Queen Desert

A marvelous tale of an adventurous life of great historical import She has been called the female Lawrence of Arabia, which, while not inaccurate, fails to give Gertrude Bell her due. She was at one time the most powerful woman in the British Empire: a nation builder, the driving force behind the creation of modern-day Iraq. Born in 1868 into a world of privilege, Bell turned her back on Victorian society, choosing to read history at Oxford and going on to become an archaeologist, spy, Arabist, linguist, author (of Persian Pictures, The Desert and the Sown, and many other collections), poet, photographer, and legendary mountaineer (she took off her skirt and climbed the Alps in her underclothes).She traveled the globe several times, but her passion was the desert, where she traveled with only her guns and her servants. Her vast knowledge of the region made her indispensable to the Cairo Intelligence Office of the British government during World War I. She advised the Viceroy of India; then, as an army major, she traveled to the front lines in Mesopotamia. There, she supported the creation of an autonomous Arab nation for Iraq, promoting and manipulating the election of King Faisal to the throne and helping to draw the borders of the fledgling state. Gertrude Bell, vividly told and impeccably researched by Georgina Howell, is a richly compelling portrait of a woman who transcended the restrictions of her class and times, and in so doing, created a remarkable and enduring legacy.

Turning away from the privileged world of the "eminent Victorians," Gertrude Bell (1868—1926) explored, mapped, and excavated the world of the Arabs. Recruited by British intelligence during World War I, she played a crucial role in obtaining the loyalty of Arab leaders, and her connections and information provided the brains to match T. E. Lawrence's brawn. After the war, she played a major role in creating the modern Middle East and was, at the time, considered the most powerful woman in the British Empire. In this masterful biography, Janet Wallach shows us the woman behind these achievements–a woman whose passion and defiant independence were at odds wit the confined and custom-bound England she left behind. Too long eclipsed by Lawrence, Gertrude Bell emerges at last in her own right as a vital player on the stage of modern history, and as a woman whose life was both a heartbreaking story and a grand adventure.

A biography of the woman who, indirectly, was the catalyst for many of the troubles in the Middle East, including the Gulf War. In 1918, Gertrude Bell drew the region's proposed boundaries on a piece of tracing paper. Her qualifications for doing so were her extensive travel, her fluency in both Persian and Arabic, and her relationships with sheiks and tribal and religious leaders. She also possessed an ability to understand the subtle and indirect politeness of the culture, something many of her colonialist comrades were oblivious to. As a self-made statesman her sex was an asset, enabling her to bypass the ladder of protocol and dive into the business of building an Empire.

This simple but refined duvet ensemble features deep chocolate brown infused by shimmering organic embroidery in a cream and a layering of pale terracotta; a unique combination that appeals to the senses and infuses any room with a distinctive and modern aesthetic.

geotw Hut-two-three-four all the good little soldiers will want to jump right into this Geo Camo complete bedroom ensemble! The face of the comforter and the standard flanged pillow shams features an all over stylized camouflage design in shades of forest green, olive and khaki; the comforter reverses to solid olive green. Features: -Set includes comforter, standard sham, flat sheet, fitted sheet and standard pillowcase. -Made of blend of 60pct cotton and 40pct polyester. -180 Thread count. -Sheets and pillowcases feature an all over geometric design emulating chain link, in shades of olive and forest on a khaki ground. -Easy to care and machine washable.

They came. They conquered. They looked fabulous. This wonderfully inventive, visually stunning and incomparably funny Australian import about three drag performers braving the vast, rugged outback won the 1994 Academy Award(r) for Costume Design. Veteran actor Terence Stamp (Star Wars: The Phantom Menace), Hugo Weaving (The Matrix), Guy Pearce (L.A. Confidential) all give hilarious ? and heartfelt ? performances in a three-fishes-outta-water story that's "one of the wildest movies ever made" (Rex Reed, New York Observer)! With a contract to perform a drag show way out in the Australian desert, Tick (Weaving), Adam (Pearce) and Ralph (Stamp) each has his own reason for wanting to leave the safety of Sydney. Christening their battered pink tour bus "Priscilla," this wickedly funny and high-drama trio head for the Outback...and into crazy adventures in even crazier outfits. You go, girls!

A surprise hit in America, this 1994 Australian comedy is anchored by Terence Stamp as a transsexual who, in the company of two drag queens, travels to a remote desert location to put on a lip-synch performance--to the amazement of the locals. Getting there on a pink bus named Priscilla, the trio stop and play for people all over the Outback, getting the same homophobic, bewildered responses. The weak link in the film is dialogue that seems to have been pulled from "Queer Movie Banter for Dummies," all bitchy and cliché-ridden but fortunately salvaged by strong acting. The most fun comes whenever the three are performing; fans of Abba will be particularly pleased. --Tom Keogh The Adventures of Priscilla Queen of the Desert Extras Watch Director Stephan Elliot talk about the film's iconic costumes. An Interview with Priscilla Costume Designer Tim Chappel How much of costume design is your own inspiration / how much is inspired by the character? I rarely have creative free reign like I had on Priscilla. Priscilla was one of those rare situations where the powers that be said "Go for it". The characters are my babies. All design is meant to build character and help move the story along. Fortunately Mitzi, Felacia, and Bernardette were outrageous drag queens so that was not only easy bit great fun. Hard as it may seem, there are nuances that aren't obvious. For example when the queens are climbing Kings Canyon each of their headdresses are a distillation of their individual personalities. Bernardette is the Evil Queen, Mizti has lipsticks, rollers and pacifiers, and Felecia has Cupie dolls that are staring at themselves in little mirrors. What is the process of physically rendering the costumes? Do you build them by hand? Work with a team? Hit vintage stores? I usually begin by sketching roughs. Then once everyone has had their input - or cocked their leg as it seems more of the time, I do the finished sketches. These get signed off on literally becoming a visual contract. Then they get handed to the Costumier that builds a toile (a practice one). That gets fitted on the talent and we all um and ah--hopefully more ooh and ah if it's working well. Then we have a second fitting to perfect the fit and a final fitting to see the final project. On Priscilla however I simply grabbed whatever I had around or worked out which costume could be sacrificed and started gluing and sewing and hoping for the best. If something started to break there was always the hot glue gun and a handful of glitter to disguise any lumps and bumps. The costumes were literally finished when they would tear them out of my hands. Did any of the actors on Priscilla have any costume concerns? Was anyone concerned the costume would overpower their performance? The actors were all good sports. Terence told us he wanted to look like Holly Golightly but he soon gave up on that idea. He actually looked quite beautiful at times I thought. There was a moment at Kings Canyon when Terrence said that something was bothering his forward and I looked over to see a single drop of blood run down his brow--whoops, with only $12,000 US there was no room for comfort. What's the difference between cinematic fashion and street (real people) fashion? I.e., does it have to be "bigger" if it's on the screen? There are lots of differences between what you wear on the street, on stage, or in stills. Each medium requires special attention. For example in film you have to find out what kind of film stock is being used, what kind of filters and the general visual feel that the production designer and cinematographer are trying to go for. Of course the Director is trying to convey very specific ideas and using texture, color and contrast your job is to build, along with your team, that visual statement. The use of detail is also vital; sometimes you can't even see it but the actor will know its there and much detail, even though you can't literally see it, becomes absorbed in a more subconscious way. In your opinion, who looked the most beautiful (lead roles) in drag, who was the most fun to work with? They were all beauties. Guy Pearce had a background in musical theatre so he was prone to stealing the show. They were all great fun and still people I count as good friends. Any idea the film would take off to become an enormous hit and cult classic as well as meaning so much to fans around the world? We thought we were basically making a home movie; it wasn't until we had the 15-minute standing ovation at the Cannes Film Festival that we knew we had created a DRAG MONSTER! Where did you get the inspiration and know-how regarding costumes? Was there research involved? How did you get involved in doing this movie? I started with the music and let it send me in a delirious creative free fall and took notes as I spun. We got to have a buying trip to NYC in '92--WOW. I got to meet Girlina and Lasdy Bunny and all the voguing Queens--we were doing something totally different but Queens are trick everywhere aren't they. I got involved because Stephan needed a Costume designer who could do everything: design, sew and wear--if necessary. I was working as one of a pair of male backup dancers (an "earring") for a drag-queen troupe called Glamourworld. I used to make all our costumes and we were pretty successful. We even toured Asia going to Hong Kong, Shanghai and Ho Chi Mihn city--all on DragOn Air. How funny is that? What inspires you--what movies stand out to you as having great costumes? It all goes in and just comes out this way. I don't consciously look for inspiration. I like to think of myself as a creative distillery. If you could dress Oscar (of the Academy Awards) - what would you have him wear? My Oscar was on display in Australia's National Gallery in an Exhibition called "The Sights and Sounds of Australian Film." Oscar had purple hair and a disco tube dress. I butchered a Rock and Roll Barbie. She didn't seem to mind 'cause Oscar looked roool perty! Beyond The Adventures of Priscilla Queen of the Desert Cross-Dressing 101 The Adventures Of Priscilla, Queen Of The Desert: Original Motion Picture Soundtrack More from MGM Stills from The Adventures of Priscilla Queen of the Desert

This oscar-winning feel-good comedy won the hearts of moviegoers partly for its lavish costumes and devotion to abba but mostly for the great performances of three drag artists who are on the road trip of a lifetime. Special features: subtitles in french and spanish theatrical trailer and much more. Studio: Tcfhe/mgm Release Date: 09/20/2005 Starring: Terence Stamp Guy Pearce Run time: 103 minutes Rating: R

A surprise hit in America, this 1994 Australian comedy is anchored by Terence Stamp as a transsexual who, in the company of two drag queens, travels to a remote desert location to put on a lip- synch performance--to the amazement of the locals. Getting there on a pink bus named Priscilla, the trio stop and play for people all over the Outback, getting the same homophobic, bewildered responses. The weak link in the film is dialogue that seems to have been pulled from "Queer Movie Banter for Dummies," all bitchy and cliché-ridden but fortunately salvaged by strong acting. The most fun comes whenever the three are performing; fans of Abba will be particularly pleased. --Tom Keogh

Outrageously campy and disco-drenched comedy follows a trio of drag show performers on a journey across the unsophisticated (and at times unfriendly) regions of the Australian Outback in a rickety bus named Priscilla. Terence Stamp offers a fine performance as the transsexual leader of the group; with Guy Pearce ("L.A. Confidential"), Hugo Weaving, Bill Hunter. 103 min. Widescreen; Soundtracks: English DTS HD 5.1 Master Audio, French DTS 5.1; Subtitles: English (SDH), French, Spanish; audio commentary; featurettes; deleted scenes; outtakes; theatrical trailer.

A surprise hit in America, this 1994 Australian comedy is anchored by Terence Stamp as a transsexual who, in the company of two drag queens, travels to a remote desert location to put on a lip-synch performance--to the amazement of the locals. Getting there on a pink bus named Priscilla, the trio stop and play for people all over the Outback, getting the same homophobic, bewildered responses. The weak link in the film is dialogue that seems to have been pulled from "Queer Movie Banter for Dummies," all bitchy and cliché-ridden but fortunately salvaged by strong acting. The most fun comes whenever the three are performing; fans of Abba will be particularly pleased. --Tom Keogh The Adventures of Priscilla Queen of the Desert Extras Watch Director Stephan Elliot talk about the film's iconic costumes. An Interview with Priscilla Costume Designer Tim Chappel How much of costume design is your own inspiration / how much is inspired by the character? I rarely have creative free reign like I had on Priscilla. Priscilla was one of those rare situations where the powers that be said "Go for it". The characters are my babies. All design is meant to build character and help move the story along. Fortunately Mitzi, Felacia, and Bernardette were outrageous drag queens so that was not only easy bit great fun. Hard as it may seem, there are nuances that aren't obvious. For example when the queens are climbing Kings Canyon each of their headdresses are a distillation of their individual personalities. Bernardette is the Evil Queen, Mizti has lipsticks, rollers and pacifiers, and Felecia has Cupie dolls that are staring at themselves in little mirrors. What is the process of physically rendering the costumes? Do you build them by hand? Work with a team? Hit vintage stores? I usually begin by sketching roughs. Then once everyone has had their input - or cocked their leg as it seems more of the time, I do the finished sketches. These get signed off on literally becoming a visual contract. Then they get handed to the Costumier that builds a toile (a practice one). That gets fitted on the talent and we all um and ah--hopefully more ooh and ah if it's working well. Then we have a second fitting to perfect the fit and a final fitting to see the final project. On Priscilla however I simply grabbed whatever I had around or worked out which costume could be sacrificed and started gluing and sewing and hoping for the best. If something started to break there was always the hot glue gun and a handful of glitter to disguise any lumps and bumps. The costumes were literally finished when they would tear them out of my hands. Did any of the actors on Priscilla have any costume concerns? Was anyone concerned the costume would overpower their performance? The actors were all good sports. Terence told us he wanted to look like Holly Golightly but he soon gave up on that idea. He actually looked quite beautiful at times I thought. There was a moment at Kings Canyon when Terrence said that something was bothering his forward and I looked over to see a single drop of blood run down his brow--whoops, with only $12,000 US there was no room for comfort. What's the difference between cinematic fashion and street (real people) fashion? I.e., does it have to be "bigger" if it's on the screen? There are lots of differences between what you wear on the street, on stage, or in stills. Each medium requires special attention. For example in film you have to find out what kind of film stock is being used, what kind of filters and the general visual feel that the production designer and cinematographer are trying to go for. Of course the Director is trying to convey very specific ideas and using texture, color and contrast your job is to build, along with your team, that visual statement. The use of detail is also vital; sometimes you can't even see it but the actor will know its there and much detail, even though you can't literally see it, becomes absorbed in a more subconscious way. In your opinion, who looked the most beautiful (lead roles) in drag, who was the most fun to work with? They were all beauties. Guy Pearce had a background in musical theatre so he was prone to stealing the show. They were all great fun and still people I count as good friends. Any idea the film would take off to become an enormous hit and cult classic as well as meaning so much to fans around the world? We thought we were basically making a home movie; it wasn't until we had the 15-minute standing ovation at the Cannes Film Festival that we knew we had created a DRAG MONSTER! Where did you get the inspiration and know-how regarding costumes? Was there research involved? How did you get involved in doing this movie? I started with the music and let it send me in a delirious creative free fall and took notes as I spun. We got to have a buying trip to NYC in '92--WOW. I got to meet Girlina and Lasdy Bunny and all the voguing Queens--we were doing something totally different but Queens are trick everywhere aren't they. I got involved because Stephan needed a Costume designer who could do everything: design, sew and wear--if necessary. I was working as one of a pair of male backup dancers (an "earring") for a drag-queen troupe called Glamourworld. I used to make all our costumes and we were pretty successful. We even toured Asia going to Hong Kong, Shanghai and Ho Chi Mihn city--all on DragOn Air. How funny is that? What inspires you--what movies stand out to you as having great costumes? It all goes in and just comes out this way. I don't consciously look for inspiration. I like to think of myself as a creative distillery. If you could dress Oscar (of the Academy Awards) - what would you have him wear? My Oscar was on display in Australia's National Gallery in an Exhibition called "The Sights and Sounds of Australian Film." Oscar had purple hair and a disco tube dress. I butchered a Rock and Roll Barbie. She didn't seem to mind 'cause Oscar looked roool perty! Beyond The Adventures of Priscilla Queen of the Desert Cross-Dressing 101 The Adventures Of Priscilla, Queen Of The Desert: Original Motion Picture Soundtrack More from MGM Stills from The Adventures of Priscilla Queen of the Desert

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Like the stage production, the Original Broadway Cast Recording will be a sensational journey to the heart of fabulous!Featuring a classic collection of dance-floor hits spanning the past three decades, from anthems "It's Raining Men" and "I Will Survive" to beloved songs associated with Elvis Presley, Madonna, Cyndi Lauper and Tina Turner, Priscilla Queen Of The Desert The Musical: Original Broadway Cast Recording is a veritable history of dance music that tells the story of a trio of friends on a heart-warming, uplifting adventure who hop aboard a battered old bus searching for love and friendship in the middle of the Australian outback and end up finding more than they could ever have dreamed of.Adapted from the Academy Award® winning film The Adventures of Priscilla Queen of the Desert, Priscilla Queen Of The Desert The Musical, is written by Stephan Elliott and Allan Scott. Direction is by Simon Phillips, choreography is by Ross Coleman, musical supervision and arrangements are by Stephen 'Spud' Murphy and set design is by Brian Thomson. Tim Chappel and Lizzy Gardiner have re-created their Academy Award® winning costume designs, which were originally designed for the film. Lighting is designed by Nick Schlieper and sound design is by Jonathan Deans. BAFTA Award winning make up design is recreated by Cassie Hanlon.On Broadway, Priscilla Queen Of The Desert The Musical stars Olivier Award nominee Tony Sheldon, Tony Award® nominee Will Swenson and Nick Adams leading a company of 27.

Made by X-Acto and released as "The House of Miniatures"---this is a wood model kit of a "Queen Anne Candle Stand" (Circa 1725-1769). Requires assembly and is made from precision machined wood parts. Scale is 1 inch to 1 foot. An authentic reproduction in miniature.

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