Atriz Mary Ure, Escócia

 

Atriz Mary Ure, Escócia

Fotografia

Born 1933 in Glasgow, British actress Mary Ure made her London debut as Amanda in “Time Remembered” (1954). She first appeared on screen in Storm Over The Nile (1955) playing the love interest of hero Anthony Steel. She played a leading role as Alison Porter in John Osborne’s new play Look Back in Anger (1956). She and Osborne married and in 1958, she was in the Broadway production of Look Back in Anger and earned a Tony Award nomination for Best Dramatic Actress.
Ure was the second Scottish-born actress (after Deborah Kerr) to be nominated for an Academy Award, for her role in the 1960 film Sons and Lovers. After 1968’s Where Eagles Dare it would be three years before Ure’s next and last film appearance, in 1971’s A Reflection of Fear.

Her growing alcoholism affected her stage career to the point that she was fired from the 1974 pre-Broadway production of Love for Love and was replaced by her understudy, Glenn Close. Her last screen appearance was on TV in The Break (1974). She was found dead, aged 42, from an accidental overdose of alcohol and barbiturates. Texto do Vintage Everyday.

Nota do blog: Data década de 50/60 / Autorias não obtidas.

Racing Club, Campeão da Copa Intercontinental 1967, Argentina

 

Racing Club, Campeão da Copa Intercontinental 1967, Argentina
Fotografia



Racing campeón del mundo, el primero de Argentina.
El 4 de noviembre de 1967, la Academia se consagró en la Intercontinental ante el Celtic gracias al histórico gol del Chango Cárdenas.
El equipo de Juan José Pizzuti, que venía de ser campeón de la Libertadores ante Nacional, perdió 1-0 en Escocia y ganó 2-1 en Avellaneda.
Por ese motivo, se jugó un encuentro desempate en el Centenario, duelo que pasaría a la historia como "La Batalla de Montevideo".
En un encuentro muy áspero, con agresiones entre los jugadores y de parte del público charrúa (muchos de ellos hinchas del Bolso) a los argentinos, la Academia se impuso gracias al bombazo del Chango.
"El público uruguayo agredió a los 'Académicos': 52 argentinos atendidos en los hospitales", expresó el diario Crónica en su edición post partido.
Jimmy Johnstone, jugador del Celtic que había sido expulsado, afirmó: "Eso no fue fútbol, ​​fue puro vandalismo".
Por su parte, Robert Kelly, presidente del cuadro de Glasgow, aseguró que fue "un partido feo y brutal que no contenía fútbol".
Cejas; Martín, Perfumo, Basile, Chabay; Rulli, Cardoso, Maschio; Raffo, Cárdenas y J.J. Rodríguez fue la formación del conjunto de Avellaneda en esa jornada.
Nota do blog 1: O clube vencedor da Copa Intercontinental tinha status de "campeão do mundo" de futebol. O Racing foi o primeiro clube argentino a vencer a referida competição (inclusive o clube utiliza a expressão "El primer grande" para ressaltar o fato e se diferenciar dos rivais, ainda que, posteriormente, outros times argentinos tenham conseguido a mesma conquista, inclusive com alguns suplantando o Racing em quantidade de títulos).
Nota do blog 2: Crédito das imagens para Diario Olé.

Propaganda "White Horse, Dois Dedos da Escócia, com Gelo", 1975, Whisky White Horse, White Horse Distillers, Escócia

 

Propaganda "White Horse, Dois Dedos da Escócia, com Gelo", 1975, Whisky White Horse, White Horse Distillers, Escócia

Propaganda

Na época do anúncio não, mas atualmente a marca pertence a empresa inglesa Diageo.

 

Propaganda "But You Said You Wanted to Take Your Passport", 1971, Whisky Passport, Brasil

Propaganda

Propaganda "Saboreie as Maravilhas da Escócia, Aqui Está seu Passport", Whisky Passport, Brasil

 

Propaganda "Saboreie as Maravilhas da Escócia, Aqui Está seu Passport", Whisky Passport, Brasil

Propaganda

Propaganda "But You Said You Wanted to See my Passport", 1972, Whisky Passport, William Longmore & Company Limited, Escócia

 

Propaganda "But You Said You Wanted to See my Passport", 1972, William Longmore & Company Limited, Escócia

Propaganda

Glasgow, Escócia (Glasgow) - John Atkinson Grimshaw

 

Glasgow, Escócia (Glasgow) - John Atkinson Grimshaw
Glasgow - Escócia
Coleção privada
OST - 30x45





Born in Leeds in 1836, Grimshaw’s masterful capturing of industrial cities is inherently rooted in his upbringing. He painted many of the cities made great during the heyday of the nineteenth century, including Liverpool, Leeds, London, Hull and Glasgow. While the suburban streets painted across Yorkshire remain relatively anonymous, Grimshaw associated his industrial works with their locations from the offset. Beginning to paint the dockside motif around 1875, Grimshaw chose Liverpool and Glasgow due to their importance in the high Victorian period. Both locations were important ports that linked Britain with the Empire, rapidly modernising and embracing the Industrial Revolution because of this. Glasgow provided more than half of Britain’s shipping tonnage and a quarter of all locomotives worldwide in the 1870s, leading to it being named “the Second City of the Empire”.
Having suffered considerable financial strain in 1879, due to the early calling-in of a loan, Grimshaw sold his home in Scarborough and returned to Knostrop Hall, where he rethought the subject of his paintings. An increase in the production of his urban and dockside scenes ensued, as he took advantage of those who prospered from trade and shipping who were keen to see their livelihood’s, and the industrial strength of the British Empire, immortalised in art. Thus, Grimshaw capitalised upon the lamplit city commercialism and fierce civic pride that marked this period in Glasgow. Providing a realistic snapshot of contemporary life, albeit without an emphasis on the poverty and hardship that is synonymous with city living in the Victorian era, Grimshaw found a new audience who were equipped financially to invest in art that represented their way of life in a modernising city.