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León is Upside-Down with Alatriste

Source: Diario de León
Categories: Alatriste Scans
© Diario de León.
Our thanks once again go out to Miguel Angel Nepomuceno for sending yet another great article from Diario de León. It appears that Alatriste is taking León by storm. We also thank him for the kind mention of both and It looks like León is ready to party.

Click on scan to enlarge.

© Diario de León.

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Translation by Paddy
Source: Scoremagacine
Image Estudios Picasso / Origen Producciones.
© Meliam Music S.L. Karonte Distribuciones.
Paddy has been hard at work once again (we promise we'll give her a rest soon) - this time doing the challenging translation from the music conference attended by Roque Baños on 30 June 2006 and reported on (in Spanish) here.

Looks like we're going to be joining the ranks of those who buy the soundtrack long before they see the film.

Thanks Paddy for bringing us something that whets our appetite even more.



By David Rodríguez Cerdán

Baños wanted to analyze his musical approach to the universe of "Alatriste". He informed us that he had tackled it thematically and that the chosen language, although it was symphonic, didn't privilege the musical realism. His contribution is dramatic, with some notes of the Spanish XVII c., but also modern. Baños explained that he had written three leitmotivs for the film, which are associated with the three dramatic lines of the story. Firstly he had had to solve the main character, which presented him with a considerable difficulty. He explained that Alatriste is a hero tormented by his military past (he was a soldier of the Old Tercios of Flanders); therefore, he couldn't do a typical heroic theme, but he had to combine in his melody heroism and affliction (in this way it emerges the "theme of the dejected hero", which represents the character's ambiguity).

The second of the themes of his repertoire is associated with the love story between Alatriste and María de Castro (Ariadna Gil). Baños confessed to being very proud of this melody, which wittily puts together a harmony of the 17th century and a melodramatic, universal character (the composer also joked about his unstoppable work pace, commenting that "this is probably the best theme I have the last few months.")

The third theme was conceived to underline the tragic relationship between Íñigo Balboa (Unax Ugalde), the youngster at Alatriste's service and the perfidious Angélica de Alquézar (Elena Anaya). Baños explained that this is a very rudimentary theme, of little strength on paper, but very functional and penetrating on screen.

With regard to the thematic concept of the work, he pointed out that, even though he had assigned one leitmotiv to every character, this hadn't been an impediment for him to equally resort to them if the dramatic circumstances required it that way; in "Alatriste" there is no unilaterality in the musical reference, so to speak (Alatriste has one theme, but its value falls on the dramatic meaning, which makes it possible to use it in other contexts.)

Baños, visibly excited for being given the chance of talking about his latest work, was requested to play the piano, with applauses and whistles, by an audience who really felt like listening to those ideas turned into music. Nicely surprised that the audience wanted to listen to him play, he made his excuses for his poor "piano ways" ("I can only play one instrument, which is the sax") and started to analyse them, in a very instructive way (before and after performing them he pointed out the inflections that the audience should take into account to perceive the musical translation of those concepts) on the keyboard.

Listening to this absolute scoop, the melodies of "Alatriste" immediately captivated the audience, who applauded excitedly at the end of every presentation. Regarding the "theme of Íñigo and Angélica", Baños explained again that its character is harmonic and not melodic (indeed, it's a very static theme on the piano), and that the instrument couldn't evoke the orchestral rank this theme was intended to have (thus the audience had the chance of measuring the existing distance between the musical idea and the final orchestration).

After this didactic pianistic interlude Baños presented a selection of images from "Alatriste" (in another scoop) for the audience to have the chance of listening to the final orchestration of the themes and analysing their relation with the images.

The first scene, whose aim was illustrating the application of the "Alatriste theme", shows the mercenary arriving at the hospice where María de Castro is confined. Wrapped in a tenebrous atmosphere, in the style of Caravaggio, the Captain takes off his hat while he enters a healing ward divided by some frames. The hero goes close to the lady, who is sitting on one of the rickety old beds, dressed in black and covered with a veil. The captain kneels down at her feet. The woman, visibly sick under the black clothes, objects to unveiling her face. The captain, gently, breaks her resistance looking at her eyes, then he removes her veil and they kiss.

The scene starts with the "Alatriste theme", entrusted to a contralto and with string accompaniment, in a very modern style, with some new age nuances. The theme develops while the captain heads for the infirmary, and ends when María appears, sitting on the bed. The scene continues in silence while Alatriste recognizes the sick and wizened face of his beloved. At the moment in which María yields to Alatriste's passion, the strings delicately introduce the "love theme", which develops, in an increasing intensity, until the lovers end up kissing.

Next, and after a rabid applause from the audience (moved by Baños' art), he showed a second scene to illustrate the efficiency of the tragic theme associated with Íñigo and Angélica. The scene takes place on the top of some outside steps, in a nocturnal and mysterious Madrid. Íñigo courts Angélica, who has already seduced him with her disturbing beauty. They struggle (the youngster wants to get her love; she is just playing) and finally Angélica, quietly, frees herself from his embrace and disappears through a narrow street. The scene is accompanied by that static rhythm, limited to a sixth and orchestrated for cellos and double basses.

For good measure, and with the intention of giving the audience a taste of the aforementioned thematic interrelation, Baños showed a scene composed of two fragments; the first one shows the hero rescuing Íñigo, who was left to his fate on a beach. The hero picks up the boy and both of them run out by the shore. There is a fade-in and the action goes to the battlefield where Alatriste defends a position commanding a line of pikemen that awaits the charge of the cavalry.

The beach scene is underlined by the "love theme", which in this context expresses the high regard that Alatriste has for Íñigo; when both of them start to run the melody softens to move on to a martial rhythm, in an old drum, that introduces us in the military scene. That drum rhythm is the core of a symphonic composition, very heroic, with a structure that is similar to Orff's Carmina Burana, full of brasses and crowned by a rhythmical melody for a male choir, with text in Latin.

Time had flown and the audience closed with a last round of applause and cheers the inaugural intervention of both composers, who for two hours filled up the UNESCO hall with their generosity, modesty and philharmonic view. An excellent overture for a memorable day.

© Scoremagacine. Images © Image Estudios Picasso / Origen Producciones. Meliam Music S.L. Karonte Distribuciones.

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Mano a Mano - the Translation

Translation by Paddy
Source: XL Semanal
XL Semanal - 8.2006 Reverte & Viggo, mano a mano
XL Semanal - 8.2006 Reverte & Viggo, mano a mano
Image César Urrutia.
© XL Semanal.
Our thanks to Paddy once again for the magnificent translation of the conversation with Viggo and Arturo Pérez-Reverte published in XL Semanal on 20 August:




It would be futile trying to present them both in just a few lines. Although seeing them like this, talking amicably during the photo session, just like two old comrades would do at the beginning of a reunion, nobody can stop thinking that in this life there must not be many things that unite more than sharing a character. Perhaps it's something similar to being a father. And what both of them are sure about is that the child is perfectly fine: big, strong, noble. A treasure one can only be proud of. That's what shared paternities are about. That they unite a lot.

Seeing them like this, smiling at each other openly, frankly, nobody can stop thinking again and again about the same thing. One of them, Arturo Pérez-Reverte [Cartagena, 1951], for starting one fine day in 1996 with a " he was not the most honest man or the most pious, but he was a brave man. His name was Diego Alatriste y Tenorio, and he had fought as a soldier of the old Tercios in the wars with Flanders. When I met him he was barely making ends meet in Madrid, hiring himself out for four maravedís in employ of little glory" the epic and novelistic saga of a soldier who eked out a living in Spain during the XVII century; the other one, Viggo Mortensen [Manhattan, New York, US, 1958], for achieving that, from the 1st of September on, we have his face present when imagining the Captain Alatriste. They have just posed for the last photo. If two men seldom share the same character, they share still less the same lens [the one of the photographer, who is now shaking their hands with certain solemnity]. It's time to do sums. It seems the credit list will be full; with no notes the debit one. I start with a question and, immediately, give Their Mercies the right to speak. Ladies and gentlemen, here they are the actor and the writer. Let's start. Do not waste time with futile introductions.

XLSemanal: Are you pleased with the outcome?

Viggo Mortensen: Very much. But I was already pleased since we started the shooting. Everything looked terrific. From the wardrobe to the battles. But, above all, the director's attitude corresponded perfectly with what you had written, Arturo.

Arturo Pérez-Reverte: [nods in agreement]

XL: Agustín Díaz Yanes predicted a "complicated and very hard" shoot, has it been like that?

VM: But it was fun at the same time.

XL: Where did the biggest difficulties lie?

VM: I don't know. Maybe, in the practical things, the worst thing for the crew has been to have to travel so much. We have shot in lots of places. And try to put more than 200 people in motion...Talamanca del Jarama, El Escorial, Cádiz, Sevilla,Tarifa, Úbeda, Baeza... Although perhaps this wouldn't have turned out as well as it has. We had to be in all those places. The final outcome wouldn't have been so good.

APR: But more than the typical hardness and complication of the shooting, which was more or less like in every film, and after all they are professionals, I'd love to point out the way Viggo played the character. Because you must take into account one thing: he's not Spanish. But he certainly speaks our language fluently, which has made his access easier, and he's a cultured actor, not all of them are so. He's an actor who reads. But he arrived here, after all, as a foreigner. So there was an impressive process of assimilation of the Spanish character. I was most impressed by that. My lesson from all that has been to see how Viggo gradually became Alatriste. And not only in front of the camera, but also in his life during all the time he was working on the film. How he was assuming the Spanish quality. That fate of the Spanish soldier who has nothing else but his friends and his sword to pull through. It's tremendous how he made up the character. From the first moment you start to see the film, you realize that Viggo is not playing a Spaniard, the thing is that he is a Spaniard. Viggo was a Spaniard all during the shooting. [Addressing Viggo] Weren't you?

VM: [smiles] I think I was. Although the truth is that I had a good map, a good chart, in the books you have written. Besides, the script that Tano [Agustín Díaz Yanes] wrote also helped me to a large extent to make up my character. I read the script first, I hadn't read your novels, and I immediately read your books in one go. I accepted Tano's proposition and the next thing I did was go into a bookshop at the Gran vía in Madrid, and buying all the Alatriste books, which I devoured in a couple days. Alatriste is not mediocre. The thing is that when that happens, when people are dominated, then the people end up being more or less mediocre. He's served as a soldier since he's 13 years old and until his death he's loyal to the crown, to the flag and, especially, to his comrades.

APR: Especially to his comrades.

VM: Above all. Although he has problems with authority, he's always on his people's side.

APR: Camaraderie. That feeling is the one that all the actors who surround Viggo in the film have been able to create. Eduard Fernández, Unax Ugalde, Francesc Garrido, Antonio Dechent..., they are comrades who sometimes kill each other, because they have no choice but to do it, but above all they are comrades. Think that the word "kill" was fundamental. People killed more easily than now. Killing was not such a significant act as it is nowadays. Killing was an everyday thing. I would also like to stress that, for Viggo, in the moments of making up his character, a very, very important word has been "bullfighter".

XL: How come?

APR: I'd like him to explain it to you. On one occasion while the three of us, Tano, he and I were talking about Alatriste, we told him that the bullfighter is the only person who still has, in the current Spanish world, the manners, the attitudes, the respect for the foe, for life and for death. In the way that he puts himself in front of the bull, there is a lot from the Spanish soldiers of the XVIIc.. And since Tano's father was a bullfighter, and he himself is quite involved in bullfighting environments, I told Viggo to make good use of that for his Alatriste.

VM: That's right. I asked Tano to take me to the bullring and let me see that closely. It's a question of learning the manners, the attitude. What I saw in bullfighters helped me a lot to make up my character. I met some of them and we were talking about their profession, although I guess they are like Alatriste and they wouldn't like me to name them here. They helped us and, seeing their character, their scars, both physical and psychological, I realized that beyond that swaggering way many of them adopt in their manners, there's fear. All of them fear the bull. I thought that was very interesting. Seeing them in the bullring helped me to understand the musketeers of the XVII c.. There is an imperfection in the bullring, something awful, very cruel, something disgusting, but there is also courage and beauty, a brightness that emerges between the blood and the ugliness of the killing of a bull. It's an unforgettable and beautiful moment, which cannot be denied, I think. And I saw that sometimes. There are some moments in the film between Alatriste and his comrades in which a ray of hope shines on. The characters of the film come from all corners of the peninsula. There are Portuguese, Navarrese, people from Málaga..., people from everywhere who work together. And they do not always do it well, but that's the way they decide to work. That was interesting. We had to show it.

APR: The common undertaking. All of them were in the same boat. That's clearly shown in the film. And something similar happened during the shooting. I stayed observant in the breaks, during the meals, and I can assure you that there was a good feeling amongst all of them that went beyond the mere actors. It was as if some war comrades-in-arms had got together after a hard day in order to have some drinks. They behaved as war veterans. I have been in war and I have seen them.

VM: I have also met some soldiers of my age, who became sergeants in the first war of Iraq and now they have returned, and many of them know too much, and they know that what they are doing isn't right, however, they go back. They go back for their friends, for their comrades. If what the film tells happened now, Spain would be the United States, and Alatriste could be a marine who his colleagues called Captain without being one.

APR: [smiles] Viggo, the Tercios of Flanders were the Marines of that time. Do not have the slightest doubt about that. I agree with you. There is a very evident parallel between that time and the present time. But it isn't something forced in a literary or cinematographic way, it's real, that is, it's historical. Actually, the Americans are living through the same situation we did in the XVIIc.. And, like us, they will also fall. Same as we did.

VM: [smiles]

APR: But I think we should not judge the facts of that time with the eyes of the present time. Nowadays, where the norm is to apply political correctness to everything, we forget that was a different time, a very hard period, difficult, violent, in which people tried and earned their living.

VM: We had a good time. Tano was a good leader, a good captain. He was able to create an example of coexistence.

APR: Now I remember when Bob Anderson came, the swordmaster hired for the film, the first thing he asked Tano was: "But, now, do people kill here or not?". And Tano answered him: "Here, in this film, people really kill each other". And Anderson shouted: "At last, a film in which people kill each other. I'm so fed up with teaching how to do little ballet jumps". And there's killing. In fact, there is one scene in which Viggo kills a man, and I told him: "You're a murderer. You're a son of a bitch".

VM: [laughs] Arturo, what year was it published the first Alatriste book? 1995? 1996?

APR: Round there. One of those two years.

VM: How was it received? Did people receive it well?

APR: It was very well received. From the beginning it was a great success, so I'm very pleased. Although there was some critic back then who hit the ceiling saying that Alatriste was a murderer and that he didn't know whether it was a suitable reading matter for his son. Fancy that! And now it's read in schools. But it was like that and it had to be told like that. That's why I guess that Bob Anderson's attitude was also important in the shooting.

VM: A tremendous guy Bob. Always on the war path.

APR: He made the actors sweat like devils during the training sessions. And he insulted them: "You would be killed by now, son of a bitch. This is crap".

VM: [looking grave] Yeah, yeah. Very hard.

APR: He tired them out by working. He tired them out.

VM: [laughs] He made us train and train and do some quick and dirty fights. Although the truth is that in this conversation we are talking too much about the boys. But there are also some beautiful women in this film. Ariadna Gil, Elena Anaya...unforgettable.

APR: But they are tough women. Very tough. They are not poor damsels who fall into the arms of the hero.

VM: Bully women! [laughs]

APR: That's right, women "who can take a sword/arms" (tr. note: accurate translation would be "women with determination and courage"; left the literal translation for the next sentence to make sense).

VM: See? We always end up talking about the same thing [laughs]

XL: Let's change the subject then. Let's go to the starting point. What was clear since the beginning is that the film would be shot in Spanish, why?

APR: That was my condition. Otherwise, it wouldn't be shot. Quevedo had to speak Spanish. It would be absurd that Quevedo spoke in English. At this point it must be said that we didn't have too much support from the Spanish industry and from the institutions. Quite the contrary, there was suspicion. They thought that, being such an expensive film, there would be little left for them.

VM: If I had been offered this script in English, the first thing I would have said is that if they wanted to do it, they would have to shoot it in Spanish.

APR: This is a very complicated project. There was a lot of bitchiness from some sectors of the Spanish industry that wanted to torpedo the project.

XL: Arturo, what you're saying will end up raising some people's hackles.

APR: That's why I'm saying it. And I want to say it with Viggo being here present. This has turned out well because Antonio Cardenal and Telecinco, and Paolo Vasile insisted on it. But without the slightest institutional support. There was little support and much envy. Nobody bet on the film. So expensive, with Viggo... But Vasile, Cardenal and Tano insisted on it. And Viggo, of course. Without Viggo this wouldn't have been built up ever. Viggo could have done any film, especially after The Lord of the Rings. He fell in love with the project. He insisted on it and this could be done thanks to him.

VM: It's something new. And difficult to assume. Something similar happened in New Zealand with The Lord of the Rings. People have to be sure that it can be done. George Lucas and all those said that Peter Jackson would end up asking them for help in order to finish the film. And that didn't happen. Let's learn the lesson here.

APR: This could be done because the 20 million of Euros were used in front of the camera. Nobody kept anything. That's why these kind of films are scarcely made in Spain. Because it is the custom that 20 millions become five pence.

VM: I'm sure that from now on they'll start to do these kind of films.

APR: From now on, off we go! Perhaps this will change. What has been proved is that with a good script as it was with Tano's, great actors, perseverance and tenacity, these films can be done perfectly. And if they are not done it is because no one wants to.

XL: I'm going to ask you to tell about one moment from the shooting that touched you.

VM: Well, for me the last night of the shooting. It was beautiful. Something close and fond. We surprised Tano with a band from a bullring. We all were hiding from him and gave him a surprise. We showed up with all the flags. We took him and carried him on our shoulders. We had fun. At the end we were like a loving family.

APR: This film tells what Spain was, with no indulgence, for good and for bad. Some cretin may think that it's a story told in a "Tercios, Spain, Empire" way, but he will be very wrong. It's a turbulent, dirty, very hard film about ourselves. In this sense, I saw them shooting a scene that surprised me a lot. When in the battle of Rocroi the French offer an honourable surrender to the Spanish of the Old Tercio of Cartagena. Viggo steps forward with his comrades and, resigned, says: "We are grateful for the offering but this is a Spanish Tercio". Just there I realized that this son of a bitch [referring to Viggo] is Spanish. In this moment Viggo Mortensen is a Spaniard.

VM: [laughs]

APR: Is it true or not?

VM: I hope it is. [laughing]

XL: And what being a Spaniard means?

VM: Knowing how to lose.

APR: [smiling] Which proves he is indeed a Spaniard. Only a lucid Spaniard can say that.
The following quotes appeared in boxes beside the pictures:

"I've learned a lot with Alatriste".

What interested me the most in Arturo's books were the parts about the Spanish history. I already had a certain knowledge about it because I grew up in South America, in Argentina, and I knew something, but I've learned even more. Being also an American, or a citizen of that huge world empire, what interested me about this story and this character was the existing parallel with the United States current situation. Especially the situation of the citizens, the people of the Empire who lived with a great suppression of freedom of thought.


"Violence is part of the film"

One of my biggest fears when this story about the film started was that they would make a "poofy thing" out of it, that they would make Alatriste be a good and politically correct boy, because he wasn't like that, and in that context he could not be like that. It's not a film about violence but it's a film in which violence becomes a part of the everyday scenery. It's such a normal kind of violence that the audience ends up assuming that it was a part of life. They have been able to perfectly make the violence of that time be such a normal thing that nobody is surprised by it.

© XL Semanal. Images © César Urrutia.

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More on Love Letters to the South

Source: Habitat for Humanity.
Found By: Kumru
Categories: Books & CD's
Image Paul Alexander.
© Naked Ink.
Thanks to Kumru at viggoville for the heads up.
Hand-written "love letters' from Kevin Bacon, Helena Bonham Carter, Jon Bon Jovi, Johnny Depp, Justin Timberlake and others included in "Love Letters to the South'

NASHVILLE, Tenn. (Aug. 17, 2006)- Seventy-five celebrities from the worlds of film, television and music have shared handwritten messages of hope and healing for survivors of Hurricane Katrina. The notes will be published by NAKED INK in a book titled, 'Love Letters to the South' releasing Aug. 22. This one-of-a-kind photography book pays tribute to all those affected by Hurricane Katrina and proudly supports Habitat for Humanity's Operation Home Delivery aiding in the building of homes in the South, and the American Red Cross Disaster Relief Fund, to support future disaster relief efforts.

Commemorating the one-year anniversary of the Hurricane Katrina tragedy, this book features never-before-seen portraits of the celebrity contributors by acclaimed photographers Paul Alexander, Alison Dyer, Nabil and Michael Grecco. It also includes such notable humanitarians as Johnny Depp, Viggo Mortensen, Kevin Bacon, Colin Firth, Justin Timberlake, Jon Bon Jovi, Helena Bonham Carter, Forrest Whitaker, John Turturro, Gabrielle Union, Marlee Matlin and Josh Hartnett, to name but a few. Many had personal connections to the South; others simply wanted those affected by Hurricane Katrina to know they felt a human connection.

Their heartfelt sentiments are a stirring reminder that those around the world will continue to offer assistance during the long road to recovery, and will help ensure that critical resources are available whenever or wherever disaster strikes.

'The purchase of this book will help ensure the American Red Cross is there the next time an emergency strikes, whether it happens across your street or across the country,' said Kathleen Loehr, interim senior vice president of Development for the American Red Cross. 'We are extremely grateful to be a part of such a powerful and compelling book that truly acknowledges how Katrina's devastation affected the nation.'

The images and notes found in the book were collected over the past eight months, beginning just days after Hurricane Katrina ripped through Louisiana and Mississippi. With powerful images ingrained in the public consciousness, support for the project was immediate and dramatic.

'Habitat for Humanity is grateful for the extraordinary support so many people continue to provide as we build houses and hope with Gulf Coast families displaced by Hurricane Katrina,' said Jonathan Reckford, CEO Habitat for Humanity. ''Love Letters to the South' is yet another measure of the compassion and generosity that individuals and groups throughout the United States and around the world have demonstrated. Habitat is truly humbled by this opportunity to expand its building capacity in the Gulf Coast region through support from this creative project.'

Wardrobe used during the shoots for Love Letters to the South was provided by DKNY Jeans and is being donated to help those less fortunate.

Published by NAKED INK, Love Letters to the South has a suggested retail price of $24.99. It is 144 pages and is available via and wherever fine books are sold. $2.50 from the sale of each book will benefit The American Red Cross Disaster Relief Fund and $2.50 from the sale of each book will benefit Habitat for Humanity with each organization receiving a minimum donation of $25,000 from this project. For more information please visit

About the Publisher
NAKED INK, a division of the General Trade Book Group of Thomas Nelson Publishers, is a publisher of books devoted to inspiring a generation of readers who seek imaginative, honest and relevant information through entertainment and pop-culture driven products. Their first title, 'The Hot Mom's Handbook: Blondes Moms Have More Fun!' by Jessica Denay, creator of the Hot Mom's Club, was published in April 2006. Their next release, 'Love Letters to the South' (August, 2006), is a one of a kind photography book honoring those affected by Hurricane Katrina, featuring photos by award-winning photographer Paul Alexander and personal messages of hope and healing from some of the world's best-loved celebrities. 'The Hippie Guide to Climbing the Corporate Ladder & Other Mountains by Skip Yowell,' co-founder of JanSport, will be released in January 2007. For more information about NAKED INK, go to:

About The American Red Cross
The American Red Cross has helped people mobilize to help their neighbors for 125 years. Last year, victims of a record 72,883 disasters, most of them fires, turned to the nearly 1 million volunteers and 35,000 employees of the Red Cross for help and hope. Through more than 800 locally supported chapters, more than 15 million people each year gain the skills they need to prepare for and respond to emergencies in their homes, communities and world. Almost 4 million people give blood-the gift of life-through the Red Cross, making it the largest supplier of blood and blood products in the United States. The Red Cross helps thousands of U.S. service members separated from their families by military duty stay connected. As part of the International Red Cross and Red Crescent Movement, a global network of more than 180 national societies, the Red Cross helps restore hope and dignity to the world's most vulnerable people. An average of 91 cents of every dollar the Red Cross spends is invested in humanitarian services and programs. The Red Cross is not a government agency; it relies on donations of time, money, and blood to do its work.

About Habitat for Humanity International
Habitat for Humanity International is an ecumenical Christian ministry that welcomes to its work all people dedicated to the cause of eliminating poverty housing. Since its founding in Americus, Ga., in 1976, Habitat has built more than 200,000 houses in nearly 100 countries, providing simple, decent and affordable shelter for more than 1 million people. For more information, visit

Habitat for Humanity

© 2006 Habitat for Humanity® International. All rights reserved. "Habitat for Humanity" is a registered service mark owned by Habitat for Humanity International. Images © Paul Alexander.

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Love Letters to the South

Categories: Books & CD's

Messages of Hope and Healing from the World's Best-Loved Celebrities

Available August 21

© Naked Ink. Images © Paul Alexander.

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Last edited: 21 May 2019 14:45:30