17, 1803) England seized all French and Dutch vessels lying in British ports. A month later (June 24) the neutral trade with enemy colonies was regulated on lines half-way between those of 1794 and 1798; and shortly afterwards (June 28 and July 26) there was taken what was at least for the moment the most effective of all the British measures, namely, the declaration that the mouths of the Elbe and the Weser were in state of blockade, whereby the entire trade of Hamburg and Bremen was cut off.

http://www.econlib.org/library/YPDBooks/Heckscher/hksrCS6.html

Thursday, November 10, 2005

Cottbus, 2005

Life has always seemed to me like a plant that lives on its rhizome. Its true life is invisible, hidden in the rhizome. The part that appears above the ground lasts only a single summer. Then it withers away—an ephemeral apparition. When we think of the unending growth and decay of life and civilizations, we cannot escape the impression of absolute nullity. Yet I have never lost the sense of something that lives and endures beneath the eternal flux. What we see is blossom, which passes. The rhizome remains.

Carl Jung

http://www.gastronomicmeditations.com/remarkablepalate/ruminations-on-roots-1005.html

Tuesday, November 08, 2005

Cadaques, 1975

“I first heard about ‘Dune’ through Bob Venosa, an American painter of fantastic realism who lived in Cadaqu鳠with his family and was a frequent visitor at Salvador Dali’s house. It was a project for a three hour 70 mm science fiction film, in which Dali was to play a leading role for a fee of $100,000 an hour (he was later invited to leave the film because of his pro-Franco statements). Bob Venosa telephoned me to say that the director Alejandro Jodorowsky, to whom Dali had shown my catalogue, was interested in my work. So I went to Spain, but unfortunately Jodorowsky had already left.
“Dali, however, showed a polite interest in my work and introduced his wife Gala, describing her as a specialist in monsters and nightmares whose external appearance completely belied her inner world, Gala then expressed the opinion that I would only need to wear a mask in order to completely match the world of my pictures, and this lead her into an hour-long diatribe against the evils of the world, of which she had years of experience. She was really one of the most impressive ladies I have ever met.
“I returned of Switzerland, stupidly leaving my current girlfriend in Cadaqu鳬 where Dali used her as a model and tried to couple her with a young hippie. Dali wanted to celebrate the ceremony himself and supervise the accompanying rituals, in his own special way. I was secretly amused by the whole affair, as I had just read John Fowles’ ‘The Magnus’ and quite understood what the old fox was up to.
“In December 1975 I went to Paris for the private view of an exhibition about the devil, for which I had designed a coloured poster. While I was there I went to Jodorowsky’s studio and left my Paris address. Jodorowsky called me over and showed me the preliminary studies for ‘Dune’. Four science fiction artists were busy designing spaceships, satellites and whole planets. As a gesture to me, a couple of photocopies of vaguely suitable pictures from my catalogue had been left lying around. Jodorowsky said that he would like me to try some designs - I could create a whole planet, and I would have a completely free hand. Three-dimensional models would be made from my sketches and actors superimposed on them. I could also design costumes and masks, etc. according to my own ideas.
“My planet was ruled by evil, a place where black magic was practiced, aggressions were let loose, and intemperance and perversion were the order of the day. Just the place for me, in fact. Only sex couldn’t be shown, and I had to work as if the film was being made for children. Jodorowsky was fed up with having his films censored. A team of thirty specialists would transform my ideas into film. I was thrilled by the idea.“When we came to talking about money, he said: “You may be a genius, but we can’t pay you as a genius”.

http://www.arthurmag.com/magpie/?m=2005&w=34

Sunderland, 2005

The dentist's term for a knocked out tooth is "avulsed."

http://www.nlm.nih.gov/medlineplus/ency/article/000058.htm

Thursday, November 03, 2005

Pinzolo, 1877

Victor Mature was a petty officer in the Coast Guard during World War II. He served on the troop transport ship Admiral Mayo. His service carried him to the North Atlantic, including Normandy, and the Mediterranean, Caribbean, and many islands in the South Pacific. He was on Okinawa when the A-bomb was dropped on Japan.

In "Zarak" (1956) he played perhaps the only title character in the movies to be flogged to death

Victor's father Marcello Gelindo Maturi, a knife sharpener, was born in 1877 in the town of Pinzolo, in the Italian region of Trentino which was then under the rule of Austria-Hungary, and returned under Italian sovereignty in 1918 after WW I. He emigrated to the US with his brothers in 1912, and settled in Louisville, Ky.

Applying for membership in the swank Los Angeles Country Club at the heighth of his fame, Mature was turned down and told that the golfing facility did not accept actors as members. His response: "I'm not an actor - and I've got 67 films to prove it!"

He attributed his success in Biblical spectacles to his ability to "make with the holy look."

http://www.imdb.com/name/nm0001514/bio