The site of the crash of the Hindenburg, May 6, 1937

What is remembered? Are you? Am I? And if either of us is, do we get to decide how? Or is that left up to those same timeless forces that drive us to the strange crossroads of our lives? That is, do we have no more control over our legacies than we have over our lives? I don’t know.

I am standing on a lonely windy field in the Pine Barrens, a field that reminds me of those endless stretches of flyover that Easterners take great pride in not being able to name, a field that is hardly thought of by any beyond the nearby town or those stationed here at the Naval Base. But this is where the Hindenburg crashed, in less time than it took you to read these two paragraphs.

You can’t imagine how big it was. They will tell you numbers as you stand at the memorial and it will all be meaningless to you. They may say that it was only 80 feet shorter than the Titanic, but what does that mean? They may say it was eight hundred feet long but who can grasp that, really? It is not until you stand in the hangar that was built for it that you begin to understand, and you are literally stunned. The hangar – in which the Hindenburg barely fit – is enormous. It’s colossal. It could house three 747s. It’s more than thirteen stories tall. And as you get dizzy looking at the ceiling, you begin to imagine something this big crashing from the sky in a burning, twisting heap. Because it’s like that, like a building dropping from the sky. A lighter than air building that was no longer lighter than air.

The trip across the Atlantic had been surreal – a vast grey mist enveloped them as they hovered over an unseeable ocean. Maine had been no better, enshrouded by thick fog, and the weather had only broken briefly as they sailed across Manhattan, allowing them a moment to wave at the tourists on the Observation deck of the Empire State Building as they made their way down to Lakehurst to land.

But Lakehurst could not take them yet. The wind was whipping at 23 knots, and so they were advised to ride out the storm by heading to the shore, sailing over the beaches at Toms River, Seaside Heights, Asbury Park. At five Commander Rosendahl, who was in charge at Lakehurst, ordered the 92 navy and 139 civilian personnel out onto the field to receive the Hindenburg. At 6 came the heavy rains that drove them all back in doors. At 6:12 the skies began to clear and Rosendahl signaled for the Hindenburg to come in. No response. Two more messages. Finally word that they were at Forked River, 14 miles to the south. And then at 7:00 they see her, up from the southwest, passing over the site.

But time was running out. The next storm was coming in fast. Pruss makes a full speed turn to the left to circle the field. By 7:11 he is down to 590 feet, still at full speed. At 7:14 he’s dropped another 200 feet, and begins to slow down finally as he approaches the mast. At 7:18, he makes an uncharacteristically fast and sharp turn to finally line up with the mooring tower, and many people now think that this probably caused a bracing wire to snap, slicing open one of the rear cells, releasing hydrogen. The tail begins to drag uncharacteristically as they descend, so they drop ballast once, twice, three times. Now the mooring lines hit the soaked Lakehurst landing field, grounding the ship. And then there’s a flash. And the rest is history.

It’s practically standing still now. They’ve dropped ropes out of the nose of the ship; and they’ve been taken ahold of down on the field by a number of men. It’s starting to rain again. The back motors of the ship are just holding it just enough to keep it from — It’s burst into flames! It burst into flames, and it’s falling, it’s crashing! Watch it! Watch it! Get out of the way! Get out of the way! It’s on fire — and it’s crashing! It’s crashing terrible! Oh, my! Get out of the way, please! It’s burning and bursting into flames; and the — and it’s falling on the mooring-mast. And all the folks… this is terrible; this is the worst of the worst catastrophes in the world. Oh my Jesus! Its flames… Crashing, oh! Four- or five-hundred feet into the sky and it — it’s a terrific crash, ladies and gentlemen. It’s smoke, and it’s flames now and the frame is crashing to the ground, not quite to the mooring-mast. Oh, the humanity! And all the passengers screaming around here. I can’t even talk… Their friends are out there! It’s — I can’t talk, ladies and gentlemen. It’s just laying there, a mass of smoking wreckage. And everybody can hardly breathe. And the screaming! Listen, folks; I — I’m gonna have to stop for a minute because I’ve lost my voice. This is the worst thing I’ve ever witnessed.

And that was it. It was over. The Hindenburg. Air travel by Zeppelin. Even Lakehurst – who never asked to be remembered this way. Who barely is. All of it, in 34 seconds.

Tras analizar el desempleo en el continente europeo, el autor dedica un epígrafe a las islas británicas. En esta ocasión es G. Orwell con Sin blanca en París y Londres el que nos sirve de guía al comienzo del capítulo: “Alrededor de las seis menos cuarto, el irlandés me acompañó al asilo nocturno… Había ya una cola de harapientos esperando que la verja se abriera. Los había de todos los tipos y edades, desde el muchacho de dieciséis años de mejillas sonrojadas, hasta la vieja momia desdentada y enconvada de setenta y cinco años. Algunos eran vagabundos empedernidos, reconocibles por sus bastones y sus rostros ennegrecidos por el polvo. Otros eran obreros sin trabajo, algunos trabajadores del campo, uno era un oficinista con cuello y corbata, dos eran sin duda imbéciles”.

A la hora de abordar el desempleo en Gran Bretaña, Díez Espinosa utiliza los mismos elementos que en el epígrafe anterior: novelas, cine, música, fotografías y estadísticas oficiales. Sin embargo, en esta ocasión, el orden en que estos se nos presentan es radicalmente distinto. Al leer las páginas dedicadas a la cuestión continental nos encontrábamos en primer lugar con las “palabras, imágenes y sonidos”, con la vida corriente de tantas personas de la época. Sólo al final aparecían los datos estadísticos y el análisis histórico de los mismos. En las páginas que describen el desempleo británico el orden es exactamente el inverso. El autor comienza su discurso con un completo análisis numérico basado fundamentalmente en el informe de la Cambridge University Press Men without work (1938). Estos datos vienen acompañados en las páginas cuarenta y dos y cuarenta y tres por tres cuadros estadísticos con los siguientes títulos: evolución del desempleo en Gran Bretaña (1921-1938), la disparidad del desempleo en Gran Bretaña (1929-1937), y contrastes regionales del desempleo en Gran Bretaña en los años treinta.

Una vez hecha la descripción estadística de la realidad laboral británica, el libro se sumerje de nuevo en el mundo de la novela del desempleo. A partir de ese punto, las referencias a obras como Amor en el paro -Walter Greenwood, 1933-, Granito gris –Lewis Grassic Gibbon, 1934-, Rhondda Roundabout –Jack Jones, 1934-, Tiempos como estos –Gwin Jones, 1936-, y Cwmardy, la historia de un valle minero galés –Lewis Jones, 1937- son una constante en el discurrir del capítulo. Es más, Díez Espinosa facilita al lector la comprensión de esos acontecimientos cotidianos al agrupar las citas literarias por sectores económicos. Siguiendo este esquema, la obra describe con detenimiento la crisis en la construcción naval, la minería y la industria textil.

En lo que se refiere al aspecto lírico, encontramos transcritas en la página cincuenta las estrofas que Gordon Comstock, personaje de Keep the Aspidistra flying – G. Orwell, 1936-, dedica en esa novela a los valores materialistas. Más adelante –en la página cincuenta y dos- otro personaje de la literatura -Ewan Tavendale- nos permite conocer de primera mano cómo eran los cánticos en las “marchas de hambre”. También encontramos en este capítulo la imagen de una cola de desempleados escoceses frente a una oficina de contratación (página cuarenta y cinco).

Bibliografía:

[1] El desempleo de masas en la Gran Depresión. Palabras, imágenes y sonidos; José Ramón Díez Espinosa - Valladolid - Universidad - 2006.

(1910-1971) Escritor y sociólogo, había sido uno de los fundadores del Partido Nacionalcampesino en 1937. Entre 1948 y 1956 participó en los distintos Gobiernos húngaros. En octubre de 1956, como representante de su partido, reestructurado en ese momento, entró en el Gobierno de Imre Nagy en calidad de Ministro de Estado. Erdei formó parte de la comisión encargada de negociar la salida de los soviéticos de Hungría. Al igual que los demás miembros de la comisión, fue detenido por la KGB el 4 de noviembre en Tököl pero, a diferencia de sus compañeros de cautiverio –el general Maléter entre ellos-, fue puesto en libertad a las pocas semanas. Después de la derrota de la insurrección del otoño de 1956 ocupó diveros cargos públicos en el nuevo régimen socialista de Kádár: entre 1957 y 1971 fue designado secretario general y presidente de la Academia Húngara de las Ciencias; de 1964 a 1970 fue también secretario general del Frente Patriótico Popular, cargo que compaginó con el de miembro de la Presidencia de la República Popular de Hungría hasta su muerte en 1971.

(1894-1977) Fue el escritor más destacado durante toda la época del socialismo real en Hungría: en 1948 fue condecorado con la Orden de Kossuth, la más prestigiosa del país. Vinculado desde su juventud a la izquierda revolucionaria, en 1955 era considerado el escritor de más renombre de los intelectuales opositores al sector ortodoxo del Partido. Expulsado de éste por apoyar los debates públicos del Círculo Petöfi, durante los días de la insurrección del otoño de 1956 se convirtió en portavoz de los escritores húngaros. En 1957 fue procesado y condenado a nueve años de cárcel. Gracias a la anmistía parcial de 1960 fue puesto en libertad; a partir de ese momento, como la mayor parte de los intelectuales húngaros que permanecieron en el país, se comprometió con el régimen kádárista. Entre sus novelas destacan La frase inacabada (1937), Respuesta (1952), Niki (1955), Señor G.A. en X (1960), Amor (1963), El excomulgado (1966), Reportaje imaginado de un festival pop (1971) y, como símbolo de toda una época, la novela autobiográfica No hay juicio.

On November 9, 1937, Shanghai fell to Japanese military forces.  The conflict with Japan had begun simply enough, with several smaller skirmishes culminating at the Marco Polo Bridge back in July, which the Japanese won.  At that point, the Japanese kind of figured that China would simply capitulate and offer up some concessions.  But for Chinese military leader Chiang Kai-shek, the Marco Polo Bridge was his line in the sand.  He recognized this for what it was:  the next in a long line of little actions by the enemy to gain more territory and, ultimately, take over the region.  It was time to fight.

Battle began in earnest on August 14th, with the Chinese bombing Japanese positions and launching an offensive around the city of Shanghai.  Losing Shanghai would mean the loss of an important port city and much economic power.  Initial successes were soon checked as the immense superiority of Japanese equipment, leadership, and troop discipline came to the fore and overwhelmed the numerical advantage the Chinese had in troops.

Though the fighting would last nearly 3 months, and the Chinese soldiers fought with incredible tenacity and bravery, there was just no stopping the enemy.  Japan’s airpower was devastating in effect, destroying entire garrisons in a single strike.  The Chinese military had no answer to Japan’s tank battalions.  And Shanghai’s status as a port meant the powerful Imperial Japanese Navy could sit offshore and plaster targets with impunity.

The Chinese government did everything possible to bring its plight to the world stage, but this was the mid 30’s, and Western Europe was preoccupied with a German dictator and his Italian puppet.  And the U.S., while experiencing a growing hostility with Japan, was not the least bit interested in entering into any kind of conflict.  And so the Chinese fought a hopeless battle as long as they could, and were then ordered to withdraw from the city on November 8th.  The decimated defenders departed, and Japan took the port the following day.

For the Chinese, the loss of Shanghai was terrible, as it gave the Japanese the launching pad they wanted to move just up the road to the capital of Nanking.

Hola lectores.

Un saludo de Polofanta, el hombre que solo escribe cuando esta en el cagaero.

Hoy voy a hablaros de uno de los sucesos menos recordados, pero mas sangrienta de la Guerra Civil Española (1936-1939), os hablo de la carretera que une por la orilla del mediterraneo las ciudades de Malaga y Almeria, llamada por las personas de mas edad, la carretera de la muerte. En este suceso esta tapado por el bombardeo de Gernika y por el abandono de la fuerzas leales a la II Republica por ser un foco de anarquismo no viendo que era el enclave perfecto para restablecer posiciones estrategicas en el Estrecho de Gibraltar.

Gracias a la informacion formulada por Wikipedia y por algun amigo que hay por hay.

Antecedentes.

Durante la II República Málaga se había caracterizado por la fuerza del movimiento obrero, en especial de la CNT y del PCE, que consiguió su primer diputado por ésta provincia: Cayetano Bolívar. Durante éstos años se produjeron varios hechos violentos debidos a la polarización social, entre los que destaca la Quema de Conventos de los sucesos de 1931, donde se destrozo el Crucificado de la Buena Muerte de Pedro de Mena simbolo del barroco andaluz y la constante violencia política, donde la estatua de la Glorieta de Larios mas de una vez acabo en el fondo del puerto.

Tras el levantamiento militar del 18 de julio de 1936 contra la II República, la ciudad de Málaga y gran parte de su provincia quedó bajo control republicano debido a la acción de las milicias obreras que consiguieron sofocar el golpe, producida por un capitan que mandaba en el acuartelamiento de Capuchinos. Durante los primeros meses de guerra, Málaga estuvo prácticamente aislada del resto del territorio de la República ya que la única vía terrestre que la enlazaba y que no estaba en poder de los nacionales era la carretera de Almería, la cual era vulnerable al bombardeo marítimo y dificultaba el envío de soldados y provisiones a la provincia, y de hecho ésta carretera se encontraba cortada a principios de 1937 por unas inundaciones acaecidas en Motril. Por ello las autoridades de Málaga actuaron en muchas ocasiones al margen de las decisiones del gobierno republicano, por la cual, no fue defendida de la forma que seria.

Durante los primeros meses de la guerra las milicias obreras habían cometido algunos desmanes como la destrucción del barrio de La Caleta, poblado por elementos de la burguesía y El Limonar realizado por poblacion de los barrios de Malagueta, El Palo y otras zonas cercanas.

Asedio y Caida de La Ciudad de Malaga.

El 17 de enero de 1937 el general Queipo de Llano lanzó una primera ofensiva sobre la provincia de Málaga, ocupando Marbella por el oeste y, desde Granada, tomaron Alhama y los territorios cercanos como son Loja y Archidona. En estos dos ataques simultáneos apenas hubo resistencia por parte de los republicanos y provocaron un primer éxodo de civiles hacia la capital malagueña. Sin embargo las autoridades republicanas no creyeron que estos movimientos iniciaran una campaña general en el sur y no fueron enviados refuerzos porque estos estaban defendiendo otras zonas del Norte.

En el norte de la provincia, los camisas negras italianos reunieron a nueve batallones, es decir unos 10.000 hombres. Por su parte, la República contaba en Málaga con 12.000 hombres, pero tan solo 8.000 fusiles y pocas municiones y artillería, ademas de una fuerza de importancia en el ejercito sublevado como eran los Regulares.

El 3 de febrero comenzó el ataque definitivo contra Málaga desde Ronda, encontrando los franquistas una fuerte resistencia en poblaciones como Alhaurin de la Torre y otras poblaciones de la cuenca del Guadalhorce. En Málaga cundió el pánico entre los defensores y los civiles por el miedo a quedar aislados. El 6 de febrero los italianos tomaron las cumbres de Ventas de Zafarraya, desde donde dominaban cualquier posible retirada por la carretera de Almería. Ese mismo día se ordenaba la evacuación de Málaga con el desorden y el miedo por bandera y, al día siguiente, las tropas italianas entraban en los suburbios como son El Palo, Teatinos, La Virreina y Puerto de la Torre y empezaban los primeros fusilamiento como en la zona de las cuevas de El Palo. El día 8 toda la capital estaba en poder de los sublevados que llegaban desde la zona del Guadalhorce y de Marbella, tomando todas las poblaciones de la Costa del Sol.

Exodo hacia la ciudad de Almeria

Ante los primeros movimientos franquistas hacia Málaga, en la capital cundió el pánico ante la represión, por lo que muchos civiles y milicianos optaron por huir por la carretera de Almería. Ésta no había sido cortada, pues no habian llegado los italianos pues estaban todavia tomando poblaciones de la zona como son Alcaucin, Viñuela y otros, si bien estaba a merced de los bombardeos desde tierra, mar y aire.

Se calcula que fueron decenas de miles los que intentaron huir, aunque el camino era extremadamente difícil tanto por los bombardeos de los barcos a quemarropa como por el hecho de que la carretera se encontraba en pésimas condiciones a la altura de Motril, por las inundaciones producidas tiempo antes.

Participaron en el bombardeo, además de la fuerza aérea franquista tanto aviones españoles de sus aliados alemanes, los buques Canarias donde tuvo su bautizo de fuego, Baleares y Almirante Cervera, así como los tanques y la artillería rebeldes. La escuadrilla aérea España, fiel a la República, trató de defender a los huidos con poco éxito. La mayoría de pueblos en el camino hacia Almería no ayudaron a los fugitivos ante el miedo a las represalias posteriores por parte de los sublevados, que continuaban avanzando. Sin embargo este mismo miedo hizo también abandonar sus casas a muchos de los vecinos de estos pueblos situados en la costa malagueña; tal es el caso de Lagos, en el término municipal de Vélez-Málaga, un conjunto de casas frente al mar donde algunos supervivientes ubican los primeros bombardeos de barcos y aviación contra la población inocente que huía por la carretera. Asimismo, el 8 de febrero también tuvo lugar un desembarco en Torre del Mar con la intención de cortar la retirada de los huidos. La cual llegaba tarde, porque al ver esa accion de los militares mucha poblacion civil volvio a sus casas a esperar una muerte cierta,

Consecuencias del exodo a Almeria.

Los cálculos sobre la cantidad de huidos de Málaga son confusos y difíciles. Se calcula que fueron entre 15.000 y 150.000. La acción del ejército franquista sobre los huidos por la carretera de Almería provocó entre 3.000 y 5.000 muertos, la mayoría civiles, entre ellos mujeres, niños y ancianos.

Igualmente, la represión sobre aquellos que habían permanecido en la ciudad fue la más brutal desde la masacre de Badajoz, en agosto de 1936. Se calculan unos 20.000 fusilados, enterrados en fosas comunes como las del cementerio de San Rafael, de los que ya se ha obtenido el nombre de 4.100 y la del Candado donde se cree que puede haber entre 200 y 500 paleños.

Este post no quiere realizar ninguna opinion politica sino la historia de la ciudad de Malaga, pues es un acto de cobardia acabar con tanta personas como si fueran una caza, como se lo tomaron los que acabaron de forma tan cruel a tantos inocentes, tanto de un bando como de otro.

Este post esta dedicado a los que sufrieron  este acto de brutalidad humana de la guerra y, sobre todo, a mis familiares que tuvieron que huir por ese lugar.

Un saludo y hasta otra.

From 1937’s ‘Guernica’ to 1945’s ‘The Charnel House’, Picasso’s work during the war years reflects an unprecedented impact of external events on the life of a celebrated artist. ‘Guernica’, a howl of protest against the Fascist bombing of a Basque town during Spain’s civil war, signalled Picasso’s loyalty to the Republican cause and his anger at the brutality of the war, while ‘Charnel House’ reflects on news of atrocities in Nazi concentration camps. Although his reflections on the war were seldom as overt as in ‘Guernica’, the paintings, drawings and prints assembled here show the profound impact of the Spanish war, a European continent under the boot of fascism, and later the liberation of Paris on the work of one of the twentieth century’s most important artists.

Esta galeria de fotos tem como tema a F-1 em 1937.

When I think of movies made prior to the early 1950’s, before American cinema began a steady shift toward naturalistic acting styles, I tend to think of what I would deem stage acting for the camera. Musical speech patterns, big gestures, and “charm” come to mind.  I have yet to find my way into embracing that style of filmmaking.  I’d like to think that I will grow to appreciate it for its own virtues, but I don’t have to grow today.

 Grand Illusion, spine number 1 of the Criterion Collection DVD releases, feels fresh and modern despite more than seventy years passing since filming wrapped.  Given the current policies in America toward POWs with Guantanamo Bay and Abu Ghraib, Desert Storm seems quaint.  By starker contrast, the interactions in director Jean Renoir’s classic POW camp film, set during the First World War, are friendlier than a current day trip to the post office.  Renoir addresses this directly in an included introduction, filmed for an American theatrical re-release of the film after the end of WWII.  (It seems that after WWII, it was important to clarify that these Germans weren’t necessarily the noble guys depicted in his pre-WWII film.)

 Renoir was exploring a wartime chivalry that probably never existed (despite what the Hogan’s Heroati might have you believe).  He uses the setting of POW camp life to explore the broader issues of class and religious discrimination.  Erich Von Stroheim plays the unforgettable Capt. Von Rauffenstein, an injured and now sidelined pilot placed in charge of a German POW camp.  Von Rauffenstein affords captured French officer de Boeldiue, portrayed with appropriate stuffiness by Pierre Fresnay, special privileges due to their common upper class backgrounds and military rank.  Von Rauffenstein relates more closely to the French officer than his own German soldiers and pines for some suitable company.  Despite de Boeldiue’s refutations of such privileges, Renoir shows that class discrimination is a two way street.  Jean Gabin is the star of the film, portraying Lt. Maréchal, a direct report of de Boeldiue.  While Maréchal is privy to his Captains refutations, and they clearly like each other, they still mutually remain at arm’s length. 

 Furthering his social and class examination, Renoir introduces fellow prisoner Lt. Rosenthal.  Rosenthal (played wonderfully by Marcel Dalio) is the product of a wealthy Jewish background and receives large packages of wine, food and assorted sundries shipped to the prison from his family.  Rosenthal is entirely generous with the abundant goods, sharing the items with all of his bunkmates in the prison.  Despite the obvious class differences between himself and most of the others, he is not treated with equal distance as is Capt. de Boeldiue.  Renoir seems to be pointing out that religious prejudices overrode the class differences between men in his time.  Even Gabin himself slips into anti-Semitic territory with Rosenthal late in the film before righting himself.  This aspect of the film would become all too realized just after completion of Grand Illusion in 1937.

 I was interested to find out that this was the first POW escape film.  You can see most of the conventions associated with this subgenre of films present in Grand Illusion.  Also of note, perhaps a more appropriate translation of the film’s title would be The Great Illusion as this is the intended commentary Renoir is making about the notion of war and class in human society.

 The Criterion print of the film is absolutely beautiful with startling clarity and depth that was believed lost prior to the rather incredible discovery of the original film negative in the 1990’s (originally saved in, of all places, the Reichsfilmarchiv vaults). The commentary by film historian Peter Cowie is academic, though it should be remembered that this was recorded fairly early in the life of audio commentaries.  The special features on the disc are small in number and much of them are of the text variety, a convention less common on DVD releases of the past several years.  I will say that I don’t typically enjoy reading my special features, but the information on the discovery of the camera negative is quite fascinating and the accompanying demonstration of the film’s restoration shows the incredible improvements made upon this release.

    “Ripped from the Headlines!”

    “Marked Woman” is a typical Warner Brothers crime drama, hard-bitten, gritty, realistic and based on current headlines, the kind Jack Warner craved. Naturally, when he read an article about the downfall of boss of bosses Charles “Lucky” Luciano, he quickly jumped on it. Charlie Lucky controlled prostitution in New York City and was pursued by D.A. Thomas Dewey who continually raided Luciano controlled Bordello’s arresting hundreds of prostitutes many who eventually assisted in turning state’s evidence against Lucky in order to avoid going to jail themselves. Dewey got the jury to convict Luciano of running one of the largest prostitution rings in the country.       

    That same year, Warner Brothers made “Marked Woman” the story of four “night club hostesses”, aka prostitutes, working in a “clip joint” recently bought over by crime boss Johnny Vanning (Eduardo Ciannelli). Vanning tells the girls that they will now be working for him and a percentage of their take goes straight to him. If they don’t like it, they are out. Worldly Mary Dwight (Bette Davis) knows all the angles, and sees Vanning for what he is, and is straight talking enough to tell him face to face. She protects her co-worker Estelle (Mayo Methot) when Vanning tells her she too old for the business.  Mary, Estelle and two other girls, Gabby (Lola Lane) and Emmy Lou (Isabel Jewel) share an apartment together. When Mary is implicated in the murder of a customer and interrogated by D.A. David Graham (Humphrey Bogart), he tries to get her to tell all she knows about Vanning. When Vanning’s trial comes up, she lies on the stand and helps get Vanning acquitted. Things get a bit tougher for Mary when her innocent kid sister Betty (Jane Bryan) comes to visit and finds out from Emmy Lou what Mary really does for a living. Upset, Betty defies Mary and goes to Vanning’s club. When she refuses to do more than just dance with a customer, Vanning hits her causing her to fall down a flight of stairs resulting in her death.

    Upon learning of her sister’s death, Mary decides to tell all she knows about Vanning to D.A. Graham however before she gets the chance, Vanning’s goons beat up her up so severely she ends up in the hospital near death. Mary does survives, badly bruised and scarred she testifies at a new trial for Vanning this time resulting in a conviction. The film ends with Graham, a hero, surrounded by newspaper writers wanting to know the story while the four girls, Mary and her fellow hostesses who are the real heroines walk off into the foggy night.   

    This was Bette Davis’ first film after returning to Warner Brothers after a long battle with studio heads, Warner’s finally realizing that Davis was an important draw they took her back and put her in this picture. She glows in this role, strong, sexy and giving us plenty of those Bette Davis eyes. Humphrey Bogart, whose career was still mostly playing gangsters or other characters on the wrong side of the law was given a chance to expand his range and manages to give a strong and sensitive performance as the D.A. David Graham. An example of the depth of Bogart’s ability is shown in one great scene, mentioned in the DVD featurette, where Graham has to tell Mary about the death of her sister Betty. Bogart and Davis would make five films together. In addition to “Marked Woman”, they made “Three on a Match”  “Kid Galahad”, Dark Victory” and “The Petrified Forest”. 

It started simply enough, but has become a worldwide sensation.  It was meant to be a story for the author’s son, but millions upon millions of adults have embraced it.  It’s popularity led the publishers to ask for a sequel, and what resulted was one of the most important works of fiction ever created.  But such was the power in the phrase - “In a hole in the ground there lived a hobbit.” - written on a scrap of paper, that could so affect literary history.

“The Hobbit“, J.R.R. Tolkien’s story of Bilbo Baggins, has all the elements that a child (and maybe a grown-up) requires in an adventure story.  There are strange races of people (hobbits, elves, dwarves, trolls, and goblins), there is a wizard, and mountains, and secret doors, and maps, a key, and a magic ring.

But above all else, there is a quest.  Bilbo Baggins is thrust into the middle of an adventure he desperately wants to avoid.  And throughout the pages of the book, we watch as Bilbo is transformed from a sort of bumbling fraidy-cat to the leader of an expedition, as the adventures he and the dwarves encounter serve to refine our hero.  So by story’s end, Mr. Baggins is no longer the homebody hobbit who passes out at the mere mention of death, but a bold adventurer who faces his fears and is willing to walk into the dragon’s den.

I think my first exposure to Tolkien was watching the Rankin-Bass cartoon production of “The Hobbit” back when I was 12…maybe 13 years old.  It’s a decent rendition, though I think Glenn Yarborough’s singing is atrocious.  My first reading of the book was not long after.  I read it every year, usually in August, and my count of readings now approaches 30.  But I still love the tale.

A couple of interesting things: my uncle built an earth home years ago, and his mailbox was custom-painted with “Middle Earth” on it.  My younger brother proposed to his wife while reading the chapter “Riddles in the Dark” to her.  He got to the Bilbo’s question (”What have I got in my pocket?”) and, well, you know…

The greatest value “The Hobbit” has is that its popularity made the publication of “The Lord of the Rings” a reality.  And while the 3-volume sequel required that Tolkien alter certain aspects of Bilbo’s story, it still remains the same classic adventure story today that it was when those first 1,500 books rolled off the presses on September 21, 1937 (the original cover is shown above).  And if you can find one of those original copies…

Recommended Reading:  The Hobbit - I just finished what I think is my 28th or 29th reading last month, so pick up a copy and go for it!

Opis : Broszura zawiera składy, strzelców bramek, sędziów, ilość widzów w każdym kolejnym meczu w sezonie 1937 oraz tabele po każdej kolejce ligowej.

Few things can make up for such depressing financial times (Lehman’s bankruptcy, Merrill’s sale, AIG’s hunt for cash, Wall Street’s worst day since 9/11 aftermath). One are the institutions that prevent the entire economy from collapse. Another of those few redeemers is old-school college humor. Back then, if you had over a 2.0 GPA, you were golden. In 1938, there was even debate at Dartmouth to have unlimited class skips if such marks were attained. Students were still horn-dogs, but at least they could be discreet about it, as evidenced in many of the following:

The Dartmouth Pictorial, May 7, 1938.

The various possibilities beside dancing and drinking over the week-end.

• The golf course, with its romantic setting, makes a charming afternoon’s entertainment for any athletic couple.
• Perhaps, however, sleeping in the sun would be more appealing after an evening of festivity. Then, if you are really ambitious, you can show your date just how that Trig problem is worked.
• It takes real ambition, but there are some girls who will want to see just what classes at Dartmouth are like, so we suggest taking her to your eleven-fifteen on Saturday.
• You may even prefer the solitude of the ravine below Tuck School.
• The Chubbers will all be off to Mt. Washington for the last skiing, and we hope that the girls will be prepared for it, as there is nothing they can do about it.

jack-o-lantern, Thanksgiving 1937

“That’s a hot number,” said the steer, as the glowing brand was pressed against his tender flank. - Log

When Sue found out about the Peeping Tom across the street it meant curtains for him. - Punch Bowl

They were seated on the divan, tighly clasped in each other’s arms. “My parents may come between us,” she faltered. “If they do,” he exclaimed hotly, “they must be pretty small.” - Bored Walk

For the modern girl: “There’s seldom a slip between the gown and the hip.” -Ski-U-Mah

“How do you like my new evening dress?” “I can’t tell until you get up from the table.” - Ski-U-Mah

jack-o-lantern, Christmas 1937

He: “How do you know I’m a freshman? What did I do wrong?” She: “Nothing.” - Sundial

She: “Do you think you’re Santa Claus?” He: “No; why?” She: “Then leave my stockings alone.” - Jester

Father: “Mary, who was that Man I saw kissing you last night?” Daughter: “What time was it?” - Exchange

Any girl looking for a real thrill should kiss a man with hiccoughs. - College Widow

Junior: Let’s teach that dumb blonde the difference between right and wrong. Senior: You teach her what’s right. - Brigadie

jack-o-lantern, Harvard Issue 1937

“Even if you were the last man on earth I woldn’t marry you.” “It wouldn’t be necessary.” - Sun Dial

Lovers, like all people who are blind, develop a wonderful sense of touch. - Jester

YOUTH
him and her in a field
of grain
with robins and clouds
and beating hearts
she gives him the wink
and on he comes
no time to think
as the universe drums
hot diggety sex! - Octopus

From 1937’s ‘Guernica’ to 1945’s ‘The Charnel House’, Picasso’s work during the war years reflects an unprecedented impact of external events on the life of a celebrated artist. ‘Guernica’, a howl of protest against the Fascist bombing of a Basque town during Spain’s civil war, signalled Picasso’s loyalty to the Republican cause and his anger at the brutality of the war, while ‘Charnel House’ reflects on news of atrocities in Nazi concentration camps. Although his reflections on the war were seldom as overt as in ‘Guernica’, the paintings, drawings and prints assembled here show the profound impact of the Spanish war, a European continent under the boot of fascism, and later the liberation of Paris on the work of one of the twentieth century’s most important artists.

10-10-37.  The Cash Baptist Church was called into conference to elect officers and teachers for the next associational year.

There were as named:

Superintendent - Bro. Gregory

Sec’y & Tres. - Mrs. W.C. Farley

Teachers

Class No. 1 - Bro. W.W. Gibson

Class No. 2 - Sister Lois Lee

Class No. 3 - Bro. Bill Bundren

Class No. 4 - Sister Helen Freeze

Janitor - Haskel Farley

There being no other business, conference adjourned.

W.C. Farley, moderator

Mrs. W.C. Farley, c.c.

10-3-37.  The Cash Baptist Church was called into conference to elect messengers to the Mt. Zion Association.  The following were elected as messengers:  Mrs. Lois Lee, Mrs. Helen Freeze, Mr. W.W. Gibson; alternates Mr and Mrs. W.C. Farley.

No other business on hand.

Conference adjourned.

W.C. Farley, moderator

Mrs. W.C. Farley, c.c.