#Jorge hilton

[perfettamentechic]

28 luglio … ricordiamo …

28 luglio … ricordiamo … #semprevivineiricordi #nomidaricordare #personaggiimportanti #perfettamentechic

2022: Hichem Rostom, attore tunisino formandosi come attore presso il Théâtre National Populaire. Uno degli attori tunisini più rinomati della sua generazione, ha recitato anche in produzioni cinematografiche e televisive in Francia, Italia e Egitto, oltre ad occasionali film hollywoodiani girati in Tunisia, come Il paziente inglese. E’ stato sposato, ed entrambi finiti con un divorzio, con…

[moodforaashe]

George Hilton as Andrea Barto

The Case of the Bloody Iris (1972) dir. Giuliano Carnimeo

[venicemermaids]

Hi! Here's some stuff about a celebrity-themed AU I've been formulating in my head since last year. I'll probs post more later when I'm less sleep deprived :')) I do have major ideas though, so hope you like 'em!

☆ passione is a modelling agency/magazine ran entirely by diavolo. it's one of the most famous companies in the world, and also one of the more relaxed ones. technically diavolo's twin brother doppio and doppio's now wife donatella helped form it, but they all agreed it'd be easier for diavolo to head it. doppio works as a photographer there, while donatella is a model.

☆ the joestars are essentially the hilton family of this au. most people know their names because they're famous in their own fields outside of the family. for instance, jonathan is an archeologist, dio (who is now a biological joestar) is a lawyer/agent/manager, jotaro is a marine biologist with several documentaries under his belt, and so on.

☆ if the joestars are the hiltons, then the part 8 higashikatas are the kardashians. they have their own reality TV show chronicling their lives, known by all as keeping up with the higashikatas. some major specials were jobin and mitsuba's wedding, the twins' (rina and joshu) sweet sixteens and later daiya's, kaato being released from prison, and hato's explosive break-up with tamaki damo.

☆ elizabeth is still married to george ii/jorge joestar, and she has her own fashion house known as lisa lisa. working under her are caesar zeppeli and suzi q, who both have their own ideas on which direction the brand's image should go. their rival is kars and the other pillar men's own label. (unnamed as of right now)

☆ diego is jonathan and dio's younger stepbrother through his mother marrying their father when diego was a kid. diego had always been closer with jonathan, while he always had a tense relationship with dio. as an adult, diego is a professional driver and looks after his nephews; dio's own sons.

☆ jolyne has an underground band with ermes and f.f. called the stone frees! they perform at a grungy venue known as green dolphin, named for its famous neon green dolphin sign. outside of performing, they're usually seen hanging out in ermes' sister gloria's restaurant. they tend to give it free publicity where they can.

jolyne also goes by cujoh in an attempt to distance herself from her father, and to prevent herself from being accused of nepotism.

☆ johnny was a former movie star who quit performing after a major accident rendered him unable to walk. his father hired a physical therapist for him named gyro zeppeli, and barred him from any other visitors out of a sense of shame. however, johnny's older brother nicholas tends to allow guests to see him anyway when their father's away. johnny also keeps in contact with rina higashikata, but that's a secret!

☆ josuke (no relation to the part 8 higashikatas) is an aspiring hairdresser/celebrity stylist, and he often asks to practice on other people. he religiously reads the cinderella magazine for tips and ideas on what to do next and his idol is aya tsuji, who he dreams of working alongside someday.

☆ gappy is yoshikage and kei's younger brother. he's not technically a celebrity, but he often shows up on kuwth due to being childhood friends with joshu and rina. people often joke about him being their missing triplet, though he always denies it. he does see the higashikatas as a second family, however.

☆ giorno is a model under passione, which he joined beneath his father's nose at both diego and his best friend perla's suggestion. when dio found out, he demanded for giorno to allow him to be his agent due to his superior connection. refusing, giorno instead left to live with diego whilst bruno bucciarati became his agent instead. the two people who oversaw giorno's casting were man x (will be referred to as michel) and polpo.

☆ after giorno left, dio began to acknowledge his other three sons; donatello, ungalo, and rikiel. he began with taking custody of donatello, and pushed him into joining a modelling agency as well. he manufactured a rivalry between donatello and giorno, though giorno's more interested in saving all his brothers from their father's influence than anything.

☆ jodio and dragona are both popular on social media. dragona enjoys posting ootds, makeup tutorials, and storytimes, whilst jodio does (awful) skateboarding tricks and skits. sometimes he'll join dragona's storytimes and makeup tutorials, or they'll both do various challenges and skits together.

☆ more stuff to come later!

[patart-illustrations-stuff]

Tutti i colori del buio.

In Memoriam George Hilton , Jorge Hill Acosta y Lara, Montevideo, Uruguay - 16 July 1934 – 28 July 2019, Rome, Italy

[bootyshaker900o]

“Playlists of my unhealthy obsessions/Simping”

These men have caused such a brain rot- that like they are my whole personality. I made a little playlist of songs for them

Dave/William Afton (🧍‍♂️ I have problems)

Jocelyn Flores - XXXTENTACION

Can You Feel My Heart - Bring Me the Horizon

Yandere - Jazmin Bean

Sex, Drugs, Etc. - Beach Weather

R U Mine? - Arctic Monkeys

Play Date - Melanie Martinez

Perverted - Elita

The Neden Game - ICP

Stalker’s Tango - Autoheart

Say My Name - Alex Brightman

Imma Kill You - ICP

Blow My Brains Out - Tikkle Me

CHOKE - I DONT KNOW HOW BUT THEY FOUND ME

Ryn, Rabinit Run - Flanagan and Allen

Boogie Woogie Wu - ICP

Donnie

Dirty Harry - Gorillaz

Me and Your Mama - Childish Gambino

Hell of a Ride - Bo Burnham

Family Jewels - Marina and the Diamonds

I’m still standing - Elton John

Puppet Boy - DEVO

Afraid - The Neighborhood

Reflections - The Neighborhood

Fluorescent Adolescent - Arctic Monkeys

One day - Lovejoy

The Ending - Hobo Johnson

Trouble - Hazel Bloom

Teen Romance - Lil Peep

Alien Blues - Vundabar

Team - Mag.Lo

Bad - Michael Jackson

Orphan Tears - Your Favorite Martian

Draxum

Problems - Mother Mother

Zydrate Anatomy - Paris Hilton

Toxic - Britney Spears

Liquid Smooth - Mitski

W.D.Y.W.F.M? - The Neighborhood

Trom Cat - Tyler, the Creator

E.T. - Katy Perry, Kanye West

Molly - MSI

Enemy - Imagine Dragons, JID

Never Satisfied - CORPSE

Desire - Meg Myers

Venom - Little Simz

Daddy AF - Slayyter (don’t ask)

Supermassive Black Hole - Muse

Such A Whore - JVLA

Six Forty Seven - Instupendo

Silco

Daddy issues - The Neighborhood

Genius- Sia, Diplo, Labrinth, LSD

Same Old Love - Selena Gomez

Guys My Age - HEY VIOLET

Life of the Party - The Weeknd

High Enough - K.Flay

Government Hooker - Lady Gaga

Why don’t U - Father, ABRA

New Americana - Halsey

Do You Even? - Jorge Aguilar II

Sugar Daddy - Qveen Herby 

Royals - Lorde

I Feel Like I’m Drowning - Two Feet

New Person, Same Mistakes - Tame Impala

Cold - Maroon 5

Come As You Are - Nirvana

Fantasy - Bazzi

Raph (my sweet baby boy 😭)

Dark Red - Steve Lacy

Somebody To Love - Queen

Careless Whispers  - George Michaels 

Her - Tyler, The Creator 

Are We Still Friends? - Tyler, The Creator

Trumpets - Jason Derulo

Hold On, We’re Going Home - Drake

Rodeo - Lil Nas X

Ms. Jackson - Outkast

EARFQUAKE - Tyler, The Creator

Mine - Bazzi

Die for You - The Weeknd

Love on the Brain - Rihana

Crazy In Love - Beyoncé, JAY-Z

Lucifer

Gooey - Glass Animals

Love Me Dead - Ludo

The Distance - CAKE

Like A Stone - Audioslave

Luxurious- Gwen Stafani

Applause - Lady Gaga

Please Me - Cardi B, Bruno Mars

Take Me Out - Franz Ferdinand

Alejandro - Lady Gaga

Love Is a Bitch - Two Feet

Aint no Rest for The Wicked - Cage the Elephant

Animal - Sir Chloe

Mr. Saxobeat - Alexandra Stan

Judas - Lady Gaga

Livin La Vida Loca - Ricky Martin

White Flag - Bishop Briggs

River - Bishop Briggs

Blurred Lines - Robin Thicke

Sway - Michael Bublé

Juicy

Monster Energy Gun - KevinKempt

Chop Chop Slide - ICP

Get Low - Lil Jon

Crazy - Gnarls Barkley

Star Shopping - Lil Peep

Never There - CAKE

Shake That - Eminem, Nate Dogg

Everywhere I Go - Hollywood Undead

Revenge - XXXTENTACION

POLTERGEIST! - CORPSE

My Mom - Eminem

Asshole - hooligan chase

Under the Influence - Eminem, D12

Shots - LMFAO

Him and I - G-Eazy, Halsey

The Hills - The Weeknd

my boy - Billie Eilish

Leo

Ain’t Shit - Dojo Cat

Feel Like God - Gazy

Nightmare - Halsey

Good-Old Fashioned Lover Boy - Queen

Mujeriego - Ryan Castro

Sweet Dreams - Eurythmics, Annie Lennox

Let’s Groove - Earth, Wind, and Fire

Pizzazz - Akintoye

Slumber Party - Ashnikko

INDUSTRY BABY - Lil Nas X

Milkshake - BBY KODIE

Bad - Michael Jackson

Pony - Ginuwine

Death of a Bachelor - Panic! At the Disco

Blah Blah Blah - The Oozes

Everybody Loves Me - OneRepublic

Joker (Joaquin & Heath’s) (don’t ask- please dont)

Purple Lamborghini- Skrillex, Rick Ross

Fame - David Bowie

Wolf is Sheep’s Clothing - Set It Off

To Catch a Predator- ICP

Back in Black - AC/DC

Tentative - System of a Down

Rainbows and Stuff - ICP

Hokus Pokus - ICP

Murder Go Round - ICP

The Juggla - ICP

HAHA - Lil Darkie

Broken - Lund

I Hate Everything About You - Three Days Grace

Criminal - Britney Spears

Cradles - Sub Urban

Loki

Mind Games - Sickick

I’m A Slave 4 U - Britney Spears

Who is She? - I Monster

A Pearl - Mitski

Cigarettes Out the Window - TV Girl

Redbone - Childish Gambino 

All for Us - Labrinth, Zendaya

Sucker For Pain - Lil Wayne, Imagine Dragons

My Ordinary Life - The Living Tombstone

Bubblegum Bitch - MARINA

I Write Sins Not Tragedies - Panic! At the Disco

Partition - Beyoncé

Suit and Tie - Justing Timberlake

Jealous - Eyedress

Yellow - Coldplay

My Oh My - Camila Cabello

[harrisonstories]

A round-up of George Harrison's visit to Brazil. [click to enlarge]

From the WALH Beatles fanzine - Issue #26 - April 1979.

Transcript:

George Harrison was the first of The Beatles who came to Brazil. The reason for that trip was the Formula One racing that took place at Interlagos, Sao Paulo.

The Arrival -- Since early in the morning of January 31, 1979, the Rio's International Airport Galeao was taken over by hundreds of people of all ages who waited impatiently for ex-Beatle George Harrison (rumoured to arrive at 7:45 AM), but the Concorde only landed in Rio at 4 PM.

As George entered thru the main gates of the airport, accompanied by his pal Jackie Stewart, he got frightened by what he saw. At first he did not understand what it was all about. The screaming girls crying his name and the constant blinding lights of the flash bulbs were enough for him to try to "escape". The police had to intervene in order to calm the place down so that George would be able to get into a waiting car. "Never thought I was famous here," declared Harrison later to the press. He stayed one day in Rio at an unknown place (said to be at the house of millionaire Jorge Guinle). The next morning George set out for Sao Paulo where he stayed at the Hilton Hotel. Soon people found this out and surrounded the entrance of the hotel equipped with their cameras in the hope to catch a glimpse of George.

The Visit -- George's intention was to remain unnoticed at the race, but instead he spent most of the time running away from fans (which he does very well) and the photographers, who would not let him alone, and to whom he said, "You should photograph the cars, they're more important than me." However, George did give his autograph to many who asked him.

Back in Rio, Harrison gave two collective interviews. One for Globe Television, and Manchete magazine. George also talked to many disc jockeys including pressmen from Bandeirantes Radio Station and Cidade. Always very polite, he answered all the questions and posed for photos. He talked about many things; Beatles, religion, sports, his previous records, music in general (he said he hated punk), his involvement with Formula One and the song 'Faster' he wrote dedicated to Ronnie Peterson. He said he liked Brazil very much and intends to come back in '80. For us, Brazilian Beatle fans, it was a week of joy, and we do hope he comes back soon, as well as the other three members of the biggest band in the world.

Julio F. Serra - Brazil

[abraaocostaof]

Sebrae e Fieb liberam R$ 39 milhões em crédito para micro e pequenas empresas

Participaram do evento o superintendente do Sebrae Bahia, Jorge Khoury, o diretor de administração e finanças, Vitor Lopes, o presidente da FIEB, Carlos Henrique de Oliveira Passos, o superintendente da Fieb, Vladson Bahia Menezes, e os presidentes do Sindicato da Indústria da Extração de Óleos Vegetais e Animais e de Produtos de Cacau e Balas (Sincaol) e do Sindical, Hilton Morais Lima e Sérgio…

[reasoningdaily]

The Kingdom of Kongo and Palo Mayombe: Reflections on an African-American Religion

Abstract

Historical scholarship on Afro-Cuban religions has long recognized that one of its salient characteristics is the union of African (Yoruba) gods with Catholic Saints. But in so doing, it has usually considered the Cuban Catholic church as the source of the saints and the syncretism to be the result of the worshippers hiding worship of the gods behind the saints. This article argues that the source of the saints was more likely to be from Catholics from the Kingdom of Kongo which had been Catholic for 300 years and had made its own form of Christianity in the interim.

Acknowledgements

Research funding for this project was supplied by Boston University Faculty Research Fund and the Hutchins Center of Harvard University. Earlier versions were presented at the Hutchins Center, and the keynote address at ‘Kongo Across the Waters’ in Gainesville, FL. Thanks to Linda Heywood, Matthew Childs, Manuel Barcia, Jane Landers, Carmen Barcia, Jorge Felipe Gonzalez, Thiago Sapede, Marial Iglesias Utset, Aisha Fisher, Dell Hamilton, Grete Viddal and Kyrah Daniels for readings, comments, questions and source material.

[1] Robert Farris Thompson, Flash of the Spirit: African and Afro-American Art and Philosophy (New York: Random House, 1983), pp. 17–8; see also Face of the Gods: Art and Altars of Africa and African America (New York: Prestel, 1993). For Cuba in particular, see David H. Brown, Santería Enthroned: Art, Ritual and Innovation in an Afro-Cuban Religion (Chicago, IL: University of Chicago Press, 2003), p. 34 (with ample references to earlier visions).

[2] Georges Balandier, Daily Life in the Kingdom of the Kongo (New York: Allen and Unwin, 1968 [French Version, Paris, 1965]) and James Sweet, Recreating Africa: Culture, Kinship and Religion in the African-Portuguese World, 1441–1770 (Chapel Hill: University of North Carolina Press, 2003).

[3] Ann Hilton, The Kingdom of Kongo (Oxford: Oxford University Press, 1984), for the role of the Capuchins in discovering problems with Kongo's Christianity. John Thornton, ‘The Kingdom of Kongo and the Counter-Reformation’, Social Sciences and Missions 26 (2013): 40–58 contextualizes their role and their problems with Kongo's Christianity.

[4] Adrian Hastings, The Church in Africa, 1450–1950 (Oxford: Oxford University Press, 1994); this position is often implicit in the many histories written by clerical historians such as Jean Cuvelier, Louis Jadin, François Bontinck, Teobaldo Filesi, Carlo Toso and Graziano Saccardo, whose work has presented modern editions of the classical work of the Capuchin missionaries, commentaries and at times regional histories, such as Saccardo, Congo e Angola con la storia del missionari Capuccini, Vol. 3 (Venice: Curia Provinciale dei Cappuccini, 1982–1983). For both a position of dependence on missionaries and a recognition of local education, Louis Jadin, ‘Les survivances chrétiennes au Congo au XIXe siècle’, Études d'histoire africaine 1 (1970): 137–85.

[5] It is not mentioned at all in his seminal work, Thompson, Flash of the Spirit in the nearly 100-page section dealing with Kongo and its influence in Vodou, nor in Face of the Gods.

[6] Erwan Dianteill, ‘Kongo à Cuba: Transformations d'une religion africaine', Archives de Sciences Sociales de Religion 117 (2002): 59–80.

[7] Todd Ochoa, Society of the Dead: Quita Manaquita and Palo Praise in Cuba (Berkeley: University of California Press, 2010), pp. 8–10. Wyatt MacGaffey's work, especially Religion and Society in Central Africa: The BaKongo of Lower Zaire (Chicago, IL: University of Chicago Press, 1986) is a favorite.

[8] Thiago Sapede, Muana Congo, Muana Nzambi a Mpungu: Poder e Catolicismo no reino do Congo pós-restauração (1769–1795) (São Paulo: Alameda, 2014) is the first book length study of Christianity in the later period of Kongo's history.

[9] John Thornton, ‘Afro-Christian Syncretism in the Kingdom of Kongo', Journal of African History 54 (2013): 53–77.

[10] Thornton, ‘Afro-Christian Syncretism'.

[11] Sapede, Muana Congo, pp. 248–57.

[12] Thornton, ‘Afro-Christian Syncretism', for the details of the struggle, but a perspective that sees the Capuchin mission as central to Kongo Christianity, see Saccardo, Congo e Angola.

[13] John Thornton, The Kongolese Saint Anthony: D Beatriz Kimpa Vita and the Antonian Movement, 1684–1706 (Cambridge: Cambridge University Press, 1998).

[14] Rafael Castello de Vide, ‘Viagem ao Congo’, Academia das Cienças de Lisboa, MS Vermelho 396, pp. 32–4, 183–5 (transcription by Arlindo Carreira, 2007 at http://www.arlindo-correia.com/161007.html) which marks the pagination of the original MS.

[15] Castello de Vide, ‘Viagem ao Congo', pp. 110–4.

[16] Raimondo da Dicomano, ‘Informazione' (1798), pp. 1–2. The text exists in both the Italian original and a Portuguese translation made at the same time. For an edition of both, see the transcription of Arlindo Carreira, 2010 (http://www.arlindo-correia.com/121208.html).

[17] ‘Il Stato in cui si trova il Regno di Congo', September 22, 1820, in Teobaldo Filesi, ‘L'epilogo della ‘Missio Antiqua’ dei cappuccini nel regno de Congo (1800–1835)’, Euntes Docete 23 (1970), pp. 433–4.

[18] Among the first was Domingos Pereira da Silva Sardinha in 1854, who, according to King Henrique II of Kongo, had performed his duties of administering the sacraments with ‘all the necessary prudence', Henrique II to Vicar General of Angola, December 14, 1855, Boletim Oficial de Angola, 540 (1856).

[19] Biblioteca d'Ajuda, Lisbon, Códice 54/XIII/32 n° 9, Francisco de Salles Gusmão to the King, October 27, 1856.

[20] Castello de Vide, ‘Viagem ao Congo’, pp. 110–4.

[21] da Dicomano, ‘Informazione', pp. 1–7 (of manuscript).

[22] Castello de Vide, ‘Viagem', pp. 39, 69, 276.

[23] Castello de Vide, ‘Viagen', p. 217 (thanks to Thiago Sapede for this reference).

[24] Castello de Vide, ‘Viagem’, pp. 32–4, 1835.

[25] For a thorough study of these religious artefacts and their meaning, see Cécile Fromont, The Art of Conversion: Christian Visual Culture in the Kingdom of Kongo (Chapel Hill: University of North Carolina Press, 2014).

[26] Castello de Vide, ‘Viagem', p. 78.

[27] APF Congo 5, fols. 298–298v (Rosario dal Parco) ‘Informazione 1760' A French translation is found in Louis Jadin, ‘Aperçu de la situation du Congo, et rite d’élection des rois en 1775, d'après le P. Cherubino da Savona, missionaire de 1759 à 1774', Bulletin de l'Institut Historique Belge de Rome 35 (1963): 347–419 (marking foliation of original MS).

[28] Castello de Vide, ‘Viagem', pp. 180–4.

[29] Castello de Vide, ‘Viagem', p. 53.

[30] Castello de Vide, ‘Viagem', pp. 63–4; see also 87 for another noble as Captain of Church; 136 crowds at Mapinda.

[31] da Dicomano, ‘Informazione', pp. 1–7.

[32] Castello de Vide, ‘Viagem', p. 196.

[33] Bernard Clist et alia, ‘The Elusive Archeology of Kongo Urbanism, the Case of Kindoki, Mbanza Nsundi (Lower Congo, DRC)’, African Archaeological Review 32 (2014) 369–412 and Charlotte Verhaeghe, ‘Funeraire rituelen en het Kongo Konigrijk: De betekenis van de schelp- en glaskralen en de begraafplaats van Kindoki, Mbanza Nsundi, Neder-Kongo' (MA thesis, University of Ghent, 2014), pp. 44–50.

[34] ‘Il Stato in cui si trova il Regno di Congo', September 22, 1820, in Filesi, ‘Epilogo’, pp. 433–4.

[35] ‘O Congo em 1845: Roteiro da viagem ao Reino de Congo por Major A. J. Castro … ’, Boletim de Sociedade de Geographia de Lisboa II series, 2 (1880), pp. 53–67. The orthographic irregularity reflects the actual pronunciation of these terms in the São Salvador region (the Sansala dialect).

[36] Alfredo de Sarmento, Os sertões d'Africa (Apontamentos do viagem) (Lisbon: Artur da Silva, 1880), p. 49 and Adolf Bastian, Ein Besuch in San Salvador: Der Hauptstadt des Königreichs Congo (Bremen: Heinrich Strack, 1859), pp. 61–2.

[37] Castello de Vide, ‘Viagem', pp. 102–3 and da Firenze, ‘Relazione', pp. 420–1.

[38] Castello de Vide, ‘Viagem', p. 137.

[39] Castello de Vide, ‘Viagem', pp. 180–4.

[40] da Dicomano, ‘Informazione', pp. 1–7.

[41] Castello de Vide, ‘Viagem', pp. 32–4; da Dicomano, ‘Informazione', pp. 1–7; Zanobio Maria da Firenze, ‘Relazione della Stato in cui si trovassi autalmente il Regno di Congo … 1814’, July 10, 1816, in Filesi, ‘Epilogo’, pp. 420–1.

[42] Archivio ‘De Propaganda Fide' (Rome) Acta 1758, ff 213–9, no. 16, Relazione di Rosario dal Parco, July 31, 1758. These large numbers were not simply priests catching up on people who had not been baptized for a long time, as personnel staffing and statistics are found from 1752 onward; but the priests did not cover the whole country every year, so many priests would baptize babies all under age two or three.

[43] Castello de Vide, ‘Viagem', pp. 63–4; see also 87 for another noble as Captain of Church; 136 crowds at Mapinda.

[44] da Dicomano, ‘Informazione', pp. 1–7.

[45] da Firenze, ‘Relazione', pp. 420–1.

[46] ‘Il Stato in cui si trova il Regno di Congo', September 22, 1820, in Filesi, ‘Epilogo’, pp. 433–4.

[47] Francisco das Necessidades, Report, March 15, 1845, in Arquivo do Archibispado de Angola, Correspondência de Congo, 1845–1892, cited in François Bontinck, ‘Notes complimentaire sur Dom Nicolau Agua Rosada e Sardonia’, African Historical Studies 2 (1969): 105, n. 6. Unfortunately, no researchers have been allowed to work in this section of the archive for many years and so the actual text is not available.

[48] Report of November 13, 1856 in António Brásio, ‘Monumenta Missionalia Africana’, Portugal em Africa 50 (1952), pp. 114–7.

[49] Biblioteca d'Ajuda, Lisbon 54/XIII/32 n° 9, Francisco de Salles Gusmão to the King, de Outubro de 27, 1856.

[50] Da Cruz, entry of October 8 and 25 on the problems of baptizing people.

[51] da Dicomano, ‘Informazione', is the first to describe this process; for more detail see Bastian, Besuch.

[52] David Eltis, An Atlas of the Transatlantic Slave Trade.

[53] For a recent discussion of names and nomenclature, see Jésus Guanche, Africanía y etnicidad en Cuba (los componentes étnicos africanos y sus múltiples demoninaciones (Havana: Editoria de Ciencias Sociales, 2008). As we shall see, a number of other subdivisions also derived from the kingdom like the Musolongos, Batas and others.

[54] John Thornton, Africa and Africans in the Formation of the Atlantic World, 1400–1800, 2nd ed. (Cambridge: Cambridge University Press, 1998), for Cuba in particular, Matt Childs, ‘Recreating African Identities in Cuba', in The Black Urban Atlantic in the Era of the Slave Trade, eds. Jorge Cañizares-Esquerra, Matt Childs, and James Sidbury (Philadelphia: University of Pennsylvania Press, 2013), pp. 85–100.

[55] Robert Jameson, Letters from Havana in the Year 1820 … (London: John Miller, 1821), pp. 20–2 (from letter II).

[56] Fernando Ortiz, Hampa Afro-Cubana. Los Negros Brujos (Havana: Liberia de F. Fé, 1906), pp. 81–5; and further developed in ‘Los Cabildos Afrocubanos', in Ensayos Etnograficos, eds. Miguel Barnet and Angel Fernández (Havana: Editoriales Sociales, 1984 [originally published 1921]), pp. 12–34; for a more recent statement based on more research, Matt Childs, The 1812 Aponte Rebellion and the Struggle Against Atlantic Slavery (Chapel Hill: University of North Carolina Press, 2006), pp. 209–45 and María del Carmen Barcia Zequeira, Andrés Rodríguez Reyes, and Milagros Niebla Delgado, Del cabildo de “nación” a la casa de santo (Havana: Fundación Fernando Ortiz, 2012).

[57] For example, the now famous community of Pindar del Rio, see Natalia Bolívar Arostegui, Ta Makuende Yaya y las Reglas de Palo Monte: Mayombe, brillumba, kimbisa, shamalongo (Havana: Ediciones UNION, 1998).

[58] Childs, Aponte Rebellion, pp. 209–12; Jane Landers, ���Catholic Conspirators: Religious Rebels in Nineteenth Century Cuba', Slavery and Abolition 36 (2015): 495–520.

[59] Brown, Santería Enthroned, pp. 62–112; María del Carmen Barcia, Los ilustres apellidos: Negros en la Habana colonial (Havana: Oficina del Historiador de la Ciudad, 2008), pp. 45–151; Barcia, Rodríguez Reyes, and Niebla Delgado, Del Cabildo which carefully demolishes the earlier theses of Fernando Ortiz and others that the cabildos grew out of the brotherhoods.

[60] This group must have split or been replaced by another, for a property dispute in the Congos Loangos relates to their foundation in 1776, Archivo Nacional de Cuba (ANC) Escribanía Valerio-Ramirez (VR) legajo 698, no. 10.205.

[61] Barcia, Iustres Apellidos, pp. 45–151.

[62] Barcia, Ilustres Apellidos.

[63] del Carmen Barcia Zequeira, Rodríguez Reyes, and Niebla Delgado, Del cabildo, pp. 12–9.

[64] Fernando Ortiz, ‘Los Cabildos Afrocubanos', in Ensayos Etnograficos, eds. Miguel Barnet and Angel Fernández (Havana: Ediciones Ciencas Sociales, 1984 [originally published 1921]), p. 13, citing documents in El Curioso Americano, 1899, p. 73.

[65] Proclama que en un cabildo de negros congos de la ciudad de La Habana, prononció por su Presidente Rey Siliman Mofundi Siliman … (Havana: np, 1808); for the claim of superiority, drawn from an ambiguous statement that he was ‘more black that you others’, see Brown, Santería Enthroned, pp. 25–7 and 311, footnotes 4 and 6. For political context, see Ada Ferrer, Freedom's Mirror: Cuba and Haiti in the Age of Revolution (Cambridge: Cambridge University Press, 2014), pp. 247–9.

[66] Fredrika Bremer, Hemmen i den Nya Världen, 2nd ed., Vol. 3 (Stockholm: Tidens forläg, 1854), p. 142 (English translation as The Homes of the New World: Impressions of America, Vol. 2 (New York: Harper and Brothers, 1853), p. 322) Her host's name is given in the original and obscured in the translation as ‘C—'.

[67] Bremer, Hemmen, Vol. 3, pp. 146–8 (Homes Vol. 2, pp. 325–8).

[68] Henri Dumont, Antropologia y patologia comparadas de los Negros escalvos, 1876, trans. Israel Castellanos (Havana: Molina, 1922), p. 38.

[69] Bremer, Hemmen, Vol. 3, pp. 172–4 (Homes Vol. 2, pp. 348–9).

[70] Bremer, Hemmen, Vol. 3, p. 213 (Homes Vol. 2, p. 383).

[71] Esteban Pichardo, Diccionario provincial de voces Cubanas (Matanzas: Imprenta de la Real Marina, 1836), p. 72. Musundi may refer to Kongo's northern province of Nsundi, though the match is not exact since the nasal ‘n' is not incorporated into it, musundi might also mean ‘excellent', as the Virgin Mary was called ‘Musundi Madia' in the Kongo catechism meaning exactly this.

[72] It is possible that Bremer attended the dance of another Cabildo of Congos Reales, who were in the process of declaring their insolvency in 1851, ANC Escrabanía Joaquin Trujillo (JT) leg 84, no. 12, 1851; for a 1867 dispute, see the property case involving them in ANC VR leg. 393, no. 5875; other mentions of cabildos of this name including the group from 1865–1871 in Carmen Barcia, Ilustres apellidos, p. 408. For the 1880s mentions, see Archivio Historico de la Provincia de Matanzas (henceforward AHPM), Religiones Africanas, leg 1, no. 30, July 7, 1882; no. 65, January 9, 1898 and no. 31, July 31, 1886.

[73] Fondo Fernando Ortiz, Institute de Linguistica y Literatura, Havana, 5.

[74] ANC Escibanía d'Daumas (ED) leg 917, no. 6. (foliation uncertain, very deteriorated document).

[75] António de Oliveira de Cadornega, História das guerras angolanas (1680–81 ), eds. Matias de Delgado and da Cunha, Vol. 3 (Lisbon: Agência Geral do Ultramar, 1940–1942, reprinted 1972), p. 3, 193. In July 2011, I drove through all three dialect zones, confirmed some of the differences by hearing them spoken and by speaking with people about these differences. My thanks to Father Gabriele Bortolami, OFMCap for driving, interacting with people, impromptu language updates and occasional lessons in the etiquette of dialect use in northern Angola.

[76] Cherubino da Savona, ‘Breve ragguaglio del Congo … ’, fols. 41v–44v, published with original foliation marked in Carlo Toso, ed., ‘Relazioni inedite di P. Cherubino Cassinis da Savona sul ‘Regno del Congo e sue Missioni’, L'Italia Francescana 45 (1974): 135–214. The foliation of the original is also marked in the French translation, found in Jadin, ‘Aperçu de la situation au Congo … '

[77] ANC ED, leg 494, no. 1, fols 96–97. This text was included in papers dealing with another dispute in 1827–1828 and in 1832–1836.

[78] ANC ED, leg 548, no. 11, fol. 9–9v; José Pacheco, January 21, 1806; ANC ED, leg. 660, no. 8, fols. 1–4; Pedro José Santa Cruz (a request for its own capataz) 1806; for the later dispute ANC ED leg 494, no. 1.

[79] ANC ED, leg 660, no. 8, fol. 4.

[80] ANC JT, leg. 84, no. 13 passim, 1851.

[81] AHPM, Religiones Africanas, leg 1, no. 30, July 7, 1882.

[82] AHPM, Religiones Africanas, leg 1, no. 65, January 9, 1898.

[83] AHPM, Religiones Africanas, leg 1, no. 31, July 31, 1886.

[84] Brown, Santería Enthroned, pp. 55–61 and Barcia Zequeira, Rodríguez Reyes, and Delgado, Cabildo de nación.

[85] Childs, Aponte Rebellion, p. 112 and ‘Identity', p. 91.

[86] Consider the temporal range of inquisition cases cited in Tania Chappi, Demonios en La Habana: Episodios de la Inquisición en Cuba (Havana: Oficinia del Hisoriador de la Ciudad, 2001). For an example of the sort of persecution the Inquisition could do, and the sort of information that can be obtained from their records, see James Sweet's study of slave religious life in Brazil, Recreating Africa.

[87] Jameson, Letters, pp. 20–2.

[88] See the transcript of his interview published in Henry Lovejoy, ‘Old Oyo Influences on the Transformation of Lucumí Identity in Colonial Cuba' (PhD diss., UCLA, 2012), pp. 230–46.

[89] Aisha Finch, Rethinking Slave Rebellion in Cuba: La Escalera and the Insurgencies of 1841–44 (Chapel Hill: North Carolina Press, 2015), pp. 199–220. Finch attributes most of the activities in these cases to the non-Christian part of Kongo religion, or an early form of Palo Mayombe; see also Miguel Sabater, ‘La conspiración de La Escalera: Otra vuelta de la tuerca', Boletín del Archivo Nacional 12 (2000): 23–33 (with quotations from trial records).

[90] Bremer, Hemmen, Vol. 3, p. 213 (Homes Vol. 2, p. 383).

[91] Bremer, Hemmen, Vol. 3, pp. 211–3 (Homes Vol. 2, pp. 379–83).

[92] Cabrera, Reglas de Congo, p. 26, citing late eighteenth- and nineteenth-century sources.

[93] Abiel Abbott, Letters Written in the Interior of Cuba …  (Boston, MA: Bowles and Dearborn, 1829), pp. 15–7.

[94] Cabrera did not employ any orthography of contemporary Kikongo in her day, but it is not at all difficult to recognize her ear for that language, which she did not speak, and most quotations she provided are readily intelligible.

[95] Institute de Linguistica y Literatura, Havana, Fondo Fernando Ortiz, 5. This list, written in a different hand than Ortiz’, one that was shakier with large letters, on fragile aged paper (perhaps school paper) was, I believe, compiled by a literate person who was a native speaker of the language, based on his use of Kikongo grammatical forms (use of verb conjugations and class concords in particular).

[96] Armin Schwegler, ‘On the (Sensational) Survival of Kikongo in Twentieth Century Cuba', Journal of Pidgin and Creole Languages 15 (2000): 159–65; Jesús Fuentes Guerra, La Regla de Palo Monte: Un acercamiento a la Bantuidad Cubana (Havana: Iberoamericana Vervuert, 2012) (neither Schwegler nor Fuentes Guerra had access to Puyo's vocabulary in Ortiz’ documentation, the contention of its identity with Kikongo is my own). It seems likely that both Cabrera's and Ortiz’ vocabularies were collected probably from old native speakers, who entered Cuba at the end of the slave trade.

[97] For example, the class marker ki in the southern dialect is –ci in the north; use of ‘l' versus ‘d' would be another difference. The northern dialect is well attested in dictionaries of the French mission to Loango and Kakongo in the 1770s, compared with seventeenth- and nineteenth-century dictionaries of the southern dialects. I have also heard these differences myself in Angola.

[98] Fernando Ortiz, Hampa Afro-Cubana. Los Negros Esclavos (Havana: Bimestre Habana, 1916), pp. 25, 32 (clearly, testimony from the same informant).

[99] Ortiz, Negros Esclavos, p. 34. The term ‘Totila', clearly derived from the Kikongo ntotela meaning ‘king'. The word is first attested in the Kikongo dictionary of 1648, as meaning ‘King'. In 1901, King Pedro VI of Kongo, writing in Kikongo, styled himself ‘Ntinu Ntotela NeKongo' Archives of the Baptist Missionary Society (Regents’ Park College, Oxford) A 124 (both ntinu and ntotela can be glossed as ‘king').

[100] Cabrera, Reglas de Congo, p. 15.

[101] Cabrera, Reglas de Congo, p. 109. Cabrera, for her part, then told him of Nzinga a Nkuwu's baptism in 1491, presumably from one of the historical accounts she had read.

[102] On the assertions of Dona Beatriz Kimpa Vita, see Thornton, Kongolese Saint Anthony; on the representation of Christ as an Kongolese, Fromont, Art of Conversion.

[103] Cabrera, Reglas de Congo, p. 93.

[104] Cabrera, Reglas de Congo, p. 58.

[105] Cabrera, Reglas de Congo, p. 59.

[106] Cabrera, Reglas de Congo, p. 14.

[107] Cabrera, Reglas de Congo, p. 19.

[108] The problem was apparent to Lydia Cabrera in her study of Palo, El Regla de Congo: Palo Monte Mayombe (Miami: Ediciones Universal, 1979), pp. 120–30, as one can see from the defensive tone of her informants, probably speaking with her post-1960 experience (this is not seen as a problem in her earlier publication, El Monte (Havana, 1954)).

[109] Cabrera, Vocabulario, p. 123.

[110] Cabrera, Monte, pp. 119–23 passim (here, often used in the context of witchcraft); Reglas de Congo, pp. 24–5. In W. Holman Bentley, Dictionary and Grammar of the Kongo Language (London: Kegan Paul, 1887), p. 361, which relates to the Kinsansala dialect (the most likely associated with Christianity) in the 1880s, mvumbi meant simply the corpse of a dead person; in the 1648 dictionary ‘spirits' was rendered as ‘mioio mia mvumbi' (or souls of corpses).

[111] Cabrera, Reglas de Congo, p. 24. In Kikongo, mvumbi means a corpse, the lifeless remains of a dead person, and the name of an ancestor would usually have been nkulu, though this usage would still make sense in Kikongo.

[112] See John Thornton, ‘Central African Names and African American Naming Patterns', William and Mary Quarterly, 3rd Series, 50 (1993): 727–42.

[113] The denunciation of the first tooth ceremony is only attested in the general complaints of the Capuchins in the 1650s, written by Serafino da Cortona.

[114] ‘Kisi malongo' appears to be ‘nkisi malongo'. A more likely way to say ‘the teaching of nkisi' would be ‘malongo ma nkisi', so the word order puzzles me. However, word order in Kikongo is flexible and should the speaker wish to emphasize the teaching spiritual part, it might be feasible to use this order.

[115] Cabrera, Reglas de Congo, p. 24. My translation of the phrase ‘nganga la musi' assumes that the speaker has only partial command of Kikongo grammar and would be ‘nganga a mu nsi' The same informant used the term kisi malongo, and perhaps as a Cuban-born person was not secure in the language.

[116] Cabrera, Regla de Congo, p. 23.

[117] Institute de Linguistica y Literatura, Havana, Fondo Fernando Ortiz, 5.

[internationalrealestatenews]

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[cchiroque]

HOY DOMINGO 04 DE JUNIO DEL 2023, LA ASOCIACIÓN DE PROFESIONALES Y TÉCNICOS AGROPECUARIOS DE CHULUCANAS (APTACH) CUMPLE 49 AÑOS DE FUNDACIÓN.

UN 04 DE JUNIO DE 1974 NACIÓ COMO TAL.

SUS FUNDADORES TODOS ELLOS TÉCNICOS AGROPECUARIOS DE LA 1RA PROMOCIÓN DEL INA 33 "AMAUTA" TUVIERON ESTA FELIZ INICIATIVA.

DENTRO DE ELLOS DESTACAN, MARDENIO ACEDO CHANDUVÍ (+), TREVES ALZAMORA, JULIO RIVAS, RICARDO GUTIÉRREZ, HILTON MENDOZA.

ADEMÁS MARIANO ACEDO, EDGARDO ACEDO, JORGE ACEDO, PABLO GUTIÉRREZ, JUAN ALAMA, JUAN VALLADOLID, OCLANDER VÍLCHEZ, JACINTO HIDALGO, ENTRE OTROS.

ENTRE SUS PRINCIPALES LOGROS : HABER CONSEGUIDO TIERRAS, CRÉDITOS, CAPACITACIONES PARA SUS SOCIOS, SU ÚLTIMA Y GRAN GESTIÓN FUE LA CREACIÓN DEL COMITÉ LOCAL CHULUCANAS DEL COLEGIO DE INGENIEROS

SIENDO DECANO EL ING* PEDRO A. VALDIVIEZO PALACIOS.

ACTUALMENTE LA APTACH PRESIDIDA POR EL ING* FRANCISCO BALLONA GALLARDO, COMO MUCHAS INSTITUCIONES TRATA DE SEGUIR VIGENTE POR ENCIMA DE LAS DIFICULTADES Y PROBLEMAS QUE SE AFRONTAN Y PRESENTAN.

FUENTE : JULIO RIVAS ZETA.

[gazeta24br]

Em memória do Massacre de Eldorado dos Carajás, o MST da Bahia realizou hoje (17/4) um ato político no auditório Jorge Calmon da Assembleia Legislativa da Bahia (ALBA). A sessão foi presidida pela deputada estadual Fátima Nunes (PT), ao lado de autoridades, a exemplo do deputado federal Valmir Assunção (PT-BA) e a Secretária de Assistência e Desenvolvimento Social da Bahia (Seades), Fabya Reis. “Neste ano, o abril vermelho combate a fome e a escravidão e denuncia os conflitos que acontecem pela violência do latifúndio. Trazemos para o debate público a importância da democratização da terra para a produção de alimentos saudáveis. Provamos isso a cada ocupação que se transforma em assentamento produtivo. É da nossa produção que trouxemos sete toneladas de alimentos para doar ao Programa Bahia Sem Fome, do governo estadual”, anunciou Eliane Oliveira, dirigente nacional do MST. Cerca de 700 militantes Sem Terra estão acampados na Secretaria de Desenvolvimento Rural (SDR) e, pela manhã, seguiram em marcha até a Assembleia Legislativa (ALBA) para realização do ato em denúncia à violência no campo e à CPI que foi protocolada no legislativo do estado. Mais cedo, um café da manhã foi oferecido pelos Sem Terra na entrada da ALBA. De acordo com o deputado federal Valmir Assunção, é fundamental que a reforma agrária seja tema prioritário no conjunto das políticas públicas. “Hoje, o governador Jerônimo Rodrigues anunciou o compromisso da elaboração de um Plano Estadual de Reforma Agrária. Em nível federal, também temos a expectativa de que o Governo Lula avance em políticas que subsidiem a produção de alimentos. É a agricultura familiar a responsável pela produção de 70% do que chega a nossas mesas”, disse o parlamentar.   O Massacre de Eldorado dos Carajás é um momento que marca a história do MST. No dia 17 de abril de 1996, durante uma marcha realizada no município de Eldorado dos Carajás, estado do Pará, 21 Sem Terras foram assassinados pela polícia daquele estado. O episódio também deixou dezenas de trabalhadores mutilados. “Transformamos o mês de abril em um mês de lutas, no Dia Nacional de Luta por Reforma Agrária, a principal reivindicação do Movimento Sem Terra. Nós queremos que a Constituição Federal se cumpra; que as terras que não cumprem sua função social sejam destinadas à reforma agrária. Se querem tanto uma CPI, que se investigue o trabalho escravo que ainda vitimiza tantos baianos. O MST não irá parar sua luta!”, afirmou Evanildo Costa, também dirigente nacional do MST.   Estiveram presentes também os deputados estaduais Marcelino Galo e Hilton Coelho, a deputada estadual Neusa Cadore, os vereadores de Salvador Marta Rodrigues e Suíca, os secretários estaduais Osni Cardoso, da SDR, Felipe Freitas, da SJDH, o superintendente do INCRA da Bahia, Carlos Borges; os representantes da executiva do Partido dos Trabalhadores a nível nacional, Lucinha Barbosa e estadual, Tassio Brito e os dirigentes do MST da Bahia, Eliane Oliveira e Evanildo Costa.

[herenciarumbera]

Esta tarde y en *repetición* Hablando En Clave® culmina su miniserie celebrando el centenario del Rey del Timbal. En esta ocasión estaremos centrándonos en su última década de vida terrenal y sus trabajos en este periodo para el sello RMM. Entre voces y músicos se destacan hoy, entre otros, (en estricto orden alfabético): Tito Allen, The Count Basie Orchestra, Ignacio Berroa, Justo Betancourt, Sonny Bravo, Oskar Cartaya, Eguie Castrillo, Santos Colón, Celia Cruz, Oscar De León, Paquito D'Rivera, Cheo Feliciano, Andy González, Horacio "El Negro" Hernández, Giovanni Hidalgo, India, Reynaldo Jorge, José Alberto (El Canario) Justiniano, Lewis Kahn, José Madera Jr, Jerry Medina, Paoli Mejías, Ismael Miranda, Frankie Morales, Tito Nieves, Herman Oliveras, Luis "Perico" Ortiz, Johnny Pacheco, Eddie Palmieri, Bobby Porcelli, Millie Puente, Domingo Quiñones, Danny Rivera, Johnny Rivera, Mario Rivera, John Rodriguez, Pete "El Conde" Rodríguez, Hilton Ruiz, Néstor Sánchez, Arturo Sandoval, Mongo Santamaría, Juan Pablo Torres, Dave Valentín, Papo Vázquez (¡happy birthday!), Ray Vega, Tony Vega y Steve Winwood. (Desde luego, incluiremos varias sorpresas y temas en vivo!) HABLANDO EN CLAVE® y un servidor Tommy Muriel les ofrecemos en esta ocasión LOS 100 DEL REY V3: LA ÚLTIMA DÉCADA. Hoy viernes 24 de febrero en *REPETICIÓN* desde las 3pm (Hora México, Chicago), 4pm (Hora Perú, Colombia, Ecuador, Panamá, New York, Miami), 5pm (Hora Puerto Rico, Venezuela, República Dominicana) o 6pm (Brasil). ¡Los esperamos, familia! Pueden sintonizar vía nuestras páginas web, móviles, listas de radio , TuneIn y nuestra app actualizada en https://play.google.com/store/apps/details?id=red.simpleapp.herenciarumbera Página web: https://www.herenciarumberaradio.com/ TuneIn https://tunein.com/radio/Herencia-Rumbera-s268720/ Radio Garden http://radio.garden/listen/herencia-rumbera-radio/7vF-acFD Únete a nuestro Canal de Telegram https://t.me/herenciarumberaradio Grupo de Chat Telegram: https://t.me/hrumberachat Listas de Radio Raddios https://www.raddios.com/12968-radio-online-herencia-rumbera-radio-online-lima-peru Radio Box https://onlineradiobox.com/pe/herenciarumbera/ https://www.instagram.com/p/CpDPt_lMxD3/?igshid=NGJjMDIxMWI=

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[mariocki]

RIP George Hilton (16.7.1934 - 28.7.2019)

Born Jorge Hill Acosta y Lara in Montevideo, Uruguay, then raised in England before moving to Argentina in his 20s, Hilton's life was one of international travel from an early age. His acting career kicked off in Argentina where, going by Jorge Hilton, he took roles in a number of soap operas and had minor parts in several films.

In 1963 he moved again, to Italy, where the film industry was rapidly growing. Anglicising his name further to George Hilton (standard practice for Italian cinema, to aid with sales overseas), the actor soon found himself in regular demand. His first notable roles were the lead in L'uomo mascherato contro i pirati (The Masked Man Against The Pirates, 1964) and a tongue in cheek appearance as 007 in Due mafiosi contro Goldginger (Two Mafiosi Against Goldfinger, 1965), but it was a supporting role in Lucio Fulci's Le colt cantarono la morte e fu... tempo di massacro (Massacre Time, 1966) that was to really make his name.

As the drunken gunslinger brother to Franco Nero's stoic hero, Hilton stole focus and won favourable reviews. A slew of spaghetti westerns followed: there was Vado... l'ammazzo e torno (Any Gun Can Play, 1967), La più grande rapina del West (1967, released as Halleluja for Django in the USA, although Django does not appear), and in 1970 he stepped into Gianni Garko's shoes to play Sartana in C'è Sartana... vendi la pistola e comprati la bara (Sartana's Here… Trade Your Pistol for a Coffin). In 1971 he took the lead in Testa t'ammazzo, croce... sei morto - Mi chiamano Alleluja (They Call Me Hallelujah), returning for a sequel the following year.

Already an icon of spaghetti western cinema, as the 1970s dawned Hilton turned his hand to the next big genre in Italian films - the giallo. Sergio Martino cast him as one of the leads in his excellent, but morally complex Lo strano vizio della Signora Wardh (The Strange Vice of Mrs. Wardh, 1971), opposite Edwige Fenech - Hilton was married to Martino's cousin, Fenech to the director's brother. Hilton and Martino worked together again on the stunning La coda dello scorpione (The Case Of The Scorpion's Tail, 1971), and Fenech returned for the deliriously avant-garde Tutti i colori del buio (All the Colors of the Dark, 1972).

That same year, Hilton starred in Mio caro assassino (My Dear Killer), directed by Tonino Valerii. Although it hasn't had the pop culture impact of contemporary films by, say, Dario Argento, or even Fulci and Martino, for my money Valerii's film is one of the most technically accomplished and finely executed gialli ever created. Stylish, intelligent and intricately plotted, the film follows Hilton's eminently likeable Inspector Luca Peretti as he doggedly investigates a string of bizarre murders (beginning with an unforgettable decapitation by mechanical digger) and solves a cold case into the bargain. It really is an under-appreciated highpoint of the genre, and Hilton remained proud of it - although he had found the shoot challenging, in a later interview the actor named it as one of the four films he had made which he would like to be remembered for.

Hilton worked steadily through the rest of the decade, but his career slowed down into the 1980s and 90s. In later years he was rarely seen onscreen, but had amassed a loyal fan base and found a new career appearing at conventions and providing interviews and commentaries for his earlier genre films. In 2016 he received a tribute at the 19th International Film Festival in Punta del Este.

"I remember like it was today. The film was the 'L'uomo mascherato contro i pirati' (Masked Man Against the Pirates). Look at that title! The director was Vertunnio De Angelis, he saw me and said, "No, you are too skinny, I want a muscular man". Then a door opened and the producer left, Pino Addario, saying: "This is fantastic to be the protagonist". He asked if I knew fencing, shooting and horseback riding. I said yes to everything but it was not true. I called a few days later and he gave me the part."

"[To star in a western you must have] a physical body, learn to ride a horse, punching and boxing. I did, have resistance and you must withstand dirt, dust and shots ... but I always preferred comedies like Cary Grant did. I must confess that to me, no, I never liked the westerns."

[edwige-fenech]

George Hilton in Perché quelle strane gocce di sangue sul corpo di Jennifer? Dir. Giuliano Carnimeo (1972)