Posts Tagged ‘Andalusian’

Wings_final (2)I have been vacationing from writing for quite awhile.  Life has gotten in the way, and I am now ready to begin a new story.  I only have the characters at the moment, but soon they will begin to tell me their tale, I’m sure.  It is my opinion that writers suffer from MPD!  Hot Spanish Nights, Celestial Sin and On Wings of Desire are still available!  The first two are from The Wild Rose Press and Wings is available in paperback and ebook formats at Double Dragon Publishing.

I hope everyone had a lovely holiday season!

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Palomino horses can be found on ancient tapestries, paintings and other artefacts of Europe and Asia and in Chinese and Japanese art over two thousand years old. Royalty and warlords revered these golden horses.

Palomino is a color and not a breed. Breeding a palomino to a palomino does not guarantee a palomino foal.  The offspring can be chestnut or cremello.

These horses vary in shade from pale cream to a rich golden color. The mane and tail is usually white but may be gold and/or have dark hairs. Like chestnuts palomino horses may be affected by the sooty gene, when they display dark dapples. The effect is not unattractive but is nevertheless considered to be “incorrect” when compared with an “ideal” palomino. The coat of many palominos changes shade from cream in the winter to golden in the summer (seasonal palominos).

Pale palominos are sometimes called Isabellas, after Queen Isabella de-Bourbon of Spain, who is much remembered for pawning her jewels to fund Columbus’ voyages to the “New World”. The word Palomino is itself a Spanish surname, derived from a Latin word meaning pale dove. Queen Isabella kept a hundred golden horses (but forbid her commoners to own one!). She did, however send a Palomino stallion and five mares to her Viceroy in Mexico (then called New Spain) to perpetuate the horse in the “New World”. North America palominos originally came from the Spanish settlements, presumably descendants of Queen Isabella’s horses.

Genetics of palomino:

Palominoes have a base coat color of chestnut (i.e. of genotype ee, eaea or eea at the extension locus) and genotype C+CCr at the C locus (the cream dilution gene). The CCr allele is semi-dominant and dilutes red pigment to yellow in a single dose (i.e. in palominos). The wild-type C+ allele is effectively recessive since it needs to be homozygous for there to be no dilution of the base color. (Horse Genetics.com)

 The horse in the photos is a Lusitano, which originate in Portugal.

 I personally owned Andalusians, and palomino is not an Andalusian color.

 Andalusians are supporting actors in Hot Spanish Nights, an erotic novella, by Bianca Swan, now available from The Wild Rose Press.  

 Coming May 20th from The Wild Rose Press, Wilder Catalog – CELESTIAL SIN—an angel faces the ultimate temptation and sacrifice.

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Southern Fried Gothic’s Dawn Chartier says:

Like most people who don’t read erotica I think we have this idea that erotica is ALL sex, but if the book is done correctly its not. If it’s written well you will have a strong plot and characters you care for – along with lots of sex. Bianca Swan’s HOT SPANISH NIGHTS has this and more.

 I recommend this book to those who love horses, plenty of sizzling erotic scenes and lovers of HOT SPANISH NIGHTS.

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Not really but bullfighting with Bianca Swan didn’t have much punch.  I decided to post this blog on bullfighting because people interested in Hot Spanish Nights seem to be interested in knowing more about bullfighting.  Check out the videos.  So here goes:


Rejoneador and Palomino stallion (most likely Lusitano).


Pablo Hermoso

A wall painting unearthed at Knossos in Crete, dating from about 2000 BC, shows male and female acrobats confronting a bull, grabbing its horns as it charges, and vaulting over its back.

The art of bullfighting on horseback, as currently practiced in Portugal, where it is called toureio equestre and in Spain and Mexico, where it is called rejoneo, claims a direct origin to the Iberian Peninsula, having developed from Middle Ages war exercises, particularly the cavalry.

Coridas mixtas are also popular, where a rejoneador and two matadores (or a rejoneador, matador and novillero – the last of which is an apprentice matador) perform.

Bullfighting in Spain traces its origins to 711 A.D. The first bullfight took place in celebration for the crowning of King Alfonso VIII.  In Spain, an estimated one million people each year watch bullfights.

Until King Felipe V, who took exception to the sport) banned the aristocracy from participating, the sport belonged to the nobility. The King believed that aristocrats in bullfights set a bad example to the public.  Commoners enthusiasticlly adopted the sport, but since few could afford horses, took the fight to the ground, confronting the bull on foot, and modern corrida began to take form. 

Today’s bullfight is much the same as it has been since about 1726, when Francisco Romero of Ronda, Spain, introduced the estoque (the sword) and the muleta (the small, more easily wielded worsted cape used in the last part of the fight).

During a performance, rejoneadores often ride several horses:

  • A parade horse – physically attractive and disciplined
  • A horse for the first tercio (entrance of bull) – very fast and brave.
  • A horse for the second tercio (banderillas) – fast, agile, and a natural instinct for fooling the bull
  • A horse for the third tercio (death of bull) – very steady

Bullfighting horses are highly trained to swerve instantly, yet remain calm when charged by a fierce, angry bull.  The must possess an extreme dose of bravura, agility, and obedience.

A  rejoneador’s usual costume consists of a dark waistcoat (usually brown or grey), brown leather chaps and a broad, straight-brimmed hat.

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Searching for pictures for the Author Roast and Toast I’m doing on January 28, I found these spectacular photos from the Jerez (Spain) Horse Fair.  The last photo is of my Andalusian stallion and me ready to perform our Phantom of the Opera exhibition.

The Courbette 

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The music in my trailer for Hot Spanish Nights is Espana Cani (The Gypsy Dance).  A spectacular dance, the Paso Doble, is often performed to this song.

 The translation of Paso Doble is “Two Step”, not to be confused with “Paso a Dos” (Dance for Two). The name refers to the marching nature of the dance, counted one, two for Left, Right.  Paso Doble is also known as the “Spanish One Step” because only one step is taken to each beat of music.  The tempo of Paso Doble music is usually a brisk 60 beats per minute.

 The following steps are distictive to the Paso Doble:

  • Sur Place (on the spot)
  • Separation
  • Attack
  • Huit
  • Open Promenade to Open Counter Promenade
  • Spanish Line
  • Promenade Close
  • Flamenco Taps

The Paso Doble portrays a bullfight to march-like music used for the procession at the beginning of the corrida.  The music is played during the bullfighters’ entrance (paseo) or during the passes (faena) just before the kill. The man is bullfighter and the lady is his cape in the drama of a Spanish bullfight.

The dancers take dramatic steps forward on the heels, adding artistic hand movements. The forward steps, or walks, are strong and proud. The Torero (male dancer) should incorporate apel, a move in which he stamps his foot, much like a matador strikes the ground in order to capture the bull’s attention of the bull. All dance moves should be sharp and quick, with the chest and head held high to represent arogance and dignity.

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An excerpt from my caliente story about a bullfighter and a socialite and the wonderful Andalusian horse:

Erica DeLongpre was living her fantasy.
At last, she was in Spain, in Andalusia.
And in lust.
She and tall, dark and handsome Damián Xérès rode the magnificent gray stallion bareback. This enticing man smelled of horses and leather, and he was all man, from the top of his head to the tips of his shiny riding boots—an enchanting journey of about six feet-two-inches. The horse’s silvery mane whipped in the breeze. Flowers spilled their scent into the morning. The sun on the white sand of the riding arena was blinding, like a dream.
She closed her eyes, pictured the man behind her. His brilliant white shirt, open at the neck, showed a sprinkling of dark hair on his chest. She leaned back pretending the strong arm lightly circling her waist hugged her tight against that muscled chest. As she rocked with the cadence of the horse’s canter, she imagined Damián’s firm, hot cock pressed to her butt. When she visualized how his erection would look in the tight riding breeches, a pleasant shiver glided over her.
Mustn’t let my imagination run away like this.
“Sit deep,” he said, and her fantasy became a reality as he slid closer.
His long legs molded to hers, stroked ever so slightly to the three-beat thud of hooves. Sweat broke on her brow. Her heart pounded in her ears, reverberating in her core. She should inch away from the hard pressure on her ass, but he felt too damned good. Images of turning around and doing him on the horse scrolled through her mind. She lost the rhythm of the stallion’s smooth gait and slid to the side.
Damián’s arm closed around her waist, steadying her. “We must work on your seat, Erica. You look beautiful on a horse, but you must become one with him.”
Thinking of becoming one with him—the man not the horse—caused the problem.

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