Vorige week heeft de burgemeester annex metselaar annex schoorsteenveger een mooie glimmende  dubbelgeisoleerde pijp in de schoorsteen gezet. Het was even een gigarotzooi maar nu kunnen we eindelijk de oven pizzaheet stoken zonder er zelf bij in de vlammen om te komen.

Zaterdag was heel La Chabanne en omgeving in de kerk te vinden voor de vertoning van “Le Layon”, een korte speelfilm waarvoor La Chabanne en omgeving deze zomer het decor vormde. Bijna iedereen in het dorp speelde mee als figurant. De meningen waren unaniem: het was prachtig. Vooral de liefdesscène op een nummer van “Magma” de favoriete band van de regisseur uit de jaren ‘80 (of ‘70, even vergeten)  was onvergetelijk om uiteenlopende redenen, je moet ervan houden zullen we maar zeggen. Voor wie dit pareltje in de franse filmhistorie niet wil missen: de DVD is te bestellen bij Monique van auberge Les Campanules en meer in de volgende nieuwsbrief

Ceva frumos, cantat sub o forma foarte frumoasa, interpretata de cineva care canta foarte frumos pentru cineva foarte frumos ca sa vada viata cea mai frumoasa!

Ascultantd aceasta piesa mi-am dat seama ca merita acest Richard Clyderman o categorie dedicata lui … si doar lui. Deci, cand o sa am chef si lipsa de ocupatie … adica cum ajungla munca dupa “libere” ….. o sa dedic un articol de start pentru repertoriul Richard Clyderman

Toate bune!

all shiny, all perfect, all pink.

stampata e rilegata, dannatamente rosa!

a martedi, ore 9, per la discussione ‘in simpatia’. Flap Flap

Mon Voyage

(For Elvis, Edith Piaf, and All Whom Paris and New York Have Swallowed Whole)   

11-23-09                         by Mark Nielsen

Some days I feel about as important as a single telephone pole–

That one! There. See it?

Covered in kudzu vines,

Just one in a string of a thousand

across flat, hot, desolate Mississippi.

How important is it to fix a broken bicycle spoke?

Does a lynchpin ever know it is the lynchpin?

Who ever said that by doing something I love,

and doing it well,

The world would come running to hear it?

The world does not need me.

In fact, the world never knows what it needs.

Until it finds it.

At which point it immediately spoils it.

And the journey to glory

Est un voyage court à nulle part.

And as for talent:

Are you listening to these words,

Or just watching the way my hair falls across my forehead?

What profiteth it for a man

to talk real purty?

Or for a woman to belt out a sad song for her father?

Or for a child set adrift to paint a starry night?

The ruts in this road are deep, though.

It will take more strength than I have

On my own, in these arthritic hands,

To turn right up ahead when we see the road home.

(That is, if I’m not asleep at the wheel when it comes).

On the other hand,

at least I can’t turn around, either.

So take the wheel, St. Therese.

Where are we going?

Perdoem minha profunda ignorância desportiva, por favor, mas quando vi o anúncio acima, no metrô, fiquei intrigada. Seria alguma piada com os machões do rugby? Ou se tratava de um jogo beneficente em prol do combate ao câncer de mama?

O trem chegou e eu me fui, sem conseguir ler direito o que o cartaz dizia. Mais tarde, ainda cismada, questionei Monsieur, que riu compreensivamente e me explicou que aquilo era simplesmente um cartaz anunciando um jogo do Stade Français, time de rugby de Paris, e que rosa é a cor do time.

Nah. Não pode ser.

Mas é.

Quer dizer que, não bastasse aquele monte de ogro ficar se agarrando em campo, eles ainda fazem isso vestindo rosa? Não tenho nada contra ogros, agarração ou rosa, mas esse é o tipo de esporte que eu enxergo como algo que alguém faz, ou mesmo assiste, para se sentir macho. E macho, diz a tradição, não veste rosa.

Uma rápida pesquisa pelo Google Images me deixou ainda mais chocada. Realmente, não sei mais o que dizer. Parece o time de rugby da Barbie.

P.S.: Como não é em rosa, mas em preto e branco, não comentarei aqui o calendário do Stade (já no seu décimo ano). Tampouco comentarei a linha de cosméticos que leva a marca do time.

If you wonder why Marion Cotillard has risen to fame so meteorically, going from a no-name to marquis name in two short years, look no further than the “F.I.L.M. of the Week,” “La Vie en Rose.”  Cotillard envelops herself in the persona of Edith Piaf, France’s greatest popular singer, and the Academy wisely took notice and bestowed the Best Actress statue on her in 2007.  Even if the movie isn’t your cup of tea, the performance will absolutely floor you.  She engrosses herself in Piaf from head to toe; every movement radiates her complete confidence and comfort in the role.

The film chronicles the life of Piaf from her deplorable days on the streets of France up to her last breaths and all the breathtaking highs and tragic lows that occur between.  It presents the events as a broken narrative, mainly presenting the events as memories from an older Piaf.  However, there are three distinct timelines running through “La Vie En Rose.”  The first follows Piaf from her days being fostered by a caring prostitute at a brothel near the end of the Great War to her final performance, the second from the beginnings of her morphine addiction to the collapse of her health, the third from her days feebly eking out the energy to live to her death.  The timelines often overlapped, resulting in some sequential confusion, but Cotillard wows with such finesse that the missteps can be easily overlooked.

A decision I found interesting in the film was the omission of subtitles during Piaf’s songs.  But if you don’t realize it before the thrilling climax, Cotillard’s acting tells you everything you need to know.  Her eyes, her face, her hands, and her body get the feeling across perfectly.  And in the film’s final scene, when she sings “Non, je ne regrette rien” in a decrepit state, you feel every emotion in those two minutes that you have felt throughout the whole movie.  All the happiness, fame, sadness, and tragedy of Piaf’s life pours out poignantly because Cotillard makes them palpable.  I later learned that the title literally means, “No, I Have No Regrets,” and the lyrics express overcoming the grief and sorrow and turning it into strength.  The song is a compelling and prodigiously moving way to cap off a ravishing performance by Cotillard.  This is easily the best female performance of this decade, and it will undeniably remembered for decades to come as a mammoth achievement of acting.

Exam is over. There’s finally time to do random things & I’ve been listening to Edith Piaf’s ‘Pink Martini’ for the millionth time, it makes me happy. Speaking of that, I’m craving for Lychee Martini. I heart Edith Piaf & Coco Chanel, they have somewhat similar fate, both are French legendary icons who lost their only true love to accidents & they’re beyond amazing. I strongly recommend ‘La Vie En Rose’, a film about the life of Edith Piaf although it’s mostly tragic.

P.S. Schedule ahead. Working till the end of Nov. Packing on 1-2 Dec, flying back on the 3rd, attend the pre-placement briefing on the 4th, meet-up with friends on the 5th, attend memorial on the 6th & start working on the 7th. Oh yea… I’m already worn out.  Spending my post-exam weekends in The Moon & Brisbane bar. Cannot wait.

]]> http://marsupialia.wordpress.com/2009/11/19/la-vie-en-rose-artist-%e2%80%93-nadja-naber/ Thu, 19 Nov 2009 13:11:32 +0000 Barbara http://marsupialia.wordpress.com/2009/11/19/la-vie-en-rose-artist-%e2%80%93-nadja-naber/

Another “La Vien en Rose” artist today: our dear friend Nadja. We asked her to produce something for our “La Vie en Rose”-theme and she made a wonderful collier with a pair of earrings: blackened silver, gold foil and tiny coral roses … hhmmm …. fits wonderfully to “La Vie en Rose”. Now we are looking for the perfect women to wear this treasures. Well, cristmas coming soon…

Besides this she made as well some very fine strings of precious stones. These are Nadjas classics. She loves to make them with all different kinds of stones in all colours. She is quite stone addicted

And the best is: Nadja even came over from Darmstadt for the weekend to attend Saturday evening’s vernissage at our shop. I enjyoed it a lot to spend weekend together. I hope she will come to Berlin again very  soon!(pics from Marsupialia)

The next artist I want to show you is Sina Moehring, also  presented during our theme “La vie en rose”.  She studied and graduated as a graphic designer in Düsseldorf. During her studies she spent some time in Barcelona to extend her creative influences. After working in London for half a year she is now living in Berlin and works there as an illustrator and graphic designer. Looking at her work sharpens the senses of the viewer, aspects you may haven’t realized before emerge of a plain white background in nearly hurting clarity. Relentlessly and Charming in one piece. But take a look yourself:

(images by Sina Moehring, © 2009 Sina Möehring)

One of our artists, we are proud to present during our theme “La vie en rose” is Daniela Dietel. Under her label she creates very graphic looking, emotional touching jewellery which she herself describes as: intuitively, inspirational, graphically, emotionally, intoxicating and beautiful. She made an apprenticeship in Munich as goldsmith, works as an artist and graduated as designer for jewelry and object in Pforzheim. The material she uses for her work are all fair trade read more about that topic on her website, because she is much better in describing this then I am. I leave you with a few pictures and enjoy the beauty of her creations:

(first pic from Marsupialia, other pics from Frau Dietel, linked to their source)

1. Scarpin Gabriella Rocha, para as patys e legalmente loiras;
2. Sapatilha de cetim, Christian Louboutin, para elegantes mesmo sem salto;
3. Sandália Pink de cetim, Christian Louboutin, para as modernas e ousadas;
4. Sandália Peep-Toe com strass dourado, Christian Louboutin, para as peruas;
5. Tênis Puma de cetim rosa, para as modernas que adoram um tênis feminino;
6. Sandália de Cetim, Martinez Valero, para as românticas;
7. Sandália meia pata, em cetim preto e rosa, da Kate Spade, para encarar a Dita Von Teese interior.

A influência para esse post foi o sapatinho fofo que Sarah Jessica Parker usou em Londres.

Nada de Manolos, nossa eterna Carrie estava de Louboutin Pink.

Imagens: Reprodução.

We had great fun and delicious sparkling wine on Saturday to celebrate the opening of our new exhibition “La Vie en Rose.” Besides all the guests two artists attended the event: Sina Möhring, illustrator and Nadja Naber, jewelery designer.

(pics from Marsupialia)

Dear Beuteltiere friends and confederates,
Christmas isn’t far!

Time to relax and hide away to enjoy the nice ways of life.
“La vie en rose”
All of you are cordially invited to target our presented artists Sina Möhring – illustrator, Nadja Naber and Daniela Dietel both jewellery desiners in our Shop (Raumerstrasse 19, 10437 Berlin) Saturday, November 14th 2009 at 5 pm.

Delicate, fragile and charming playful – This could be the subline for our new theme. We will complete the Vernissage sensuously with sparkling wine from Katrin?s home area as usually.

Finally allowed to do the Diva!
Look forward to see you, the Beuteltiere Katrin and Barbara

A Very Long Engagement (2004)

Mathilde (Tautou) in the lighthouse.

The 2004 Jean-Pierre Jeunet (Amélie, The City of Lost Children, Delicatessen) film A Very Long Engagement (Un long dimanche de fiançailles) is one of those rare movies I’m urged to consume myself with annually. In fact it was my favorite film of that year and Jeunet, were it not for the terrible Alien Resurrection, has a nearly flawless list of films he has directed, at least in my opinion. Here, Jeunet once again gets to work with the quirky, lovable, and brilliant Audrey Tautou, who were it not for her humble choice of roles outside of The Da Vinci Code, would probably be a Hollywood icon. They clearly compliment each other, as in A Very Long Engagement Jeunet recaptures everything that makes Tautou so wonderful in Amélie. But that’s not all. Jeunet has an outstanding international ensemble in this movie. Jeunet regular Dominique Pinon is back once again. 2007 Oscar winner Marion Cotillard (La Môme a.k.a. La Vie en rose) is absolutely perfect as the tragic anti-hero and clever revenge connoisseur, Tina Lombardi. Gaspard Ulliel, who plays the infamous title character in 2007’s Hannibal Rising, co-stars opposite Tautou, and is as equally engaging for his pure boyish innocence in the role. Even Jodie Foster appears in a supporting role and is as compelling as ever. On the technical side Bruno Delbonnel (unquestionably among the best cinematographers in the world) collaborates again with Jeunet to make a great story also a visually dazzling film. Frequent David Lynch collaborator Angelo Badalamenti scores the film effectively as well. But enough about who made the movie.

A great landscape shot from the movie.

Marion Cotillard as resourceful assassin Tina Lombardi.

A Very Long Engagement follows Mathilde (Tautou), an orphan partially paralyzed from polio, as she undertakes a desperate journey to find her fiancé, a French soldier in World War I named Manech (Ulliel). Their love for one another is portrayed as remarkably profound and that really is what this movie is built on. Jeunet has a unique way of introducing characters to us. He makes it almost impossible to not relate in some way to them. The characters in his films are far more charming than most, especially here. Manech was one of five soldiers convicted of self-mutilation. He did this so he would no longer have to serve. All five soldiers faced a death sentence by being forced to enter No Man’s Land between the French and German trenches. All are assumed to have not survived but Mathilde’s faith in Manech’s survival cannot be shaken. A Very Long Engagement is seen through the perspective of both primary characters, but mostly focuses on Mathilde. I won’t give away the end but suffice to say it is among the most beautiful bittersweet movie moments in many years.

A horrifying but equally outstanding landscape shot from the film.

Although brief, Audrey Tautou's bum is in this movie, and that might earn 5 stars by itself.

In such a passionate story that never loses my attention I sometimes forget how amazing this film is visually. You can plainly see that Jeunet is delighted to tell his story with a big budget, and believe me he uses it wisely. The war scenes do not for one second turn away. Even with all I’ve heard, read about, or seen visual interpretations of; nothing could prepare me for Jeunet’s seemingly spot-on depiction of World War I trench warfare brutality. What’s amazing is he contrasts these fragmented horrific visuals with mostly gorgeous countryside shots of north western France and gazing shots of the beautiful and delicate Mathilde. Seems so appropriate, as the world I see today might need these contrasts as a reminder of how very beautiful life has the potential to be. A Very Long Engagement to me is the total package. It really is what movies should be about and I very highly recommend it to anyone.

My rating is 5 out of 5 stars.

Hi all! Nice you are back. Just a few pics today, because I´m so busy in preparing our new theme “La vie en rose” which is starting on saturday. Sorry for that.

Snowballs are piled up. Crochet stars are getting more and more

saya rasa hari itu, sayalah orang yang paling kaya di manila. melebihi mereka yang kebanyakan minum di semua gala premier festival ini, ataupun yang dilamar untuk masuk ke festival berikutnya.

hari itu sudah ajaib karena dimulai dari minum kopi saya bersama ami, seorang oma kenes kelahiran 1954, lajang, pernah mengelola cafe yang menjadi tempat ngumpul seniman dan pekerja film, meminjamkan apartemennya ke teman dan pindah kembali ke rumah ibunya agar mereka berdua bisa saling merawat. perbicangan dengan ami berujung pada dia memberikan saya hadiah, magic stone. sebuah batu yang dihiasinya sendiri dengan glitter, bunga kering dan foto Jose Rizal, pahlawan kesusatraan Filipina. pengisi waktu luangnya.

ada telpon dari mark, teman dari festival musim lalu. dia hanya bertanya, apakah kamu ada di Market!Market! ? aku di Serendra. kesini yuk.

saya mengiyakan dan melepas ami untuk mengejar film berikutnya. Aktivitas ami sekarang adalah menonton film.

tidak ada yang aneh dengan permintaan ke Serendra. Saya dan Mark selalu minum white russian dan double johnny on the rock disana. tapi waktu melihat kostumnya yang ajaib, celana pendek cargo dan topi dan kaos oblong, dan satu orang macho nan rapi disebelah Mark, saya langsung mengendus ada yang tak beres. benar. Mark putus asa dan memutuskan untuk meminta saya main di satu scene di filmnya. peran saya, perempuan yang diperkosa. fuih, can’t complaint!

petualangan dimulai.mengepas kostum mbak kantoran, pelurusan rambut dan make up. semua kapster di salon lantai bawah mall ayala itu berusaha menarik perhatian saya dengan bahasa inggris yang dibuat tidak terdengar taglish karena tahu make over saya untuk main film. Mark senyum selama tiga jam, katanya : kalau saja mereka tahu apa peranmu, pasti mereka merasa tidak perlu bersaing hahaha

kami mengelilingi kota manila ke arah selatan dan barat daya, mencari daerah yang kumuh, tapi dengan lampu jalan yang memadai. beberapa kali take di dalam van, tak ada masalah. kami akhirnya melakukannya di ruasruas jalan kecil di kompleks Mall SM. pada pengambilan gambar terakhir, tibatiba Mark bilang,

cut ada polisi datang.

dan pecahlah tawa kami bertiga. lebih kaget lagi, ternyata para petugas keamanan SM sudah mengintip di kaca mobil van itu. sambil tertawatawa dan setengah telanjang, kami membuka pintu van untuk menunjukan kamera dan memberi keterangan bahwa kami hanya sedang buat film. kesalahan partner saya menyerahkan simnya, membuat kami menghabiskan waktu hampir 2 jam di kantor polisi pasay. saat kami masuk kantor itu pertama kali, saya langsung mencium bahwa urusan akan segera beres. 1000 pesos will do him.mark juga membaca ini dan sinar nakal langsung lewat di matanya. jadilah kita membiarkan polisi itu bicara tentang violence against public space, obscene art dan lainlain karena dia bukan orang yang buta seni. sampai disini, dia menekankan,

i once a singer!

yeah rite,

kami semua menyambut dalam hati.

drama kantor polisi itu juga berakhir seru ketika ia meminta kartu identitas kami masingmasing untuk dicatat di buku besarnya. ketika melihat paspor saya, pak polisi langsung histeris

oh my god, sister! i don’t realize you are not filipino. we have the same skin and face, diba?

oh my god, you come all the way from indonesia here just for being raped?

can you say some tagalog word? perfect sister! god be with you

kami mengakhiri hari itu dengan menyantap inasal pork jam 4 pagi. saya mengecek ponsel, ada pesan dari vic bahwa janji kita ditunda jadi jam 7 pagi. untunglah, sebelumnya kami sepakat untuk mulai jam 6. mendengar itu, mark bertanya:

do vic cast you also?

haha polos sekali. saya bilang,

tidak, saya tidaklah sepopuler itu

belum

kata mark

not after me,

tito, partner saya menyambung genit. kami terbahak.

petualangan jam 7 pagi dimulai. vic membuka pintu mobil dan tertawa menanyakan cerita suting semalam. ada bong juga. sopir pribadi vic yang cinephilic. sebagai supir taksi, penghasilannya sebenarnya lebih besar. tapi berada di lokasi suting setiap waktu dan akses bebas ke festivalfestival film membuat bong memilih terus bersama vic. kami menjemput aped, kawan vic yang juga mengerjakan desain produksi dua film vic. saat sarapan, aped meminta saya memerinci bioskop seperti apa yang masuk kriteria saya. aped sudah membuat daftar hampir 50 lokasi bioskop di manila. mati Aku!

La môme piaf, que significa «pequeño gorrión», es el título original de la biopic (biografía cinematográfica) de la célebre cantante francesa Edith Piaf, nacida en 1915 con el nombre de Edith Giovanna Gassion y fallecida en Provenza en 1963. Esta película de dos horas y veinte minutos, es un recorrido por las principales etapas de la vida de una mujer que fue la gloria musical de su país. Constituye también un ejemplo importante de adaptación cinematográfica ya que de alguna manera lidia con un sinnúmero de fuentes biográficas. Es el gran reto en el que se embarca un filme que recoge la vida de un personaje público: es preciso bucear en las biografías autorizadas y no autorizadas. Aunque en los créditos se consigne el libro del que más datos se recogió, siempre quedan como referencia para los autores del filme las otras fuentes: reportajes, documentales, entrevistas televisivas y radiales.

El título comercial para su distribución internacional tenía que ser La vie en rose, que obedece al nombre de la canción más emblemática de la Piaf. La actriz que da vida a la popular artista es Marion Cotillard, ganadora por este rol de casi todos los premios internacionales existentes, incluyendo el Premio de la Academia a la mejor interpretación femenina del año 2007.

El director Olivier Dahan logró captar los momentos cumbres de la vida tormentosa de la pequeña gran cantante: desde que fue criada de niña en un burdel, pasando por las muertes de su única hija de dos años y del gran amor de su vida (el pugilista Marcel Cerdan), hasta cada uno de sus amoríos masoquistas. Es interesante cómo en el momento de la adaptación se recurrió a la eliminación de un gran número de amores masculinos (quienes han buceado en la vida de la cantante saben lo agitada que fue su agenda sentimental). Se omitió, más que nada, aquellos romances que no correspondían al momento biográfico que se deseaba recrear. Por dar solamente un ejemplo, biográficamente es fundamental el matrimonio de la Piaf con Theo Lambukas, el joven griego que le devolvió el amor a la vida después de la muerte del boxeador Cerdan. Lo que es importante en el aspecto biográfico resulta irrelevante en lo cinematográfico. Quizá en una teleserie habría sido plausible adaptar todos y cada uno de los amores de la frágil cantante.

Pero no desperdiciemos el relato audiovisual que tenemos ante nuestros ojos y analicémosla desde un punto de vista plural. Uno de los aspectos que más llama la atención es la meticulosa dirección de arte. La película se esmera en reproducir el ambiente opresivo y de gran pobreza en el que vivió la Piaf en el decenio de los veinte. Todo lo que tiene que ver con escenarios marginales o de carácter popular —burdeles, cabarets, bistrós, habitaciones de hoteluchos— ha sido recreado de manera detallista por un equipo de directores de arte.

La dirección fotográfica muestra el estado de ánimo de la cantante y se complementa con una iluminación tenue que nos proyecta ese hálito de tristeza que rodeó cada etapa de su vida. El director de fotografía, Tetsuo Nagata, jugó con los altos contrastes, los colores saturados y vivos, a más de juegos pictóricos que usan la técnica del claroscuro.

La actriz Marion Cotillard —Oscar, Bafta, César y Globo de Oro a la mejor actriz principal del 2007— interpreta de manera consistente a la cantante francesa. Su caracterización puntillosa logra captar la magia que había detrás de esta mujer menudita quien se convirtió en un mito de la música contemporánea. Su actuación conmueve de manera muy particular ya que reproduce detalle a detalle aspectos de la personalidad pública y privada de la artista. La cantante casi calva, con las cejas rapadas y el caminar encorvado es un trabajo de caracterización que demuestra una investigación a fondo por parte de la actriz principal. De paso ayuda el maquillaje —proceso que duraba cinco horas diarias— que nos hace olvidar que estamos ante una de las actrices más hermosas de Francia (verla en Un buen año junto a Russel Crowe o Enemigos públicos con Johnny Depp). La secundan con mucho acierto Gerard Depardieu, en el rol de su descubridor Louis Leplée quien le da su nomre artístico; Jean Pierre Martins en el rol del boxeador que murió trágicamente; y Manon Chevallier junto a Pauline Burlet quienes interpretan a la Piaf de cinco y diez años respectivamente.

El género en el que triunfó esta artista es el de la chanson —que en español se refiere a cualquier canción con letra en francés de tema amoroso o social— y que era el estilo predominante de los cabarets donde empezó la Piaf su carrera. Esto queda claro en todo momento ya que a la película le interesa responder a la pregunta: ¿Cómo y ade dónde surgió la mítica cantante? La música es la protagonista del filme con canciones que llegan directo a la sensibilidad de los espectadores, espectadores que pueden conocer o no conocer previamente las canciones de la Piaf.

Los éxitos musicales de la cantante desfilan de manera cronológica: La vie en rose (1946), La foule (1957) —que en español se la conoce como Amor de mis amores—, Milord (1959) y Non je ne regrette rien (1960) que resumen la carrera del alma musical de Francia. El trabajo de fonomímica de la actriz principal merece especial elogio: no se trata aquí de imitar gesto por gesto a la persona, debe haber también un aporte personal para no caer en el simple calco que cualquier actor de talento puede realizar. El hecho de que Frou Frou sea interpretado por la misma Cotillard refrenda el hecho de que el actor debe aportar con algo personal al proceso de recreación o adaptación de una persona histórica como la Piaf.

La actriz, insistimos arriesgándonos a la redundancia, reproduce a la perfección todo el repertorio gestual y corporal de la cantante de cabaret, de una artista del pueblo que luego llegaría a los más exclusivos escenarios internacionales. En lo actoral también es preciso el trabajo de adaptación. El actor debe seguir un modelo, interpretarlo, adaptarse a él, ajustarlo, acomodarlo al mundo intrínseco según un molde biográfico que tiene un background histórico y social. Asi como el guionista debe adaptar una fuente literaria o documental, el actor debe adaptar dentro de su siquis a la persona histórica.

En resumen, es la historia de amor entre una mujer y la música, entre una artista y su oficio, entre una cantante y sus seguidores. En este sentido, resulta memorable la escena en la que está grave de salud y aún así ansía cantar en el Teatro Olympia: «Si no regreso y canto, me voy a morir».

.

Porque há Outonos assim, quentes e aguard.entes em mim…

…e Nicholsons que aguardam voz de aguardente… até ao fim ! rs

The Dartz Prombron Monaco Red Diamond Edition armoured car sells for one million euros. It has gold plated bulletproof windows, pure tungsten exhausts, speed gauges encrusted with diamonds – and seats made from whale penis leather
Picture: BARCROFT MEDIA

hmm It occurred to me though that Maria and Arnold might want one so I thought I’d google up a fast article on the item… made by a Russian firm, Russo-Baltique..  (proceed to fret, we are being outdone in the gargantuan division – I say, thanks be to someone’s god!)

If four-wheel-drives weren’t politically incorrect enough, a Russian car maker is offering one with whale penis leather trim. By RICHARD BLACKBURN.

A Russian armoured-car builder is boasting that its latest vehicle has seats covered with “whale-penis leather”.

The €1 million ($1.6 million) Dartz Prombron Monaco Red Diamond Edition armoured car has been developed by the same company, RussoBaltique, that built armoured vehicles for Tsar Nicholas, Vladimir Lenin and Leon Trotsky.

On its official website, the company says the whale-penis leather is the same as that used by Greek shipping magnate Aristotle Onassis on the yacht Christina O.

Onassis is rumoured to have had some of the barstools on the yacht, the world’s most expensive at the time, covered in the controversial leather.  . . . . .

…it all seems so long ago, but we should be relieved there is continuum! Lest the firmament tear!

For those wondering just how may whales may need to be harvested to outfit the special edition, the answer is not many. The penis of the Blue Whale, for example, can grow up to 2.4 metres.

Maybe they should just ship a whole one, along with the … car.  Tank.  Whatever it is.