Jesse Helms was a kind, decent, and humble man and a passionate defender of what he called “the Miracle of America.” So it is fitting that this great patriot left us on the Fourth of July.  He was once asked if he had any ambitions beyond the United States Senate.  He replied: “The only thing I am running for is the Kingdom of Heaven.”  Today, Jesse Helms has finished the race, and we pray he finds comfort in the arms of the loving God he strove to serve throughout his life.

Jesse Helms. Kind and decent. Humble. A man whose eyes were always directed piously upward, fixed on the Kingdom of Heaven, and who is now in the arms of a loving God.

Wow. You'd think the President was talking about Tim Russert. 

But I wonder. How could such an imitator of Tim and Jesus be perceived so, um, differently from this by so many?

Has something fallen down Orwell's INGSOC memory hole here?

Let's see. Here's Jesse Helms's characterization of the University of North Carolina, made in 1950:

The University of Negroes and Communists.

That doesn't sound like a very kind or decent thing to say. Certainly Tim Russert would never have said such a thing. But okay, that was way back in 1950.

But then what about Mr. Helms's response to Duke university students holding a vigil for Martin Luther King after he was assasinated?:

They should ask their parents if it would be all right for their son or daughter to marry a Negro.

That sounds a bit ugly. Once again, I think this falls short of kind and decent. But let's give him credit. He didn't say it was out and out wrong for a white student to marry an African American student. He told the white students to check with their parents first.

And again, that was 1968, and 1968 was a long time ago. 

Surely the good Senator from North Carolina became more kind and decent over time, right? 

Well, here was his stated reason for resisting one of President Clinton's cabinet nominees back in the early 1990s:

She's a damn lesbian. I am not going to put a lesbian in a position like that. If you want to call me a bigot, fine.

Now the early 1990s wasn't so long ago. When exactly did Jesse Helms start acting kind and decent?

Here's a statement of the Senator in 1995:

Homosexuals are weak, morally sick wretches. 

Hmm.

And in this quote, the Senator uses a plague metaphor for describing gay people who work in the media:

The New York Times and Washington Post are both infested with homosexuals themselves. Just about every person down there is a homosexual or lesbian.

Are such comments really consistent with someone who was kind and decent? Or are we being subjected to yet another Orwellian White House moment in which facts and the actual meanings of words are, well, simply not important?

Obviously, Jesse Helms was not always indecent and unkind, and in the course of his long public career he may have frequently been on the right side of many issues, and history may attest to this. The quotes I've offered above do not reflect the whole of the man. Like other human beings, he had positive and negative qualities. But let's not pretend that Jesse Helms's legacy is unproblematic. And let's also not pretend that those who offer up unrestrained praise for the man, as Bush did, don't know what they are doing. They know that Helms was often a bigot and they don't care, and that says as much about them as it does about the Senator. 

Here's a link with a few more of Helms's quotes: http://www.bettybowers.com/helms.html

Sold on eBay by a certain Nostalgiapix, these pretty nice old picture dated of 1950 is entitled "Siamese Kitten Cat Drinking From Baby Bottle", the seller's description is the following:

Seattle: Cheen, a 4-month-old Seamese kitten looks on hungrily but patiently while her twin brother, Ming Toy, hoists a doll's flask for a swig of his favorite beverage. Ming Toy picked up the bottle habit after too many scuffles at the milk plate with sister Cheen.

• Size (in.) : 9x7.1
• Date : circa 1950's
• Place/Origin : Seattle, Washington, USA
• Condition : Silver print, Good condition, light creases
• Photographer/Credit : NEWS SERVICE (Misc)
• Category : 20th Century. Dogs, Cats

We at F.A.I.T.H. were first made aware of the D.C. checkpoints through an article written by Consent of the Governed's Judy Aron. Check her article out at: http://yedies.blogspot.com/search?updated-max=2008-06-06T21%3A22%3A00-05%3A00&max-results=12 That article first brought F.A.I.T.H.'s attention to the idea of military checkpoints to the nation's capital. Are the purpose of these checkpoints to protect the current President, George Bush, from danger during wartime? No. Are the checkpoints due to suspected terrorist activity? Yes.

So much worry that terrorists are getting ready to overthrow the nation's capital that now, the police have instilled checkpoints. But here's the kicker: Checkpoints are only in certain neighborhoods. Here's a video of a typical checkpoint in a D.C. neighborhood:

Also, if you go to CheckpointUSA.org, there are now checkpoints at the border crossings. According to kokesh.blogspot.com this is in direct violation of the 4th Amendment, which states that any unlawful searches and seizures are a direct violation of the Constitution. We will keep readers updated of any new developments in this growing trend that hopefully, will not signal the end of freedom and democracy.

Marilyn Monroe. I think that it's her vulnerability that draws so many people into her. She was fragile but what I admire about her the most is that Marilyn was a woman before her time. She posed naked when it was against the law. She wore red lipstick every day and smiled in public like a big kid, even though she was hurting inside but nothing in her public persona hinted at this. I think that's what reminds her of my friend the most. My friend, I knew she was sick with rheumatoid arthritis but I didn't know she was going to die.

I always wonder in the final moments of someone's life if they know they are about to die but it doesn't matter now and with Marilyn, she'll be forever young. Everything about Marilyn is the exact opposite of what feminism claims to instill: she was insecure, she needed a man, she used sex almost as a weapon but she was free. Now, the media then and now is notorious for building up celebrities in order to destroy them but with Marilyn, she was her own person. There was only one Marilyn Monroe. Later, women such as Jayne Mansfield, Raquel Welch and Adrienne Barbeau tried to build careers as sex symbols but they weren't nearly as complex or fantastical as Monroe.

That Marilyn never had children, never stayed with the same man for too long but they still wanted her sounds kind of repulsive in today's terms but back then, it was dangerous and controversial and risky. Any of those things could have ruined her career but it made Marilyn unique, that, along with her curvy figure, which epitomized the glamour of repressive, Communistic 1950's America. She danced to her own tune when others were too weak, when it was too damn hard. With that, I admire her and I want to be like her in that sense because I love the idea that she did not was expected and but that she rebelled without even trying. Some accused her of being a dumb blonde or even a dumb fox but by playing the dumb fox, she became an even bigger star than her peers, won a Golden Globe and won millions of fans around the world.

Her iconic status comes in her being a trendsetter, a leader and not a follower. Unlike many of today's starlets, she was sexy without being trashy, something that's rarely seen in music videos and reality television shows of today. She wasn't afraid to wear her heart on her sleeve and made being a loner not so abnormal. So, on this day, five days belatedly, we at F.A.I.T.H. honor the beautiful Miss Marilyn Monroe, a feminist icon who still represents what it means to be a free woman (for better or worse) and whom few people could truly hate.

Quotes that I love by Marilyn Monroe:

I don't mind living in a man's world as long as I can be a woman in it.

A career is born in public -- talent in privacy.

It's better to be unhappy alone than unhappy with someone.

I love to do the things the censors won't pass.

I'm very definitely a woman and I enjoy it.

If I'd observed all the rules, I'd never have got anywhere.

And finally, I end this tribute to one of the greatest freedom fighters with one of her best-known acting scenes from the movie, Gentleman Prefer Blondes:

O verbete bossa-nova era uma gíria que significava modernidades positivas e foi atribuída a um surto musical que aconteceu nos anos 50.O LP Chega de Saudade ,de João Gilberto,1959, é o que marca o início da Bossa Nova.Lá estavam todos os elementos :a harmonia e a melodia sofisticadas,o jeito comportado de cantar,a maneira nova de se tocar o samba reinventado .A bossa nova representou  um ato de rompimento e de inovação de uma classe média que buscava uma identidade cultural."À medida que o movimento  crescia a sensação era de que um enorme céu ensolarado abria-se tornando a vida mais leve",diz João Donato.

A beleza feminina era fonte inspiradora para os músicos bossanovistas.Ela era cantada de forma livre que dava às moças um realce diferente ,digno das mais belas canções.A Bossa Nova pintou as mulheres como "lindas e cheias de graça",como escreveu Vinícius de Moraes na célebre Garota de Ipanema.O amor também ganhou uma nova cara :"A impressão era de que o amar ficou mais leve ,diferente de como as antigas músicas o descreviam.

Enquanto no Rio nascia a Bossa Nova ,em Brasília nascia a nova bossa.Jk como amante da Bossa Nova não deixou de querer presentear sua querida Brasília com uma canção feita por Jobim e Vinicius.O Presente foi Água de Beber que nasceu enquanto os dois compositores estavam conversando na varanda e pediram um copo de água,porém o operário que lá estava disse que água boa mesmo só tinha num rio próximo ao Catetinho.Daí quando chegaram lá o operário diz com destreza:"Essa é a água boa de beber camarás".Na nova capital a bossa era um movimento timido,mas sem dúvida estava presente.Para os elitizados a bossa era cantada no Iate Clube ,no Hotel Nacional ou no Hotel das Nações mas para os amantes simples da menina carioca,as portas do Colégio Elefante Branco era o melhor lugar,

Só digo uma coisa:nasci na época errada.Quem dera ter crescido junto com a Bossa.Mas isso não me impede de admirar essa senhora que tanto gosto de ouvir e cantar.Deixo essa versão com umas batidas mais atuais mas quero deixar claro que prefiro o dueto Tom e Elis.É no fundo no fundo,sou uma cinquentona disfarçada . 

Take a look at a couple of Clare's Sewing Projects. Gorgeous?

All About Eve (1950)
Directed By: Joseph L. Mankiewicz
Starring: Bette Davis / Anne Baxter
Rating:

Another AFI film off the list. Watching All About Eve, lots of things I'd heard over the years clicked and made sense. I heard the classic line, "Fasten your seatbelts, it's going to be a bumpy night" I finally saw a Mankiewicz film, who I'd heard about for quite some time (Although I may have seen The Virginian) And last but not least, I realized why All About Eve was listed AFI's Heroes & Villians list, and deservedly so.

Anne Baxter put in a near-perfect performance as the title character, playing Eve with just the right amount of subtlety and charisma. I also really liked Bette Davis in the role of Margo Channing. I was reminded of Gloria Swanson's chilling performance as Norma Desmond in Sunset Blvd. Both characters are obsessed with their own stardom and have a desire to control their surroundings. (Both films also have similar beginnings as well) Ironically, both films were released in the same year.

For a film that relies predominantly on dialogue between the many characters to tell the story,  I was surprisingly engaged throughout. This is proof that you don't need action to tell an entertaining story.

All About Eve also has another ending that I really liked and fit the story perfectly in a circular manner. This is definitely a film worth watching.

OK, so some of them were Camaros.  But hey, it's the Camaro Club that organized this, so it's only fair that they get the best parking spots (and the first pictures).  This '67 Camaro SS had a 396 small block, full roll cage with lots of go-fast stuff inside, and gorgeous green paint.  But, the impressive part was the "Yenko Tuned" sticker on the driver's side window.

Paul Roy's 1950 Chevy was another impressive ride, and not just because of the model.  The little Chevy workhorse's flames extend to the engraved valve covers and air cleaner bolted to the 350 V8 engine with 4-bolt mains.  The small-block, in turn, is attached to a TH-350 3-speed auto and a posi-trac rear.  The coolest part?  It's for sale!  Paul's only asking for $30k, which is pretty decent for the low mileage and proven dependability.  If you're interested, leave a comment below and I'll get back with the contact info.  Sorry, the brown-haired girl isn't included.

Speaking of cool trucks, this one even has a name:  "MerPhy."  It's a 1954 Mercury M-100 half-ton, which was only sold in Canada.  The buildup on his truck took twenty years, but it must have been worth it for the owner.  For the show, the happy little truck's owner went so far as to attach functional drive-in speakers to both windows.

Parked next to it was this 1967 Volkswagen "Rat Bug."  The teeny bug has seen extensive body mods, like the chopped roof and custom hood, to give it this overall look of awesomeness.  Just to put some icing on the cake, the little Vee-Dub was pinstriped all over in white and green.

What would a car show be without a visit from some kind of celebrity?  Ernie made his appearance on the miror of John Ducharme's '41 Nash Sedan.  No word yet on the number of encores, but I gotta say there were at least 2.

That's it for this Monday.  Don't forget to come back Wednesday, when we'll see more of this show, and see what's going on in Winnipeg.  Until then, adios!

aquí

This panorama is from the first City Lights Cruise Night of the 2008 season, just two weeks ago.  For those of you that think our government is cracking down too hard on customized cars, well, you're probably right.  But before you start writing hate mail to your MLA*, ask yourself how many cities would close a busy downtown street for a car show?  And how many would do it every Wednesday night, for the entire summer?  At the risk of alienating readers, maybe we should be thanking our elected leaders on the rare occasions-like this-that they help out the car enthusiast community.

* For our American readers, MLA stands for Member of Legislative Assembly, similar to the lawmakers in U.S. state assemblies.

Panel deliveries of any kind are both rare and cool, which is what makes this green & black Ford such a gem.  The low stance gives it the right attitude, but it's the overall lack of chrome that really define the look.

Speaking of beautiful Fords, here's a 1950 F-47 that's tricked out with all the modern conveniences.  This one can be seen rolling in on nearly every car show of the summer.  Although the gold paint doesn't appear to be metallic, you'll still see plenty of sparkle from the knock-off hubcaps.

There was lots of sparkle on this 1951 Chevy, as well.  Just thinking about cleaning and polishing the bug guts off the chrome makes my arm hurt.  Keeping a pickup grill in Manitoba this shiny makes this guy (or gal) the second most determined '51 Chevy owner on the planet (click on the link and scroll down to the bottom right-hand corner).

One of the more unique paint jobs is this sweet 1st generation Camaro.  It certainly dares to be different with the blue-on-red flames, which turns out to be a good thing.  The rest of the car is bitchin', too, with the big slicks and roll bar, just begging to burn rubber.

Here's a closer look at those flames:

That's it for today, but come back Monday to see all the wild rides that hit the pavement this weekend.  Until then, check out some of my friends car blogs--like Wheels and Rubber, and Mike's Show-N-Shine.  And don't forget to pick up your copy of Canadian Hot Rods & Classics at your local bookstore or magazine stand.  Even if it weren't Canada's only hot rodding magazine, it would still be the best!

He sells his car for 30'000 CHF

www. auberge-de-lunion.ch

"Essa é a finalíssima da Copa do Mundo de 1950, senhores. O Brasil conseguiu a vantagem, mas os uruguaios empataram.

Agora, Julio Perez no campo uruguaio toca para Gigghia. Gigghia devolveu a Julio Perez, que dá em profundidade ao ponteiro direito. Corre Gigghia! Aproxima-se do gol do Brasil e atira! Gol! Goool do Uruguai... Gigghia. Um para os brasileiros, dois para o time uruguaio.

Termina o jogo com a vitória do Uruguai. Uruguaios campeões mundiais de futebol de 1950, título já consagrado em seu país no ano de 1930. Deságua em lágrimas o Maracanã."

Ouça minha narração AQUI ;-D

*Trabalho para a cadeira de História das Mídias.

So we're back there on this Father's Day, which this year follows Dad's birthday by exactly one day. Dad turned 83 yesterday. He doesn't get around too well anymore, but he's still sharp.

Here, then, are a couple of tunes you might hear at Ray's Corner. It’s the apartment with the loud music, and the place where the martinis are made of gin with the vermouth bottle held about a foot away.

They're kind of laid back. Perfect for a lazy summer Sunday.

"Night Train," Louis Prima, from "The Wildest," 1957.

Dad was 31, and he and Mom had probably just learned I was on the way when this album was released in January 1957. It really is the wildest! It's mostly swing, jazz and blues, but you can see rock and roll in the distance.

"Blue Light Boogie," 1950, Louis Jordan and Trio, from "The Best of Louis Jordan," released on vinyl in 1977 and on CD in 1989.

Dad was 25, still a single guy, when this tune hit the charts in August 1950. He was working as the agent at the Railway Express Agency office in the depot in his hometown of Elroy, Wisconsin. He was living at home, but you can be sure he got out and heard this tune on the jukeboxes of the day.

Minder hun i grunden ikke om en ung Susse Vold?

In the 1960’s, Major Studios in desperation started financing independent films and major conglomerates that invested and traded in the studios bought up the studios. A slew of new distribution companies such as American International Pictures, a up and coming production and distribution company, distributed some very popular series of movies, including Roger Corman’s films based on Edgar Allen Poe. American Intl’ Pictures started the genre of marketing films to teenagers. Jack Nicholson, Robert DeNiro and Francis Ford Coppola got their starts with American International.

In the 1960’s as well, John Cassavetes, considered the father of Independent Film, made courageous new works, such as “Faces” and “Shadows” with no help from financial banks, the major studios. He could not get anyone in America to distribute his film in the US, so he received international help. He did not care for pleasing anyone in monetary standards, a true maverick, only himself. In a interview with Ron Carney, a renown and controversial film critic, he says about Cassevetes films, they were about “change and process” they were about staying free and avoiding being limited by social rules or arrangements”. Carney says the master plot of all his work was to expose fraudulence and self-delusion. His stories weren’t about plot or about events like many movies to date but Cassavetes films “were about character”. (Carney, 2002)

Cassavettes was recognized as a spiritual father of independent filmmaking and although he wasn’t extremely successful because of lack of budgets to distribute his films, he impacted many other filmmakers and they could distribute their movies easier because they had a new niche in the market. By the early 1970’s, Blaxploitation film genres became popular with a commercially successful film by Melvin Van Peebles “Sweet Sweetback's Baadasssss Song.” Many notable indie filmmakers at the time that featured blaxploitation were Gordon Parks, William Crain and William Levy.

In 1975, the movie world would be changed forever and be a great blow to indie filmmakers that wanted to show their movies in theatres. Steven Spielberg created “Jaws” that caused courageous comeback by the Majors, started the rise of the Blockbuster movie and the rise of saturation marketing. George Lucas started the auxiliary market by betting his toys from his Star Wars trilogy would fund his movies. The studios had no idea of this profitable and lucrative auxiliary market of toys and licensing could be of such benefit to a filmmaker. At this moment of time, the budget of marketing for this film was the greatest amount of money ever spent on a film.

To see the full History of Film from 1890 to Present, click here

In the late 1920’s owners that usually retained control of their studio system, started hiring supervisors to run day to day operations and organization started taking place in a producer unit system that included a general manager, executive manager, producer and supervisors. (Bargann, 350) They found that branching out the system by operating with a larger organization of people encouraged quality of movies especially for independents. In the late 1930’s Independents such as Walt Disney, Samuel Goldwyn and David Selznick owned their own studios but started distributing independently and not through the major companies because they refused to give up creative control and because Hollywood had a monopoly over talent and distribution methods. In the late 1930’s the federal government accuses the Hollywood majors of restraint of trade by controlling all means of production, distribution and theatres and shutting independents out. The lawsuit was put on hold for wartime reasons and then in the 1940’s the Government accuses the majors of monopolizing on the best talent and monopolizing on all movies by owning the theatres. The government calls for the studios to break ownership with the theatres. (Cobbles.com, 1) The studios break ownership with the theatres by force of the US government and the fall of Hollywood is inevitable.

To see the full History of Film from 1890 to Present, click here

Film distribution business’ earliest history can be traced back to the first Kinetescope parlor that was opened at 1155 Broadway, New York City, April 14, 1894. “It was owned by the Holland brothers, who were licensed by the Kinetescope Company to distribute Kinetescopes and Kinetescope films in New York.” (Robinson, p.45) Edison had made an invention and set out to distribute it to this company and others. He had serious competition – (independent from his own creation of the kinetescope) from other companies that sold their own kinetescope and kinethescope movies among the most prominent were the American Mutoscope Company (i.e., Biograph) and the International Film Company in New York; Edward Amet in Waukegan, Illinois; and Sigmund Lubin in Philadelphia. (Muser, 103)

The competition was fierce and this was what independent distribution was created out of – competition. In 1901, Edison gains an ultimate monopoly over distribution over motion pictures. In the history of motion pictures, every time the government steps in to regulate it, the movie business is severely altered.
“Many people were aware of the accomplishments of Edison, the technological advancements he created, but overlooked is his crucial work as a producer and distributor” (Hall, 2007) Edison, from 1900-1910, single-handedly tried to grab hold of the film business for himself, by suing a competitor every time they made a movie and tried to distribute a movie.

This didn’t work out for him, so he formed the Motion Pictures Patents Company (MPCC) in 1909. He involved 9 of the top distribution houses at the time and it was legally ruled that they could only make and distribute films. . Independent Film Distribution was started to break free of control of the MPPC. It is an independent work that does not have to conform to Edison’s standards and is shown without a major studios money or help. In 1909, Laemmle, a wholesale distributor of films to theatres, was infuriated at the MPCC, and he continually challenged them in court over their monopoly until the MPCC stopped distributing films to his company. Angrier than ever, Laemmle created the Independent Motion Picture Company (IMP) and gave life to a new filmmaking force. He started making films and buying films from others and selling them. He creates in 1911, with Pat Powers and Mark Dintenfass, is known as Universal Studios.

A man named Zukor also charged in after the MPCC and started making films and distributing them. They also gave the actors credits on the film and listed their name at the beginning of the movies, the first step in democratizing films. Lamella and the MPCC wouldn’t do this because they were afraid of paying the actors too much. Independent Distribution was simplified for the first time and let a lot of new films in from other filmmakers, such as Howard Hughes. “Laemmmle and Zukor succeeded Edison and Laemmle founded Universal Studios and Zukor founded Paramount Studios. (Hall, 2007) Several new independents (at the time) in 1915, William Fox founds Fox Film Corporation, and combines production, distribution and theatres together and between 1915 and 1924, United Artists, Warner Brothers, MGM and Columbia formed as studios.

To see the full History of Film from 1890 to Present, click here

Mon avis : Aujourd'hui je fais un tour en ville comme d'habitude, histoire de sortir un peu se changer les idées, voir ce qu'il y a de nouveau et tout... et la comme dab, je passe devant un truc qui me donne envie de sortir le portefeuille ; mais la ou, habituellement je me dis "non une prochaine fois", j'ai craquer pour ce superbe livre qui m'a couté trois fois rien (surprenant quand on voit autant la qualité que sur le plan qualitatif de l'ouvrage) et qui est dédié au plus belle pin-ups de Gil Elvgren, l'un des plus grands maitres en la matière !

Pour tous les fans de féminité innocente, de sensualité, de naturelle... comme on en voit plus de nos jours, foncez sur cette merveille !

Mon avis : J'ai toujours été attiré par les femmes des années 30 à 50 (en particulier pour les années 50) ! Quand j'étais petit, je regardais pas mal de film en noir et blanc, j'ai quand même 30 ans aujourd'hui alors faite le calcul : j'ai été bercé aux films d'Alfred Hitchock et compagnie. La plus jolie et la plus douce des femmes et sans conteste mon actrice préféré : Audrey Hepburn ! Jamais je ne l'oublierais, j'adore toujours autant ses films. Ensuite, j'ai été fasciné par Marilyn Monroe, bien que moins discrète et plus tape à l'œil, elle m'a toujours attiré de part le mystère qui l'entoure concernant sa disparition. Quoi qu'il en soit, aujourd'hui encore, quand je vois un film réalisé de nos jours mais se passant à l'époque 30 - 50 j'ai toujours beaucoup de plaisir à voir les femmes dans ces films : naturelle, distingué, féminine, douce, tendre... rien que la mode vestimentaire, les escarpins, les bas-nylon, porte-jarretelle et même leurs coupes de cheveux, tout était bien mieux qu'aujourd'hui ou on a droit à du faut à gogo servie à toutes les sauces : faux cheveux (coloration), faux cils, faux iris (couleur des yeux), faux nichons (silicone), mais le pire, la mode du tatouage en veux-tu en voila; affreux, au bas du dos ou ailleurs et que dire du piercing : partout, dans le nez, la bouche, le menton, la langue, le nombril voir même le téton... que c'est affreux tout ça ! Je vais m'arrêter la, pas envie de vous parlez de la mode du string qui monte jusqu'aux omoplates avec un jeans taille basse ultra slim ou l'on voit tout, ou que dire aussi cette manie de se montrer "ventre nue" avec des tops slim quand on est grosse comme une baleine (oui, les nanas d'aujourd'hui en général, ont aussi changer en gabarit; bourré au chips et coca très certainement). Bref, tout ça pour dire qu'on est bien loin aujourd'hui de la douceur et du charme que représentait les femmes des années 50 ! Pour cette raison, j'inaugure cette section en leurs mémoires !

Avant propos : Une pin-up est une femme attirante dont on accroche habituellement une image sur un coin de mur, d'où le mot « Pin Up Girl » qui se traduit littéralement en français par « jeune fille punaisée au mur ».

Historique : La première utilisation du mot est attestée en 1941. Mais le concept apparaît plus tôt, au début du siècle, sous le nom de Gibson Girls (du nom de leur créateur) et ses variantes (« Pretty Girls », « Varga Girl », « Christy Girl », etc.) Les premiers « pin-up boys » et les dessinatrices (Joyce Ballantyne, Pearl Frush, Zoë Mozert...) ont également fait leur apparition.

Femme fatale, poupée, sexe-symbole, la pin-up est représentée par ses créateurs comme la femme idéale. Les pin-up, provocantes sans être vulgaires, apparaissent sur des magazines, journaux, posters, calendriers ou des « cartes d'arts », petites vignettes à collectionner qui ont aidé à la popularisation des pin-up. On les retrouve dans les années 70 dans les cabines des camionneurs sachant que, dès la Seconde Guerre mondiale, les équipages d'avions affichaient ces illustrations sur les carlingues de leurs avions. Elles sont maintenant recherchées par les collectionneurs.

L'âge d'or des pin-up se situe dans les années 1940 et 1950, principalement aux États-Unis. On peut notamment citer Alberto Vargas ou Gil Elvgren, illustrateurs emblématiques de cette période.

On assiste depuis quelque temps à un regain d'intérêt pour ces égéries des années 50 avec l'arrivée de modèles célébrant cette époque. La mode, les magazines, les artistes remettent le style pin-up au goût du jour. Certaines modèles comme Dita von Teese font d'ailleurs de ce courant leur marque de fabrique.

Source : Wikipedia

Towards the end, the author portrays a history in film of the war we prevented in 2008. Though, I disagree with the film makers' 'wording'.

As with all the Indy films the plot takes second place to the action and boy is there a lot of it – from the desert to the jungle via Marshall College – with Ford not so much sprinting through it all as jogging in a soft shoe shuffle way.

Set in the 1950s at the height of the Cold War, the story is some mumbo jumbo nonsense about a Russian secret agent (Cate Blanchett) intent on using psychic powers to defeat the Yanks, but in order to do so she needs to get her hands on a mysterious crystal skull. However, Indy isn’t about to let her get to it first so he heads off into the South American jungle in search of it, accompanied by young hothead Mutt (Shia LaBeouf). At which stage any sense the plot may have been making goes straight out the window and we get swordfights, car chases, killer ants, natives with blow darts and of course, the obligatory snake scene (in fact, the funniest thing in the whole film). While all that action looks great, the film itself feels a little old, a little tired, a little jaded and in need of a nice sit down and a cup of tea.

One problem is how baddie Cate (with the worst Russian accent ever) disappears from the film for the whole middle section, another is how Ray Winstone as Indy’s double-dealing friend isn’t given enough to do, and while there’s a welcome reappearance of Karen Allen as Indy’s feisty love interest, she doesn’t even appear until just before the climax. However, Shia LaBeouf more than earns his fee by throwing himself whole-heartedly into proceedings. This is not vintage Indy - newer action/adventure movies feeling fresher and more inspirational - but until the summer blockbusters start to appear it will do well enough.

Dee Pilgrim

Já compartilhei o problema com meu terapeuta, mas o máximo que consegui foi desviar, com os olhos bem fechados, o chute do uruguaio. No entanto, ao abrir novamente os olhos, a bola sempre balançava a rede brasileira e o choro voltava a escorrer no rosto de milhares de brasileiros que já gritavam “É campeão! É campeão!”. Talvez esta seja mais uma pista para o meu estranho interesse pelo serviço público.

Na última semana vivi dias de cão ouvindo a música “Todo se transforma”, do novo carrasco uruguaio, Jorge Drexler. Tímido, avesso até mesmo as palmas (acreditem!) de uma platéia de fãs, o conhecia apenas pela música "Al otro lado del rio", do filme “Diários de Motocicleta”, de Walter Salles. Desde que tomei conhecimento de seus outros tantos discos, comecei a chamá-lo de “o carrasco da subjetividade”. É impossível ouvir Drexler sem que a consciência sobre si mesmo e sobre o outro surja como um fantasma na sessão da meia-noite. Tentem entender o que digo primeiro ouvindo e depois lendo a letra da música que deixo logo abaixo.

Todo se transforma

"Tu beso se hizo calor,
Luego el calor, movimiento,
Luego gota de sudor
Que se hizo vapor, luego viento
Que en un rincón de la rioja
Movió el aspa de un molino
Mientras se pisaba el vino
Que bebió tu boca roja.

Tu boca roja en la mía,
La copa que gira en mi mano,
Y mientras el vino caía
Supe que de algún lejano
Rincón de otra galaxia,
El amor que me darías,
Transformado, volvería
Un día a darte las gracias.

Cada uno da lo que recibe
Y luego recibe lo que da,
Nada es más simple,
No hay otra norma:
Nada se pierde,
Todo se transforma.

El vino que pagué yo,
Con aquel euro italiano
Que había estado en un vagón
Antes de estar en mi mano,
Y antes de eso en torino,
Y antes de torino, en prato,
Donde hicieron mi zapato
Sobre el que caería el vino.

Zapato que en unas horas
Buscaré bajo tu cama
Con las luces de la aurora,
Junto a tus sandalias planas
Que compraste aquella vez
En salvador de bahía,
Donde a otro diste el amor
Que hoy yo te devolvería

Cada uno da lo que recibe
Y luego recibe lo que da,
Nada es más simple,
No hay otra norma:
Nada se pierde,
Todo se transforma."

Depois disso afirmo de boca cheia: BANANA COM UVA TANNAT!!!

 Quer ouvir Jorge Drexler? Então abra o seu profile no MySpace:

http://www.myspace.com/jdrexleruruguay

NSC-68 United States Objectives and Programs for National SecurityNSC 68:

United States Objectives and Programs for National Security

Der Autor

Das NSC-68 ist eine Denkschrift des Policy Planning Staff im Außenministerium der USA. Sie wurde im Januar bis April 1950 erstellt. Um diese Denkschrift durchzupeitschen, ging der Vorsitz des PPS von Kennan an Paul Nitze. Kennan wurde extra nach Südamerika weggelobt, damit seine Argumente in NSC-68 nicht Eingang finden konnten. Nitze hat die Arbeit des Teams seinen Stempel aufgedrückt.

Rund um das NSC-68 gab es einige Aufregung. Denn Dean Acheson hatte Nitze mit der Studie beauftragt, ohne den zuständigen Verteidigungsminister Louis Johnson auch nur zu informieren. Diesem sowie dem Generalstab wurde die fertige Studie aufoktroyiert. Johnson, alles andere als ein Liberaler, bekam einen Wutanfall und beschwerte sich beim Präsidenten Harry Truman, der Johnson daraufhin entließ <*>.

Die Studie wurde am 7. April 1950 vom Präsidenten angenommen. Sollte zunächst noch nicht alle Mitglieder des pol. Establishments von den Bedrohungsszenarien des NSC-68 beeindruckt gewesen sein, so kam Nitze und Freunden die nordkoreanische Regierung mit dem Überfall auf Südkorea am 25.6.1950 zu Hilfe. Das kam wie gerufen. Nach intensiver Hirnwäsche des Kongresses und maßgeblicher Presseleute wurde NSC-68 am 30.9.1950 zur offiziellen Leitlinie der Regierungspolitik erklärt. Der Rüstungsetat wurde um 350% <!!> ab sofort gesteigert. Dies war der Durchbruch des Militär-Industriellen Komplexes.

Kernthese

Die SU ist darauf versessen, die USA und ihre Verbündeten anzugreifen, sobald sie dazu militärisch in der Lage ist. Im Augenblick sind die USA militärisch, wirtschaftlich und politisch klar überlegen. Jedoch hat der Generalstab der USA ausgerechnet, daß die UdSSR spätestens 1954 in der Lage sein wird, die „Freie Welt“ an allen möglichen Orten anzugreifen.

Geopolitische Grundlage dafür ist die Tatsache, daß die fünf Machtblöcke zusammengebrochen sind, die vor WK II die Welt kontrollierten. Stattdessen gibt es jetzt nur noch USA und UdSSR, die in das Vakuum einbrechen (müssen).

Zum einen stellt die Studie fest, daß der Westblock etwa viermal mehr Wirtschaftspotential hat als der Ostblock. Geschätztermaßen hat SU 40% seiner Wirtschaftskraft für Rüstung abgezweigt, und kann im Kriegsfall maximal auf 50% steigern. Der Westblock aktiviert 20% Wirtschaftskraft für Rüstung, und kann im Kriegsfall auf 50% steigern. Obendrein haben die USA eindeutig die atomare Übermacht und die H-Bombe in Arbeit.

NSC-68 schreibt der SU aus folgenden Gründen eine mögliche Erstschlagskapazität zu:

1.) „Kreml“ hält die Menschen in SU nur durch die Behauptung einer äußeren Bedrohung bei der Stange. Der Zusammenhalt der SU sei künstlich und drohe jeden Moment zusammenzubrechen.

2.) Das totalitäre Regime der SU kann Kräfte schneller mohilisieren und bündeln als Demokratie. Geheimhaltung klappt besser. Keine Rücksichtnahme auf öffentliche Meinung.

3.) Kreml identifiziert sich mit kommunistischer Weltbewegung. Ideologie. Mittel der Subversion.

4.) Wegen der Geheimhaltung weiß man auch nicht, wie weit Sowjets mit ihrer atomaren und wasserstofflichen Aufrüstung gekommen sind. Wenn USA sich selber überschätzt und evtl. Fortschritt der SU-Aufrüstung unterschätzt, könnte es ein böses Erwachen geben.

Es nützt also gar nichts, zu glauben, mit der Entwicklung der Atombombe und der H-Bombe habe man sich die Sowjets ausreichend vom Leib gehalten. Vielmehr muß ein ganzes Paket von prophylaktischen Maßnahmen her:

1.) geopolitische Flurbereinigung. Großbritannien ist abgeschlafft und fällt als gleichwertiger Partner aus. USA muß GB stützen und ersetzen. Deutschland, Japan und Österreich dürfen nicht neutral werden.

2.) also: Einbindung in Westbündnis. Stärkung von Währung und Wirtschaft in Westeuropa, damit diese Länder mehr als die aktuellen 4,8% der Wirtschaft für Rüstung erübrigen können.

3.) Internationale Atomenergiebehörde soll Sowjetunion zur Zusammenarbeit drängen (= in die Enge treiben).

4.) das System von Bretton Woods weitertreiben,

5.) psychologische Kriegsführung

6.) Containment – Eindämmung. Das heißt: SU in die Enge treiben durch eine noch zu kreierende Freiheitsideologie. Sowie

7.) durch enormen Aufbau der konventionellen Rüstung der USA und der Verbündeten.

Bevor die Autoren zur Conclusio gelangen, malen sie dem Präsidenten noch einmal aus, welche Optionen er hat: a) weitermachen wie bisher; b) Isolation c) Krieg d) Flucht nach vorn. Weitermachen wie bisher würde USA verwundbar machen und bei Verbündeten als Schwächling entlarven. Zudem ist durch die gesunkenen Rüstungsausgaben zwischen 1944 und 1949 die Wirtschaftsleistung um 25% gesunken und die Arbeitslosigkeit hat zugenommen. Isolation und Krieg will keiner, ist also pure Rhetorik. Bleibt nur, der möglichen Stärkung und dem Überraschungsangriff der SU zuvor zukommen.

„Empfehlung“ der NSC-68-Autoren an den US-Präsidenten heißt: Keynes sowohl invers als auch pervers: enorme Ausweitung des Rüstungsetats durch Kürzung in zivilen Bereichen und durch Steuererhöhungen.

In welcher Form?

NSC-68 ist eine Denkschrift. Eine Denkschrift ist eher ein Plädoyer und weniger eine wissenschaftliche Analyse. Folglich wird auf Belege verzichtet, und eher durchgespielt: was wäre wenn. NSC-68 hat zwei Funktionen: den Präsidenten mehr überreden als überzeugen, und zweitens den Meinungsmultiplikatoren aus Politik und Presse die Schablonen für Begründungen und Rechtfertigungen in die Hand geben. Was sagen wir den Leuten draußen im Land, damit sie willig hinnehmen, daß öffentliche Gelder in die privaten Taschen von Rüstungsindustriellen geschaufelt werden, und daß sie spürbar weniger Service für erheblich mehr Kosten vom Staat erhalten?

Überzeugungskraft:

NSC-68 ist ein eher absurdes Unterfangen. Es zeigt nämlich überzeugend, daß die USA und ihre Verbündeten haushoch überlegen sind: in Wirtschaftskraft mal 4, in Produktivität mal 5. Es ist unter solchen Umständen absolut nicht herzuleiten, warum die SU unter solchen vollkommen aussichtslosen Bedingungen sich mit dem haushoch überlegenen Westen anlegen sollte. Zudem gibt NSC-68 offen zu, daß die SU nicht einmal ihren eigenen Luftraum gegen feindliche Überfälle verteidigen kann. Und daß die SU 40% ihrer Wirtschaftsaktivität in die Rüstung stecken muß, ist eher ein Zeichen der Schwäche, gibt die Denkschrift doch selber zu, daß diese geblähte Rüstung zulasten der Lebensqualität der Bevölkerung, und damit auch zulasten der langfristigen Loyalität der Bevölkerung geht. Zudem bezweifelt der Bericht selber, daß die SU einen längerfristigen Waffengang überhaupt durchhalten kann.

Die Argumente, warum man sich trotzdem so hektisch gegen die SU aufrüsten müsse, sind also reichlich weit herbeigeholt: die totalitäre „Effizienz“, Heimlichkeit und Rücksichtslosigkeit; die ideologische Überrumpelung westlicher Naivlinge. Die SU hat so viele Soldaten. All das sind schwache Argumente. Schließlich lobpreist das Establishment der USA immer wieder die funktionale Überlegenheit der eigenen Form der Herrschaft durch Pluralismus, offene Diskussion und indirekte Kontrolle.

So wäre NSC-68 wohl auch durchgerasselt, wenn nicht Nordkorea Südkorea angegriffen hätte. Nunmehr half die auch dem Memorandum innewohnende Gleichsetzung von SU und fernöstlichen Kommunismen weiter. Selbstverständlich war den Autoren klar, daß zwischen China und SU alles andere als eitel Sonnenschein herrschte: daß wiederum Nordkorea eine andere Position vertrat. Daß China und SU den abenteuerlichen Waffengang Nordkoreas im späteren Stadium unterstützten, lag ja wohl daran, daß die USA die Korea-Frage so extrem hoch hängte, daß daraus eine Prestigefrage für alle Machtblöcke wurde. Ob MacArthurs Vabanque-Spiel sein eigenes geistiges Kind war oder nicht: NSC-68 hatte ex post seine Rechtfertigung erhalten, die die Beweisführung des Textes keinesfalls hergab.

Ein Merkmal des NSC-68 ist das Schwanken zwischen Defensive und Offensive. Vorgeblich sollen die anvisierten Maßnahmen den Westen verteidigen. Irgendein Exzentriker hat sogar den gefühligen Satz eingebaut, zwischen den USA und SU müsse der diplomatische Kanal immer offen bleiben. Die Führung der SU dürfe nicht zu Maßnahmen gezwungen werden, die sie in der Öffentlichkeit demütigen könnten. Und dann gibt es wieder Passagen, die ganz offen dazu aufrufen, nicht beim Containment stehenzubleiben, sondern die Völker der SU gegen ihre Führung aufzubringen und quasi der SU den Boden unter den Füßen wegzureißen. Nur hat man von Hitler gelernt, daß man sich gegen die SU-Bürger nicht feindselig benehmen dürfe, denn dann scharen sich auch Opponenten um die Regierung.

NSC-68 ist ein Übergang von der Politik des Containment zur „Liberation“ des John Foster Dulles: Die USA haben die Pflicht zur Weltherrschaft.

___________________

<*> Walter Isaacson/Evan Thomas: The Wise Men – Six Friends and the World they made. New York 1986, S.499ff