#george de galles

[transparentgentlemenmarker]

Image faite par IA du Prince George futur roi d'Angleterre

[chicinsilk]

Photo Rolf Lutz. Model/Modèle: Sophie Derly.

Photo Georges Dambier. Model not identified/Modèle: non identifié.

Photo Philippe Pottier. Model not identified/Modèle: non identifié.

❤️❤️❤️❤️❤️

Marc Bohan for Christian Dior Spring-Summer 1961 Haute Couture Collection. "Spring", black and white Prince of Wales suit (Chatillon Mouly Roussel fabrics)

Marc Bohan pour Christian Dior Collection Haute Couture Printemps-Eté 1961. "Printemps", tailleur Prince de Galles noir et blanc (Tissus Chatillon Mouly Roussel)

[justforbooks]

Françoise Hardy

Icon of 60s music who sang of love as a source of ‘wretched, profound, endless questioning’

Françoise Hardy, who has died of cancer aged 80, shot to fame as part of France’s génération yé-yé, the jaunty transatlantic and cross-channel collision between French chanson and American rock’n’roll that also produced Johnny Hallyday and France Gall. But from the start, there was something that set her apart: a wistfulness, a sentimental self-reflection, a poise that belied a lifelong shyness and insecurity. A 60s icon, as big, for a while, in London as in Paris, Hardy was, in many ways, the antithesis of that restive, revolutionary decade.

Unlike her contemporaries, when she sang of love it was about “suffering and frustration, illusion and disillusion; wretched, profound, endless questioning”. Her songs, she told Le Monde, were a necessary outlet: “I wrote about my experience … A beautiful, melancholic melody is what best transcends the pain.”

Men fell, in droves, for her timid beauty. Mick Jagger described Hardy as his “ideal woman”. David Bowie, “passionately in love” for years, courted her backstage, in dressing gown and embroidered slippers. In 1964, the sleeve notes of Another Side of Bob Dylan featured a whole poem “for françoise hardy/at the seine’s edge”. (Two years later, after a concert at the Olympia music hall in Paris, Dylan invited the singer to a party in his suite at the George V, one of the capital’s grandest hotels. In his bedroom, he played her two tracks from Blonde on Blonde: Just Like a Woman and I Want You. Hardy always insisted she was so starstruck she never got the message.)

But the love of Hardy’s life, the father of her son and the agonising inspiration for many of her songs, was the French singer and actor Jacques Dutronc, whom she met in 1967 and married in 1981. The couple separated in the 90s, but never divorced, remaining on good terms. “Love is a remarkable force, even if its price is perpetual torment,” she said. “But without that torment, I would not have written a single lyric.”

Hardy was born in Nazi-occupied Paris, in the same maternity clinic at the top of the rue des Martyrs in the ninth arrondissement that had delivered Hallyday a few months earlier. Her mother was Madeleine Hardy, an accountant, and her father, Pierre Dillard, was a company director who was married to another woman. Françoise grew up in a two-room apartment nearby with her sister, Michèle, born 18 months later, and a solitary mother with whom Françoise had a “fusional, symbiotic relationship … I loved her probably too much – exclusively, unconditionally”. The girls rarely saw their father, who often neglected to pay his share of their upkeep and was regularly late with the modest fees for their Catholic education.

Weekends were spent with grandparents – notably an “egocentric, narrow-minded, frigid and emasculating” grandmother – outside Paris; many childhood holidays with friends of her mother’s in Austria, to learn German. Shy, dreamy, deeply ashamed of her unconventional family, Hardy turned to the radio, where in the late 50s, on the English service of Radio Luxembourg, she encountered a music – Presley, the Everly Brothers, Brenda Lee, Cliff Richard – that “affected me more than anything else. That ended up changing my life.”

Aged 16, she asked for a guitar for passing the first part of her baccalauréat. A year later, having passed the second part with honours, she taught herself a handful of chords “that produced most of my songs over the next 10 years”, and began writing. At the Sorbonne, studying German, she auditioned, unsuccessfully but not disastrously, for one record company, and started singing lessons.

Hardy’s contract with Vogue Records – who wanted “a female Johnny Hallyday” – was signed on 14 November 1961. She made her first TV appearance, in black and white on the state broadcaster’s only channel, six months later, and released her debut EP, featuring three songs of her own and a cover of a Bobby Lee Trammell song.

Her breakthrough came, rather incongruously, on the night of Charles de Gaulle’s October 1962 referendum asking voters whether France’s future presidents should be directly elected. In a musical interlude while the nation awaited the result, Hardy performed a track from her EP, Tous les garçons et les filles. The nation loved it. The song (sample line: “I walk down the streets, my soul in sorrow”) became a monumental hit in France, spending a total of 15 weeks at No 1 between October 1962 and April 1963 and becoming a million-seller. Within weeks Hardy was on the cover of Paris Match, plunged, still in her teens, into the whirlwind of the swinging 60s (which she detested: she disapproved of casual sex, avoided drugs, and could only ever remember being drunk twice).

Her first boyfriend, the photographer Jean-Marie Périer, ensured her picture – miniskirt, white boots, long hair, signature fringe – went around the world. Courrèges, Yves Saint Laurent and Paco Rabanne competed to dress her, for seasons at the Olympia in Paris, the Savoy in London, and shows in Germany, Italy, the Netherlands, Denmark, Spain, Canada and South Africa. In New York, William Klein photographed her for Vogue. Roger Vadim, Jean-Luc Godard and John Frankenheimer cast her in films.

The hits flowed, recorded – some in London, produced by Charles Blackwell – in French, English, German, Italian, some written by Hardy, others not.

But at the end of the 60s, barely five years after she began, Hardy abruptly gave up performing live, and the cinema. “I hated what it all involved,” she explained. “Being separated from the man I loved, the waiting, the solitude, depending on the phone. And I’ve never been able to act. I can’t simulate, or lie. Songwriting, on the other hand … dives deep.” Life in the fast lane, she declared, was “a gilded prison”.

But she continued recording, releasing a dozen bestselling albums in France, of which she always cited La Question (1971), a sophisticated collaboration with the Brazilian musician Tuca, as her favourite. She duetted with French artists Henri Salvador, Alain Souchon and Benjamin Biolay, and later with Damon Albarn and Iggy Pop.

Hardy was never very interested in politics (she decamped to Corsica with Dutronc for the duration of les événements of May 1968, whose student leaders she distrusted), although she had strong opinions about questions such as abortion. Hardy was, however, fascinated by astrology, writing two books on the subject.

She continued to work in later life, despite claiming that her 1988 album, Décalages, would be her last. A string of new recordings in the 1990s and 2000s, a 2008 autobiography, Le Désespoir des Singes (the title apparently derived from a monkey puzzle tree in the Bagatelle gardens near her Paris flat, because its sharp, spiky leaves reminded her of “men who have caused me despair”), and her last album, Personne d’autre, released in 2018, appeared despite family and personal tragedies: Hardy was at her mother’s side when, suffering from Charcot–Marie–Tooth disease, she died by euthanasia in 1994.

Hardy herself was diagnosed in 2004 with lymphoma, eventually recovering after an experimental form of chemotherapy – but only after she had been hospitalised, in an induced coma, in 2015. Three years later, another tumour was detected, this time in her ear. In 2021, she told the magazine Femme Actuelle (by email; she said she could no longer talk) that she would like to be able to choose to end her life, as her mother had done, and in 2023, in an interview with Paris Match, called on Emmanuel Macron, the French president, to legalise assisted dying.

Shortly before that second diagnosis, in 2018, Hardy reflected on a career that had brought pretty much every award French music can offer (plus a medal from the Académie Française), telling the Observer she had always been surprised that people – “even very good musicians” – had been moved by her voice.

“I know its limitations, I always have,” she said. “But I have chosen carefully. What a person sings is an expression of what they are. Luckily for me, the most beautiful songs are not happy songs. The songs we remember are the sad, romantic songs.”

She is survived by Dutronc, and by their son, Thomas.

🔔 Françoise Madeleine Hardy, singer, born 17 January 1944; died 11 June 2024

Daily inspiration. Discover more photos at Just for Books…?

[juke-box67]

Discographie France Gall 1963-1964

En octobre 1963 , France Gall sort son premier 45 tour EP avec «  Ne sois pas si bête » (PMD: 7,18€) , qui correspond à l’adaptation par Pierre Delanoë de « Stand a little Closer » des américains Jack Wolf et Maurice « Bugs » Bower. Ce vinyle sera vendu à moins de 50000 exemplaires en France . Il sera 24eme au hits parade en Belgique francophone et 34eme en France.

En 1964, c’est grâce aux paroles et à la musique de Serge Gainsbourg qu’elle chante « N’écoute pas les idoles » (PMD: 5,€) et « Laisse tomber les filles » (PMD: 10,00€). «  N’écoute pas les idoles est vendu à 75000 exemplaires alors que « Laisse tomber les filles » atteint les 100000 exemplaires. Ces deux morceaux approchent la 10ème place des hits parade français et belge.

La même année, elle collabore avec Robert Gall (son père) pour les paroles et Alain Goraguer pour la musique, et sort l’EP : « La cloche/Jazz à gogo » (PMD : 8€). C’est une adaptation française de la chanson «  My boyfriend got a beatle haircut », interprétée la même année par Donna Lynn.

Toujours avec son père pour les paroles mais grâce a la musique de Georges Lifeman, elle chante un tube à l’époque «  Sacré Charlemagne » (PMD: 4,00€). C’est son premier vrai succès avec 300000 exemplaires vendus et une 7eme place au hit-parade belge et une troisième au hit-parade français. L’histoire raconte que son papa aurait écrit cette chanson en repensant au jour où il avait grondé sa fille car elle avait écrit « Vive Charlemagne » dans l’ascenseur de leur immeuble. Cette chanson assortie de quelques erreurs historiques ( la barbe bleue de Charlemagne qui est finalement blanche et l’invention de l’école par Charlemagne qui est né bien après la création de celle-ci) ce qui ne l’a cependant pas empêché d’être la musique générique de plusieurs émissions télévisées telles que : « Le pensionnat de Chavagnes », « le pensionnat de Sarlat », « Retour au pensionnat » ou encore plus récemment « le club Dorothée ».

Toujours en 1964, France Gall sort trois albums :

-« N’écoute pas les idoles » premier 33 tours de 25 cm, paru en Mars 1964, reprenant les chansons de ses deux premiers super 45 tours ( « Ne sois pas si bête » et « N’écoute pas les idoles» ).

-« Mes premières vraies vacances » qui est son premier album studio 30 cm qui reprend les chansons de son premier album 25 cm en y ajoutant les morceaux de son troisième EP : « La cloche ». Cet album, sorti en Août 1964, est réalisé avec la participation d’Alain Goraguer et son orchestre.

- « Sacré Charlemagne, qui est un album 25 cm, reprenant des chansons déjà sortie sur EP ou 45 tours . Elle réalise de nouveau cette album avec l’orchestre d’Alain Goraguer. Les paroliers sont soit son père (Robert Gall), soit Serge Gainsbourg. Maurice Tézé rédige les paroles de « Nounours » et Maurice Vidalin celles de « Christiansen ».

En 1964, France Gall participe à l’album de Serge Gainsbourg dénommé « Gainsbourg percussions » dont le titre est « Pauvre Lola » . France Gall interprète le rire de Lola.

(PMD = Prix Moyen Discogs)

[grandmaster-anne]

A royally good start

Horse & Hound | Published 20 June 2021

WHEN The Queen’s childhood governess Marion Crawford first met a young Princess Elizabeth, she found “a small figure with a mop of curls sat up in bed”, who had tied the cords of her dressing gown to the knobs of the bed and was busy driving her team.

‘‘Do you usually drive in bed?” Marion remembered asking, in her 1950 book The Little Princesses, to which the princess replied: “I mostly go once or twice round the park before I go to sleep. It exercises my horses.”

The 30-odd toy horses that she had, each standing a foot high on wheels, had a strict stable routine; their grooming basket stood at the end of a long line of them, first at No. 145 Piccadilly, and later in the corridors of Buckingham Palace. Each night they had their saddles removed, and were attentively fed and watered. And after her and Princess Margaret’s annual trip to Olympia Horse Show with their parents, the toy horses would be put through several weeks of intensive training. On other occasions Princess Elizabeth would harness her nanny with a pair of red reins to set off on a fictional delivery round.

“I would be patted, given my nosebag, and jerked to a standstill, while Lilibet delivered imaginary groceries, and held long and intimate conversations with her make-believe customers,” wrote Marion. “Sometimes she would whisper to me, ‘Crawfie, you must pretend to be impatient. Paw the ground a bit.’ So, I would paw.”

And at Royal Lodge, in Windsor Great Park, where weekends were spent, two lifesized rocking horses were put outside the then Duke of York’s study, so he could hear his daughters riding while he worked.

WHEN Princess Elizabeth’s grandfather King George V gave her the diminutive Shetland Peggy when she was four years old, it was her first real taste of life in the saddle - and a place for her to channel the attentiveness she’d shown her toys. A photo from the 2014 exhibition Royal Childhood at the Summer Opening of Buckingham Palace shows her proudly leading her younger sister aboard Peggy, with the bowler-hat clad groom Mr Henry Owen, who taught her to ride, in attendance.

“[Princess Elizabeth] liked me to come and watch her [riding lessons with Mr Owen],” wrote Marion. “Her first canter was a great day. I used to walk with the dogs, and it was pretty to hear her bell-like voice through the trees talking to Owen about burs, galls and girths.”

For all the stereotyping of Shetlands being comically naughty, they have continued to be the royal family’s choice of breed for a child’s debut in the saddle. It was Queen Victoria’s fondness for the breed that helped raise their profile in the 19th century, according to Anne, Countess De La Warr, president of the Shetland Pony Stud Book Society.

“It made them popular with other Victorian mothers,” she says. “They’re particularly good as a first pony, but also as what I call a family pony; if you have a trap or a cart, you can all go on family picnics with them. I have one friend whose pony is said to know his way to the pub.”

Flora and Alma, two Shetlands who were presented to Queen Victoria by King Victor Emmanuel of Italy, proved particularly popular with her grandchildren, and it’s a trend that Anne continues to see today.

“Grandmothers can have them in the field and when a child comes to visit, you can hoik them out and put a saddle on. They’re amazingly easy,” she says.

If it weren’t for the grand surroundings, BBC footage from 1992 of The Queen with Princesses Beatrice and Eugenie riding Smokey at Balmoral could be any idyllic scene of a grandmother with her grandchildren.

As Anne explains, the best Shetlands tend to come via word of mouth and the royal family is no exception in following that ethos on the hunt for the perfect pony. Prince William learnt to ride on the pint-sized Smokey aged four; Llanerch Topaz, another that the future king was pictured on as a child taught the Princess Royal’s children to ride and it was reported that Zara Tindall provided a Shetland for Prince George to kick-start his riding.

WHILE these early rides are the grand sum of some royal family members’ foray into equestrianism, for others it is just the start. Aged two, Princess Anne was bundled aboard Fum, and although her memories of the Shetland are vague, the experience paved the way for a series of more memorable ponies that would lay the foundations for her Olympic eventing career.

Holidays as a child were spent at Sandringham, Windsor and Balmoral. Each offered a different terrain for Princess Anne to tackle on horseback, usually accompanied by her mother and older brother, and assisted by the groom, Frank Hatcher, who helped the children catch the ponies and brush them, and reminded them to pick out their feet.

“The miles of stubble fields around Sandringham were pure luxury by today’s standards of relatively restricted hacking,” she remembered in her 1991 equestrian autobiography Riding Through My Life, reminiscing about the “rides” which had been cleared for Queen Alexandra to be able to ride through the woods and all over the estate without getting her hat knocked off.

“The best ‘fun’ riding was at Balmoral: riverside paths, woodland paths, hill paths and the golf course. It was all right if you rode on the rough, but you were definitely not popular if you got ‘carted’ away with across the fairways.” As for a young Princess Elizabeth, who won a driving class at the 1944 Royal Windsor Horse Show with her Norwegian pony Hans, Princess Anne’s initially modest competitive career started from Windsor, where most of her riding happened at weekends (although not on Sundays, which was the grooms’ day off).

She was a member of the Garth Hunt branch of the Pony Club - although she can count the number of rallies she went to on one hand.

“They were memorable for persuading me that gymkhana games were not my forte. The pony I had at the time was a 13.2hh called Bandit, who was charming and reliable in every way except that he refused to repeat himself. By that I mean that he would take part in one bending race, but tried very hard not to take part in the next,” Princess Anne wrote in her autobiography.

It was this same pony that knocked a young Prince Charles’s confidence when it came to jumping. On clearing one round the grey was known to “indulge in his well-known imitation of a horse rampant if asked to face up to round two,” remembered Princess Anne. Discovering hunting helped renew the Prince’s interest in jumping, and being introduced to polo by his father at the age of 13 was a world away from the tedious early lessons inflicted on him and his sister with Miss Sybil Smith at Holyport.

Princess Anne remembered: “Being put on a small, fat, white cob, on the end of a leading rein, one each side of a large, fat, white cob, ridden by Miss Smith, and being led, very sedately, around a cinder circle was not our idea of riding!”

Even with the abundant privilege, being royal couldn’t negate the calamities that accompany getting to grips with ponies. On holiday at Glamis Castle, the childhood home of the Queen Mother, a favourite expedition for Princesses Elizabeth and Margaret was to take the pony down to Glamis Station to watch the Aberdeen Fish Express go through.

“The pony was temperamental about trains, and the station master very kindly let us shut him up in the waiting room,” remembered governess Marion Crawford. “Unfortunately, one day when, as usual, we did this, the stationmaster had forgotten to warn us that he had put all his best chrysanthemums ready for the flower show in there. The pony ate the lot.”

A tumble came for Princess Anne when riding her bay 14.2hh Watersmeet High Jinks in from the field while leading another, and making an unplanned dismount on some hard cobbles. “Not for the first time he looked genuinely surprised at the antics of his erstwhile rider,” she wrote.

An earlier mount, Kirby Cane Greensleeves, left a lasting imprint on the Princess after the Welsh pony trod on her toe. “In that endearing way that ponies have, the more I shouted, the more I pushed and the more desperate I became, the harder she leaned,” she wrote.

And while the royal ponies might have nestled alongside horses reserved for pulling golden state carriages when they were stabled at Windsor Castle, it was often a refreshingly low-key existence. At Windsor, the ponies lived a distance from the Mews, so the children would take the tack down in the car, tack them up in the field and take them out from there.

“These were pretty rough, scruffy little objects,” remembered Princess Anne.

What was drummed into the children however by The Queen was that whatever went wrong, it was never the ponies’ fault. Along with Zara’s Pony Club grounding, this was a mantra that Princess Anne instilled in her own children, and one that seems likely to exist for the next generation.

“There is no doubt that the level of involvement required in equestrian sport teaches young people a great deal about life, especially that ‘life’ is not fair,” wrote Princess Anne. “Horses are no respecters of reputation or ego and certainly not of wealth, making them a challenge to everybody, whether looking after or riding them.”

Pictures by AFP via Getty Images, Tim Graham Photo Library via Getty Images

[michaelwavemichaelwave]

I posted 2,611 times in 2022

That's 2,611 more posts than 2021!

65 posts created (2%)

2,546 posts reblogged (98%)

Blogs I reblogged the most:

@quicksilver-castiel

@adammilligan

@fellshish

@klayr-de-gall

@pussypopstiel

I tagged 1,565 of my posts in 2022

Only 40% of my posts had no tags

#spn - 1,351 posts

#notes - 62 posts

#midam - 62 posts

#prev - 60 posts

#supernatural - 46 posts

#read later - 25 posts

#adam milligan - 24 posts

#all hail michaelwave - 16 posts

#misha collins - 12 posts

#lmao - 9 posts

Longest Tag: 140 characters

#i do very much think adam has the mindset of 'if i wasn't worth enough of their time to get me out of the cage then they're sure as hell not

My Top Posts in 2022:

#5

Micheal and Adam definitely had this giant DnD campaign over their time in Hell. Micheal plays an Angel Sorcerer named Micheal while Adam DMs (struggling to balance out Micheal's character).

"You see a village."

"I smite it, as is my mission."

"No. You don't have that ability."

"Yes, I do."

"No. Maybe try talking to one of the villagers."

"I stab him."

Adam groans, that was supposed to be the exposition dump and friend of the campaign NPC. He shifts said role to another NPC.

"I stab him."

"He takes six piercing damage."

"He should be dead."

"He's bloody, but he's hanging in there, buddy."

"I stab him again."

"But before you kill him, he offers you some dying words <insert lenghty exposition dump here> and then he dies."

Micheal is indifferent to the game, but soon he begins taking it far too seriously (He likes going on missions and killing things). Micheal gets frustrated with needing to take long rests and how his powers in game are limited. Later Adam will join as an NPC in the campaign. He wants to pick a cool name, race and class, but Micheal somehow talks him into playing a human fighter named Adam Milligan. The two go on epic quests together to smite demons, and bog slimes. Along the way Micheal befriends an animal familiar (What kind of animal would Micheal's familiar be and what would its name be?) But it befriends Micheal, and Adam loves it, and soon Micheal and the pet companion are inseperable.

Then one day a Giant Vemomous snake attacks them as a random encounter for having low perception and the familiar/pet companion is killed. Micheal sides the main plot of the campaign and gets into necromancy. Micheal swears revenge on eliminating the Giant Vemomous snake population in its entirity- and the campaign takes an unexpected side quest for several years.

Throughout the campaign Adam keeps trying to get Micheal to reflect on "maybe you don't need to complete every quest, and should find your own pursuits. What does Micheal want?"

"Micheal is a soldier. It is his duty to complete quests."

"But you put it aside for (pet companion's name)."

Micheal frowns. Slowly coming to the realization that maybe... he doesn't like going on missions and killing things? Maybe he just likes spending time with DnD Adam. DnD Micheal never fully completes his character arch before they get out of The Cage. He reaches level 20 and believes this to be enough. Eventually DnD Adam decides to retire from fighting, and DnD Micheal decides to go with him. But there are still post retirement from fighting adventures. And then they escape The Cage and never return to the game.

32 notes - Posted May 18, 2022

#4

Sure, Adam fulfilling his dream of becoming a doctor-

But what if his junior/ senior year of college he discovers that he hates being a doctor and that his true interest lies in another subject entirely. It's just being a doctor seemed so much more practical and stable, something he was supposed to become but isn't, Chuck's parallels, and his mom did it and he want to be like her. So he has to unravel all those emotions???

32 notes - Posted June 16, 2022

#3

Adam feeling confident walking into that diner knowing that George Bush is the president and the new iPhone is the iPhone 3.

33 notes - Posted June 13, 2022

#2

Michael: You'll be my guide! :)

Adam, who hasn't been around humanity for 1,200 years: Oh for sure, I got this.

83 notes - Posted June 12, 2022

My #1 post of 2022

127 notes - Posted April 23, 2022

Get your Tumblr 2022 Year in Review →

[detournementsmineurs]

"Le Retour du Duc et de la Duchesse d'York arrivant en Gare de Victoria à Londres" (de gauche à droite, le Prince de Galles, la Reine Mary, le Duc d'York, le Roi George V et la Jeune Duchesse embrassant sa Mère) publié dans L'Illustration, 1927.

[transparentgentlemenmarker]

La carte de voeux 2023 de Kate et William a un problème. Il manque quelque chose

C'est un rituel immuable et addictif comme un biscuit de Noël saturé de beurre et de sucre. La carte de voeux de la famille royale pour les Fêtes dévoilée ce week-end 9 décembre sur leurs canaux officiels, la photo 2023 du prince et de la princesse de Galles n'a pas manqué de provoquer son lot de discussions passionnées et d'analyses psychologiques. Sourires Colgate éclatants, beautés éclatantes, chemises blanches éclatantes Kate, William, George, Charlotte et Louis sont l'incarnation éclatante de la perfection. Rassurez-vous toutefois, aussi beaux qu'ils soient, les Gallois ne sont pas non plus à l'abri d'un couac. Comme une poignée d'internautes et fins observateurs n'ont pas tardé à le pointer du doigt, cette photo aux allures de campagne de pub pour dentifrice a un petit problème. Jetez donc plutôt un oeil à la main du petit Louis

??? Ah oui, il manque quelque chose. Alors, abus de Photoshop ? Position volontairement bizzaroïde du majeur de Louis, qui n'en serait pas à sa première photo ratée? Complot familial pour nous faire parler et bien ça a marché. Toutes les théories sont ouvertes, on vous laisse choisir la vôtre

[chicinsilk]

Vogue Paris March 1981

Yves Saint Laurent Haute Couture Collection Spring/Summer 1981. Jerry Hall in a Prince of Wales wool suit and damask silk crepe satin blouse.

Yves Saint Laurent Collection Haute Couture Printemps/Eté 1981. Jerry Hall dans un tailleur en lainage Prince de Galles et blouse en crêpe satin de soie damassé.

Photo George Hurrell

[rugbyprime]

Transferts : Après North et Plisson, Provence Rugby rêve de Ned Hanigan (Waratahs)

Ned Hanigan fait parti des joueurs suivis par Provence Rugby – Icon Sport Provence Rugby frappe fort sur le marché des transferts. Après avoir recruté George North en provenance des Ospreys (Pays de Galles) et Jules Plisson en provenance de Clermont, les Aixois se mettent à rêver d’un Wallaby. Va-t-on voir débarquer un nouvel international du côté de Provence Rugby la saison prochaine ? C’est…

[dealthorpakp]

24 janvier 1984 Dévoilement du portrait en pied de la princesse de Galles par June Mendoza à la Worshipful Company of Grocers à Londres

Le portrait a été peint lors de six séances au palais de Kensington, la résidence londonienne de Diana et de son mari. La photo a été commandée par la Worshipful Company of Grocers pour marquer la cérémonie de l'année dernière au cours de laquelle la princesse a obtenu la liberté de société, une distinction honorifique décernée en guise de marque d'estime.

Le tableau a été accroché dans la salle de banquet de l'entreprise aux côtés des portraits du roi Charles II, du roi Guillaume III et du roi George III. Les guildes de marchands, dont les membres sont en grande partie composés d'hommes d'affaires éminents, descendent des guildes commerciales médiévales

[juke-box67]

Discographie France Gall 1966

En 1966, France Gall sort « Baby pop » d’abord en EP ( parole de S. Gainsbourg) comme présenté ci-dessus (PMD : 7,95€) puis en album . L’album sort en octobre 1966 et reprend plusieurs chansons sorties en 1965 , en plus de celles reprises sur l’EP. C’est de nouveau Alain Goraguer et son orchestre qui accompagne la chanteuse. Dans cet album, on retrouve également le 45tours « et des baisers » (PMD : 10 €) à différencier de la traduction française de « Baci,baci, baci » adaptée par Eddy Marnay qu’elle chantera en 1969 .

En 1966, grâce aux paroles de Serge Gainsbourg, France Gall sort la chanson «  Les sucettes » (PMD: 9,50 €). Cette chanson à double sens va avoir un succès mitigé même si on en parle toujours beaucoup . Ainsi , France Gall , toute innocente, s’en tient au sens premier de la chanson . Serge Gainsbourg s’amuse dans certaines interviews de l’innocence de la chanteuse qui finit par se rendre compte du double sens et n’ose plus sortir de chez elle , ni de participer à des interviews… Cette chanson ne sera vendue qu’à 50000 exemplaires. Elle sera reprise par Serge Gainsbourg dans l’album « Jane Birkin-Serge Gainsbourg » en 1969 . Elle reste néanmoins régulièrement programmée lors d’émissions évoquant les sixties.

La même année, elle chante « Bonsoir John John » , un hommage au fils de JFK . Cette chanson est écrite par Gilles Thibault et Claude Henri Vic et l’enregistrement est réalisé par Denis Bourgeois . Ce morceau sera repris sur l’album FG , également appelé « Les sucettes » et paru en 1966. « Bonsoir John John » sera vendu à moins de 50000 exemplaires. ( PMD : 8,00€) .

En 1966, elle sort encore «  Oh ! quelle famille » dont les paroles sont écrites par son père et la musique par Georges Lifeman .

[rugbyfil]

Vidéo. WTF. Les Gallois imitent Cheslin Kolbe en contrant George Ford

Scène cocasse à Twickenham où George Ford s’est fait contrer sur sa transformation face au Pays de Galles dans le Six Nations. #ENGWAL

L’équipe d’Angleterre s’est imposée face au Pays de Galles 16-14 à Twickenham lors de la deuxième journée du Tournoi des Six Nations. Une semaine après la victoire inaugurale face à l’Italie à Rome, les hommes de Steve Borthwick récidivent et sont en lice pour un Grand Chelem cette année. Le Pays de Galles, malgré une supériorité numérique temporaire à 15 contre 13, n’a pas réussi à prendre le…

[infosisraelnews]

Kate Middleton brise la tradition familiale à l'occasion du 10e anniversaire de Prince George

Le prince et la princesse de Galles ont célèbré samedi le dixième anniversaire de leur fils aîné, le prince George, mais de manière inattendue, Kate a décidé de rompre la tradition familiale. Le couple royal a posté une nouvelle photo de George souriant assis sur les marches du château de Windsor. Cependant, au lieu que Kate prenne la poto oficielle d’anniversaire, une tradition qu’elle a…