Monty Python And The Holy Grail (1975)
🎬 Terry Gilliam and Terry Jones
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Monty Python And The Holy Grail (1975)
🎬 Terry Gilliam and Terry Jones
During a search for the sea-going tug Conestoga (AT-54) in May 1921. R-14 (SS-91) ran out of fuel southeast of Hawaii. Sails were made from blankets and mattresses, and the submarine arrived at Hilo on 15 May after 5 days under sail.
mário botas, mapa do túmulo de fernando pessoa, 1980
© fundação mário botas
red + cinema
paris texas (1984) deep red (1975) the cook the thief his wife and her lover (1989) videodrome (1983) cries and whispers (1972) twin peaks: fire walk with me (1992) santa sangre (1989) vampyros lesbos (1971) helter skelter (2012) black swan (2010) vertigo (1958) altered states (1980) ex machina (2014) midnight cowboy (1969) carrie (1976) a woman is a woman (1961) mother! (2019) nocturnal animals (2016) the masque of the red death (1964) hasu (1977) new york new york (1977) chicago (2002) daisies (1966) the rocky horror picture show (1975) blood and black lace (1964) goodfellas (1990) 2001: a space oddyssey (1968) ready or not (2019) the substance (2024) tenet (2020)
NEW LIMITED TIME SALE - “The Horsemen” & “Babylon” Small Art Prints are now discounted, each hand-signed, while supplies last! You can check ‘em out in my web shop (in my bio)! ❤️
Разлив Нерли на Боголюбовском лугу .
Церковь Покрова на Нерли, построенная в 1165 году у села БоголЮбово является величайшим памятником русской архитектуры. Вместе с другими белокаменными достопримечательностями Суздаля и Владимира, церковь Покрова на Нерли относится к объектам Всемирного наследия ЮНЕСКО. Храм построен на рукотворном холме на заливном лугу в месте слияния рек Нерль и Клязьма. Каждую весну реки выходят из берегов, а во время самого сильного половодья вода затапливает Боголюбовский луг, вплотную подступает к стенам церкви, и храм на некоторое время оказывается на острове. При этом, ни разу за всю долгую историю церковь Покрова на Нерли не была затоплена водой.В результате храм XII века становится похож на корабль. Особенно живописная панорама на затопленный луг открывается с высоты. Под ногами — острова, холмы, старые речные русла, гармония природы и белокаменного зодчества.
Wolfgang Grässe
She played bass on 10,000 songs, including the most-played track of the twentieth century. She was paid $55 per session. Her name never appeared on the albums.
Gold Star Studios, Los Angeles, 1964. A woman in a cardigan walks past the receptionist, a Fender Precision bass in her hand like a briefcase. She doesn’t sign autographs. She signs a timesheet.
Her name is Carol Kaye. In three hours, she will record what will become the most-played track of the twentieth century. She’ll pocket fifty-five dollars and head to another studio, on the other side of town, for the next session.
The record label will never put her name on the album.
Between 1957 and 1973, Carol Kaye took part in roughly 10,000 recording sessions. Not as the featured artist, not as a guest, but as a hired hand. She was part of an anonymous collective nicknamed The Wrecking Crew—elite studio musicians who actually played the instruments on your favorite records while the famous bands posed for promotional photos.
The work was relentless. Three albums before the day was over. Stale coffee in paper cups. No rehearsal. The charts arrived minutes before the tape rolled. If you couldn’t read a chart and nail the take in two tries, you didn’t get called for the next session.
Carol could do it on the first try.
She started playing guitar in grimy bars at fourteen because her family couldn’t pay the electric bill. Music wasn’t a romantic dream for her. It was survival. It was a job—factory work with better acoustics and lower pay.
But she was faster and sharper than almost everyone else. She corrected charts in pencil while the producer was still explaining what he wanted. In one session in 1968, she told a famous producer his arrangement sounded like a dying dog. She chose her own line. They kept her version.
That descending bass line that drives the Beach Boys’ “Wouldn’t It Be Nice”? Carol Kaye. The propulsive groove of “These Boots Are Made for Walkin’”? Carol Kaye. The acoustic-guitar intro to “La Bamba”? Carol Kaye. The iconic theme from Mission: Impossible? Carol Kaye.
She invented techniques on the spot, out of sheer necessity. When the bass sound was too muddy for AM radio, she stuck felt under the strings and used a hard pick instead of her fingers. The tone cut through the static like a blade. It became the sonic signature that defined 1960s pop.
Bassists spent years—decades—trying to crack the secret of the Beach Boys’ gear to get that sound. They were studying the wrong people. They should have been studying Carol.
She received no royalties. No residuals. No gold-record ceremony. No credit on the album sleeves. When “You’ve Lost That Lovin’ Feelin’” hit number one, Carol was already back in a studio cutting a soap jingle.
The biggest bands mimed her bass lines on TV variety shows. New York marketing departments decided a mom in classic clothes didn’t fit the rebellious-youth image they were selling. So they simply left her name off the album credits.
For thirty years, almost no one cared. The truth only began to surface in the late 1990s, when music researchers found the same union contract numbers on thousands of hit records. The very documents meant to preserve studio musicians’ anonymity betrayed them.
Think about it. Every time you heard “Good Vibrations,” “River Deep – Mountain High,” the Righteous Brothers, Nancy Sinatra, or Sonny and Cher, you were hearing Carol Kaye. She composed the soundtrack of an entire generation’s youth.
And yet the records still say nothing. She’s now over eighty. She wrote instructional books. She trained countless bassists. She is finally starting to be recognized by music historians who uncovered the truth about The Wrecking Crew.
But she never got what she deserved: her name on those albums. Credit for the music that defined an era. Recognition that those bass lines everyone associates with the “Beach Boys” were, in fact, Carol Kaye’s.
Fifty-five dollars a session. Ten thousand sessions. The most-played track of the twentieth century.
And the world didn’t know her name.
Mercedes Benz SSK ( W06 ) Roadster ( 1928 ) 😊😊
До нас дошел впечатляющий облик древнего фракийского царя Севта III
Вы только посмотрите, как неизвестный скульптор изваял его голову с поразительным мастерством. Бронзовое лицо царя передает его индивидуальные черты, они красивы и благородны. Особенно поражает, как сделаны глаза. Художник тщательно поработал над ними, изваяв даже ресницы, в результате пронзительный взгляд Севта III кажется совершенно живым.
Фракийский царь Севт III правил с 331 по 300 годы до нашей эры.
Голова была найдена в гробнице царя, которая была обнаружена в 2004 году. Захоронение связали с Севтом III, основываясь на обнаружении его имени на шлеме, найденном в погребальной камере.
III век до н.э. Близ Софии, территория современной Болгарии.
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