Dracula is an 1897 Gothic horror novel by Irish author Bram Stoker. It introduced the character of Count Dracula, established many conventions of subsequent vampire fantasy; the novel tells the story of Dracula's attempt to move from Transylvania to England so that he may find new blood and spread the undead curse, of the battle between Dracula and a small group of men and a woman led by Professor Abraham Van Helsing. Dracula has been assigned to many literary genres including vampire literature, horror fiction, the gothic novel, invasion literature; the novel has spawned numerous theatrical and television interpretations. The story is told in an epistolary format, as a series of letters, diary entries, newspaper articles, ships' log entries, whose narrators are the novel's protagonists, supplemented with newspaper clippings relating events not directly witnessed; the events portrayed in the novel take place chronologically and in England and Transylvania during the 1890s and all transpire within the same year between 3 May and 6 November.
A short note is located at the end of the final chapter written 7 years after the events outlined in the novel. The tale begins with Jonathan Harker, a newly qualified English solicitor, visiting Count Dracula at his castle in the Carpathian Mountains on the border of Transylvania and Moldavia, to provide legal support for a real estate transaction overseen by Harker's employer, Mr Peter Hawkins of Exeter. At first enticed by Dracula's gracious manners, Harker soon realizes. Wandering the Count's castle against Dracula's admonition, Harker encounters three female vampires, called "the sisters", from whom he is rescued by Dracula. Harker soon realizes that Dracula himself is a vampire. After the preparations are made, Dracula abandons Harker to the sisters. Harker escapes from the castle with his life. Dracula boards a Russian ship, the Demeter, taking along with him boxes of Transylvanian soil, which he required in order to regain his strength. Not long afterward, the ship having weighed anchor at Varna, runs aground on the shores of Whitby in the east coast of England.
The captain's log narrates the gradual disappearance of the entire crew, until the captain alone remained, himself bound to the helm to maintain course. An animal resembling "a large dog" is seen leaping ashore; the ship's cargo is described as 50 boxes of "mould", or earth, from Transylvania. It is learned that Dracula purchased multiple estates under the alias'Count De Ville' throughout London and devised to distribute the 50 boxes to each of them utilizing transportation services as well as moving them himself, he does this to secure for himself "lairs" and the 50 boxes of earth would be used as his graves which would grant safety and rest during times of feeding and replenishing his strength. Harker's fiancée, Mina Murray, is staying with her friend Lucy Westenra, holidaying in Whitby. Lucy receives three marriage proposals from Dr. John Seward, Quincey Morris, Arthur Holmwood. Lucy accepts Holmwood's proposal while turning down Seward and Morris. Dracula communicates with Seward's patient, Renfield, an insane man who wishes to consume insects, spiders and rats to absorb their "life force".
Renfield is able to detect Dracula's presence and supplies clues accordingly. Soon Dracula is indirectly shown to be stalking Lucy; as time passes she begins to suffer from episodes of sleepwalking and dementia, as witnessed by Mina. When Lucy begins to waste away suspiciously, Seward invites his old teacher, Abraham Van Helsing, who determines the true cause of Lucy's condition, he diagnoses her with acute blood-loss. Van Helsing prescribes numerous blood transfusions to which he, Seward and Arthur all contribute over time. Van Helsing prescribes garlic flowers to be placed throughout her room and weaves a necklace of withered garlic blossoms for her to wear; however she continues to waste away – appearing to lose blood every night. While both doctors are absent and her mother are attacked by a wolf and Mrs. Westenra, who has a heart condition, dies of fright. Van Helsing attempts to protect her with garlic but fate thwarts him each night, whether Lucy's mother removes the garlic from her room, or Lucy herself does so in her restless sleep.
The doctors have found two small puncture marks about her neck, which Dr. Seward is at a loss to understand. After Lucy dies, Van Helsing places a golden crucifix over her mouth, ostensibly to delay or prevent Lucy's vampiric conversion. Fate conspires against him again when Van Helsing finds the crucifix in the possession of one of the servants who stole it off Lucy's corpse. Following Lucy's death and burial, the newspapers report children being stalked in the night by a "bloofer lady". Van Helsing, knowing Lucy has become a vampire, confides in Seward, Lord Godalming, Morris; the suitors and Van Helsing track her down and, after a confrontation with her, stake her heart, behead her, fill her mouth with garlic. Around the same time, Jonathan Harker arrives from Budapest, where Mina marries him after his escape, he and Mina join the campaign against Dracula; the vampire hunters stay at Dr. Seward's residence, holding nightly meetings and providing reports based on each of their various tasks.
Mina discovers that each of their journals and letters collectively contain clues to which they can track him down. She tasks herself with collecting them, researching newspaper clippings, fitting the most relevant entries into chronological order and typing out copies to distribute to each of the party which t
Vampire films have been a staple since the era of silent films, so much so that the depiction of vampires in popular culture is based upon their depiction in films throughout the years. The most popular cinematic adaptation of vampire fiction has been from Bram Stoker's Dracula, with over 170 versions to date. Running a distant second are adaptations of "Carmilla" by Sheridan Le Fanu. By 2005, Dracula had been the subject of more films than any other fictional character, save for Sherlock Holmes; as folklore, vampires are defined by their need to feed on their manipulative nature. Although vampires are associated with the horror, vampire films may fall into the drama, science fiction, comedy or fantasy genres, amongst others. Early cinematic vampires in other such films as The Vampire, directed by Robert G. Vignola, were not undead bloodsucking fiends, but'vamps'; such femme fatales were inspired by a poem by Rudyard Kipling called "The Vampire", composed in 1897. This poem was written as kind of commentary on a painting of a female vampire by Philip Burne-Jones exhibited in the same year.
Lyrics from Kipling's poem: A fool there was... describing a seduced man, were used as the title of the film A Fool There Was starring Theda Bara as the'vamp' in question and the poem was used in the publicity for the film. An authentic supernatural vampire features in the landmark Nosferatu starring Max Schreck as the hideous Count Orlok; this was an unlicensed version of Bram Stoker's Dracula, based so on the novel that the estate sued and won, with all copies ordered to be destroyed. It would be painstakingly restored in 1994 by a team of European scholars from the five surviving prints that had escaped destruction; the destruction of the vampire, in the closing sequence of the film, by sunlight rather than the traditional stake through the heart proved influential on films and became an accepted part of vampire lore. The next classic treatment of the vampire legend was an adaptation of the stage play based on Bram Stoker's novel Dracula, Universal's Dracula starring Bela Lugosi as Count Dracula.
Lugosi's performance was so popular that his Hungarian accent and sweeping gestures became characteristics now associated with Dracula. Five years after the release of the film, Universal released Dracula's Daughter, a direct sequel that starts after the end of the first film. A second sequel, Son of Dracula starring Lon Chaney Jr. followed in 1943. Despite his apparent death in the 1931 film, the Count returned to life in three more Universal films of the mid-1940s: House of Frankenstein and House of Dracula —both starring John Carradine—and Abbott and Costello Meet Frankenstein. While Lugosi had played a vampire in two other films during the 1930s and 1940s, it was only in this final film that he played Count Dracula on-screen for the second time. Dracula was reincarnated for a new generation in the Hammer Films series starring Christopher Lee as the Count. In the first of these films Dracula the spectacular death of the title character through being exposed to the sun reinforced this part of vampire lore, first established in Nosferatu, made it axiomatic in succeeding films.
Lee returned as Dracula in all but two of the seven sequels. A more faithful adaptation of Stoker's novel appeared as Dracula, directed by Francis Ford Coppola, though identifying Count Dracula with the notorious medieval Balkan ruler Vlad III the Impaler. A distinct subgenre of vampire films inspired by Le Fanu's "Carmilla", explored the topic of the lesbian vampire. Although implied in Dracula's Daughter, the first lesbian vampire was in Blood and Roses by Roger Vadim. More explicit lesbian content was provided in Hammer's Karnstein Trilogy; the first of these, The Vampire Lovers, starring Ingrid Pitt and Madeline Smith, was a straightforward re-telling of LeFanu's novella, but with more overt violence and sexuality. Films in this subgenre such as Vampyres became more explicit in their depiction of sex and violence. Beginning with Abbott and Costello Meet Frankenstein the vampire has been the subject of comedy; the Fearless Vampire Killers by Roman Polanski was a notable parody of the genre.
Other comedic treatments, of variable quality, include Vampira featuring David Niven as a lovelorn Dracula, Love at First Bite featuring George Hamilton, My Best Friend Is a Vampire, Innocent Blood, Buffy the Vampire Slayer, Dracula: Dead and Loving It, directed by Mel Brooks with Leslie Nielsen, more Taika Waititi and Jemaine Clement's mockumentary take on the subject, What We Do in the Shadows. Another development in some vampire films has been a change from supernatural horror to science fictional explanations of vampirism; the Last Man on Earth, The Omega Man and two other films were all based on Richard Matheson's novel I Am Legend. They explain the condition as having a natural cause. Vampirism is explained as a kind of virus in David Cronenberg's Rabid and Red-Blooded American Girl directed by David Blyth, as well as in the Blade trilogy to a limited extent. Race has been another theme, as exemplified by the blaxploitation picture Blacula and its sequel Scream Blacula Scream. Though always a representation of passion and desire, since the time of Béla Lugosi's Dracula the vampire, male or female, has been portrayed as an alluring sex symbol.
Christopher Lee, Delphi
Alec Empire is a German experimental electronic musician, best known as a founding member of the band Atari Teenage Riot, as well as a prolific and distinguished solo artist, producer and DJ. He has released many albums, EPs and singles, some under aliases, remixed over seventy tracks for various artists including Björk, he was the driving force behind the creation of the digital hardcore genre, founded the record labels Digital Hardcore Recordings and Eat Your Heart Out. Wilke's father was a working-class socialist, himself the son of a radical activist who perished in the Nazi concentration camps of the Second World War, his maternal grandfather, Karl Steinhof, was a self-made millionaire who patented the first domestic hand-knitting appliance during the economic boom in Germany in the 1950s. Wilke grew up during the Cold War near the Berlin Wall, which he passed every day on his way to school; the frequent sight of patrol guards with guns influenced his outlook on life from an early age. He describes Berlin at the time as: "Probably the most left radical place in Germany in the 70s, terrorists, a lot of demonstrations, the first address to hear the latest American music, because of the radio shows the US soldiers brought to Berlin."
At the age of ten, Wilke's love of rap led to a vogueing career on the streets of Berlin. Disillusioned by that genre becoming commercial, he left it behind in favour of a different form of musical expression, he had played guitar since the age of eight which coupled with his politically charged upbringing led him to punk music. By sixteen, Wilke came to believe that the punk movement was "dead". After leaving Die Kinder, he began listening to classical music and experimenting with electronic instruments, he became fascinated by the rave scene, following German reunification, frequented underground raves in East Berlin, believing his native West Berlin scene to be too commercialised. Known earlier in his career as LX Empire he produced a great deal of what he refers to as "faceless DJ music". In 1991, while DJing on a beach in France with his friend Hanin Elias, he caught the attention of Ian Pooley, which led to the release of a number of 12" records on the Force Inc. label. Although Empire was a prolific producer and DJ at this time, made a comfortable enough living, he saw the rave scene as decadent and selfish.
This angered him, as he and his friends lived in a city embroiled in politics, the demise of communist-led governments had given rise to increased conservatism in Germany, whilst few people cared. The German neo-Nazi movement had invaded the scene, declaring trance techno "true German music". Empire retaliated by utilising samples of 1960s and 1970s funk – a predominantly black style of music – in his solo work. In order to further spread the message, he gathered like-minded individuals Hanin Elias and Carl Crack to form a band. In 1992, the trio became known as Atari Teenage Riot. Atari Teenage Riot's sound was characterised by the use of breakbeats, heavy guitar riffs, the shouting of politically driven lyrics and slogans by the band members. Empire provided much of the musical direction, with the input of Japanese-American noise musician Nic Endo, the ATR sound took on a more chaotic, arrhythmic nature marked by rough sequencing, improvised mixing and extended "noise-fests". In his words, this complex style was intended to "destroy" the "simulated harmony" of the mainstream electronic music, that, besides their protest lyrics, "riot sound produce riots".
Empire, straight edge stated that it was a reaction to both the fashion-victimized and drug-fueled nihilism of the rave scene of the 1990s, once saying that "You can't read or do anything else while listening to our music."ATR signed a record deal with Phonogram, a major UK label, in 1993. The two parted ways after only a couple of single releases, due to the band's refusal to play by the label's rules. In 1994, using the non-refundable cash advance from the deal, Empire started an independent record label that allowed its artists the freedom of expression Phonogram were unlikely to give, he named it Digital Hardcore Recordings. That year, DHR released EPs by EC8OR, Sonic Subjunkies, Empire himself. While working with ATR, Empire continued with his solo output, he recorded for Force Inc. including the Detroit techno-inspired Jaguar. He recorded several albums for Force Inc.'s experimental sub-label Mille Plateaux, including Generation Star Wars and Low on Ice, which he recorded on his laptop during a three-day tour of Iceland with ATR.
In 1995, ATR released their first proper album, Delete Yourself!, on DHR, and, in 1996, Empire released his first solo album for DHR, The Destroyer. In that year and Mike D signed a deal to release a number of DHR's recordings on the Beastie Boys' Grand Royal record label in the United States; the label invited DHR artists to tour the US leading to recognition by MTV and alternative radio stations. ATR spent the next few years touring the world with artists such as Jon Spencer Blues Explosion, Rage Against the Machine, the Wu-Tang Clan and Ministry, as well as headlining such memorable shows as the Digital Hardcore festival at CBGB's in New York City i
Psychedelic music is a wide range of popular music styles and genres influenced by 1960s psychedelia, a subculture of people who used psychedelic drugs such as LSD, psilocybin mushrooms, mescaline and DMT to experience visual and auditory hallucinations and altered states of consciousness. Psychedelic music may aim to enhance the experience of using these drugs. Psychedelic music emerged during the 1960s among folk and rock bands in the United States and the United Kingdom, creating the subgenres of psychedelic folk, psychedelic rock, acid rock, psychedelic pop before declining in the early 1970s. Numerous spiritual successors followed in the ensuing decades, including progressive rock and heavy metal. Since the 1970s, revivals have included psychedelic funk, neo-psychedelia, psychedelic hip hop, as well as psychedelic electronic music genres such as acid house, trance music, new rave. "Psychedelic" as an adjective is misused, with many so-called acts playing in a variety of styles. Acknowledging this, author Michael Hicks explains: To understand what makes music stylistically "psychedelic," one should consider three fundamental effects of LSD: dechronicization, depersonalization, dynamization.
Dechronicization permits the drug user to move outside of conventional perceptions of time. Depersonalization allows the user to lose the self and gain an "awareness of undifferentiated unity." Dynamization, as Leary wrote, makes everything from floors to lamps seem to bends, as "familiar forms dissolve into moving, dancing structures"... Music, "psychedelic" mimics these three effects. A number of features are quintessential to psychedelic music. Exotic instrumentation, with a particular fondness for the sitar and tabla are common. Songs have more disjunctive song structures and time signature changes, modal melodies, drones than contemporary pop music. Surreal, esoterically or literary-inspired, lyrics are used. There is a strong emphasis on extended instrumental segments or jams. There is a strong keyboard presence, in the 1960s using electronic organs, harpsichords, or the Mellotron, an early tape-driven'sampler' keyboard. Elaborate studio effects are used, such as backwards tapes, panning the music from one side to another of the stereo track, using the "swooshing" sound of electronic phasing, long delay loops, extreme reverb.
In the 1960s there was a use of electronic instruments such as the theremin. Forms of electronic psychedelia employed repetitive computer-generated beats. From the second half of the 1950s, Beat Generation writers like William Burroughs, Jack Kerouac and Allen Ginsberg wrote about and took drugs, including cannabis and Benzedrine, raising awareness and helping to popularise their use. In the early 1960s the use of LSD and other psychedelics was advocated by new proponents of consciousness expansion such as Timothy Leary, Alan Watts, Aldous Huxley and Arthur Koestler, according to Laurence Veysey, they profoundly influenced the thinking of the new generation of youth; the psychedelic lifestyle had developed in California in San Francisco, by the mid-1960s, with the first major underground LSD factory established by Owsley Stanley. From 1964 the Merry Pranksters, a loose group that developed around novelist Ken Kesey, sponsored the Acid Tests, a series of events involving the taking of LSD, accompanied by light shows, film projection and discordant, improvised music known as the psychedelic symphony.
The Pranksters helped popularise LSD use, through their road trips across America in a psychedelically-decorated converted school bus, which involved distributing the drug and meeting with major figures of the beat movement, through publications about their activities such as Tom Wolfe's The Electric Kool-Aid Acid Test. San Francisco had an emerging music scene of folk clubs, coffee houses and independent radio stations that catered to the population of students at nearby Berkeley and the free thinkers that had gravitated to the city. There was a culture of drug use among jazz and blues musicians, in the early 1960s use of drugs including cannabis, mescaline and LSD began to grow among folk and rock musicians. One of the first musical uses of the term "psychedelic" in the folk scene was by the New York-based folk group The Holy Modal Rounders on their version of Lead Belly's'Hesitation Blues' in 1964. Folk/avant-garde guitarist John Fahey recorded several songs in the early 1960s experimented with unusual recording techniques, including backwards tapes, novel instrumental accompaniment including flute and sitar.
His nineteen-minute "The Great San Bernardino Birthday Party" "anticipated elements of psychedelia with its nervy improvisations and odd guitar tunings". Folk guitarist Sandy Bull's early work "incorporated elements of folk and Indian and Arabic-influenced dronish modes", his 1963 album Fantasias for Guitar and Banjo explores various styles and "could be described as one of the first psychedelic records". Soon musicians began to refer to the drug and attempted to recreate or reflect the experience of taking LSD in their music, just as it was reflected in psychedelic art and film; this trend ran in parallel in both America and Britain and as part of the interconnected folk and rock scenes. As pop music began incorporating psychedelic sounds, the genre emerged as a mainstream and commercial force. Psychedelic rock reached its peak in the last years of the decade. From 1967 to 1968, it was the prevailing sound of rock music, either in the whimsical British variant, or the harder American West Coas
Sigi Schwab, real name Siegfried, in Ludwigshafen, is a German guitar player and teacher, having performed on more than 15,000 recordings for film, as an accompanist to various artists. He plays in a wide variety including baroque and jazz. Schwab played in German groups like Et Cetera and with Ramesh Shotham. In 1980 Schwab played with Chris Hinze at the 5th North Sea Jazz Festival. Et Cetera with Wolfgang Dauner, Eberhard Weber, Fred Braceful, Roland Wittig Embryo with Christian Burchard, Mal Waldron, Dave King Diabelli Trio with Willy Freivogel, Enrique Santiago Guitarissimo with Peter Horton Percussion Academia with Freddie Santiago and Guillermo Marchena Percussion Project with Ramesh Shotham and Andreas Keller Mandala duo with Ramesh Shotham The Fabulous Guitar The Oimels with Wolfgang Dauner Et Cetera Father and Holy Ghosts Continental Experience with George Shearing Bali-Agung with Eberhard Schoener Meditations Live at the Northsea Jazz Festival with Chris Hinze Wiener Serenade with Diabelli Trio Guitaristics Guitarissimo - Confiança Rondo A Tre with Percussion Academia Silversand with Percussion Academia Meditations 2 Mandala Session 2000 On Stage
Jesús Franco was a Spanish filmmaker and actor, best known for his stylish exploitation films, directing around 160 feature films. Of Cuban and Mexican parentage, Franco was born in Madrid and studied at the city's Instituto de Investigaciones y Experiencias Cinematográficas and the Institut des hautes études cinématographiques in Paris, he began his career in 1954 as an assistant director in the Spanish film industry, performing many tasks including composing music for some of the films as well as co-writing a number of the screenplays. He assisted a number of directors such as Joaquín Luis Romero Marchent, Leon Klimovsky and Juan Antonio Bardem. After working on more than 20 films, he decided to get into directing films in 1959, making a few musicals and a crime drama called Red Lips. In 1960, Franco took Marius Lesoeur and Sergio Newman, two producer friends, to a cinema to see the newly released Hammer horror film The Brides of Dracula and the three men decided to get into the horror film business.
His career took off in 1961 with The Awful Dr. Orloff, which received wide distribution in the United States and the UK. Franco wrote and directed Orloff, supplied some of the music for the film. In the mid-1960s, he went on to direct two other horror films proceeded to turn out a number of James Bond-like spy thrillers and softcore sex films based on the works of the Marquis de Sade. Although he had some American box office success with Necronomicon, 99 Women and two 1969 Christopher Lee films — The Bloody Judge and Count Dracula — he never achieved wide commercial success. Many of his films were only distributed in Europe, most of them were never dubbed into English. After discovering Soledad Miranda, Franco moved from Spain to France in 1969 so that he could make more violent and erotic films free of the strict censorship in Spain, it was at this point that his career began to go downhill commercially as he turned to low-budget filmmaking with an accent on adult material. Soledad Miranda starred in a series of six erotic thrillers for Franco, all made within a one-year period, after which she was killed in a tragic automobile accident in Portugal in 1970, just as her career was taking off.
A year or two after Soledad Miranda died, a grieving Franco discovered a new leading lady in actress Lina Romay. At the time, the teenage Romay was married to a young actor/photographer named Ramon Ardid, but as she and Franco became more involved in their film projects together over the years, her marriage to Ramon ended in divorce around 1975. Franco was married at the time to Nicole Guettard, Ms. Guettard being replaced in Franco's life by Lina Romay. Franco and Lina Romay worked together for 40 years, lived together from 1980 onward, although they were only married on 25 April, 2008; until her death in 2012, Romay was his most regular actress, as well as muse. Although Romay was listed in the credits of several films as a co-director, actor Antonio Mayans stated in a recent interview that Franco used to credit her in that manner for business reasons, although she never co-directed any of their films together. Although he produced a number of successful horror films in the early 70's, many people in the industry considered him a porn director due to the huge number of X-rated adult films he began turning out.
Franco returned to low-budget horror in a brief comeback period from 1980-83, but after 1983, his career took a second downturn as he returned to making pornographic films, most of which left nothing to the imagination. In his years, he did, get the opportunity to turn out two rather big-budget horror films — Faceless and Killer Barbys — both of which showed what great work he could still do when his projects were adequately funded; the entirety of his work after 1996 was direct-to-video films of low quality, none of which were distributed theatrically. Romay died of cancer in 2012, after which Franco died in April 2013 from natural causes, aged 82. Franco sometimes worked including David Khune and Frank Hollmann. A fan of jazz music, many of his pseudonyms were taken from jazz musicians such as Clifford Brown and James P. Johnson. Franco's themes revolved around lesbian vampires, women in prison, surgical horror, sadomasochism and sexploitation, he worked in other exploitation film genres, such as cannibal films, spy films, crime films, science fiction, jungle adventure, Oriental menace, exorcist films, war movies, historical dramas and nunsploitation.
His sex movies contained long, uninterrupted shots of nude women writhing around on beds. Most of his hardcore films starred his lifelong companion Lina Romay, who admitted in interviews to being an exhibitionist. Franco was known for his use of a hand-held camera and zoom shots, which he felt lent realism to his films. He
Soledad Rendón Bueno, better known by her stage names Soledad Miranda or Susann Korda, was an actress and pop singer, born in Seville, Spain. She starred in many films directed by Jess Franco, such as Vampyros Lesbos, she released numerous Spanish-language pop songs throughout the mid-sixties. She died in a car accident on a Lisbon highway at age 27. Soledad Miranda was born Soledad Rendón Bueno on 9 July 1943 in Spain. Soledad was the niece of the famous Spanish singer-actress-flamenco dancer Paquita Rico. At age 8, Miranda made her professional debut when she was hired as a flamenco dancer and singer, first in the "Youth Galas" at the Seville Fair and San Fernando theatre, on a tour throughout southern Spain. At age 16, Miranda drew an artistic stage name out of a hat, she made her film debut in 1960 as a dancer in a musical called La bella Mimí. She was in the tabloids as the rumored girlfriend of the most famous bullfighter of the time, Manuel Benítez. Miranda went on to appear in over 30 films from 1960 to 1970.
There were epic adventures. She released a couple of yé-yé pop records in the mid-1960s. After taking nearly two years off to raise her son, she turned to acting with a role in the western 100 Rifles, she went on appear in Spanish television shows. Director Jess Franco, for whom Miranda had done a small role in his musical La reina del Tabarín nearly a decade before, made Miranda his frequent star in films including Count Dracula, Eugénie de Sade, Vampyros Lesbos, She Killed in Ecstasy, The Devil Came From Akasava. Miranda took the stage name Susann Korda. In 1964, Miranda had made a trio of films in Portugal. José Manuel da Conceiçao Simões, a Portuguese racecar driver, was a producer and acted in them. In one of the films, Un día en Lisboa, they played a couple traveling between Lisbon. After a secret courtship, the pair married in 1966. In April 1967, Miranda gave birth to a son, Antonio, her husband took a job in the auto industry. On the morning of 18 August 1970, near the end of filming The Devil Came From Akasava and her husband were involved in a collision with a small truck.
Simões suffered minor injuries but Miranda died as a result of major head and back trauma. Soledad Miranda – Belter 51.451 Soledad Miranda – Belter 51.598 Brown, Amy: Soledad Miranda: A Treasure Lost, in: Sirens of Cinema Magazine, Winter 2003 Lucas, Tim: The Black Stare of Soledad Miranda, in European Trash Cinema, 1991 Overzier, Gregor: Soledad Miranda/Susann Korda, in: Norbert Stresau, Heinrich Wimmer: Enzyklopädie des phantastischen Films, 70. Ergänzungslieferung, Meitingen 2004 Soledad Miranda on IMDb Soledad Miranda at AllMovie Soledad Miranda at Find a Grave Sublime Soledad Soledad Miranda: Soledad y Santitad by Amy Brown – BCult