Christo was a Bulgarian-American artist best-known for wrapping up monument-sized objects.
She was with her partner Per Wahlöö (1926 – 1975) the spiritual co-parent of Nordic noir.
In my universe she is important for having been published in the Zwarte Beertjes collection of pocket books.
To an international audience she is all but forgotten.
I believe all of the duo’s books were made into films.
I give you the trailer of The Laughing Policeman (1973) featuring Walter Matthau and Bruce Dern.
Henry Grimes was an American jazz musician working in the free jazz idiom.
Giuseppi Logan American jazz musician working in the free jazz idiom.
Also, both were tortured artists.
I’ve always had a fascination with free jazz which veers from awe to disbelief to a mild form of even scorn.
It’s as if free jazz is the locus of strife between my need for entertainment and intellectualism.
But jazz itself was also that locus of strife.
Because it was somewhere in the 1940s that jazz begot bebop, and the road that had been jazz permanently forked.
One side continued its entertainment course.
Another side explored the realm of high art.
So as jazz became less popular, it became more highbrow.
Behind the scenes, rock and roll and R&B had been waiting impatiently to fill this entertainment void.
Sergio Rossi was an Italian shoe designer.
I discovered his work by finding a page dedicated to misogynistic advertising.
Here is the image I discovered, white stockings, white shoes, only the legs are visible, in a Mondriaan-like framework.
Disembodied legs as depicted in this Rossi advertisement haven an aphrodisiac effect on me.
Isabel Sarli was an Argentinian model and actress known for her risqué films. As such, she was the Latin American Brigitte Bardot. The first film to show her nude was Thunder Among the Leaves (1957) which has her skinny-dipping from 50:09 to 51:38. There are also nude indigenous females (26:34 and subsequent scenes).
Thunder Among the Leaves (1958)
If you are more into the wackier films like I am, there is Carne (1968) with Isabel Sarli as Delicia, a worker in a meat-packing factory; Fuego (1969) with Sarli as a nymphomaniac; and Fiebre (1970) in which Sarli falls in love with a horse when she sees a stallion mounting a mare.
Searching for “Isabel Sarli”, “sexploitation” and “Latsploitation” brings up snippets such as “generally boring sexploitation film about one of those favorite characters in male reveries, a nymphomaniac.” ([on Fuego] in Cue – Volume 40, Issues 1-13 – Page 67 (1971)); “Isabel Sarli breasting her way through further south-of-the-border sexploitation affairs. […] There’s never been a nudie movie queen more amply endowed than Argentina’s Isabel Sarli who simply has to shed her clothing to make things like story and characterization seem irrelevant.” (Film Bulletin – Volume 39 (1970)); “Woman and Temptation is zero as art, but the talents of the buxom Isabel Sarli make this a top sexploiter entry.” (Filmfacts – Volume 12 (1969)) and “While we cannot claim that Sarli’s films would adhere to a feminist agenda …” (Latsploitation, Exploitation Cinemas, and Latin America (2009)).