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eyeodyssey · 8 months

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The Post-Futurist Fossils of LITCHI HIKARI CLUB In a somewhat recent research tangent, while considering the possible “genealogy” of the Tokyo Grand Guignol’s themes and aesthetics, I made an interesting personal discovery regarding Litchi Hikari Club. Specifically some distinct thematic parallels that the play shares with the Italian futurist movement, less in relation to the art of the movement itself, but rather the ideologies of the movement’s controversial founder, Filippo Tommaso Marinetti, and his relation to the Italian fascist party. This is all of course in the context of understanding Litchi as a transgressive/dystopian horror story. This is less of an absolute statement than it is a sort of open train of thought, so take things with a fair grain of salt. This is more or less just my own personal analysis of all the materials I could gather of the original play. Beyond inspecting the play as a possible allegory for futurism, there's also just a lot of general analysis of the play in relation to Ameya's overall body of work, both with the Tokyo Grand Guignol and also as a performance artist. I rarely put a 'keep reading' tag on these things since I'm an openly shameless product of the early days of blogging, but this one's a doozy (both in the information but also just the gargantuan length). Hopefully others will find it just as interesting. The full essay is below...

The futurist movement itself was nothing short of an oddity. In their time, the futurists were pioneers of avant-garde modernist aesthetics, with their works ranging from deconstructive paintings to reality-bending sculptures and even early pathways to noise music with the creation of the non-conventional Intonarumori instruments of Luigi Russolo. Russolo’s own futurist-adjacent manifesto, The Art of Noises, would go on to influence such artists as John Cage, Pierre Henry, Einstürzende Neubauten and the openly left-wing industrial collective Test Department. When visiting the MOMA in New York City as a child, I was fascinated by Boccioni’s Unique Forms of Continuity in Space, a sculpture that appeared to be a spacetime malformation of the human figure encapsulated in a continual state of forward motion while in total stillness. Despite this, the futurists were also a social movement of warmongering misogynists, with their own founding manifesto by Marinetti describing the bloodshed and cruelty of war as being “… the only cure for the world”. Their manifesto would also feature quotes such as “We want to demolish museums and libraries, fight morality, feminism and all opportunist and utilitarian cowardice”. They would originally pin anarchism as being their ideological ground in the manifesto, but shortly thereafter Marinetti would pick up an interest in fascism along with the politics of Benito Mussolini, going on to be a coauthor for the Italian fascist manifesto alongside the futurist manifesto. In consideration of how throughout most of World War II, modernist and post-modern works were considered “degenerate” forms of art in contrast with traditionalism, a whole avant-garde movement founded from fascist ideals is paradoxical. But for a period of time, that parallel wasn’t only in existence, but backed by Mussolini himself with there being a brief effort by Marinetti to make futurism the official aesthetic of fascist Italy. One of the draws of futurism for Marinetti was an underlying sense of violence and extremity. According to Marinetti, his initial inspiration for the movement was the sensations he felt in the aftermath of a car accident where he drove into a ditch after nearly running over a band of tricyclists. He conceived his works to be acts of social disruption, intending to put people in states of unrest to cause riots and similar bouts of violence. “Art, in fact, can be nothing but violence, cruelty, and injustice”. He sought to destroy history to pave the way for a rapid acceleration to futuristic technological revelation.

“As shown in Edogawa Rampo’s Boy Detectives Club, young men like to hide from a world of girls and adulthood to form their own secret societies.” - June Vol. 27 In Litchi Hikari Club, a group of middle school-aged boys are faced with a crisis on the brink of puberty. At the twilight of their childhoods, they form a secret society known as the Hikari Club (or Light Club), a collective that’s devoted to the active preservation of their shared youth and virginity. The boys naively mimic an authoritarian organization and its hierarchy as they seek a means to preserve their boyhood, which they see as being idyllic in contrast to adulthood, a dreary state of existence that they call old and tired in the Usamaru Furuya manga version of the story. Similarly, in the Litchi Hikari Club-inspired short manga Moon Age 15: Damnation, the boys go on to liken their hideout with the paradisiacal garden of Eden. In said story, Zera would directly name the poem Paradise Lost in reference to the discovery of their hideout by adults (arriving in the form of ground surveyors) and the wide-eyed daughter of a land broker, with their contact to the virgin industrialized land being an ideological tainting of the sacred lair. In their mission, they seek refuge in technological inhumanity by having their penises replaced with mechanized iron penises, symbolic devices of power and violence that can only procreate with other items of technology. Working in absolute secrecy, they collectively manufacture a robot known as Lychee. The purpose of Lychee, previously only known to Zera, isn’t revealed to the other club members until its completion. It’s when they unveil their “cute” robot in a scene that parallels the 1920 German expressionist film The Cabinet of Dr. Caligari that Zera tells the other members of Lychee’s purpose as a machine that would kidnap women for them. The robot's efforts are assisted by the girl capturing device, a strange rice cooker-shaped mask that’s laced with a sleeping drug. When questioned about the fuel source for the robot, Zera explains how it will run off the clean fuel of lychee fruits rather than an unsavory yet plentiful substance like electricity or gasoline as a means to further match the robot’s perceived beauty.

While the club share a general disdain for adulthood, they hold a special hatred to girls and women. Going off the dogmatic repulsion to sexuality that Kyusaku Shimada shows as the teacher in the Tokyo Grand Guignol’s prior play, Mercuro (1984), it could be assumed that the Hikari Club hold a similar dogmatic viewpoint about the vices of sex. In this context, it’s likely that they would’ve perceived women as being parasitic by nature as spreaders of the “old” and “tired” adult human condition through pubescent fixation and procreation. Sexual thoughts are inherent to aging for most people, given the process of discovering and exploring your identity throughout puberty. It’s that exact pubescent experience the club seek to eradicate. Further insight is given to the Hikari Club’s dystopian psyche through their open allusions to nazi ideology. While Zera travels out to gather lychees from a tree he planted, the club get a special visit from a depraved elderly showman known as the Marquis De Maruo, performed by none other than Suehiro Maruo himself in the 1985 Christmas performance. Despite the club’s disposition to adults, they hold an exception for the Marquis for his old-timey showmanship and open pandering to the children’s whims. He always comes with autopsy films to show the young boys, and as they watch the gory videos he hands out candies that he describes as being a personal favorite of the late Adolf Hitler. He was said to also be the one to convince the boys to name their robot after the lychee fruit. It isn’t until Zera returns that the Marquis is removed from the hideout on Zera’s orders. Just before his exiling, he foretells to Zera the prophecy of the black star as both a promise and a warning to the aspiring dictator. It should be noted that there is a fascist occult symbol known as the black sun.

Suehiro Maruo as the Marquis De Maruo. On the right side is a caricature of Maruo as drawn by a contributor to June magazine, excerpted from an editorial cartoon in June Vol. 27 covering Litchi's 1985 Christmas performance. In addition, the Marquis’ role alongside Jaibo’s appearances in the play (which I’ll get to later) show distinct parallels with the presence of the hobo in the Tokyo Grand Guignol’s first play, Mercuro. In Mercuro’s case, the hobo (performed by Norimizu Ameya, who would go on to also act as Jaibo) visits the classroom in secrecy to lecture the students his depraved ideologies. Whilst the hobo in Mercuro was a figure of perversion that existed in contrast to the teacher’s paranoid conservatism, in Litchi both Jaibo and the Marquis are enablers of the club’s fascistic leanings, with the Marquis being a promoter whereas Jaibo is a direct representation of the underlining perversions of fascist violence. Though completely omitted from the Furuya manga, the element of the autopsy films shines a unique light on Zera’s death at the end of the story. In both the play and the manga, Zera is gutted alive by Lychee when the robot undergoes a meltdown after being forced to drown Kanon (Marin in the original play) in a coffin lined with roses. In the manga, Zera appears deeply unsettled when realizing his intestines resemble the internals of an adult. It’s unknown if this aspect is present in the theater version, as the full script remains unreleased to this day. It would fit however knowing not just the club’s repulsion to adulthood, but also how they retreat to technological modification to eradicate the human aspects they associate with adulthood. What is described of Zera’s death in the theater version has its own disquieting qualities as, from what’s mentioned, when confronted with his own mortality he appears to regress to a state of childlike delirium, a demeanor that’s drastically different from his usual calm and orderly presentation. Upon seeing his intestines, one of the responses he is able to muster is “I’m in trouble”. He says this as he questions whether or not he can fit his organs back inside the cavity before eventually telling himself that he’s just tired, that he “need(s) to sleep for a while”.

While never directly stated, it’s heavily implied that the club’s ideologies and technological fetishism ultimately root back to Jaibo, an ambiguously European transfer student who secretly manipulates the club’s actions from behind the scenes. Referred to by Hiroyuki Tsunekawa (Zera’s actor) as the “true dark emperor” of the Hikari Club, he was said to haunt the stage from the sides, closely inspecting the Hikari Club’s activities while keeping a distance. The iron phallus was first introduced by Jaibo through a monologue where he reveals how he fixed one to his own person, carefully describing its inner mechanisms and functionality before demonstrating its inhuman reproductive qualities by using the phallus to have sex with a TV. A television that he affectionately refers to as Psychic TV Chan, in reference to the post-industrial band fronted by Genesis P’Orridge. In the same scene, he promises the other members that they would all eventually get their own iron penises just like his own. In a subsequent scene, he reveals the iron phallus’ use as a weapon when, arriving to the club’s base with a chained-up female schoolteacher who accidentally discovered the sanctuary, he uses the device to brutally kill the teacher through a mocking simulation of sexual intercourse. Just before raping her, he likens her to a landrace, bred for the sole purpose of reproducing and being processed into meat for consumption. He menacingly tells her that he will make her as “cut and dry” as her role in society before carrying out her execution. While there was some confusion on whether or not the iron phallus was a machine or solely a chastity device, it was found in bits of dialogue that the iron phallus at least shares the qualities of a pump with a described set of rubber hinges. The teacher’s death gruesomely reflects the death of Kei Fujiwara’s character in the later film Tetsuo: The Iron Man (1989), with the iron phallus mangling her insides as blood splatters across the stage. While the club treats adult sexuality as a plague, they manage to find through the iron phallus a way to convert their own states of chastity into a form of violence, stripping all humanity away from the penis and rendering it to a weapon of absolute power through desolate mechanized cruelty.

JAIBO: “Length, 250 mm, with a weight of 2.4 kilograms. Arm diameter, 30mm. Cylindrical thrust, 170mm… With pins, plates and rods of die-cast alloy. And hinges of rubber… the rest is pure iron. It is the iron phallus.” - June Vol. 27 In the same interview, Tsunekawa would go on to recall how the members of the Hikari Club were effectively Jaibo’s guinea pigs. In both the play and the manga, an after-school night of the long knives ensues with the slow collapse of the Hikari Club as Jaibo influences the exiling of certain club members, with Zera left ignorant to the social engineering as a mere extension of Jaibo’s elaborate puppeteering. Left embittered by a chess match where he lost to Zera, Tamiya is easily tricked by Jaibo into burning the lychee field as a way to get vengeance. Upon being caught, Tamiya is castrated of his iron phallus, resulting in his exiling from the club as a traitor while also being mockingly likened to a woman in the process. In another scene, it’s recalled that Jaibo and Zera exchange a conversation about the Hikari Club’s loyalty to Zera as they observe the outside world through their periscopes. By all contemporary recollections, Jaibo was the club’s puppet master. He would’ve been the likely source of the club’s ideologies, the underlining hatred to women and fixation on technological violence, replacing mankind with a race of humanoid weapons. Zera would be a shell without his influence. The presence of futurism could arguably even be rounded down to Lychee’s presence in the story. Beyond his theoretic work, Marinetti was also a playwright. He would be most well known for his futurist drama La donna è mobile, a story riddled with similarly perverse renditions of sexual violence. The play notably featured the presence of humanoid automatons a full decade before the term “robot” would be coined by Czechoslovakian author Karel Čapek in the play R.U.R., with the French version of Marinetti’s script referring to the machines as “puppets” for their visual similarity to humans.

All of this plays out over a soundscape that’s dominated by unnatural electronic frequencies and synthesized percussion. The sound design was arguably one of the most important aspects of Ameya’s plays, with Ameya at one point describing the Tokyo Grand Guignol productions as being an ensemble of his favorite sounds. The setting further compliments the atmosphere, made to resemble the internal of a junkyard or factory warehouse where heaps of technical jump decorate the stage around the monochrome cabinet that would eventually birth Lychee. Some of the featured artists in the play’s first act include Test Department, The Residents, 23 Skidoo and Deutsch Amerikanische Freundschaft. The play’s opening, which depicts the capturing and subsequent torture of a student named Toba through a so-called “baptism of light”, is underscored by the S.P.K. song Culturcide, a grim primordial industrial dirge that paints the image of a dystopia where the genocide of ethnic cultures is likened to the infection of human cells by parasitic pathogens. Instead of being hung with a noose, Toba is suspended by a meathook, left as a decoration amidst the heaps of mechanized excrement. He would eventually be joined by the lifeless bodies of various women the Hikari Club abduct as they’re steadily gathered in a small box at the back of the stage. “Membrane torn apart, scavenging with the nomads. Requiem for the vestiges. Dissected, reproduced. The nucleus is infected with hybrid’s seed. Needles soak up, the weak must destroy. Cells cry out, cells scream out. Culturcide! Culturcide! Culturcide! Culturcide!” - Culturcide (from S.P.K.'s Dekompositiones EP)

“We are now entering an era which history will come to call ANOTHER DARK AGE. But, in kontrast to the original Dark Age, defined by a lack of information, we suffer from an excess of information, which has been reduced to the repetition of media-generated signs. Through this specialization, it is no longer possible for an individual to attain a total view of society. Edukation is struktured to the performance of a limited number of funktions rather than for kreativity.” “Kommunications systems are designed for the passive entertainment of the konsumer rather than the aktive stimulation of the user’s imagination. Through the spread of the western media, all kultures come to stimulate one another. By the end of the millennium, this biological infektion will have penetrated the heart of the most isolated traditions - a total CULTURCIDE.” “Yet in every era, a small number of visionaries rise above the general malaise. Those who will succeed, will resist the pressure to become kommercialized “images”, demanding identifikation and imitation. They will uphold their principles in the face of impossible odds. By remaining anonymous, they will be free to develop their imagination with maximum diversity. For this is the TWILIGHT OF THE IDOLS, - the end of the proliferation of the ikons and the advent of a new symbolism.” - From the back cover of S.P.K.’s Dekompositiones EP (released under the moniker SepPuKu) Over the course of the play, the story undergoes a drastic tonal shift as the focus moves from the Hikari Club’s hierarchical order and internal conflicts to the relationship between Lychee and Marin. Marin (performed by synthpop musician Miharu Koshi) was the first girl the Hikari Club successfully kidnap through Lychee after implementing the phrase “I am a human” in Lychee’s coding so it can understand the concept of human beauty. This small implementation causes a full unraveling in Lychee’s personality as it quickly forms a close bond with Marin, convinced that it is also a human like Marin. The soundscape changes alongside the overarching atmosphere, going from cold industrial drones and percussive electronica to ambient tracks. Some of the major scenes play out over moving piano-focused pieces and music box tunes from Haruomi Hosono’s soundtrack for Night on the Galactic Railroad. Originally created a weapon like the iron phalluses and the girl capturing device, Lychee is eventually defined in how he transcends from being a weapon to a conscious being with feelings. In this context, the play can be read as a juxtaposition of human emotion against inhuman futurist brutality.

This split was likely the product of the radically different creative ideologies of Norimizu Ameya (the Tokyo Grand Guignol’s founder and lead director) and pseudonymous author K. Tagane (the playwright for the group from Mercuro to Litchi). Ameya had come into the group with radical intentions, holding Artaudesque aspirations to transgress the literary limits of modern theater to achieve something deeply subconscious. Meanwhile, Tagane was a romantic who was known for their poetic and lyrical screenplays. Ameya purportedly sought out Tagane’s screenplays specifically to find a literary base he would “destroy” in his direction, deconstructing the poeticisms in his own unique style. He describes it briefly in an interview regarding the stage directions of Mercuro, stating how he took elaborate descriptions of a lingering moon and ultimately deconstructed them to the moon solely being an illusion set by a screen projector, mapping out the exact dimensions of the projection to being a 3-meter photograph of the moon rather than a “fantastic moon”. It’s believed by some that the Tokyo Grand Guignol’s formation and ultimately short run were the product of a miraculous balance between Ameya and Tagane’s ideologies. It’s possible that Litchi could’ve been a last straw between the two artists. After Litchi, Tagane left the group, with Ameya having to write the troupe’s final screenplay on his own. LYCHEE: “Marin is always sleeping… all she does is sleep. She doesn’t eat anything. Why does Marin sleep all day?” MARIN: “When you’re asleep, all the sadness of the world passes over you.”

"The second half of Litchi was predominantly driven by the sounds of Ryuichi Sakamoto and Haruomi Hosono. During a scene that featured a piece from the Galactic Railroad soundtrack, Miharu Koshi sang to Kyusaku Shimada while dancing like a clockwork doll to the sounds of a twisting music box. The scene lasted for a while and was very romantic, the interactions between Lychee and Marin were all very sweet and cute. The second act of Litchi was all a product of Tagane’s making. By the time of the following play, Walpurgis, I was told by a staff member that Ameya had written the screenplay by himself because Tagane had left.” “… While the first half was filled with repeated mantras and the unfolding aesthetics of an aspiring militia, the second half was immersed in the world of shoujo manga. It did appear that through the intermission, much of the junk and rubble around the podium was sorted out.” “… The Tokyo Grand Guignol’s plays were always defined by a strong nocturnal atmosphere. But in Litchi’s second half, it wasn’t a dark night, but a brightly lit one under the moonlight and plentiful stars in the sky shining through an invisible skylight. Marin doesn’t forgive Lychee immediately for his actions, responding to him harshly in a way that would confuse him and make him sulk. It came across as a somewhat bitter reimagining of a French comedy like Louis Malle’s Zazie dans le Métro or Jean-Pierre Jeunet’s Amélie, it was different that way in how it wasn’t only Maruo’s inferno.” - From a Twitter thread by user Shoru Toji regarding the 1986 rerun of Litchi Hikari Club Some questionable qualities do exist in the relationship between Lychee and Marin. What should be a peaceful retreat from the dystopian corruption still has a sinister undertone in the disparities between Lychee’s cold masculine features in contrast with Marin’s childlike girly innocence. It doesn’t help that Zazie dans le Métro (one of the mentioned films in the recollection) was directed by Louis Malle, who while known for such films as My Dinner With Andre and Black Moon was also responsible for the infamously discomforting Pretty Baby. Then again, Litchi was the product of a confrontational transgressive subculture, so the sinister undertones could be intentional. Keep in mind the contents of Suehiro Maruo’s prolific adaption of Shōjo Tsubaki and how it unflinchingly depicts abuse and manipulation through the eyes of a confused child. It could be possible that Lychee himself was intended to be childlike in its mannerisms. Throughout the existing descriptions, Lychee was shown as speaking in fragmented sentences while struggling to understand basic concepts. Zera was mentioned to also use certain phrases like “cute” when referring to the robot when it was unveiled. And it’s through Marin that Lychee learns morality like a child. The robot’s masculinity could be passed off as the cast all being adults. Hiroyuki Tsunekawa for instance shows distinctly sculpted features from certain angles when performing Zera.

In his aspirations to become a human, Lychee eventually “dies” like a human. With the burning of Zera’s lychee tree, the robot is left with a finite limit on its remaining energy before it totally loses consciousness. After his rampage, Lychee attempts to reunite with Marin, but he runs out of fuel. Before what should be a moment of resolution, things are cut short as the stage goes black, eventually illuminated to show an unpowered Lychee cradling Marin’s corpse in his arms. Zera reemerges to observe the remnants of Lychee and Marin. He speaks of how Lychee will crumble into nothingness alongside Marin for foolishly giving into human emotion, further implying the club’s views on humanity. After this, recollections of the play’s final lines differentiate somewhat. It was said that in the original Christmas performance, Zera calls out to Jaibo, posing the corpses of Lychee and Marin as being his seasonal gifts to Jaibo. Whereas in most popular recollections, it’s described that after his monologue, Zera shouts “Wohlan! Beginnen!” (German for “Now! Begin!”) before prompting the decorations across the stage to collapse, revealing a set of stepladders from behind that the remaining previously deceased club members stand, all drenched in blood with spotlights illuminating their faces from below. ZERA: “And with that, our tale of a foolish romance between woman and machine reaches its conclusion. It ends before me as I stand here, watching. Lychee, the machine, will rust away into dust. And Marin, a young girl, will rot away leaving behind only her bones, which too will crumble…”

Multiple readings can be deciphered from this conclusion. The most established theory is in relation to the Hikari Club’s aspirations for eternal youth, with the members technically achieving their goal through the stagnation of death. They will remain eternal children since they died as children, unable to ever grow into adulthood. In the context of futurism and mechanized fascism however, it could be read as a bitter observation of a lasting dictatorship. With how the Hikari Club members had rendered themselves less human than their own robot, they survive death to continue their work, seeking to one day eradicate humanity in favor of a race of sentient childlike weapons. “To admire an old picture is to pour our sensibility into a funeral urn instead of casting it forward with violent spurts of creation and action. Do you want to waste the best part of your strength in a useless admiration of the past, from which you will emerge exhausted, diminished, trampled on?” “… For the dying, for invalids and for prisoners it may be all right. It is, perhaps, some sort of balm for their wounds, the admirable past, at a moment when the future is denied them. But we will have none of it, we, the young, strong and living Futurists! Let the good incendiaries with charred fingers come! Here they are! Heap up the fire to the shelves of the libraries! Divert the canals to flood the cellars of the museums! Let the glorious canvases swim ashore! Take the picks and hammers! Undermine the foundation of venerable towns! The oldest among us are not yet thirty years old: we have therefore at least ten years to accomplish our task. When we are forty let younger and stronger men than we throw us in the waste paper basket like useless manuscripts! They will come against us from afar, leaping on the light cadence of their first poems, clutching the air with their predatory fingers and sniffing at the gates of the academies the good scent of our decaying spirits, already promised to the catacombs of the libraries.” - from the 1909 Futurist Manifesto by Filippo Tommaso Marinetti

I forgot what exactly first caused the parallel to cross my mind. I do recall it being reignited when having a closer look over the poster and flyer for Litchi’s Christmas performance in December 1985. The flyer in particular is really a wonderful thing to look at. Predominantly featuring an art spread by Suehiro Maruo, a suited man with Kyusaku Shimada’s likeness is shown caressing a girl in front of a modernist cityscape with spotlights shining up to a night sky. Other suited men in goggles fly in the air with Da Vinci-reminiscent flying apparatuses between the beams of the metropolis’ spotlights. A student in full gakuran uniform flings himself into the scene from the far left side of the image with a dagger in hand, and a larger hand comes from the viewer’s perspective holding a partially peeled lychee fruit. While not based on any direct scene from the play, it perfectly instills the play’s atmosphere with an air of antiquated modernity, like the numerous illustrations of the early 1900s that show aspirational visions of what a futuristic cityscape might resemble. The bizarre neo-Victorian fashions of the future and its post-modernist formalities. The term futurism came to mind somewhat naively from this train of thought. It was a movement I recalled hearing about, but my memory of it was hazy. It wasn’t until I went in for a basic refresher that I felt the figurative lightbulb go off in my head. That was when the pieces started to come together, but then also strain apart from each other into tangents. Granted, many of these parallels could be read as coincidental. Many of them can even be passed off the play being a work of proto-cyberpunk, knowing how Tetsuo: The Iron Man would subsequently explore similar themes of cybernetics and human sexuality. It should still be noted however that in contrast with many of the Japanese cyberpunk films, Litchi was explicit in its connotations between technological inhumanity and fascism, with the machinery itself being the iconography of a dictatorship rather than a product of it. In addition, with Tetsuo the film has strong gay overtones, with the technology being an extension of the sexual tensions between the salaryman and the metal fetishist. For a period of time, efforts were made to make futurism the official aesthetic of fascist Italy, and modern fascism as we know it is in the same family tree of Italian philosophy as futurism. The Hikari Club are explicit in drawing from German aesthetics rather than Italian however, speaking in intermittent German and predominantly using German technology. The spotlight that they used when torturing Toba in the first act, for example, was a Hustadt Leuchten branded spotlight. And if that isn’t a German name I don’t know what is. It was also said that Jaibo’s outfit in the play was modeled after German school uniforms. Though then again, the Tokyo Grand Guignol’s works were a bit of a cultural slurry. Jaibo’s name for example is Spanish (derived from Luis Buñuel’s Los Olvidados), while the character is implied to be German.

Similar to the cited origins of futurism, Ameya stated in a 2019 tweet regarding the June 9th, 1985 abridged Mercuro performance on Tokumitsu Kazuo’s TV Forum that in the following August of that year, an airplane accident occurred that led to the conception of Litchi’s screenplay. The exact nature of the accident was never specified, but the affiliates he was communicating with all appeared to be familiar with it and expressed concern when it was brought up. This was however one of an assortment of influences that were cited behind Litchi’s production, with the two more established theories regarding the then-contemporary mystique around lychee fruit in Chinese cuisine along with the play being a loose adaption of Kazuo Umezu’s My Name is Shingo. For what it’s worth, the themes of Litchi, along with the Tokyo Grand Guignol’s other works, were closely tied with certain concepts that Ameya personally cultivated throughout his career. A frequent recurring topic Ameya would bring up in relation to his works was the nature of the human body in relation to foreign matter, need it be biological or unnatural. With Mercuro the students taught by Shimada are made into so-called Mercuroids by having their blood supplies replaced with mercurochrome, a substance that is referred to as the “antithesis of blood” by Shimada while in character. In an interview for the book About Artaud?, Ameya cites an interest in Osamu Tezuka’s manga in how certain stories of Tezuka’s paralleled Ameya’s observations of the body. He directly names Dororo and Black Jack, observing how both Hyakkimaru and Black Jack reconstructed their bodies from pieces of other people, going on to bluntly describe Pinoko as a “mass of organs covered in plastic skin”.

A section from June Vol. 27 highlighting some of the more established performers from Litchi's 1985 Christmas performance. The actors from left to right are Norimizu Ameya as Jaibo, Naomi Hagio as the female school teacher (best known in cult circles for her role as Kazuyo in the 1986 horror film Entrails of a Virgin), Suehiro Maruo out of costume and Miharu Koshi as Marin. During his temporary retirement from theater, Ameya would take up performance art, with some of his performances revolving around acts with his own blood. While my memories of these works are a bit hazy, I remember one action he performed that involved a blood transfusion, with the focus being on the experience of having another person’s blood coursing through your veins. While I didn't have much luck relocating this piece (probably from it not being covered in English), I did find on the Japan Foundation’s page for performing arts an interview where Ameya discusses being in a band with Shimada where Ameya had blood drawn from his body while he played drums. He would also describe an art exhibition where he displayed samples of the blood of a person infected with HIV. “After 1990 he left the field of theatre and began to engage himself with visual arts - still proceeding to work on his major topic - the human body - taking up themes like blood transfusion, artificial fertilization, infectious diseases, selective breeding, chemical food, and sex discrimination, creating works as a member of the collaboration unit Technocrat.” - Performing Arts Network Japan (The Japan Foundation) There are still an assortment of open questions I’m left with in regards to the contents of the original Litchi play. One of the most glaring ones is Niko’s eye. In consideration of Ameya’s interest in the body, the detail would fit perfectly with his ideologies. A club member who, to show his absolute loyalty to the Hikari Club, has his own eyeball procedurally gouged out to be made a part of the Lychee robot. Despite this perfect alignment, none of the contemporary recollections mention this element. While Niko does have an eyepatch in certain production photos, it never seems to come up as a plot point. He isn’t the only one to bear an eyepatch either, with Jacob also being shown with an eyepatch in flyers. More questions range from Jaibo’s motives in causing the dissolution of the Hikari Club to the true nature of Zera’s affiliation to Jaibo. While Tsunekawa has stood his ground in the relationship between Zera and Jaibo being totally sexless, in the cited volume of June the editor playfully refers to Jaibo as being Zera’s “best friend” in quotes.

A side-by-side comparison of the cast listings on the back of the flyers for the December 1985 performance of Litchi Hikari Club alongside its 1986 rerun. The 1985 run's lineup is at the top while the 1986 run is at the bottom. Much speculation is naturally involved when looking into the original Litchi Hikari Club since it is in essence a cultural phantom. There’s a reason I used the term genealogy in relation to my research of the Tokyo Grand Guignol’s works. It is an artistic enigma as while its presence lingers in subculture, the original works are now practically unattainable due to the inherent nature of theater. As Ameya himself would acknowledge in another interview, theater is an immediate medium that can only be perceived in its truest form for a very short span of time before eventually disintegrating. So with the Tokyo Grand Guignol’s plays, you are left to scour through the scattered remnants and contemporary recollections alongside the figurative creative descendants of the plays. You analyze the statements of both the original participants and the people they openly dismiss, as even those people were original audience members before reinterpreting the plays to their own unique visions. Despite the apparent differences, I still feel that Furuya’s manga gives a unique perspective to the story when viewed under dissection. That is if you want to see it in strict relation to the play. Outside that, I feel it firmly stands on its own merits. I like the manga no matter what Tsunekawa says, that’s what I’m trying to say. Ameya approved it anyway. It took me a full day to write all this out, and like the first time I went down this train of thought, I’m pooped. During that first excursion, after excitedly spiraling through these potential connections, I noticed in passing mention something about Marinetti’s cooking. You see, later in his life Marinetti aimed to apply futurism not just to art and theater, but cuisine also. As an Italian, Marinetti openly despised pasta, seeing it as being an edible slog that weighs down the spirits of the Italian people. Just further evidence that I would never get along with the man, no matter my liking of the Boccioni sculpture I saw at MOMA all those years ago. Well, outside of him being a fascist and all obviously. I like pasta. Either way, he was on a mission to conceive all-new all-Italian cuisines that would match the vision he had of a new fascist Italy. Nothing could prepare me though for when I saw an image of what would best be described as a towering cock and ball torture meat totem. It is exactly as it sounds, a big phallic tower of cooked meat with a set of gigantic dough-covered balls of chicken flesh on the front and back where you have to stick needles through the thing to hold it together. Words cannot express just how big it is. The thing was damn well near falling apart from how unnatural its shape was, and you’re expected to eat it while it has honey pouring from the tip of the tower. I genuinely winced watching its assembly, I instinctively crossed my legs somewhat when it was pierced by wooden sticks and then cut into sections to reveal the plant-stuffed interiors. As a person with no interest whatsoever in cooking shows, I was on the edge of my seat watching a PBS-funded webisode of someone preparing futurist dishes. Seek it out for yourself, it’s an excessively batshit culinary freakshow. That is more than enough talk about penises for the rest of the week. I’m going to spend the next few days looking at artistic yet selectively vaginal flowers to balance things out, equal opportunity symbology.

#litchi hikari club #lychee light club #norimizu ameya #suehiro maruo #tokyo grand guignol

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mariacallous · 1 year

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Moris Albahari, a Holocaust survivor, former partisan fighter and one of the last Ladino speakers in Bosnia and Herzegovina’s dwindling Jewish community, passed away at the age of 93 last month.

It is believed that he was one of four native Ladino speakers remaining in a country where the Judeo-Spanish language once flourished and was spoken by luminaries like Flory Jagoda, the grande dame of Ladino song, and Laura Bohoretta, the founder of a uniquely Sephardic feminist movement in Bosnia.

Bosnia’s small Jewish community — with barely 900 members throughout the country, 500 of whom live in Sarajevo — are mourning the loss of a living link to communal memory as well as a dear friend.

“From you, uncle Moco, I learned a lot about Judaism, about life, about nature and especially about people. About both the good and the evil,” Igor Kožemjakin, the cantor of the Sarajevo Jewish community, wrote in a memorial post on Facebook, referring to Moris as “Čika,” or uncle, a term of endearment in Bosnian.

“It is a terrible loss, especially for Sarajevo. Our community is very small, especially after the Holocaust,” Eliezer Papo, a Sarajevo-born Jew and scholar of Ladino language and literature at Ben-Gurion University of the Negev, told the Jewish Telegraphic Agency. “We’re not speaking just in terms of prominent members of the community, we’re speaking in terms of family members. Everyone is like a family member.”

When Albahari was growing up in the 1930s, the Jewish community of his native Sarajevo numbered over 12,000. Jews made up more than a fifth of the city and it was one of the most important centers of Jewish life in the western Balkans.

In his youth, the city was part of what was then the Kingdom of Yugoslavia. Formed out of the borderlands between the Ottoman and Austro-Hungarian empires, it was a multiethnic state composed of Croats, Serbs, Bosniaks, Slovenians, Macedonians, Hungarians, Albanians and more. Among them were many Jewish communities both Ashkenazi and Sephardic.

The unique mix of of Muslim, Jewish, Catholic and Orthodox Christian communities, with their mosques, synagogues and churches defining Sarajevo’s skyline, earned the city the nickname “Little Jerusalem.”

Speaking in a 2015 documentary made by American researchers, “Saved by Language,” Albahari explained that his family traced their roots back to Cordoba before the Spanish Inquisition, and through Venice, before settling in what would become Bosnia when it was part of the Ottoman Empire.

“We didn’t want to ‘just’ write an article about Moris or Sarajevo; we wanted [the audience] to see what we saw and hear what we heard,” Brian Kirschen, professor of Ladino at Binghamton University, who worked on the documentary with author Susanna Zaraysky, told JTA. “This resulted in a grassroots initiative to create the documentary.”

In the film, Albahari takes the researchers and their viewers on a tour through what was Jewish Sarajevo, giving glimpses of the thriving Ladino speaking community in which he was raised and explaining how ithe language would save him many times, when the Nazis and their Croat allies, the Ustaša, came to shatter it.

“In sharing your story of survival during the Holocaust, you opened doors that remained closed for decades,” Kirschen said in a memorial post on Facebook. “Some of your stories were even new to members of your family, but each survivor has their own timeline. While you experienced great pain during your life, from your story, we also learn about moments of kindness and heroism. Through your story, you also taught us about the power of language.”

Albahari wasn’t yet a teenager when, in 1941, Nazi Germany and Mussolini’s Italy invaded Yugoslavia. The Nazis occupied the eastern portion of the country, including what is now Serbia, while they raised up a Croat fascist party, known as the Ustaša, to administer the newly formed “Independent State of Croatia” — often known by its Serbo-Croatian initials, NDH — in the western regions that included the modern-day Bosnia and Herzegovina.

The Ustaša collaborated in the Nazis’ genocidal plans for Europe’s Jewish and Roma comunities, and they had genocidal designs of their own for the Orthodox Serb communities living in the NDH.

To that end they established the Jasenovac concentration camp, which would become known as the Auschwitz of the Balkans. By the war’s end it had become the third largest concentration camp in Europe, and behind its walls the overwhelming majority of Sarajevo’s Jews — at least 10,000 — were massacred. Including Serbs, Jews, Roma and political dissidents of Croat or Muslim Bosniak background, as many as 100,000 people were killed in Jasenovac.

Albahari was 11 years old when the Ustaša came to deport him and his large family to Jasenovac. A former teacher working as an Ustaša guard in the town of Drvar, where the train stopped, warned Albahari’s father, David, about their destination, and he was able to help his son escape from the train.

The teacher helped guide the young Moris to an Italian soldier named Lino Marchione who was secretly helping Jews.

This was the first case when Albahari’s Ladino came in handy. Ladino is largely based on medieval Spanish, with a mixture of Hebrew, Aramaic, Turkish and other languages mixed in. For speakers of Serbo-Croatian, a Slavic language, it’s entirely incomprehensible. But for a speaker of another Romance language such as Italian, it’s not such a stretch to understand, and Moris was able to converse with his Italian savior.

With his family gone, he was taken in by a Serb family, and changed his name to Milan Adamovic to hide his Jewish identity. Still, by 1942, it became clear that neither as Adamovic nor Albahari would he be safe in the town. So he fled to the mountains.

“If there was [a battle] I took clothes from a dead soldier to wear, I lived like a wolf in the mountains, you know. Visiting villages [asking for something] to give me for eating, it was a terrible time,” Albahari recalled in “Saved By Language.”

He would only feel safe in villages under the control of partisan forces. Yugoslavia was the only country in Europe to be liberated from Nazi rule by its own grassroots resistance.

During his time in the mountains, Albahari joined up with a partisan unit aligned with the movement of Josip Broz Tito, who would lead Communist Yugoslavia after the war. By the war’s end, Tito’s partisans numbered over 80,000 and included more than 6,000 Jews, many in prominent positions, such as Moša Pijade, who would go on to serve as vice president of the Yugoslav parliament after the war.

Moris was out on patrol as a partisan when he came upon a group of American and British paratroopers. They raised their weapons at him, thinking he was an enemy. Moris tried to communicate, but he spoke no English.

When he asked the soldiers if they spoke German or Italian, they shook their heads. When he asked about Spanish, one perked up: a Hispanic-American soldier by the name of David Garijo.

In Ladino, Alabahari was able to explain that he was not an enemy but could lead them to a nearby partisan camp where they would be safe.

“Ladino saved my life in the war,” Albahari recalled in the documentary.

At the partisan camp, Morris received even bigger news: The family that he had assumed had all perished after he left the train were in fact alive. The former school teacher and Ustaša guard who had warned his father had met them at the next train junction to help them escape. Furthermore, around half of the Jews in the train car were able to escape using the same hole Moris used during his initial escape.

Ultimately the family all survived the war, unlike so many other Jews of Sarajevo.

“Where is Samuel, where is Dudo, where is Gedala? They never came back,” Albahari lamented, listing missing neighbors while walking through Sarajevo’s old Jewish neighborhood in the documentary. “Maybe we are happy because we are alive after the Second World War, but also unlikely because every day we must cry for these dead people.”

When Moris returned to Sarajevo, it was an entirely different place from the bustling Jewish community he had once known.

Gone was the sound of Ladino in the streets and alleyways of Bascarsija, the market district where so many of Sarajevo’s Jews had once lived. Gone were the synagogues — only one of the many synagogues that had existed before WWII still functions. Gone was the robust Jewish life that was once a central part of Sarajevo.

Moris was still only 14 by the war’s end, so he returned to school and ultimately graduated at the top of his class. He became a pilot and later director of the Sarajevo Airport.

In this new world, Ladino was spoken, if at all, only in the home.

“Always, when I hear Spanish, I hear my father and mother, and all the synagogues, prayers in Ladino and rabbis who spoke Ladino. But that is in the past,” Albahari says in “Saved by Language.”

Eliezer Papo, who is a generation younger than Albahari, recalled that in his youth Ladino had long been reduced to a language of secrets.

“Mostly, Ladino was used when the elders didn’t want youngsters to understand,” Papo said. Only later, in the 1980s, did community members realize what was being lost and begin to gather to maintain their language, recount what Jewish Sarajevo had been like and share their wartime stories of survival.

“He never took his story to the places of revenge, but he took it and his life experience to a place of ‘Never again,’ not just ‘Never again for Jews’, but never again for anybody,” said Papo.

Like many Sarajevans, World War II would not be the last major conflict Albahari would see. Less than 40 years later, war would once again come to Sarajevo with the break-up of Yugoslavia.

From 1992-1995 the city remained under constant siege by Bosnian Serb forces looking to break away from what would become Bosnia and Herzegovina. Moris joined with other Jews of Sarajevo in working to provide aid to their fellow Sarajevans during the harsh period.

Sarajevo’s synagogue was turned into a shelter and a soup kitchen. The community ran a network of underground pharmacies and a message service allowing Sarajevans to get word to family and friends outside of the city during what became the longest siege of a capital city in the history of modern warfare.

“Moris was an inspirational persona to many members of Jewish community and La Benevolencija,” Vlado Anderle, the current president of that local Jewish humanitarian organization told JTA. “He was a man with such inviting spirit and energy.”

When the dust settled on the breakup of Yugoslavia, and the new Bosnian state rose from its ashes, Moris found himself once again in a new role.

During the communist era in Yugoslavia, religious activity was discouraged. Sarajevo’s Jews emphasized the ethnic character of Jewish culture rather than the religious one. In the new Bosnia and Herzegovina, that was no longer true. So the community worked to reconnect with their religious identity as well.

“Everybody looked up to the people who had Jewish upbringing before the Second World War,” Papo recalled. “This doesn’t mean that they were rabbis. Just that they knew it better than anyone else.”

Moris, whose formal Jewish education ended in his preteen years, was appointed president of the community’s religious committee.

As such it often fell on him to represent Judaism to the Bosnian society at large, often in a very creative way, according to Papo, who in addition to being a scholar of Ladino is ordained as a rabbi and serves the Sarajevo community as a rabbi-at-large from Israel.

In one case, while being interviewed on a major Bosnian television station, Moris was asked why Jews cover their head with a kippah or other hat during prayer. Moris’ response, or rather creative interpretation, as Papo called it, was made up on the spot.

Moris’ interpretation began with the ancient temple in Jerusalem where Jews once had to fully immerse in a ritual bath before entering.

“Since the Temple in Jerusalem was destroyed it was reduced to washing the uncovered parts of the body only, before entering a synagogue, similarly to Muslims: the feet, the head, the hands…” Papo recalled him saying. But in Europe, as Moris’ answer went, they began to cover more and more of their body. “In Europe they started wearing shoes, so the feet were not uncovered anymore, and then they started wearing a hat, not to have to wash their head… you know it’s Europe, one could catch a cold if going out with wet hair…”

“A few months later, I came to Sarajevo, and found that everyone has heard this explanation and is talking about it, not just people in the community, but in the street,” Papo said. “And you know, I let it pass, I couldn’t correct them, it was just so beautiful. That was his genius.”

“Identity is all about telling stories. And Moris was one of the great storytellers of the community,” Papo added. And through his stories he expressed an identity which was “made of the same contradictions that Sephardic Judaism is made of, that Sarajevo is made of, that Bosnia and Herzegovina is made and that Yugoslavia was and is made of and that the Balkans are made of.”

Albahari is survived by his wife and a son.

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e-idp · 1 year

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Italy Driving Guide As A Foreign Tourist

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#international driving permit Italy

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siriuscatbennett · 3 years

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The First Avenger info dump because I can

Enlistment/Dog Tags/Awards:

It is canon that Bucky Barnes enlisted on his own right after Pearl Harbor (and Steve tried). This would make his dog tags a type two. His service number would start with a 1 (enlisted army soldier) and a 2 (from New York). This site can be used to generate dog tag numbers (I haven’t tried all the functions, but be aware the O for officers is a 0 starting in 1942).

During WW2 (amongst other times), there was the Regular Army and the Army of the United States (which no longer exists). Voluntary enlisted men were in the Regular, with draftees in the other (officers were often part of both and had two separate ranks). If you choose to divert from canon and make Bucky a draftee (I personally have always liked this fanon because I’m evil), his service number would start with 32 (drafted, New York). This would also better explain why Bucky rises to the rank of Sergeant so quickly as promotions happened constantly in the AUS ( Dwight D. Eisenhower rose from a colonel to five-star general in three years).

Steve would have a different type of dog tags than Bucky (including a different chain). He would have a type three (as would anyone between July 20, 1943 and March 31, 1944). I will illustrate the differences below with the custom tags I made for Steve's sister and Bucky in my fanfic (feel free to use the info from them). The N and 7 in her tag are for nurse.

The T42 you’ll see below is the year tetanus shots were recieved. I’ve seen some with two years and some with one. The B is blood type and the P is religion.

Steve received an award for rescuing the POWs. Seeing as this wasn’t presented by the president, I’ve decided it was the Distinguished Service Cross. This award comes with a $2 pay raise; as a Captain, Steve previously made $200 a month, paid monthly (post-serum). Bucky made $78 as a Sergeant, with a $3.90 pay raise after 3 years of service (December 1944). Steve also obtained SSR pins after joining them (and I believe the Howling Commandos should have as well). (Even though nurses had the rank of an officer, they didn’t get equal pay until after WW2. They earned $70 a month for the first 3 years.)

Many soldiers put their second dog tag in their boot, usually slipped on the shoe laces in between the tongue and top of the shoe.

Not a fact, but I will add a link here to a website where you can either buy Bucky/Steve’s dogtags or make custom ones for $10 (personally, I would advocate for the custom as Bucky’s say he’s not from NY and show he is a draftee. Also, he has type B blood, not O. And Steve is Protestant, not Catholic. The site also states officer’s service numbers didn’t start with 9, but those with special duties did. His service number would most like be between 800000 and 999999, starting with a 0- to show he’s an officer).

Sister: Margaret E Rogers N-724669 T42 B P

Bucky: James B Barnes 12831412 T42 B Margaret Rogers (next of kin) 1404 Alameda Ave (next of kin address) Brooklyn NY P (address, religion)

Italian Front:

Seeing as the 107th were venturing to England in June 1943, they most likely headed straight to Sicily from there (or diverged if they had fuel) to aid in the invasion, continuing into the invasion of the mainland before pushing troops back toward Austria. Italy surrendered at the very beginning of the invasion of the mainland, so the Allies only fought Nazis and Italian soldiers loyal to Mussolini (National Republican Army), who was arrested during the invasion of Sicily and broken out during the mainland invasion. Seeing as Chester Phillips and Peggy were with Steve, they must have joined the 107th later. In my canon, they (and Howard) join at the beginning of the mainland invasion.

AM-lira (Allied-Military Currency), 100 "am-lire" for a U.S. dollar, was the currency specifically put into circulation for Allied Military after the landing in Sicily. It was used interchangeably with their normal currency. Once the Howling Commandoes join the SSR, they use British currency.

The 107th’s camp pre-Battle of Azzano was most likely behind the Volturno Line. Azzano is part of Umbria, which was about 170 miles into enemy territory.

Post-Azzano, the camp was most likely behind the Barbara Line. Walking approx 533 miles from Kreuzberg, Austria, with troops alternating resting periods in the trucks, walking approximately 42 miles for 12 hours a day, they would reach camp in thirteen days.

Random:

Steve’s canon address according to Avengers is 1404 Alameda Ave. Brooklyn, NY 11362. This is a Queens zip code. I changed it to 11237.

As a Sergeant, Bucky would command a squad of 12 soldiers (privates), split into 3 fireteams. He was also assigned a PFC (one of the scout riflemen) as an assistant; this soldier could serve as either the squad leader's messenger to the platoon commander or could be used to relay orders to other squad teams, as needed. Sergeants are responsible for the individual training, personal appearance and cleanliness of their soldiers, and are expected to set a standard for lower-ranked soldiers to live up to.

Women did have their own army sect for part of the war (Women’s Army Corps) but they didn’t go overseas as they didn’t legally get benefits overseas {I didn’t read a lot on this, take this with a grain of salt}. They did all the non-fighting jobs like listening to radio transmissions and fixing weapons.

On the ship, there were three-tier bunks. Enlisted men got footlockers under their beds (you could lift up the base), while officers got standing lockers. I would assume water on ships was cold, filtered from the ocean, and they had showers.

Showers were available but not popular at this time, just like hot water heaters. Many people still boiled water to take baths. People also didn’t bathe as often and there was only one kind of shampoo and no conditioner. Women made their own concoctions, used soap, or straight up would do egg masks. Hair was kept clean by doing the “100 strokes” with a hairbrush that was cleaned after every use. Indoor heating also wasn’t used everywhere, leaving many places still using things like fireplaces and wood stoves.

Soldiers used latrines in WW2. They also used a bucket of water and a bar of soap to wash. When water was unavailable and snow was, it was melted and used. They could also simply use things like rivers and lakes if available but if unnecessary, weren't used as lice was prevalent along with disease. Clothes weren't washed often (depending on the situation, some men went weeks without washing their uniform, only changing into dry socks when necessary) but when they were, they were boiled in big pots of water in mass and hung on a line to dry (there were also other ways, but I preferred this one). They carried an extra shirt, socks and laces, water canteen, ammunition, a spade, grenades, a gas mask, food rations, a cup, a wash kit (toothpaste, razor, comb, etc), first aid pouch, and a helmet (usually on their head) in their haversack's/on their belt (and rations, of couse). There was also a tent pack, but most soldiers would simply carry a raincoat. Lots of candles and oil lanterns to light the night. Canvas water bags – also known as Lister bags – were hung around camps and used for dispensing drinking water in which a dose of chlorine was added for purification.

Medical:

Morbidity from such diseases as tuberculosis (anti-tuberculosis agents didn’t begin to appear until 1949), rheumatic fever, typhus, dysentery, and malaria were high. There were tuberculosis quarantine wards separate from the other patients and were eventually evacuated. Frostbite was also common during the cold. Hepatitis A and B were also prevalent. Trench foot was also common, sometimes leading to jungle rot (often referred to as 'the creeping cruds'). PTSD was known then as 'battle fatigue'; men showcasing symptoms were often just given rest and food near the front lines and would normally rejoin the fight in a few days or were evacuated if necessary. All soldiers were vaccinated against tetanus, typhoid, smallpox, cholera, and yellow fever before shipping out. Dental hygiene was extremely important and many field hospitals were equipped with dental prosthetics.

Food:

A-Rations referred to fresh/refrigerated meats, bread, and vegetables, prepared in mess halls. These meals were basically the same as C-rations, but fresh and always warm.

C-Rations consisted of one M-unit (12 oz can, meat), one B-unit (12 oz can, bread/dessert), and an accessory pack. Each daily ration consisted of three M-units, three B-units, and three accessory packs (one for each meal). The cans were made of tinplate. The cans had a gold lacquer finish. C-rations can be eaten cold or hot and were cooked with a Coleman's pocket stove (which was made specifically for WW2 soldiers).

M-units initially had three kinds: meat and beans, meat and potato hash, and meat and vegetable stew. In 1943, meat and spaghetti in tomato sauce was added; along with meat and noodles, pork and rice, frankfurters and beans, and chicken & vegetables in 1944. 1944 also brought a chopped ham, egg, & potato unit and compressed cereal B-units to replace meat & vegetable hash.

B-units contained crackers, three sugar tablets, loose candy (Brach's chocolate caramels, candy-coated peanuts/raisins, Charms hard candy), and a packet/small can of beverage mix (instant coffee, powdered lemon drink, or bouillon soup powder). Orange drink powder was added in 1944. Due to spoilage, the loose candy was replaced in 1944 with a Brach's fudge disk or a Jim dandy.

Accessory packs (brown butcher paper) contained sugar tablets, water purification tablets, a flat wooden spoon, a piece of candy-coated chewing gum, three 3-packs or one 9-pack of cigarettes, a book of 20 moisture resistant matches, a paper-wrapped P-38 can opener (with instructions that everyone immediately throws out), and about 22.5 sheets of toilet paper. Cigarette brands included Camel, Chelsea, Chesterfield, Craven A-Brand, Lucky Strike, Old Gold, Philip Morris, Player's, Raleigh, and Wings (these were traded constantly). Can openers were meant to be disposable but soldiers wore them on their dog tags for later use either with opening cans or other things (clean muddy boots, screw screws, open letters, strip wires, trim loose thread, and sharpen pencils).

Seriously. They really gave every single soldier three can openers a day. With printed instructions. During metal rationing. Of which soldiers just put them on thier dog tag chains for later use. Where did all these excess can openers go? And why half a sheet of toilet paper?

Clothes:

The nurses wore an olive drab service jacket and skirt (they are seen in pants as well) and cap, khaki shirt and tie, and brown shoes (wore nursing shoes or boots). The rank insignia (a single gold bar for second lieutenants, the vast majority of nurses) was worn on the epaulets. A gold "U.S." pin was worn on each collar, and a gold caduceus with a red N was worn on each lapel. Whenever the service jacket wasn't worn, the rank insignia was pinned to the right collar, the caduceus on the left.

Soldier’s field uniforms looked like this (with some adjustments based on gun used). And yes, the leggings are neccessary, they helped keep feet dry:

The layout I made for Steve’s apartment (there are 2 beds and dressers in the spare room because Bucky lives there too, feel free to change this):

These aren’t all the links I used, because I’ve gone through a lot, like a lot, but here are the ones I saved that are relevant (I don’t like using wiki but I cross-checked any info stated above):

https://www.google.com/amp/s/screenrant.com/winter-soldier-mcu-complete-timeline-bucky-barnes/amp/ https://movies.stackexchange.com/questions/65170/how-did-bucky-get-the-rank-of-sergeant https://marvel-movies.fandom.com/wiki/Steven_Rogers https://en.wikipedia.org/wiki/Italian_campaign_(World_War_II) https://en.wikipedia.org/wiki/Allied_invasion_of_Sicily https://en.wikipedia.org/wiki/Allied_invasion_of_Italy https://history.amedd.army.mil/booksdocs/wwii/medsvcsinmedtrnmnrthrtrs/chapter6.htm https://en.wikipedia.org/wiki/Squad https://www.reddit.com/r/AskHistorians/comments/4j8zos/pay_of_american_gis_during_world_war_ii/ https://blogs.stockton.edu/womeninwwtwo/womens-military-involvemnt/womens-nurse-corps/#:~:text=The%20pay%20of%20members%20in,per%20month%E2%80%9D%20(2). https://en.wikipedia.org/wiki/Service_number_(United_States_Army) https://www.med-dept.com/articles/u-s-army-ww2-dog-tags/

Find me on Wattpad here where all of this information and more will be compiled in a Bucky Barnes series with mediocre writing (coming soon).

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Hedy Lamarr, born Hedwig Eva Maria Kiesler (November or September 9, 1914 – January 19, 2000), was an Austrian-American actress, inventor, and film producer. She appeared in 30 films over a 28 year career, and co-invented an early version of frequency-hopping spread spectrum communication.

Lamarr was born in Vienna, Austria-Hungary, and acted in a number of Austrian, German, and Czech films in her brief early film career, including the controversial Ecstasy (1933). In 1937, she fled from her husband, a wealthy Austrian ammunition manufacturer, secretly moving to Paris and then on to London. There she met Louis B. Mayer, head of Metro-Goldwyn-Mayer (MGM) studio, who offered her a Hollywood movie contract, where he began promoting her as "the world's most beautiful woman".

She became a star through her performance in Algiers (1938), her first United States film.[5] She starred opposite Clark Gable in Boom Town and Comrade X (both 1940), and James Stewart in Come Live with Me and Ziegfeld Girl (both 1941). Her other MGM films include Lady of the Tropics (1939), H.M. Pulham, Esq. (1941), as well as Crossroads and White Cargo (both 1942); she was also borrowed by Warner Bros. for The Conspirators, and by RKO for Experiment Perilous (both 1944). Dismayed by being typecast, Lamarr co-founded a new production studio and starred in its films: The Strange Woman (1946), and Dishonored Lady (1947). Her greatest success was as Delilah in Cecil B. DeMille's Samson and Delilah (1949). She also acted on television before the release of her final film, The Female Animal (1958). She was honored with a star on the Hollywood Walk of Fame in 1960.

At the beginning of World War II, Lamarr and composer George Antheil developed a radio guidance system using frequency-hopping spread spectrum technology for Allied torpedoes, intended to defeat the threat of jamming by the Axis powers. She also helped improve aircraft aerodynamics for Howard Hughes while they dated during the war. Although the US Navy did not adopt Lamarr and Antheil's invention until 1957, various spread-spectrum techniques are incorporated into Bluetooth technology and are similar to methods used in legacy versions of Wi-Fi. Recognition of the value of their work resulted in the pair being posthumously inducted into the National Inventors Hall of Fame in 2014.

Lamarr was born Hedwig Eva Maria Kiesler in 1914 in Vienna, Austria-Hungary, the only child of Emil Kiesler (1880–1935) and Gertrud "Trude" Kiesler (née Lichtwitz; 1894–1977). Her father was born to a Galician-Jewish family in Lemberg (now Lviv, Ukraine), and was a successful bank manager. Her mother was a pianist, born in Budapest to an upper-class Hungarian-Jewish family. She converted to Catholicism as an adult, at the insistence of her first husband, and raised her daughter Hedy as a Catholic as well, though she was not formally baptized at the time.

As a child, Kiesler showed an interest in acting and was fascinated by theatre and film. At the age of 12, she won a beauty contest in Vienna. She also began to associate invention with her father, who would take her out on walks, explaining how various technologies in society functioned.

After the Anschluss, she helped get her mother out of Austria and to the United States, where Gertrud Kiesler later became an American citizen. She put "Hebrew" as her race on her petition for naturalization, a term that had been frequently used in Europe.

Still using her maiden name of Hedy Kiesler, she took acting classes in Vienna. One day, she forged a permission note from her mother and went to Sascha-Film, where she was hired at the age of 16 as a script girl. She gained a role as an extra in Money on the Street (1930), and then a small speaking part in Storm in a Water Glass (1931). Producer Max Reinhardt cast her in a play entitled The Weaker Sex, which was performed at the Theater in der Josefstadt. Reinhardt was so impressed with her that he arranged for her to return with him to Berlin, where he was based.

Kiesler never trained with Reinhardt nor appeared in any of his Berlin productions. After meeting Russian theatre producer Alexis Granowsky, she was cast in his film directorial debut, The Trunks of Mr. O.F. (1931), starring Walter Abel and Peter Lorre. Granowsky soon moved to Paris, but Kiesler stayed in Berlin to work. She was given the lead role in No Money Needed (1932), a comedy directed by Carl Boese. Her next film brought her international fame.

In early 1933, at age 18, Hedy Kiesler, still working under her maiden name, was given the lead in Gustav Machatý's film Ecstasy (Ekstase in German, Extase in Czech). She played the neglected young wife of an indifferent older man.

The film became both celebrated and notorious for showing the actress's face in the throes of an orgasm. According to Marie Benedict's book The Only Woman In The Room, Kiesler's expression resulted from someone sticking her with a pin. She was also shown in closeups and brief nude scenes, the latter reportedly a result of the actress being "duped" by the director and producer, who used high-power telephoto lenses.

Although Kiesler was dismayed and now disillusioned about taking other roles, Ecstasy gained world recognition after winning an award in Rome. Throughout Europe, the film was regarded as an artistic work. However, in the United States, it was banned, considered overly sexual, and made the target of negative publicity, especially among women's groups. It was also banned in Germany due to Kiesler's Jewish heritage. Her husband, Fritz Mandl, reportedly spent over $300,000 buying up and destroying copies of the film.

Kiesler also played a number of stage roles, including a starring one in Sissy, a play about Empress Elisabeth of Austria produced in Vienna in early 1933, just as Ecstasy premiered. It won accolades from critics.

Admirers sent roses to her dressing room and tried to get backstage to meet Kiesler. She sent most of them away, including an insistent Friedrich Mandl. He became obsessed with getting to know her. Mandl was a Viennese arms merchant and munitions manufacturer who was reputedly the third-richest man in Austria. She fell for his charming and fascinating personality, partly due to his immense wealth. Her parents, both of Jewish descent, did not approve, as Mandl had ties to Italian fascist leader Benito Mussolini, and later, German Führer Adolf Hitler, but they could not stop their headstrong daughter.

On August 10, 1933, at the age of 18, Kiesler married Mandl, then 33. The son of a Jewish father and a Catholic mother, Mandl insisted that she convert to Catholicism before their wedding in Vienna Karlskirche. In her autobiography Ecstasy and Me, Mandl is described as an extremely controlling husband. He strongly objected to her having been filmed in the simulated orgasm scene in Ecstasy and prevented her from pursuing her acting career. She claimed she was kept a virtual prisoner in their castle home, Castle Schwarzenau in the remote Waldviertel near the Czech border.

Mandl had close social and business ties to the Italian government, selling munitions to the country, and, despite his own part-Jewish descent, had ties to the Nazi regime of Germany. Kiesler accompanied Mandl to business meetings, where he conferred with scientists and other professionals involved in military technology. These conferences were her introduction to the field of applied science and she became interested in nurturing her latent talent in science.

Finding her marriage to Mandl eventually unbearable, Kiesler decided to flee her husband as well as her country. According to her autobiography, she disguised herself as her maid and fled to Paris. Friedrich Otto's account says that she persuaded Mandl to let her wear all of her jewelry for a dinner party where the influential austrofascist Ernst Stahremberg attended, then disappeared afterward. She writes about her marriage:

I knew very soon that I could never be an actress while I was his wife. ... He was the absolute monarch in his marriage. ... I was like a doll. I was like a thing, some object of art which had to be guarded—and imprisoned—having no mind, no life of its own.

After arriving in London in 1937, she met Louis B. Mayer, head of MGM, who was scouting for talent in Europe. She initially turned down the offer he made her (of $125 a week), but booked herself onto the same New York-bound liner as he. During the trip, she impressed him enough to secure a $500 a week contract. Mayer persuaded her to change her name from Hedwig Kiesler (to distance herself from "the Ecstasy lady" reputation associated with it). She chose the surname "Lamarr" in homage to the beautiful silent film star, Barbara La Marr, on the suggestion of Mayer's wife, Margaret Shenberg.

When Mayer brought Lamarr to Hollywood in 1938, he began promoting her as the "world's most beautiful woman". He introduced her to producer Walter Wanger, who was making Algiers (1938), an American version of the noted French film, Pépé le Moko (1937).

Lamarr was cast in the lead opposite Charles Boyer. The film created a "national sensation", says Shearer. Lamarr was billed as an unknown but well-publicized Austrian actress, which created anticipation in audiences. Mayer hoped she would become another Greta Garbo or Marlene Dietrich. According to one viewer, when her face first appeared on the screen, "everyone gasped ... Lamarr's beauty literally took one's breath away."

In future Hollywood films, Lamarr was often typecast as the archetypal glamorous seductress of exotic origin. Her second American film was I Take This Woman (1940), co-starring with Spencer Tracy under the direction of regular Dietrich collaborator, Josef von Sternberg. Von Sternberg was fired during the shoot, and replaced by Frank Borzage. The film was put on hold, and Lamarr was put into Lady of the Tropics (1939), where she played a mixed-race seductress in Saigon opposite Robert Taylor. She returned to I Take This Woman, re-shot by W. S. Van Dyke. The resulting film was a flop.

Far more popular was Boom Town (1940) with Clark Gable, Claudette Colbert and Spencer Tracy; it made $5 million MGM promptly reteamed Lamarr and Gable in Comrade X (1940), a comedy film in the vein of Ninotchka (1939), which was another hit.

She was teamed with James Stewart in Come Live with Me (1941), playing a Viennese refugee. Stewart was also featured in Ziegfeld Girl (1941), in which Lamarr, Judy Garland, and Lana Turner played aspiring showgirls; it was a big success.

Lamarr was top-billed in H. M. Pulham, Esq. (1941), although the film's protagonist was the title role played by Robert Young. She made a third film with Tracy, Tortilla Flat (1942). It was successful at the box office, as was Crossroads (1942) with William Powell.

She played the seductive native girl Tondelayo in White Cargo (1942), top-billed over Walter Pidgeon. It was a huge hit. White Cargo contains arguably her most memorable film quote, delivered with provocative invitation: "I am Tondelayo. I make tiffin for you?" This line typifies many of Lamarr's roles, which emphasized her beauty and sensuality while giving her relatively few lines. The lack of acting challenges bored Lamarr, and she reportedly took up inventing to relieve her boredom. In a 1970 interview, Lamarr also remarked that she was paid less because she would not sleep with Mayer.

Lamarr was reunited with Powell in a comedy, The Heavenly Body (1944). She was then borrowed by Warner Bros. for The Conspirators (1944), reuniting several of the actors of Casablanca (1942), which had been inspired in part by Algiers and written with Lamarr in mind as its female lead, though MGM would not lend her out. RKO later borrowed her for a melodrama, Experiment Perilous (1944), directed by Jacques Tourneur.

Back at MGM, Lamarr was teamed with Robert Walker in the romantic comedy Her Highness and the Bellboy (1945), playing a princess who falls in love with a New Yorker. It was very popular, but would be the last film she made under her MGM contract.

Her off-screen life and personality during those years was quite different from her screen image. She spent much of her time feeling lonely and homesick. She might swim at her agent's pool, but shunned the beaches and staring crowds. When asked for an autograph, she wondered why anyone would want it. Writer Howard Sharpe interviewed her and gave his impression:

Hedy has the most incredible personal sophistication. She knows the peculiarly European art of being womanly; she knows what men want in a beautiful woman, what attracts them, and she forces herself to be these things. She has magnetism with warmth, something that neither Dietrich nor Garbo has managed to achieve.

Author Richard Rhodes describes her assimilation into American culture:

Of all the European émigrés who escaped Nazi Germany and Nazi Austria, she was one of the very few who succeeded in moving to another culture and becoming a full-fledged star herself. There were so very few who could make the transition linguistically or culturally. She really was a resourceful human being–I think because of her father's strong influence on her as a child.

Lamarr also had a penchant for speaking about herself in the third person.

Lamarr wanted to join the National Inventors Council, but was reportedly told by NIC member Charles F. Kettering and others that she could better help the war effort by using her celebrity status to sell war bonds.

She participated in a war bond-selling campaign with a sailor named Eddie Rhodes. Rhodes was in the crowd at each Lamarr appearance, and she would call him up on stage. She would briefly flirt with him before asking the audience if she should give him a kiss. The crowd would say yes, to which Hedy would reply that she would if enough people bought war bonds. After enough bonds were purchased, she would kiss Rhodes and he would head back into the audience. Then they would head off to the next war bond rally. In total, Lamarr sold approximately $25 million (over $350 million when adjusted for inflation in 2020) worth of war bonds during a period of 10 days.

After leaving MGM in 1945, Lamarr formed production company Mars Film Corporation with Jack Chertok and Hunt Stromberg, producing two film noir motion pictures which she also starred in: The Strange Woman (1946) as a manipulative seductress leading a son to murder his father, and Dishonored Lady (1947) as a formerly suicidal fashion designer[verification needed] trying to start a new life but gets accused of murder. Her initiative was unwelcomed by the Hollywood establishment, as they were against actors (especially female actors) producing their films independently. Both films grossed over their budgets, but were not large commercial successes.

In 1948, she tried a comedy with Robert Cummings, called Let's Live a Little.

Lamarr enjoyed her greatest success playing Delilah opposite Victor Mature as the biblical strongman in Cecil B. DeMille's Samson and Delilah (1949). A massive critical and commercial success, the film became the highest-grossing picture of 1950 and won two Academy Awards (Best Art Direction and Best Costume Design) of its five nominations. She won critical acclaim for her portrayal of Delilah. Showmen's Trade Review previewed the film before its release and commended Lamarr's performance: "Miss Lamarr is just about everyone's conception of the fair-skinned, dark-haired, beauteous Delilah, a role tailor-made for her, and her best acting chore to date."[48] Photoplay wrote, "As Delilah, Hedy Lamarr is treacherous and tantalizing, her charms enhanced by Technicolor."[49]

Lamarr returned to MGM for a film noir with John Hodiak, A Lady Without Passport (1950), which flopped. More popular were two pictures she made at Paramount, a Western with Ray Milland, Copper Canyon (1950), and a Bob Hope spy spoof, My Favorite Spy (1951).

Her career went into decline. She went to Italy to play multiple roles in Loves of Three Queens (1954), which she also produced. However she lacked the experience necessary to make a success of such an epic production, and lost millions of dollars when she was unable to secure distribution of the picture.

She was Joan of Arc in Irwin Allen's critically panned epic, The Story of Mankind (1957) and did episodes of Zane Grey Theatre ("Proud Woman") and Shower of Stars ("Cloak and Dagger"). Her last film was a thriller The Female Animal (1958).

Lamarr was signed to act in the 1966 film Picture Mommy Dead, but was let go when she collapsed during filming from nervous exhaustion. She was replaced in the role of Jessica Flagmore Shelley by Zsa Zsa Gabor.

Although Lamarr had no formal training and was primarily self-taught, she worked in her spare time on various hobbies and inventions, which included an improved traffic stoplight and a tablet that would dissolve in water to create a carbonated drink. The beverage was unsuccessful; Lamarr herself said it tasted like Alka-Seltzer.

Among the few who knew of Lamarr's inventiveness was aviation tycoon Howard Hughes. She suggested he change the rather square design of his aeroplanes (which she thought looked too slow) to a more streamlined shape, based on pictures of the fastest birds and fish she could find. Lamarr discussed her relationship with Hughes during an interview, saying that while they dated, he actively supported her inventive "tinkering" hobbies. He put his team of scientists and engineers at her disposal, saying they would do or make anything she asked for.

During World War II, Lamarr learned that radio-controlled torpedoes, an emerging technology in naval war, could easily be jammed and set off course.[53] She thought of creating a frequency-hopping signal that could not be tracked or jammed. She conceived an idea and contacted her friend, composer and pianist George Antheil, to help her implement it.[54] Together they developed a device for doing that, when he succeeded by synchronizing a miniaturized player-piano mechanism with radio signals.[40] They drafted designs for the frequency-hopping system, which they patented.[55][56] Antheil recalled:

We began talking about the war, which, in the late summer of 1940, was looking most extremely black. Hedy said that she did not feel very comfortable, sitting there in Hollywood and making lots of money when things were in such a state. She said that she knew a good deal about munitions and various secret weapons ... and that she was thinking seriously of quitting MGM and going to Washington, D.C., to offer her services to the newly established National Inventors Council.

As quoted from a 1945 Stars and Stripes interview, "Hedy modestly admitted she did only 'creative work on the invention', while the composer and author George Antheil, 'did the really important chemical part'. Hedy was not too clear about how the device worked, but she remembered that she and Antheil sat down on her living room rug and were using a silver match box with the matches simulating the wiring of the invented 'thing'. She said that at the start of the war 'British fliers were over hostile territory as soon as they crossed the channel, but German aviators were over friendly territory most of the way to England... I got the idea for my invention when I tried to think of some way to even the balance for the British. A radio controlled torpedo, I thought would do it.'"

Their invention was granted a patent under U.S. Patent 2,292,387 on August 11, 1942 (filed using her married name Hedy Kiesler Markey).[58] However, it was technologically difficult to implement, and at the time the US Navy was not receptive to considering inventions coming from outside the military.[35] Nevertheless, it was classified in the "red hot" category.[59] It was first adapted in 1957 to develop a sonobuoy before the expiration of the patent, although this was denied by the Navy. At the time of the Cuban Missile Crisis in 1962, an updated version of their design was installed on Navy ships.[60] Today, various spread-spectrum techniques are incorporated into Bluetooth technology and are similar to methods used in legacy versions of Wi-Fi. Lamarr and Antheil's contributions were formally recognized in the late twentieth and early twenty-first centuries.

Lamarr was married and divorced six times and had three children:

Friedrich Mandl (married 1933–37), chairman of the Hirtenberger Patronen-Fabrik

Gene Markey (married 1939–41), screenwriter and producer. She adopted a boy, James Lamarr Markey (born January 9, 1939) during her marriage with Markey. In 2001, James found out he was the out-of-wedlock son of Lamarr and actor John Loder, whom she later married as her third husband.

John Loder (married 1943–47), actor. James Lamarr Markey was adopted by Loder as James Lamarr Loder. During the marriage, Lamarr and Loder also had two further children: Denise Loder (born January 19, 1945), married Larry Colton, a writer and former baseball player; and Anthony Loder (born February 1, 1947), married Roxanne who worked for illustrator James McMullan. They both appeared in the documentary films Calling Hedy Lamarr (2004), and Bombshell: The Hedy Lamarr Story (2017).

Ernest "Ted" Stauffer (married 1951–52), nightclub owner, restaurateur, and former bandleader

W. Howard Lee (married 1953–60), a Texas oilman (he later married film actress Gene Tierney)

Lewis J. Boies (married 1963–65), Lamarr's divorce lawyer

Following her sixth and final divorce in 1965, Lamarr remained unmarried for the last 35 years of her life.

Lamarr became a naturalized citizen of the United States at age 38 on April 10, 1953. Her autobiography, Ecstasy and Me, was published in 1966. In a 1969 interview on The Merv Griffin Show, she said that she did not write it and claimed that much was fictional. Lamarr sued the publisher in 1966 to halt publication, saying that many details were fabricated by its ghost writer, Leo Guild. She lost the suit. In 1967, Lamarr was sued by Gene Ringgold, who asserted that the book plagiarized material from an article he had written in 1965 for Screen Facts magazine.

In the late 1950s, Lamarr designed and, with husband W. Howard Lee, developed the Villa LaMarr ski resort in Aspen, Colorado. After their divorce, her husband gained this resort

In 1966, Lamarr was arrested in Los Angeles for shoplifting. The charges were eventually dropped. In 1991, she was arrested on the same charge in Florida, this time for stealing $21.48 worth of laxatives and eye drops. She pleaded no contest to avoid a court appearance, and the charges were dropped in return for her promise to refrain from breaking any laws for a year.

During the 1970s, Lamarr lived in increasing seclusion. She was offered several scripts, television commercials, and stage projects, but none piqued her interest. In 1974, she filed a $10 million lawsuit against Warner Bros., claiming that the running parody of her name ("Hedley Lamarr") featured in the Mel Brooks comedy Blazing Saddles infringed her right to privacy. Brooks said he was flattered; the studio settled out of court for an undisclosed nominal sum and an apology to Lamarr for "almost using her name". Brooks said that Lamarr "never got the joke". With her eyesight failing, Lamarr retreated from public life and settled in Miami Beach, Florida, in 1981.

In 1996, a large Corel-drawn image of Lamarr won the annual cover design contest for the CorelDRAW's yearly software suite. For several years, beginning in 1997, it was featured on boxes of the software suite. Lamarr sued the company for using her image without her permission. Corel countered that she did not own rights to the image. The parties reached an undisclosed settlement in 1998.

In 1997, Canadian company WiLAN signed an agreement with Lamarr to acquire 49% of the marketing rights of her patent, and a right of first refusal for the remaining 51% for ten quarterly payments. This was the only financial compensation she received for her frequency-hopping spread spectrum invention. A friendship ensued between her and the company's CEO, Hatim Zaghloul.

Lamarr became estranged from her son, James Lamarr Loder (who believed he was adopted until 2001), when he was 12 years old. Their relationship ended abruptly, and he moved in with another family. They did not speak again for almost 50 years. Lamarr left James Loder out of her will, and he sued for control of the US$3.3 million estate left by Lamarr in 2000. He eventually settled for US$50,000. James Loder was the Omaha, Nebraska police officer who was charged but then acquitted of the killing of 14 year old Vivian Strong in 1969.

In the last decades of her life, Lamarr communicated only by telephone with the outside world, even with her children and close friends. She often talked up to six or seven hours a day on the phone, but she spent hardly any time with anyone in person in her final years. A documentary film, Calling Hedy Lamarr, was released in 2004 and features her children Anthony Loder and Denise Loder-DeLuca.

Lamarr died in Casselberry, Florida, on January 19, 2000, of heart disease, aged 85. According to her wishes, she was cremated and her son Anthony Loder spread her ashes in Austria's Vienna Woods.

In 1939, Lamarr was voted the "most promising new actress" of 1938 in a poll of area voters conducted by a Philadelphia Record film critic.[95]

In 1951, British moviegoers voted Lamarr the tenth best actress of 1950,[96] for her performance in Samson and Delilah.

In 1960, Lamarr was honored with a star on the Hollywood Walk of Fame for her contribution to the motion picture industry, at 6247 Hollywood Blvd adjacent to Vine Street where the walk is centered.

In 1997, Lamarr and George Antheil were jointly honored with the Electronic Frontier Foundation's Pioneer Award.

Also in 1997, Lamarr was the first woman to receive the Invention Convention's BULBIE Gnass Spirit of Achievement Award, known as the "Oscars of inventing".

In 2014, Lamarr and Antheil were posthumously inducted into the National Inventors Hall of Fame for frequency-hopping spread spectrum technology.

Also in 2014, Lamarr was given an honorary grave in Vienna's Central Cemetery, where the remaining portion of her ashes were buried in November, shortly before her 100th birthday.

Asteroid 32730 Lamarr, discovered by Karl Reinmuth at Heidelberg Observatory in 1951, was named in her memory. The official naming citation was published by the Minor Planet Center on August 27, 2019 (M.P.C. 115894).

On 6 November 2020, a satellite named after her (ÑuSat 14 or "Hedy", COSPAR 2020-079F) was launched into space.

The 2004 documentary film Calling Hedy Lamarr features her children, Anthony Loder and Denise Loder-DeLuca.

In 2010, Lamarr was selected out of 150 IT people to be featured in a short film launched by the British Computer Society on May 20.

Also during 2010, the New York Public Library exhibit Thirty Years of Photography at the New York Public Library included a photo of a topless Lamarr (c. 1930) by Austrian-born American photographer Trude Fleischmann.

The 2017 documentary film Bombshell: The Hedy Lamarr Story, written and directed by Alexandra Dean and produced by Susan Sarandon,[108] about Lamarr's life and career as an actress and inventor, also featuring her children Anthony and Denise, among others, premiered at the 2017 Tribeca Film Festival.[40] It was released in theaters on November 24, 2017, and aired on the PBS series American Masters in May 2018. As of April 2020, it is also available on Netflix.

During World War II, the Office of Strategic Services invented a pyrotechnic device meant to help agents operating behind enemy lines to escape if capture seemed imminent. When the pin was pulled, it made the whistle of a falling bomb followed by a loud explosion and a large cloud of smoke, enabling the agent to make his escape. It saved the life of at least one agent. The device was codenamed the Hedy Lamarr.[109]

The Mel Brooks 1974 western parody Blazing Saddles features a male villain named "Hedley Lamarr". As a running gag, various characters mistakenly refer to him as "Hedy Lamarr" prompting him to testily reply "That's Hedley."

In the 1982 off-Broadway musical Little Shop of Horrors and subsequent film adaptation (1986), Audrey II says to Seymour in the song "Feed Me" that he can get Seymour anything he wants, including "A date with Hedy Lamarr."

On the Nickelodeon show Hey Arnold!, there is a running gag in which whenever something unfortunate happens to Arnold's grandfather, Phil, he constantly states how things would have been different if he had "married Hedy Lamarr instead!". In one episode, it is revealed that he carries a photo of her in his wallet.

In the 2003 video game Half-Life 2, Dr. Kleiner's pet headcrab, Lamarr, is named after Hedy Lamarr.

In 2008, an off-Broadway play, Frequency Hopping, features the lives of Lamarr and Antheil. The play was written and staged by Elyse Singer, and the script won a prize for best new play about science and technology from STAGE.

In 2011, the story of Lamarr's frequency-hopping spread spectrum invention was explored in an episode of the Science Channel show Dark Matters: Twisted But True, a series that explores the darker side of scientific discovery and experimentation, which premiered on September 7.

Batman co-creator Bob Kane was a great movie fan and his love for film provided the impetus for several Batman characters, among them, Catwoman. Among Kane's inspiration for Catwoman were Lamarr and actress Jean Harlow. Also in 2011, Anne Hathaway revealed that she had learned that the original Catwoman was based on Lamarr, so she studied all of Lamarr's films and incorporated some of her breathing techniques into her portrayal of Catwoman in the 2012 film The Dark Knight Rises.

In 2013, her work in improving wireless security was part of the premiere episode of the Discovery Channel show How We Invented the World.

In 2015, on November 9, the 101st anniversary of Lamarr's birth, Google paid tribute to Lamarr's work in film and her contributions to scientific advancement with an animated Google Doodle.

In 2016, Lamarr was depicted in an off-Broadway play, HEDY! The Life and Inventions of Hedy Lamarr, a one-woman show written and performed by Heather Massie.

Also in 2016, the off-Broadway, one-actor show Stand Still and Look Stupid: The Life Story of Hedy Lamarr starring Emily Ebertz and written by Mike Broemmel went into production.

Also in 2016, Whitney Frost, a character in the TV show Agent Carter, was inspired by Lamarr and Lauren Bacall.

In 2017, actress Celia Massingham portrayed Lamarr on The CW television series Legends of Tomorrow in the sixth episode of the third season, titled "Helen Hunt". The episode is set in 1937 "Hollywoodland" and references Lamarr's reputation as an inventor. The episode aired on November 14, 2017.

In 2018, actress Alyssa Sutherland portrayed Lamarr on the NBC television series Timeless in the third episode of the second season, titled "Hollywoodland". The episode aired March 25, 2018.

Gal Gadot is set to portray Lamarr in an Apple TV+ limited series based on her life story.

A novelization of her life, The Only Woman in the Room by Marie Benedict, was published in 2019.

#hedy lamarr #classic hollywood #classic movie stars #golden age of hollywood #old hollywood #1930s hollywood #1940s hollywood #1950s hollywood #hollywood legend

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random-thought-depository · 3 years

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Maybe I’ve got an optimistic bias about this, but I think the Trumpist movement kind of shot itself in the foot with the Washington D.C. riot yesterday.

I think what that riot actually accomplished was politically isolating Trump and firming up the Republican Party elite’s inclination to throw Trump under the bus. A lot of Trump’s most important political allies just got directly, personally threatened by Trumpist brownshirt-wannabes. I watched bits of politicians’ reactions to the riot, and I think what I saw was politician class solidarity being asserted and trumping other solidarities; Trump’s more extremist supporters just made it clear that they’re a threat to the entire establishment political class, not just to Democrats, and the political class is predictably closing ranks against them and their leader. Very few Republican Senators were willing to get on board with the latest round of attempts to contest the election, the Republican politician consensus of “accept that Trump lost and move on” seems to be firming up, and now there’s buzz about Trump being humiliatingly 25thed in his last days in office and signs that he may already be getting unofficially de facto soft-25thed. Establishment Republican politicians have no interest in being one of the people who get purged for being insufficiently right-wing during a right-wing coup, and yesterday’s events made it clear that’s a plausible fate for them if Trump somehow actually manages to pull off an autogolpe.

Also, it was the sort of spectacle that makes a movement look disruptive and violent and turns off normal people.

Thinking about how this relates to some of the things you’ve been saying, @collapsedsquid, I think yesterday’s riot is the sort of thing that could have snowballed into a successful autogolpe if Trump had more institutional support, but he doesn’t have that support, so it fizzled out within a few hours and backfired. And it seems like very much a stochastic terrorism adjacent thing. Trump doesn’t order his brownshirt-wannabes to do brownshirt stuff, he drops hints and sees if they do brownshirt stuff on their own initiative, and what happened yesterday looks to me like it very much fits that pattern. This seems like part of a general pattern with Donald Trump to me: he keeps trying to do Mussolini/Hitler stuff, but he lacks the institutional support and political savvy to pull it off.

#politics #1/6/2021 Washington DC riot

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architectuul · 4 years

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FOMA 35: Albania - Future Stories For The Past

The selection of this Forgotten Masterpieces is developed under the reference of the book Albania - Decades of Architecture in Political Context written by Sotir Dhamo, Besnik Aliaj and Saimir Kristo.

This first volume of FOMA presented by Saimir Kristo include architectures from the administrative and governmental ranks, culture and education buildings, rehabilitation facilities, hotels and hospitalities and remains of regimes.

Authors of the book Besnik Aliaj, Saimir Kristo and Sotir Dhamo (from left).

Albanian projects realized between an intense and particular social and political scene involve buildings from the self-declared monarch of King Zog I, to the colony of Imperial Italy under the fascist regime before World War II, up to the rule of the party of labor and the dictatorial regime of Hoxha.

The Royal Villa in Durres constructed by Florestano Di Fausto, Gherardo Bosio, Kristo Sotiri and Armando Brasini was the summer residence of king Zog I and his family. The fashionably styled building has survived as a symbol of the monarchy. According to some sources it was a gift to the king from the business community of Durres, according to another it was given to the king by the Italian government with the intention to strengthen relations between Albania and Italy.

The Royal Villa is situated on top of an adjacent central hill of the city.| Photo via National Technical Archive of Construction Albania

The presence of the kind and his family in Durres, despite his main headquarters in the new capital Tirana, brought about a type of political balance between the two cities and the role they played in the history of the country.

The first concept of the Royal Villa with its own European style was designed by Italian architect Armando Brasini (1929). The final project was finalized by Florestano Di Fausto, assisted by the engineer Antonino Chiesa (1928-1929). Documentation found in the archives show that the original design was in an eclectic style and retained a pre existing structure, which was partially demolished. The intervention of the Italian architect Gherardo Bosio was limited to the interior, transforming the former royal palace into the office of the lieutenant governor as documented in a series of undated sketches.

This building designed by architect Kristo Sotir was later on substituted by the building designed by Florestano Di Fausto. The designs of Bosio and Di Fausto show the dilemma of Italian architects of the 1930s generation, operating between principles of the nineteenth century and rationalism (Giusti, 2006).

With its 360-degree panorama, it offered a view of both, the sea and the land, especially the historic city. Construction of the vila started in 1926 based on the art nouveau concept of the local architect Kristo Sotiri (educated in Padova and Venice) who had previously worked for the Romanina royal family. The works were completed in 1937. After the Italian invasion of 1939 the king and his family were exiled. During World War II and thereafter, the residence was used for government receptions and events. The building was unfortunately looted and damaged during the social and political turmoil of the Albanian rebellion in 1997, and is undergoing a gradual process of reconstruction.

The legibility of this building is based on the contrast of pure volumes on different scales.| Photo via Gizmoweb

The commission for the Dajti Hotel was given to Gherardo Bosio, who was in charge of the General Regulatory Plan for Tirana and the detailed design of the Viale dell’Impero, today Martyrs of the nation Boulevard (Bulevardi Deshmoret e Kombit). Bosio situated the hotel at the boulevard’s crossing with Lana River, where the most representative buildings of the capital stood.

Decaying hotel, hidden behind trees on main boulevard. | Photo via Wikipedia

Hotel Dajti just after construction. | Source © Florian Nepravishta, AQTN

The hotel has to follow the design criteria of all the other buildings along the boulevard. Based on the urban regulations issued in January 1940, those criteria concerned primarily the volume, the continuity of the facades and their front length based on multiples of 4-meter modular distances, building width in proportion to road width and the stone cover of the base areas to give them a dignified appearance.

Bosio designed the hotel using a restrained and elegant architectural language. The legibility of this building is based on the contrast of pure volumes on different scales: first, this contrast is created by the distribution of the main corps containing the main programs of the hotel, and on a smaller scale, by carving solids and voids such as balconies and loggias at the level of facades.

Enver Hoxha in front of Hotel Dajti, Tirana 10.7.1945 | Photo via Albanian History

A large staircase covered by a shelter, which bears the hotel sign, marks the entrance. While the base part is of marble, the upper body is plastered. To enhance and animate the appearance of the boulevard, the opening of continuous loggias on the top floors was advised.

The hotel is not in use anymore today. | Photo © Thomas Haemmerli

The interior, especially its public areas, reveal the complete modernity of the project and its elegance, which is characterized by rational organization of the spaces and clear legibility of the structures. The main hall impresses with light coming from the front and evokes a sense of eternity. Its double volume, supported by pillars, gives an impression of spatial grandeur.

City Logs exhibition by STEALTH.unlimited at the Hotel Dajti during the Tirana International Contemporary Art Biannual. | Photo © STEALTH.unlimited

On the left side of the hall a staircase leads to the upper floor. The gallery overlooking the mezzanine, used for management offices, is clearly visible. The hotel also contains a basement with services, including a late-night bar internally connected with the ground floor bar.

The furnishing parts of the Dajti Hotel, designed in the early 1940s, were designed by Gio Ponti. | Source © Florian Nepravishta, AQTN

Dajti Hotel had everything it takes to be considered an avant-garde hotel. of that period. According to Giusti (2006), the area covered by this building that hosted, on one side, the new hotel and on the other, the offices of the Banca Nazionale del Lavoro, had a surface areas of 2000 m2. If we include atriums, parks and courtyards, the total area amounts to 12000 m2. Gazeta Tomori (in Giusti 2006) states that with i91 rooms and 125 beds, running water, bathrooms and all other amenities including a lift and dumbwaiters, Dajti was one of the largest hotels in the Balkans and the most modern in Europe.

The National Theatre of Albania, built by the construction company Pater Costruzioni Edilizia and the Italian architect Giulio Berte, was completed in 1940. The project was part of the Italian strategy during the occupation of Albania between 1939 and 1943. Two main parallel buildings formed the complex, divided by a half-patio for relaxing, with a pool in the middle and a gym at the front end of the building. The architecture of the complex was based on the principles of the ventennio, as the twenty years of Mussolini’s regime in Italy are called. Initially, the left building was used as the Savoia Cinema for films, theatre and concerts.

The technical infrastructure was entirely suitable for cultural and public events because the building materials offered perfect conditions for acoustics and light technology. It was therefore for a long time also used for meetings and conferences. Albanians could here admire Greta Garbo, Laurence Olivier, Alida Valli, Anna Magnani and attend performances by the composers such as Vivaldi, Paganini, Chopin, Schumann, Verdi, Bellini and Donizetti, not to mention those of the most popular Albanian artists of that time.

The parallel building was the main headquarters of the Skanderbeg Foundation, which undertook several studies and important applications and the forerunner of the Academy of Sciences of Albania under the motto Pro Cultura. Communist authorities use the complex for public show trials or governors accused of collaborating with other enemies. The professional Theatre of the state was located in the building until June 1991 as the Teatri Popullor (People's Theatre).

After the fall of dictatorship, the theatre building was neglected due to the lack of financing. Recently it is in the center of a citizen movement called The citizen’s alliance for the theatre, which is fighting to prevent its demolition from a political campaign that is stigmatizing the building as Fascist and built of poor-quality materials. According to the 2008 research by the Polytechnic University of Bari, the building was made with materials prefabricated in Milan composed of experimental cement mixed with poplar fibers and algae.

The building after construction. | Photo via Balcanicaucaso

Since 2000 the municipality of Tirana and socialist governments tried at least twice to demolish it and replace it with new high rise profitable developments. Both times, tense public debate ensued among intellectuals, artists, citizens and politicians who became passionately involved. It is becoming a case on how the city need to be developed transparently in the public interest and maintaining its cultural heritage and identity.

Actors in Albania have stormed the country’s national theatre to protest government plans to demolish the iconic building. | Photo via Teatri Kombëtar

Health-care facilities and hospitals are an architectural typology developed in Albania from 1958 to 1988. A number of different hospitals were erected in response to the needs of the country. General hospital centers were established in Berat, Gjirokastra, Tirana and Vlora, infectious disease units in Elbasan and Tirana, obstetrics and gynecology hospitals in Fier, Shkodra and Tirana, pediatric hospitals in Durres and Korce, neuropsychiatric hospitals in Elbasan, Shkodra and Tirana.

Known as the Psychiatric Hospital of Shkodra, the ensemble was designed in 1982 by Agim Myftiu and Mergim Cano. It is located in the north-eastern part of the city. The floor plan has the shape of a cross, with continuous staggered surfaces on the external perimeter but also in its interior spaces. The space is based on a repeated module consisted by a one room accommodating for patients.

Window openings that allow natural light are placed near the corners of the staggered volumes, creating a unique atmosphere different from that of conventional hospitals. That supports the recovery process of the patients. This particular way of staggering the facade opens new possibilities for the architectural composition of health-care facilities. The service block, developed as a strict volume, is a separate unit positioned on one side of the ensemble with a corridor connecting the two spaces.

The main entrance placed in the centre of the volume connects also several service entrances for the medical and administrative staff and in such way offers direct access to the various units. Apart from the main block of stairs in the service unit area, all floors accommodating patients are connected with stairs that are positioned in free-standing transparent cylindrical glass volumes. In the basement, apart from the heating and cooling systems, an underground refuge was built, a measure that was commonly taken during the dictatorship period to provide civilians with protection in case of attack.

The main characteristic of Tirana’s city center is its monumentality with administrative, cultural buildings and public institutions concentrated along the main boulevard. In 1985, a pyramid building was erected on a former park, today known as Pyramid Square.

The Pyramid of Tirana was meant to house the legacy of the Albanian dictator Enver Hoxha. Four young architects were assigned to design the Enver Hoxha Museum. Klement Kolaneci, Pranvera Hoxha, Pirro Vaso and Vladimir Bregu had to respond to the urgent request to design a monumental new structure with potential sacral character to commemorate for eternity the dictator. The names are not completely occasional since among them are the daughter and the son in law of the dictator.

Designing a building, which was supposed to embody a sacral character, fulfill principles of social-realism and experiment with innovative forms proved to be quite a challenge. Before the project was selected, several alternatives that used the shape of the communist state as their main inspiration, resulting in designs that were too formal and naive were presented. Architects not only drew sketches, but built clay models to assist their understanding of the volumetric relationships.

The Pyramid’s location on the Tirana’s main boulevard between two iconic buildings, the Prime Minister’s office and the Dajti Hotel, required great sensitivity from architects. The architecture would need to respect the existing context of the boulevard and at the same time present a lithic echo of Mount Dajti, which has always been an important natural element of Tirana. Architects combined the socio-realistic principles (star shape, symmetry, processional stairs, raise into a pedestal, etc.) with a pure and articulated form attributing a modern aspect to the building.

The inclined façade of the Pyramid created an illusionary perspective, a unique feature at that time. The placement of the glass windows follows a radial composition around a central axis of rotation. The architectural volume rises 21 meters in height but appears lower due to the inclined planes throughout its exterior, series of platforms and stairs that lead from street level to the entrance. All that allow human scale to prevail. An inclined platform and an underground floor enable an additional entrance on the eastern side. Seen from above, the octagonal umbrella of the façade front is reminiscent of an eagle-wing shape. According to architect Pirro Vaso, architects’ main objective was to create impressive architecture while function played a secondary role. Consequently, architects didn’t choose a grid structure with separated floors but used an open plan, allowing later transformations of the interior space of 17,000 m2.

A marble statue of Enver Hoxha in the 1990s.| Photo © Barry Lewis/Corbis

High-quality imported materials and numerous expensive types of marble which covered the exterior and the interior of the Pyramid reveal the symbolic and ideologic importance this building had for the politburo in Albania. Over 4 million dollars are said to have been spent on this building in the 1980s, a time when the poverty level in the country was at its peak. The interior was designed to draw attention to the statue of the dictator, carved in pentelikon white marble (the same marble used for the construction of the Parthenon), at the center of the circular pyramid, which, like the statues of the gods in ancient Greek temples, was to demonstrate a divine presence, enhanced by the communist star on top.

The floor levels are designed as a series of platforms jutting out from the circumference and creating a big amphitheater with a white marble statue of the former dictator at its center. | Foto via Albania Pyramids

The characteristic structure allowed natural light to enter from all sides of the building as well as from a cupola at the very top filtering additional light through its glass cover. The realization of this structure was important not only due to its design and technological achievement but also because it expressed ideological and typological archetypes, such as the linear window development and the lack of vertical walls. As such, this project represents a conceptual shift in Albania at that time. The Pyramid served as a Museum for the dictator from 1988 until 1991. After the fall of the communist regime, the Pyramid was used as an exhibition and fair hall and the square in front became a venue for different public and private events until it was abandoned.

In 1992, the pyramid became the National Cultural Centre, while the square in front of it started to be perceived as a public space and was used by the citizens, becoming at the same time a main tourist attraction. Only after 2000 a discussion regarding the future of this monument began, from change of its function to a preservation as a living provocation reminiscent of the communist period and of course a demolishment.

The Pyramid in 1990s. | Photo via Universal Pictorial Press

However, it was decided to preserve it with a process of renovation that never came to an end. An international competition in 2007 proposed a transformation of the building into a drama theatre and center for the visual arts. Another competition from 2010, won by Coop Himmelb(l)au, proposed a demolition and exchange of the pyramid with a new parliament building in its place. None of the proposals has been realized. A public debate, petitioning and many protests took place in front of the building putting an end to the project and keeping the Pyramid on its place. Instead it become a ground for many experiments including competitions organized by Tirana Architecture Weeks. Lately, a new proposal for the Pyramid was presented by MVRDV intending to convert the former museum of the dictator into a new center for technology, art and culture.

Literature:

Giusti (2006), Albania. Architettura e Citta 1925-1943, Maschietto

Vokshi (2014), Tracce dell’architettura Italiana in Albania, DAN Editrice

Hotelet para 1990, zhvillimi i tipologjise ne Shqiperi, Thomai, F., Nepravishta, O Borici, Shtyp Flesh, 2019.

Spiro Mehilli: Botime mbi trashegimine historike te Tiranes.

Aurel Plasari: Mbi Teatrin Kombetar, Lapsi.al 02.07.2018

Spitalet Veshtrim tipologjik mbi arkitekturen shqiptare 1945-1990, Islami, Thomai, Marsida Tuxhari

Xh. Kristo (2018), “Healing Spaces” Architecture space as regeneration of senses”, Diploma Thesis, POLIS University, Tirana

Tirana – city of colours, sto Journal – aRK Magazine, UK, 2018

Interview with Pirro Vaso, “Enver Hoxha” Museum, The Pyramid, 04.2019

Të njihemi me Laureatët e Cmimeve të Republikës, Ndërtuesi Magazine Nr 83, Albanian Ministry of Construction, 1985

Kastriot Dervishi: Historia e Shtetit Shqiptar 1912-2005; Organizmi shteteror, jeta politike, ngjarjet kryesore, ligjvenesit, ministrat dhe kryetaret e shtetit shqiptar. (2006)

Dipartimento di Scienze dell'Ingegneria Civile e dell'Architettura (DICAR), Politecnico di Bari, Italy, VGL, A.B.Menghini, “Experimental building techniques in the 1930s: the ‘Pater’ system in the Ex-Circolo Skanderbeg of Tirana.”, 2013, Epoka-University, Tirana.

S. Kristo, J. Dhiamandi, Albania is NOT an Island. The experimental framework of spatial and architectural interventions in Albania’s capital. ARCHITHESE, Architectural Journal.

All Photos (except the captioned) by © Saimir Kristo, Sonia Jojic, National Technical Archive of Construction, Albania

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#FOMA 35: Saimir Kristo

Saimir Kristo is a practicing architect, urban designer, lecturer and a Vice-Dean at the Faculty of Architecture and Design POLIS University. His PhD research was focused on city morphology, urban catalysis and public-ness, linked with his experience as the Director of several Regulatory Plans in Albanian cities supported also by USAID. Saimir is an alumnus of the International Visitor Leadership Program by the State Department of the USA and member of civil society. He is a dedicated cultural ambassador into enabling inter-cultural dialogue and collaboration between academia, culture institutions, museums, artists and community developing a common platform for discussion. He curated the two most important architecture and design events in Albania, Tirana Architecture Week 2014: Visioning Future Cities and Tirana Design Week 2015: Design NOW! He was selected as European Young Curator in the CEI Venice Forum for Contemporary Art Curators. He is an international critic and writer and board member of A10 new European Architecture Cooperative, FORUM A+P, Future Architecture Platform and organizer of PechaKucha Night Tirana. He is also a board member of Fundjavë Ndryshe Foundation, a philanthropic foundation that aims to diminish poverty in Albania devoting his skills as an architect building new homes or restoring old houses for Albanians in extreme poverty.

#foma #forgotten masterpieces

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jbk405 · 4 years

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The worst retcons in Star Wars

While I’m riding high on the finale to Star Wars: The Clone Wars (No I am not crying....I cried it all out last night) I have decided to compile a list of the worst retcons to the Star Wars franchise.

Why? I dunno, I’m a crotchety old nerd who likes to complain about decades-old stories. Do I need another reason?

In no particular order:

Making Emperor Palpatine a Sith

It’s been 21 years since The Phantom Menace came out, so for an entire generation of nerds he’s always been “Darth Sidious”, but we old-timers remember that for the 22 years before that there was no connection between the Emperor and the Sith. The term “Sith” itself was present from the earliest iterations of the first film and was used in some promotional materials and tie-ins and toys, but it was solely connected to Darth Vader as a Dark Lord of the Sith. The Expanded Universe built a specific philosophy and history around the Sith as a concept, not just as a catch-all term for darksider, and that history explicitly didn’t include the Emperor. There was even hate and schism between the Sith and some other Dark Side philosophies, and even those who didn’t use the Force at all. In The Truce at Bakura, an EU novel that began the day after Return of the Jedi, an Imperial governor initially dismisses the Rebels’ claims that the Emperor is dead as propaganda until they say that Vader is the one who killed him. That he believes, and even says how foolish it was for the Emperor to have trusted a Sith.

Even without going into what Dark Side philosophy the Emperor did follow, having Vader as a Sith and the Emperor not helped flesh out the universe by showing that even amongst the totalitarian despots there were different factions. Just like Hitler and Mussolini each had their own brands of Fascism, they can work together while still being distinct.

Introducing the concept of the Chosen One

People often forget that Darth Vader wasn’t the main antagonist of the original Star Wars film, Grand Moff Tarkin was. Vader filled the role described as “The Dragon”, the enforcer and primary legman, and the threat they had to bypass so that they could destroy the real threat. He was a lackey. A cool lackey absolutely, who grew into the primary antagonist in The Empire Strikes Back, but still a lackey. And despite how cool and badass he is (And don’t get me wrong, he is a fantastic character and one of the best villains in history) there’s nothing “special” about him within the context of the Jedi and Force users in general. He does not have any significant advantage over Obi-Wan Kenobi in their duel and is obviously completely unprepared for Kenobi to become One with the Force at his loss (And it is debatable if he even “won” at all given Kenobi’s deliberate self-sacrifice). When he and Luke duel in ESB he definitely has the upper hand throughout their entire fight, but only as somebody with more experience and training, not because he is Magically Superior. By the time of ROTJ Luke has even surpassed him despite only three years of experience.

In the Original Trilogy Vader is portrayed as a dangerous, powerful, and skilled opponent, but never as somebody POWERFUL. Never as somebody whose strength or control over the Force is legendary, who is heralded in prophecy. Yoda performs feats with the Force that Vader never comes close to equaling.

To go back and say that actually his affinity the Force is the greatest that the Jedi have ever seen, even greater than Yoda himself (BTW, I’m including the midi-chlorians under this header) makes no sense. To say that he was the Emperor’s #2, helping run the entire Empire right from the moment of its founding, contradicts the original film itself where he was lower on the chain of command.

Darth Vader, and by proxy Anakin Skywalker, was a good enough character without trying to shill his background all to hell.

The impending threat of the Yuuzhan Vong

I’ll be upfront, I never liked the stories with the Yuuzhan Vong in and of themselves (When they started coming in is right about when I stopped reading new EU material). The New Jedi Order just didn’t grab my attention. But what really riled me up was the way the EU tried to backfill the Vong into the franchise history by saying that the entire rise of the Galactic Empire was to prepare for their arrival. That Palpatine knew they were coming, and since the Republic would have been incapable of standing against them he took over so that the galaxy could present a strong, unified front against them.

This is something I actually see a lot of in fiction, and it pisses me off each time: The evil despot actually had noble goals because they knew of an even greater threat and they needed to take control in order to deal with it, because a dictatorship gets things done. You even see this in real life when people try to say that for all Hitler’s faults you have to respect that he made Germany a powerhouse that was this close to conquering the world, and that Mussolini made the trains run on time. Not only are these examples patently false (Nazi Germany never was “this” close to winning the war, and the trains never did run on time in Italy), but they come with the tacit endorsement that maybe their evilness would be worth it for the benefits.

The Galactic Empire explicitly wasn’t a Super Efficient Society. We saw time and again how wasteful the Empire was with its resources as it squandered them on inefficient superweapon after superweapon, how it laid waste to planet after planet for the purposes of propaganda. The Empire was so inefficient that it was able to be toppled by a ragtag band of rebels who had nowhere near the resources, population, wealth, or control it had. If the Empire couldn’t even defeat the Rebellion, just how was it supposed to stand against the Vong? And if the explanation is that the Emperor had been seduced by his own ambition and forgotten his original “noble” goals, why would other characters who knew the truth have gone along with his wanton oppression even after his death?

Trying to give the Empire a “reason” for existing was self-contradictory and borderline offensive.

Having the Clones fight for the Republic

I’m very much in two minds over this one, because as bad as the original retcon was other creators have managed to turn it into genius (Looking at you Clone Wars and The Clone Wars). But I’m nothing if not petty, so...

The Clone Wars were one of the eras that had not been discussed in great detail in the EU before the Prequels came out, instead only being vaguely alluded to. George Lucas was already talking about making more movies and they didn’t want to contradict what was to come. But even with only those vague allusions, it was established that the Clones were the bad guys. The Clonemasters were regarded monsters who unleashed hordes upon the Republic like a swarm of locusts or a plague. The Clones themselves were often unstable, and regarded by the populace as soulless duplicates overwhelming the galaxy. The clones were held in such fear by the populace that Mara Jade -- an Old Empire loyalist (Sort-of) -- decided to switch from passively assisting the New Republic because her boss told her to to actively assisting them at the thought of the Empire starting the Clone Wars again.

Even the name of the conflict implies that the Clones were the enemy: People don’t name a war after their own soldiers. The Droid War, Separatist Secession, Clone & Droid Conflict, Jedi Aggression, etc. all would have made more sense for the war as depicted.

Getting into philosophy, the idea of cloning soldiers expressly for war is morally abhorrent. It’s mass slavery. And I am far from the first person to point this out, but that aspect is not even mentioned in the Prequel films. The Jedi accepting this clone army is repugnant, and some people have used this to show that the Jedi Order was already corrupt at the time of the rise of the Empire, but this wasn’t explored at all in the films that introduced the clones as the Grand Army of the Republic.

Getting into just simple common sense...HOW FUCKING DENSE DO YOU HAVE TO BE TO JUST ACCEPT A MYSTERIOUS ARMY THAT APPEARED OUT OF NOWHERE?!?!

That makes no sense. It never made sense. The idea that nobody in the Republic, from the government to the military to the populace at large, questioned the very existence of the clone army....it was too much. The exploration of just how ridiculous this is made for great fodder in The Clone Wars, but only because they had to paper over the GIANT GAPING CHASMS that the concept created.

Making the Jedi a cult

In the old EU, the Jedi of the Old Republic were described as allowed to have families, even being encouraged to do so. They were allowed to pursue lives and interests and careers outside of the order itself, and didn’t need to forsake who they used to be. The Jedi Council didn’t have legal authority over the lives of its members, and didn’t try to mandate personal lifestyle.

People started training in their teens when they were old enough to at least understand the concept, and if they were taken as children it was in unusual extraneous circumstances.

While there were Jedi customs, and Jedi Codes, and they had rules and regulations to follow, but they addressed how they should act as Jedi. They didn’t care what kind of clothing you wore.

Starting with The Phantom Menace, Jedi were taken at such young ages to begin their training that they could not give any consent to their enlistment, nor were they offered any alternatives when they had grown up and may be able to decide for themselves. They are indoctrinated into a singular Jedi philosophy, not allowed to even debate the dogma of the Council without ostracism, let alone actually defy it. The Jedi Council unilaterally makes decisions for the entire Order galaxy-wide without any apparent method for dissent or appeal, or any devolution of authority.

Taking (Abducting) children as infants, not allowing them any contact with their families, mandating an isolated ascetic existence...the Jedi Order became a cult.

That’s a cult, plain and simple.

These changes didn’t make the Jedi “complex”, didn’t make the conflict “shades of grey”, they’re just creepy and nonsensical.

#Star Wars #Retroactive Continuity #Retcons #Original Trilogy #Expanded Universe #Prequel Trilogy #Clone Wars #The Clone Wars #Sith #Jedi #Jedi Order #Clone Army #Yuuzhan Vong #Cult

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theparanormalperiodical · 5 years

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11 Weird Events that Happened on Halloween

It’s that time of year again:

Your local Tesco’s has officially begun stocking christmas-related food items, cheap cat ears have completed their invasion of every female-directed fashion shop, and thanks to global warming the temperature has barely dropped since mid-summer.

That’s right - it’s nearly Halloween!

And we all know what Halloween means: striking moments of political change!

Oh, wait, is that one just me?

Yep, thanks to British politics, the most wonderful day of the year could potentially be tarnished by Brexit.

But it got me thinking: what other major events have happened on Halloween?

And has anything spook-tastic ever coincided with All Hallow’s Eve?

Clearly the 31st of October has an aura of frightful goings-on.

In basic terms, Halloween is believed to be the only day of the year when spirits can cross over from the afterlife and wander with the living once more.

So, could these events be a coincidence, or sparked by the spirits crossing back over into this world?

Today’s edition of the Paranormal Periodical is going to be all about every event - from the political to the paranormal - that has happened on the 31st October.

Let’s get spooky!

We start with the political side of things.

And let me tell you, there’s like, a lot of things.

So, no, Brexit will not stand alone as a political memory on the best day of the year.

In fact, it honestly seems like a large chunk of American history just decided to, like, happen, on this one day of the year.

But we start with something less spooky, more sad.

It’s the Wreck of the Monmouth.

Take yourself back to 1837.

It’s - yes, you guessed it, you understand the basic premise of this post - Halloween night. It’s also the moment from which the forced deportation of Creek Native Americans from their homeland begins, shortly following a war in 1836.

This deportation used a number of boats, including the one that titles this tale: The Monmouth.

The story goes that it crashed into another steamship, and that the sheer force of the collision sent it to the depths of the Mississippi river.

It is estimated that 400 Native Americans drowned in this collision. It has even been regarded as the worst American Steamboat accident to date.

But there seems to be more discussion surrounding this tale than simply its occurrence on All Hallows’ Eve:

It ignited a wider discussion of the portrayal of Native Americans among the population and in the press. As it was in a remote area and ceased to include white people, it was simply ignored by the press.

As I said before, American politics does seem to dabble on doing things in late October, but it really specifies a niche for itself by having yet another disaster with a ship.

Only this was to have much more global consequences.

The USS Reuben James - created to protect supply shipments during WW2 - was sunk during conflict on Halloween.

It lost two thirds of its crew, and even earnt the honour of being the first ship sunk during the conflict.

Indeed, this occurred only a month before Pearl Harbour, cementing itself as part of one of the most iconic moments in modern American history.

Happy Halloween?

But before we get tangled up in American history, how about we move to the next crazy event that coincided with the spookiest day of the year?

Well, I’m afraid that’s going to involve getting knotted up in another country’s political history to do so…

It was 1922 when Mussolini - the first European dictator to start the mid-20th century political trend - marched on Rome.

Having created a coalition government, he decided to consolidate his power by (you guessed it) this infamous march on Rome.

Bolstered by a sea of Blackshirts, his fascist supporters, his control symbolically began.

Keep your horror films, and hold onto your ghost stories: this scares the living shit out of me.

Our final event takes us back only 4 years before this march, and back across the borders to American history.

However, this does shed a more positive light on the darker moments already detailed.

It was October 1918 when the affectionately named ‘Death Spike’ of the Spanish Influenza hit the USA.

And with a death toll topping 50 million around the globe, it certainly seems to stick to the darker themes so far discussed in this episode.

(Look, I’m sorry history happened, I can’t control fascists or stop people dying.)

In October, 200,000 Americans from the Influenza died. This accounted for nearly a third of the total death toll in America for the Influenza.

The positive side to this story? It was Halloween that actually ended this month.

Yep, Halloween ended the Death Spike.

Well, phew, that’s over.

Can we finally get onto some cool, spooky yet awesome stories now?

What about some stories with less death and hatred and pure evil?

Maybe a handful of quirky coincidences to liven up the depressing stories already listed?

Nope, the next ones are just as awful.

Now we turn to the spooky shit that coincided with Halloween.

We start with possibly the most ironic death… ever.

Harry Houdini is the most famous magician - okay, fine, you can keep Merlin, whatever - that’s ever existed.

Yet it’s not actually his life that features on this list - it’s his death.

It was October 1926 when Houdini gave a lecture to McGill University students about fraudulent spiritualism.

Hahaha well this is awkward hahaha.

Basically, he invited some students to his dressing room at one of the theatres in Montreal. For some reason, one of these students decided to score several hard blows at his stomach.

One abdominal infection later, and he was dead.

And so the death train continues.

Our next stop is still as deathy, but a smidgen more spooky. And a splash more serial killer.

In 1981, a couple was murdered.

They were beaten, shot, and the house was left ransacked. The police even claimed it had the looks of an execution.

Initially it was believed to be related to drugs, but the tone of the case quickly shifted when it was discovered the murder was predicted by an prisoner.

Serial killer David Berkowitz gave an eerily accurate description of the murders mere weeks before it occurred.

Clearly, this would make him a give-away suspect in this case, but as he was in prison during the murder, this removed him from the list.

We now turn to a similarly ghastly murder.

In 1977, a baby girl went missing. She was snatched from her own cradle.

And the first terrifying detail of this case starts with her abduction - which okay, fine, that definitely counts as creepy enough but somehow it gets worse: as the doors and windows were found to be locked, it is believed the abductor was hiding in the closet.

Oh, and it only gets worse and weirder - her body was found in a fridge.

I suppose you could assume that the murderer, I don't know, panicked and hid the body in a pretty ordinary un-suspicious object.

But this is when things get interesting. Prior to this, two young girls were also abducted and lured into a fridge, confirming that a fridge is somehow a prominent prop for a serial killer who may still be lurking among us.

One of these girls died during the abduction, and it was the surviving child that claimed it was the babysitter who attempted to abduct them.

The babysitter was found to be innocent, especially considering the surviving child was so young.

We now move from deaths to a disappearance:

Even now, no less than 18 years later, information regarding Hyon Jong Song is scarce.

Following a Halloween party in 2001, Song made it home at 4am, still decked out in a traditional Halloween bunny costume, after a lift from a friend.

The last evidence we have of her is her belongings which were dropped off in her house - she had even managed to remove her eyelashes!

But this was to be the final trace of this grad student.

Our penultimate tragedy takes us to Indiana, and brings us swinging into the sixties.

During the Indiana State Fair, an ice skating exhibition was on display for hundreds of visitors.

But it was during the finale that disaster struck.

Unknown to the managers of the event, propane gas was leaking from a tank in a room nearby. You don’t need a chemistry degree to tell you this wouldn’t end well.

The fire utilised in the finale’s effects set it alight, causing an explosion that killed 74 and injured over 400.

We now turn to an occurrence that seems uncomfortably common for Halloween.

I take that back - I suppose it suits the time of year well...

In fact, I’d like to call this section:

when Halloween decorations were not Halloween decorations but were actually dead bodies.

Brace positions, everyone.

The most famous case only take us back 5 years.

In 2014, a man dragged a fake corpse out of his apartment on Halloween in front of a crowd of unsuspecting onlookers, and kicked the head across the street in a jest.

Only it wasn't a jest.

And it wasn't a fake corpse.

It was his decapitated mother. He had killed her shortly before this.

A similarly tragic event - which doesn’t sound dissimilar to any old urban legend is the death of William Anthony Odem.

The 15 year old was hoping to embellish the theme of his haunted house by staging a Gallows scene in the basement.

Unfortunately, he hung himself in the process.

In fact, hangings in particular - accidental, or not - often have ended up as decorations.

Suicide victims has often gone unnoticed during All Hallow’s Eve, disguised as the ghosts and ghoulish figures hanging on trees across streets and suburbs.

And so we arrive at our conclusion.

Depressed and scarred for life.

So much for a horror film binge and thought out costumes - these real events should scare you enough for Halloween!

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haileystones · 4 years

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Master in Peace and Conflict Studies Application Essay

The name “Tausug”, means, literally, “people of the current.” We are found mainly in the areas around the Sulu archipelago, but since 1974 -- when the main island of Jolo was overtaken by paramilitary forces, with thousands fleeing their homes for safety -- have spread out to areas such as Zamboanga City. Within Jolo, in the area known as Patikul, is where my father was born and raised. I always wondered why my father’s relatives, particularly my Ina (grandmother) and my Apah Masir (Uncle), never wanted me to visit. As an adult, I figured out why; my father’s hometown is a stronghold of the Abu Sayyaf Group, a Jihadist militant group that has sworn allegiance to ISIS and had wreaked havoc on the islands of Jolo and Basilan since the 1990’s. They had wanted to protect me.

This has led to an interesting home life. My father was the furthest thing from a terrorist; he was a police officer who was often assigned to different remote locations all over Mindanao. Because of this, I was raised solely by my mother. Then there was also the unorthodox situation of being my father’s second family; as a Muslim man, he could marry up to four wives. My mother, who was born a Catholic and raised me in the Catholic faith, was the second. His first family had, until his death, no idea that we even existed.

The current of my life seems strange to many people, but it was my normal. I was raised with a lot of love. As my mother was a college professor, she brought me to her MBA classes often. I would sit and listen and absorb everything she was saying about target audiences and financial management. She never pressured me to want to pursue higher education, but I wanted to be exactly like her. I still do.

Everything changed, however, when I entered my teen years. On one hand, I had found a passion for writing; I have kept a journal since I was 11, and then I soon expanded to blogging. By 13, I was published in Mindanews.com under the “Batang Mindanaw” section, and to this day I am one of its youngest contributors. By 14, I was a regular columnist for the Mindanao Times, the oldest newspaper in Davao. By 16, I published a book entitled “Haileystones: A Journey Through Time” with Mindanews Publications.

On the other hand, I suffered unimaginable losses. By the time I was 15 years old, I had lost both of my parents to cancer. My father died in June, and then my mother passed in December of the same year. I was lucky enough to have had relatives that were willing to pay my way through university, but I was otherwise left to my own devices.

My education is what saved me from falling into despair after everything that happened. I had wanted to be a journalist, but after my parents’ deaths, I grew even more determined to pursue higher education. While I relished the feeling of chasing after stories --my undergrad major, from the University of the Philippines, is in communication and media-- I found myself mostly drawn to the stories of the Bangsamoro people. Although the majority of Filipinos are Roman Catholic, there is a significant Muslim minority that make up the thirteen tribes of the Bangsamoro. Because of this, they have been given autonomy over their ancestral domains and are currently in the transition to become a parliamentary state, still under the Republic of the Philippines.

Everything changed when I had the opportunity to interview for Al Qalam Executive Director Mussolini Lidasan. He decided to take a chance on me. As the communications specialist of the institute, I write a lot: speeches, proposals, and even design programs that we then implement to our target beneficiaries in the Bangsamoro. With my boss’ appointment as a Member of Parliament (MP) to the Bangsamoro Transition Authority, we are also active in the political processes that brought about the Bangsamoro Autonomous Region in Muslim Mindanao. I have been, among other things, a documenter, facilitator, speaker, resource person, researcher, and organizer for various programs under the institute.

Given Al Qalam’s focus on dialogue, I have been privy to several discussions across different platforms on the dynamics of conflict. The motivations as to why people would join extremist groups, for example, vary across different socioeconomic groups. Those who are on the grassroots level cite a lack of basic services as to why they took up arms, while those who are in more urbanized settings cite social isolation and a lack of a sense of purpose. Given the complexity of the issues at hand, I have come to see that furthering my education through earning a master’s degree would be the best way for me to understand these issues further.

One professional accomplishment that I am proud of was being a part of the MSummit Moro National Youth Conference in 2018; 100 Moro youth from all over the Philippines were present at this event. During this time, we also presented the MPower Awards that awarded outstanding Moro youth in the school, community, and professional arenas. This initiative was done through the funding of the United States Embassy in Manila.

My work with the youth is what drew me to the University of Otago. I have had the opportunity to meet David Strachan, New Zealand Ambassador to the Philippines, when he visited the Al Qalam Institute earlier this year. It was during this visit where he spoke to students and staff members of the Ateneo de Davao to apply for further study to New Zealand universities. I knew that I wanted to pursue a master’s degree abroad, and the friendly nature and diverse cultural backgrounds that comprise the people of New Zealand piqued my interest. After further research, I found that the University of Otago offered a Master’s in Peace and Conflict Studies, which seemed a perfect fit for my work and interests. I did not hesitate to apply.

If given the opportunity to earn a Master’s in Peace and Conflict Studies, I would be able to contribute my experience in working directly with Moro communities, especially in youth engagement and with their fight to the right to self-determination. Given that I am Moro myself, I would also offer my perspective and insight towards how truth and reconciliation affects positive peace outcomes. I would also be motivated to return home and design research and programs around the concepts I would learn from this degree.

I have seen through my work just how damaging violence can be to entire communities, and it is situations like this that have drawn people to causing more harm. Transitional justice dictates that community healing is most effective when coming from a multi-sectoral, holistic approach. It is a lengthy process that considers both rehabilitation and reintroduction to society of those who have committed these abuses, and there are not enough people who understand truth and reconciliation under these terms. More importantly, I would want to understand public policy that relates directly to peacebuilding and good governance. It is here within these larger social structures where change can become most effective, even as I still work with people in the grassroots communities.

With this particular degree, and with the support of a New Zealand Scholarship under the Ministry of Foreign Affairs and Trade, I would be able to use the knowledge I gained and apply it back to the communities we serve. I hope to complete this program as a full-time student within one year. It is also my hope that I start on time for Semester One in February of 2020.

The opportunity to study abroad, and at institutions such as the University of Otago, should not just be open to people like me who have had some level of privilege. I was fortunate enough to have had an education and to have reason to apply for programs like this. The people of the Bangsamoro, my people, deserve the same. I hope that, if I break through this particular glass ceiling, others will follow.

In Islam, much emphasis is given to the process of seeking knowledge, especially if it is for the benefit of the greater ummah. As a daughter of the current, I have been fortunate enough to be called to serve my people in this manner. My longing for family has become part of a greater longing for social justice and reform, and it is in this line of work where I have found my way home.

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cinema-tv-etc · 5 years

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Franco Zeffirelli: Film and opera director who revelled in the lavish and theatrical

The last of Italy’s post-war cinema giants, Zeffirelli worked with many of the greatest stars of the 20th century

Tom Vallance - Saturday 15 June 2019

Franco Zeffirelli, who described his style as “lavish in scale and unashamedly theatrical”, was one of the most influential, flamboyant and controversial designer-directors of the 20th century. His Florentine background and love of the Renaissance permeated his diverse work, which encompassed theatre, cinema and his greatest love, opera.

Initially an actor, then designer of sets and costumes, Zeffirelli – who has died aged 96 – confounded his mentor and lover Luchino Visconti by successfully becoming a prolific director who triumphed at La Scala, Milan, with his first operatic production, then stunned Covent Garden with his vivid staging of Cavalleria Rusticana and Pagliacci. His Shakespearean productions at the Old Vic included a legendary version of Romeo and Juliet with Judi Dench, and a rapturously received Much Ado About Nothing with Maggie Smith, Albert Finney and Robert Stephens.

His best films were either Shakespearean or operatic ones, and included The Taming of the Shrew with Taylor and Burton, a Romeo and Juliet with two teenage unknowns, and Hamlet with Mel Gibson – plus a sumptuous film of La Traviata and a sweepingly dramatic, though drastically reshaped and cut, version of Verdi’s Otello with Placido Domingo. The treasured Covent Garden productions of Lucia di Lammermoor with Joan Sutherland and Tosca with Maria Callas were his work, and he created one of the most lavish opera productions ever seen with his Turandot at the Metropolitan.

On television his epic production Jesus of Nazareth has become a worldwide staple. He worked with both Olivier and Gielgud, and he gathered together an all-star cast for his film Tea With Mussolini, loosely based on his own childhood memories of the expatriate British ladies in Italy who helped raise him just before the Second World War. He also fought with the Italian resistance during the conflict, found God when he was nearly killed in a car accident with Gina Lollobrigida, and since 1960 had been heavily involved in right-wing politics, eventually becoming a member of the Italian senate, representing the Forza Italia party in 1996.

Born out of wedlock in Florence, Italy in 1923, his surname was the result of an accident. Since his father would not acknowledge him, and his mother was married, he had to be given an invented name and his mother chose Zeffiretti, after the “little breezes” of an aria in Cosi Fan Tutte, but it was misspelt in the register as Zeffirelli. He was raised by a peasant woman for two years, then after his mother was widowed she took him into her family, but her death when Zeffirelli was six years old resulted in his being passed to his father’s cousin, Aunt Lide.

His initial ambition was to be an architect, but Lide’s lover Gustavo was an amateur baritone, and he introduced the boy to opera and the cinema, both of which were to be life-long passions. He later described his reaction to his first opera, Die Walkure, as “hardly a refined appreciation, more like a child of today gawping at Star Wars”.

He had his first real taste of theatre when, while fighting with the partisans in the Second World War, he met the music and ballet expert Richard Buckle and helped him stage a troop show. Seeing Olivier’s film of Henry V chrystallised Zeffirelli’s ambition. He recalled: “I knew then what I was going to do. Architecture was not for me; it had to be the stage. I wanted to do something like the production I was witnessing.”

After the war, he was working as an assistant scenic painter when he met the man he described as “probably the single most important person I have ever known”, the director Luchino Visconti. On their first meeting backstage he told Visconti that he was an actor, to which Visconti replied: “So you should be, with your looks.”

Visconti gave the youth small parts in his stage productions of Crime and Punishment (1946) and Eurydice (1947), and he made his screen debut in Luigi Zampa’s L’Onorevole Angelina (1947) starring Anna Magnani, after which Visconti used Zeffirelli and Francesco Rosi as his assistants on his film La Terra Trema (1948), filmed on location with a cast of Sicilian fishermen, and distinguished by its superb photography. Said Zeffirelli: “This is my main debt to Luchino in filmmaking: his passionate attention to detail. Everything was always researched to a point far beyond the needs of the actual scene. You immersed yourself in the period, the place, its culture, so that even though the audience might not take in every detail they would be absolutely convinced of its essential ‘rightness’.”

For a production of As You Like It (1948) Visconti hired Salvador Dali as designer but, when the surrealist’s plans proved impractical, Visconti asked Zeffirelli to help out. He then gave Zeffirelli the first work for which he was independently credited, as designer of Tennessee Williams’ A Streetcar Named Desire (1949).

Visconti and Zeffirelli were now living together in Rome, but worked separately for a spell before reuniting for the film Bellissima (1951) starring Anna Magnani, on which Zeffirelli again served as an assistant. After working briefly with Rossellini and Antonioni, he designed one of Visconti’s greatest theatrical triumphs, a production of Chekhov’s Three Sisters (1952), and worked as his assistant on the film Senso (1954), but the often stormy relationship of the two men was coming to an end.

When Zeffirelli was asked to design a production of Rossini’s L’Italiana in Algeri at La Scala, he saw it as an opportunity to break with the world of Roman theatre. With its cast clad mainly in light blues and whites, the sunny production of 1953 was rapturously received and the manager of La Scala, Antonio Ghiringhelli, decided to follow it with La Cenerentola (1954) with the same creative team.

But director Corrado Pavolini had fallen ill, and Zeffirelli, with the backing of Simionato, asked if he could be both director and designer. The result was another great success, and the director’s first experience of handling a large chorus.

Zeffirelli was immediately asked to direct two productions the following season, Donizetti’s L’Elisir d’amore and Rossini’s Il Turco in Italia (both 1955). He was also told that Maria Callas wanted to sing Donna Fiorilla in the Rossini and had specifically asked that he should direct it.

Zeffirelli had first met Callas when As You Like It had been running in Rome at the same time as Parsifal, in which Callas sang the role of Kundry. Tullio Serafin, who was a major influence on Zeffirelli, introduced both him and Visconti to “this very plump Greek-American girl with a terrible New York whine allied to a rather prim, matronly manner. She sounded awful and looked worse.” Then she had sung, and Zefirelli had been entranced. “I followed her to Florence to see her Traviata and hung around her dressing room like a lovesick boy,” he recalled.

Zeffirelli would shortly realise his longstanding ambition to direct a film. Camping (1957) was a modest, sentimental story of two young lovers on a motorcycle, but the public liked it. He was then called back to Dallas, Texas, to stage La Traviata for Callas, and succeeded in eclipsing Visconti’s previous staging with an audaciously cinematic production, using multiple sets and dispensing entirely with the interval between the second and third acts.

At the end of 1959 Zeffirelli was invited back to Covent Garden to create new productions of Cavalleria Rusticana and Pagliacci, which were to prompt the Old Vic to ask him to direct Romeo and Juliet, with the particular request that he reproduce the Mediterranean feeling of his opera productions. For this Zeffirelli was determined to use a truly youthful leading pair and cast two young players starting out, Judi Dench and John Stride. “Judi was small and doll-like and looked even younger than her age, just the way I’d always imagined Juliet should be,” he said. The production, so different from all previous accounts of Shakespeare’s tragedy – the director even replaced the balcony with battlements – was loathed by London’s theatre critics next day, who condemned the acting, the sets and the direction. But the following Sunday London’s most respected critic, Kenneth Tynan, called it “a revelation, even perhaps a revolution ... The Vic has done nothing better for a decade.” Romeo and Juliet immediately became a sell-out and extended the length of its season.

The following year, 1961, Zeffirelli directed Fastaff at Covent Garden, then made his debut at Glyndebourne with L’Elisir d’amore. In Dallas, he staged a controversial Don Giovanni with Joan Sutherland and Elizabeth Schwarzkopf, setting the opera in the burnt-out aftermath of a catastrophe, then returned to England to create an Othello for the Royal Shakespeare Company at Stratford. It turned out disastrously. Wanting an elegant, cultured Othello, he cast John Gielgud, with young Ian Bannen as Iago. “Whatever chemistry makes a director and his actors work was missing with us three ... Gielgud and Bannen were like oil and water and somehow Gielgud and I never seemed to react together.” A few months later the Old Vic Romeo and Juliet opened in New York and was a critical and commercial triumph, with Zeffirelli receiving a special Tony Award for design and direction.

In 1967 he directed his first major film, The Taming of the Shrew (1967), starring Elizabeth Taylor and Richard Burton, and described by one critic as “a mixture of classical Shakespeare, the Marx brothers and a Renaissance painting”. It was a great success, and Zeffirelli followed it with Romeo and Juliet (1968), starring newcomers Leonard Whiting and Olivia Hussey. Writer Bruce Robinson, who played Benvolio in the film, later claimed that Zeffirelli tried to seduce him, and that he was the model for the lecherous Uncle Monty in Robinson’s 1987 film Withnail and I.

Given a small budget by Paramount, Romeo and Juliet made $50m – the highest ratio of investment to earnings in the history of the studio. “The effect on me was stunning,” he said. “It made me a lot of money, transforming me from someone who’d always lived at the limits of his income to someone who could be described as rich, and it elevated me from being a European celebrity to someone who was famous internationally.”

A few months later Zefferelli was critically injured when the car he was in, driven by Gina Lollobrigida, skidded and smashed into a barrier, sending him through the windscreen. Months of facial surgery preceded his return to work with a triumphant staging of Pagliacci and Cavalleria Rusticana at the Metropolitan. His accident had delayed his plans to film the life of Francis of Assissi, which he thought relevant to the “peace and love” movement of the Sixties. Titled Brother Sun, Sister Moon, the film appeared in 1972 and was criticised as simplistic and naive.

In 1975 Zeffirelli embarked on a project that would take two years to complete – an ambitious television miniseries based on the life of Christ, titled Jesus of Nazareth. Featuring a starry cast supporting Robert Powell as Jesus and Olivia Hussey as Mary, the series was screened worldwide over Easter and was given the exceptional accolade of a mention by the Pope in his Psalm Sunday message.

Zeffirelli next staged Alfred de Musset’s Lorenzaccio for the Comedie Francaise, and a triumphant Otello at La Scala (both 1976). Starring Placido Domingo, Mirella Freni and Piero Cappuccilli, with Carlos Kleiber conducting, Otello was the first La Scala premiere to be televised live.

A second de Filippo play, Filumena, was another hit for the National, after which Zeffirelli went to Hollywood. Though his films The Champ (1979) and Endless Love (1981) attracted audiences, they were decried by critics.

Returning to La Scala in 1981 to stage Cavelleria Rusticana and Pagliacci, both starring Domingo, Zeffirelli filmed both productions, partly in the opera house and partly on location in Sicily. When shown on television in the US, Pagliaci won both a Grammy and Emmy. Teresa Stratas, the film’s soprano, then starred in La Boheme for Zeffirelli at the Metropolitan, and he realised he had the perfect star for a filmed version of La Traviata. When Jose Carreras declined to play Alfredo, Domingo accepted the role.

Visually entrancing, and extremely moving, La Traviata is one of the finest opera films. The film version of Otello is comparable in its power and spectacle, though marred for purists by some drastic cutting.

In 1985 Zeffirelli designed his first ballet, Swan Lake, for La Scala, his revolutionary approach – particularly his replacement of tutus with calf-length dresses for the ballerinas – causing Mikhail Baryshnikov to withdraw from the production. He then made a film his detractors seized on – a ludicrous account of Toscanini’s early years, Young Toscanini (1988). The director was happier with an impressive Hamlet (1990) starring Mel Gibson, and a television film of Don Carlos (1992). But a version of Jane Eyre (1996) suffered from the mismatching of its leads, Charlotte Gainsbourg and William Hurt.

The cast of Tea With Mussolini (1999) was high-powered, including Maggie Smith, Judi Dench, Joan Plowright, Lily Tomlin and Cher, and made Zeffirelli’s labour of love watchable if unsatisfying.

His last films were Callas Forever (2002), a dramatisation of the singer’s last years, and Tre Fratelli (2005). In 2003 he was nominated for a Laurence Olivier Award for his set designs for Absolutely! (Perhaps), and in November 2004 he was given an honorary knighthood.

In 2009, he was awarded the inaugural Premio Colesseo, which is given to those who have enhanced Rome’s reputation.

Franco Zeffirelli, film and opera director, born 12 February 1923, died 15 June 2019

https://www.independent.co.uk/news/obituaries/franco-zeffirelli-obituary-film-theatre-director-italy-romeo-and-juliet-tosca-maria-callas-a8959971.html

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canchewread · 5 years

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Editor’s note: as previously mentioned, I’ve been on a long and involuntary sabbatical from writing until quite recently - you can read more about it here if you so desire. At the moment I’m still struggling a bit with formal essay writing, so please forgive me in advance if the rust shows during my next few articles.

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A Short Review of Stamped from the Beginning:

Today’s quotation comes from “Stamped from the Beginning: The Definitive History of Racist Ideas in America” by author and historian Ibram X. Kendi. Released in 2016, this critically acclaimed book explores the shockingly repetitive and enduring history of racist, anti-black ideas in American culture through the representative lens of five influential thinkers who explored the topic of race in their lives and writing - Cotton Mather, Thomas Jefferson, William Lloyd Garrison, W.E.B. Du Bois and Angela Davis.

First and foremost, it should be noted that Stamped from the Beginning is a staggeringly important scholarly investigation into the formation, adoption, repackaging and recycling of racist ideas in American history. The key word here being “ideas” - Kendi’s work is not a catalogue of the violence and discrimination inflicted on African Americans by racists, but rather the societal beliefs, theories and propaganda that creates this violence, and indeed drives racism as a whole in the United States. In particular, the author’s research dramatically exposes the way in which the purveyors of racist ideas have responded to societal pushback by simply re-framing prior racist ideological arguments in a new, modernized context and beginning the marketing cycle anew. There is, to my knowledge, literally no other book in history that has explored specifically the recorded patterns and effects of these ideas on American society, with this much depth, candor and attention to fine detail. On that measure alone, I’m inclined to call Stamped from the Beginning an academic triumph.

Importantly however, Kendi’s argument moves beyond proving that there’s largely nothing new about the racist ideas that shape American society today and explores the larger economic reasons behind the ongoing and purposeful propagation of bigoted, racist and anti-black ideas. Thus, in contrast to the frankly missionary approach of the liberal orthodoxy, Stamped from the Beginning successfully argues that racial economic inequity is not the result of popularly embraced racist ideas, but rather that the racist ideas themselves are created and marketed by the ruling classes to defend and justify already existing economic inequity. As anyone who has ever read my writing will no doubt already be aware, this idea puts Kendi’s theories firmly in my wheelhouse and the sheer volume of evidence the author provides to demonstrate this idea’s veracity is invaluable to anyone who writes about the economics of racism in western “democratic” societies.

Finally I should note that despite the book’s undeniable scholastic heft, Kendi’s writing style remains incredibly accessible even to the novice reader with literally zero background in critical race theory or prior academic understanding of white supremacy - which makes it tremendous starting point for aspiring scholars. Indeed, one of my first thoughts after finishing Stamped from the Beginning is that I wished I could share it with most of the white people I know because the work so effectively exposes the often aged origins and bigoted logic behind the racist ideas that so thoroughly capture American society even to this day.

Blockbusting, NIMBYs and Trump’s 2020 Re-election Campaign:

With that out of the way, let’s turn back to our quoted passage and talk a little bit about the practice of “blockbusting” for a moment. What is blockbusting?

In a technical sense, the practice of blockbusting involved greedy real estate agents preying on the latent racism of white American homeowners to acquire property at a reduced value and then eventually selling that property to African American families with fewer housing options, at a greatly inflated value.

Typically this would take the form of convincing panicked white home owners that their property values would plummet when African American families moved into their now desegregated neighborhoods, thus encouraging them to “sell now” at a point well below the home’s market value - or risk losing everything later when the real estate agent’s prediction came true. Once even one home on the block had been “busted” this would in turn actually cause a drop (albeit, temporarily) in recorded property values and in no time at all, petrified homeowners would be falling all over themselves to take whatever the real estate agent was offering. Once enough white families had been scared into selling their homes, the realtors would begin moving in African American families at exorbitant rates and good old fashioned racism would take care of the rest - forcing the remaining white families to sell quickly or accept the promised higher crime rates and social ills purveyors of racist ideas assured them would come from desegregated living.

Of course, the real beauty of these scam for unscrupulous realtors was that not only could they make money hand over fist by fleecing homeowners on either side of the segregation fight - but they actually managed to profit from the arrangement a third time, by selling suburban housing to the very white people who’d just pawned away their family home at a cut rate in the face of a wholly manufactured “black invasion” - as racist scams go, blockbusting most certainly “used every part of the buffalo” as it were.

At its root however, the practice of blockbusting wasn’t really about predatory real estate speculation - the immense profits registered through blockbusting (and other forms of racial housing discrimination) were simply the “reward” for engaging in the behavior. Ultimately, blockbusting was about threatening comfortable white people with alien and unfamiliar brown people and simply letting latent racism and white supremacist beliefs work their course in the marketplace. The often unspoken truth here is that blockbusting was actually more effective when used against moderate, middle class NIMBY (Not In My Back Yard) liberals than overt white supremacists and avowed racists; after all, the bigoted cracker white nationalists were just as likely to refuse to sell to a realtor who dealt with black families as they were to flee. NIMBY white liberals on the other hand could consistently be relied on to “pragmatically” take the money and run to the white majority suburbs - all the while professing their support of the very same desegregated housing initiatives they were now fleeing under the guise of protecting their property investments.

This is important because while blockbusting has long since been replaced by more subtle forms of segregation in our society, the tradition of manipulating white behavior by threatening them with the mere presence of brown people, continues on unabated. Indeed, after watching Downmarket Mussolini gleefully announce his intentions to release undocumented migrants into primarily liberal “Sanctuary Cities” I found it impossible not to think back to Kendi’s book and the parallels between Trump’s behavior and the practice of blockbusting.

While the President’s objectively nativist declaration of his intent to punish his political enemies (liberals who ostensibly support migration) immediately triggered discussions about the legality of going through with such a threat, I think that conversation is largely missing the forest for the trees.

Yes, Trump’s racist bluster plays well in the cheap seats of his Pork Reich re-election rallies and the living rooms of Fox News Nation - but the truth is, Herr Donald isn’t actually talking to his own supporters when he repeats this threat against (again, primarily liberal) Sanctuary Cities. He’s threatening affluent, white NIMBY liberals with brown people and allowing latent racist ideas and white supremacist beliefs in our society to do the heavy lifting. Furthermore, this is likely to be an effective strategy because ultimately, many of the same affluent white liberals who would put on a vagina hat and protest the Trump administration on weekends, are also low-key economic segregationists on the side. It really doesn’t even matter if Trump goes through with the plan quite frankly, he’s already seeded the idea that a vote against Trump is a vote for flooding your neighborhood with hordes of swarthy migrants; from there, the targets of his threat will be encouraged to make their own, inherently racist associations between foreign brown people and increased crime, drugs, terrorism and so on - as was the case with blockbusting.

Throw in a war (or two), a supposedly booming economy, as well as Trump’s bizarre suggestions that he may interfere with or ignore election results he doesn’t like, and you can see the outlines of a focused, race-based strategy to break off moderate “Anti-Trump” conservatives and affluent white liberals from a possible Democratic Party coalition - much in the same way Nixon broke those same moderates and NIMBYs away from McGovern and the Democrats in the disastrous 1972 election. Sadly, it might even work too; if the Democratic Party nominates an out of touch, racist stiff like Joe Biden and in the process continues to suppress their own turnout, then even a marginal decrease in “mighty white” folks voting Democrat could hand Herr Donald a second term.

And that my friends, would be an unmitigated disaster of historical proportions.

- nina illingworth

#stamped from the beginning #ibram x kendi #review #books #essay #racism #blockbusting #NIMBY #sanctuary cities #migrants #Trump #2020 Election #segregation #Pork Reich #Joe Biden

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