#movie on congress radio

[afabstract]

Ae Watan Mere Watan - Sara's Frequency Falters in Radio Drama

⭐⭐⭐ Rating: 2.5 out of 5. Sneha Jaiswal (Twitter | Instagram) Director: Kannan Iyer Writer: Darab Farooqui, Kannan Iyer “This is the country’s radio calling on 42.34 meters (wavelength) from somewhere in India to somewhere in India.” The 2024 Bollywood movie “Ae Watan Mere Watan” is a historical drama set in the 1940s, celebrating the life of real-life freedom fighter Usha Mehta (Sara Ali…

[hotvintagepoll]

Propaganda

Myrna Loy (The Thin Man, Manhattan Melodrama, Mr Blandings Builds his Dream House)—Started out a slinky silent screen vamp. Became a screwball lead who had a blast drinking, being married to William Powell, solving mysteries, and taking her dog everywhere in the Thin Man Movies. Broke our hearts in The Best Years of Our Lives and played a string of dream wives. Remained hot the entire time. Decades of hotness.

Gracie Allen (A Damsel in Distress, Honolulu)— The funniest woman who ever lived, she was the brains behind an absolutely brilliant radio show that she did with her husband George Burns. The radio show was later turned into a television show (which you can find on Youtube) but during the radio days, it was announced that Gracie would be running for President of the United States for the year of 1940. She was running for the Surprise Party, and refused a Vice President as, according to her, there would be no room for vice in her white house. Her slogan was "Down with common sense -Vote for Gracie Allen." [more about this beneath the cut]

This is round 1 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Myrna Loy:

Myrna Loy excelled at playing coy women, so common in screwball comedies in the 40s. She batted her lashes, and shrugged with grace, and made her costars look like foolish heels next to her. She charmed with sneaky elegance, well-placed pouting, and repartee. Besides, she was sultry AF.

While Myrna certainly looked hot in some her earlier vampy exotic bad girl roles, I think shes hottest when her comedic chops got to be displayed. Her dry wit, comedic timing, and subtle facial expressions make her the queen of deadpan snark.

She's just very Mother

So beautiful and popular she was crowned Queen of the Movies in 1936, Myrna Loy was also an amazing actress. She's best remembered for The Thin Man and sequels, where she gets to show off her comedy skills, adding irresistible impish charm to her classic beauty and dancer's figure.

THE SASS

One of the few actresses who managed to successfully transition from silent to talkies, never won an Oscar but was at one time the highest paid woman in Hollywood. Advocated for better roles and pay for Black actors in the 1930s, so passionately anti-Nazi in the 40s she made Hitler's blacklist, spoke out against Joseph McCarthy during the Red Scare, and advocated for fair housing in the 1950s and 1960s, all while being hot as fuck opposite William Powell, Clark Gable, Cary Grant, Spencer Tracy and a whole galaxy of the Hot Vintage Men Poll all-stars.

Cute as a button with so much RIZZ! She and whatsisname in The Thin Man are relationship goals.

She was literally called the Queen of Hollywood! She is so sassy and funny in the whole Thin Man series. Absolutely hot in those, and who doesn’t love a woman who can laugh? She had the sultriest gaze and that style! Also before she was a star she sat as the model for an iconic statue for a school (representing “Fountain of Education”).

the glamour!! the banter!! the comedy!!

She's got this cute kinda scrunched up face AND shes funny AND shes got a bangin body.

Gracie Allen:

Continued from previous propaganda: "We don't want to get rid of men entirely," Allen said, according to a story in the April 22, 1940, Indianapolis Star. "All we want to do is make them unconstitutional and keep them out of circulation, but have them handy when there's no place else to go."

On the Neutrality Bill pending in Congress: "If we owe it, let's pay it." On recognizing Russia: "I don't know. I meet so many people." On which political party she was affiliated with: "I may take a drink now and then, but I never get affiliated.""

She did have to drop out eventually, with World War 2 being on and all, but thousands of people still wrote her in anyway, even if the FDR won the popular vote in the end.  (https://www.jsonline.com/story/life/green-sheet/2016/03/31/that-time-a-comedian-won-the-wisconsin-presidential-primary/84944806/)

[republicansaredomesticterrorists]

Trump and his sycophants have destroyed the Republican Party. They are no longer conservatives either fiscally or on foreign policy. They are a party of chaos beholden to the right-wing culture warrior oligarchs. They are the derogatory agents of those oligarchs and the corporations owned by them. They make decisions based on the whim of a deranged madman.

They have gone from being closet racists/bigots to being full blown Nazis that call for the extermination of their culture war scapegoats they call “vermin” (marginalized people/political rivals). They take this term directly from Hitler who they openly embrace in speech and writing. They no longer care about tax cuts for all but just for the 1% and corporations. They want endless wars to profit from and to distract and rally their deplorable base. They no longer want small, limited government but opt for a massive government that intrudes into its citizens private lives and tramples their freedoms.

The party of law and order is now a party of criminals, sex offenders, grifters, traitors, and murderous street thugs. They are proud of this and fund raise and merchandise from their lawlessness. They have bought control of what is now an illegitimate SCOTUS which never allows them to be held accountable.

They use the KKK, Neo-Nazi groups, armed right-wing militias, Neo-Confederates, and white supremacists to persecute their opponents and victims in the streets and inside the Capitol itself. They tell us to “get over it” when mindless gun violence decimates our families in every public venue from churches, to schools, to 4th of July celebrations, movie theaters, shopping malls, and even a Super Bowl parade.

The police, courts, and legislatures are infested with their white nationalist/supremacists and Christo-fascists. They openly take money from Russia and others to influence our foreign policy and economic policy. Money from Russia is funneled into the NRA and Congress to allow a massive proliferation of gun violence on our streets that destabilizes our society.

They claim to be the party of the military but they degrade and insult our troops and cast our veterans into the streets. They abandon our allies and our treaty obligations at the behest of foreign dictators that bribe them.

They bust our unions and pass laws to weaken or prevent organized labor. They are forcing society to become wage slaves with no security, insurance, or pensions. They force our workers into the “gig economy” where everyone works incredible hours 7 days a week at multiple jobs and still are left unable to afford rent or mortgages. Nearly the entire population is one or two paychecks away from being homeless.

Decades of trickle down economics has seen our tax dollars poured into the accounts of billionaires, millionaires, and corporations with not a penny trickling down to the working class. The middle class has been practically wiped out by cruel Republican legislation written by political think tanks established and funded by oligarchs. The only thing these pseudo-conservatives conserve is their own wealth.

This is late stage capitalism run amok. The economy has been drained and now the oligarchs and corporations are plundering the government. They have taken advantage of decades of right-wing propaganda proliferated by Fox News, conservatives talk radio, and internet podcasts that have brain washed the rural areas into blaming the Democrats that are trying help them while convincing them to vote for the Republicans who have impoverished them. The French Revolution in reverse.

They see the Orange Dictator as their last best chance to completely take over the government and create a kleptocracy that pulls the strings behind an autocracy that pretends to be a republic.

The chaos of the Republican puppets is to distract everyone from the takeover by the oligarchs, corporations, and deep pocketed foreign adversaries.

[adultswim2021]

Moral Orel: “Abstinence” | January 18, 2009 | Unaired Special

Abstinence, “the nearly lost episode of Moral Orel”, or “episode 14 of 13” was an episode of the show that was left in an incomplete state thanks to Adult Swim cutting down the episode order. The audio for the episode was recorded, at least mostly (some characters might be scratch tracks, but I’m not certain), but the animation hadn’t been done. So, some people who worked on the show took it upon themselves to animate the radio play using “Orel’s Movie Premiere” style claymation. 

I’m glad they did it, because this is a worthy episode to have exist, even if it’s not 100% a “real” episode. This actually comes pretty damn close to being as satisfying as watching a normal episode. I wish we lived in the alternate universe where Dino manages to talk Adult Swim into letting him animate the show this cheaply in exchange for more episodes.  

This episode takes place during season two (with a post-Nature scene at the end). Doughy has long been neglected by his parents, who simply give Doughy a few bucks and ask him to stay out all day so they can neck with each other. They are now requesting Doughy stay out overnight. Not used to non-daytime activities, Orel encourages Doughy to just do what he does and walk around trying to help people. Doughy keeps encountering people trying to have sex with each other and manages to cockblock them all.

This leads to Doughy getting a job cockblocking actual roosters from impregnating the farmer’s chickens. He loses this job because Ms. Censordoll’s campaign to illegalize succeeds. Doughy winds up working for Ms. Censordoll as a masked superhero that goes around breaking up congress everywhere. 

This one has a very funny joke at the beginning, where Doughy and Orel are waving goodbye to a busload of gay men, and remarking how it was a big mistake bussing them into Moralton. Do you think the show was cleverly going to show the gay dudes in another episode to explain the beginning of this one? And, don’t you think it’s sad they left on the bus and we didn’t get to watch them walk away (hubba hubba). I also laughed at the farmer’s extremely dumb and convoluted reason for not caging his roosters (it’s basically so he can say a dumb thing when asked why he’s not caging his roosters). 

EPHEMERA CORNER:

Moral Orel: The Unproduced Scripts

A couple of scripts for episodes have been shared online. I remember Dino posting one on his Myspace page. The episodes are: 

Raped: This episode was going to be a late season three episode. The original arc for the season was meant to include Arthur Puppington, Clay’s father, moving into Orel’s bedroom while he waits to die of some painful life-ending disease.

Miss Sculptham finds that she is still pregnant post-abortion. That’s because she had twins, and only managed to kill one of them. So she arranges a visit to the prison to talk to Cecil Creepler’s (the guy what raped her) cell-mate to find out what his whole deal was (you know, being naturally curious about the father of her future child). This leads to her deciding to marry this man, even though he’s spending the rest of his life in prison. Orel is being a bitch about it, and celebrates when the guy backs down. The end of the episode is Sculptham falls in love with a woman and is denied for a marriage license, because “this is America”. She can get married to an actual convicted rapist, but not to another woman. 

I was about to comment on the time and place in which this episode was produced, but then realized: I have no idea how legal gay marriage actually is these days. Weird guys have been fighting over the stuff a lot lately. It took a weirdly long time for gay marriage to become any kind of legal here, and it’s still contentious. I just have a vague sense of reading it in 2009 and it feeling very pointed and topical. Pretty weird that it still sorta might be.

This episode was sorta billboarded in Alone, where we learn about Scultham’s rape and her abortion. There also a reference to this in “Abstinence”, where one of the encounters Doughy puts a stop to is one between Creepler and Scultham. 

Narcissism is the other “lost” episode. I never actually read this script before tonight, and I don’t know what the origin of this one’s leakage is or if it’s liberation was acrimonious or not. This one is another Putty-centric episode and is basically a follow-up on the events of Sundays. Putty becomes so obsessed with Florence and uninterested in other women that it makes him attractive. He unceremoniously beds all the hotties of Moralton and doesn’t feel a thing the entire time. His obsession with Florence is simply because she’s disappeared, and Putty doesn’t know where she went. When he finally finds her, she’s lost weight and is generally happier. It appears they get together by the end of the episode. 

I think Arthur is also in this episode, but I forget. I remember Oral mentioning him in a funny bit where he says he would do unto others with his Grandpa, who is currently dying in his bed. Orel says his Grandpa would probably let Orel die in his bed if things were the other way around. 

I found a thing on the Moral Orel wiki where Dino apparently posted the synopsis for the some of the unproduced scripts. I’d been looking for this to quote and kept coming up dry, so now that i found it, I’m just gonna paste it here in this post. The links link to pages on the wiki, and the scripts I described are available on their respective pages:

1. Easter: "Orel's Grampa (Clay's father) comes to Moralton to tie up loose ends before he dies. He ends up sharing Orel's bed as his death bed for the last ten episodes, giving Orel good advice. (happens during the Sacrifice episode)." 2. Nurture: "Shapey and Block nurture each other and grow emotionally." 3. Narcissism: After cutting it off with Florence, Putty becomes disillusioned with all women. This makes him incredibly attractive to all the females in Moralton and he becomes the most available bachelor in town, f***ing tons of *****. This makes him even more bored with every lady out there. He starts picturing Florence as he's f***ing everyone. When he finally runs into Florence, she is dating someone else and is really really thin. Putty's disappointed in her appearance. He's been picturing fat Florence, and even though she's prettier on a shallow level, longs for her previous look. She explains that she got so depressed when he stopped seeing her that she didn't feel like eating. He happily tells her now that he's back and she can get fat again. She is insulted by his self-centered attitude and tells him to go away. In the end, I think he probably wins her back though by showing he really cares. 4. Untitled: "Bloberta and Officer Papermouth accidentally bump into each other late at night, both reaching into the garbage can outside Nurse Bendy's apt. and simultaneously grabbing the "Sonny" Teddy bear. Papermouth chivalrously let's Bloberta keep it, and this starts off an affair between the two of them. It ends up being very good for the both of them. Not sure how Clay reacts. Didn't get very far on this one." 5. Untitled: "I wanted to write the continuing saga of Orel and Christina, but never got to it. No solid ideas on this." 6. Raped: A script for this episode was briefly put on Stamatopoulos's MySpace blog. It expanded on Miss Sculptham's trauma over being raped. She would take the kids on a field trip to prison to meet the man's cellmate and strike up a brief relationship with him. 7. Death: "Orel's Grampa finally dies. Orel doesn't find too much solace from anyone and becomes a Goth kid, getting heavily into the Christian Death Metal band: Multiple Godgasm. Don't want to say much more about this, on the remote chance that there will be a Moral Orel movie, I'd like to use a lot of this story."

And that’s it for Moral Orel. Unless you count the special. Unless you count the Frankenhole Bumper where he cameos. Unless you count Australian DVD releases. But you can COUNT on me… blogging about it!!!!

[lovesongbracket]

Reminder: Vote based on the song, not the artist or specific recording! The tracks referenced are the original artist, aside from a few rare cases where a cover is the most widely known.

Lyrics, videos, info, and notable covers under the cut. (Spotify playlist available in pinned post)

At Last

Written By: Henry Warren & Mack Gordon

Artist: Etta James

Released: 1960

Originally recorded by: Glenn Miller and His Orchestra feat. Pat Friday & John Payne, 1941

A song originally written in 1941 by Mack Gordon and Harry Warren and originally performed by Glenn Miller and His Orchestra for the 1941 movie Sun Valley Serenade, this ballad found its greatest success in the hands of the late Etta James in this 1960 recording. The tune became James' signature song. The song is featured on several “best of” lists, including inclusion in the Library of Congress' National Recording Registry and induction into the Grammy Hall of Fame in 1999.

[Verse 1] At last My love has come along My lonely days are over And life is like a song (Oh, yeah, yeah) [Verse 2] At last The skies above are blue My heart was wrapped up in clover The night I looked at you [Bridge] I found a dream that I could speak to A dream that I can call my own I found a thrill to press my cheek to A thrill that I've never known (Oh, yeah, yeah) [Verse 3] You smiled, you smiled Oh, and then the spell was cast And here we are in heaven For you are mine at last

Dancing in the Dark

Written By: Bruce Springsteen

Artist: Bruce Springsteen

Released: 1984

The first single off of Springsteen’s seminal album Born In The U.S.A., this track was written two years after most of the other songs on the album. Producer Jon Landau thought the new album lacked a guaranteed hit and pushed Springsteen to draft one more song. The two men got into a brief altercation, after which Bruce wrote “Dancing in the Dark” about his ‘difficulty writing a hit single and his frustration trying to write songs that will please people’. Its music video contains an early appearance by actress Courtney Cox. It also helped introduce Springsteen to a younger audience, setting the stage for a seven-single run of top 10 hits from the album. “Dancing In The Dark” became Springsteen’s highest charting single the Boss has ever had, spending four weeks in the #2 position of the Billboard Hot 100 in the summer of 1984, held from the top spot by Duran Duran “The Reflex” and Prince “When Doves Cry”. It also spent six weeks at #1 on the Mainstream Rock chart. This single is also Springsteen’s only to be certified platinum.

[Verse 1] I get up in the evening And I ain't got nothing to say I come home in the morning I go to bed feeling the same way I ain't nothing but tired Man, I'm just tired and bored with myself Hey there, baby I could use just a little help [Chorus] You can't start a fire You can't start a fire without a spark This gun's for hire Even if we're just dancing in the dark [Verse 2] Messages keep getting clearer Radio's on, and I'm moving 'round my place I check my look in the mirror I wanna change my clothes, my hair, my face Man, I ain't getting nowhere I'm just living in a dump like this There's something happening somewhere Baby, I just know that there is [Chorus] You can't start a fire You can't start a fire without a spark This gun's for hire Even if we're just dancing in the dark [Bridge] You sit around getting older There's a joke here somewhere, and it's on me I'll shake this world off my shoulders Come on, baby, the laugh's on me [Verse 3] Stay on the streets of this town And they'll be carving you up all right They say, "You gotta stay hungry" Hey, baby, I'm just about starving tonight I'm dying for some action I'm sick of sitting around here trying to write this book I need a love reaction Come on now, baby, give me just one look [Chorus] You can't start a fire Sitting 'round crying over a broken heart This gun's for hire Even if we're just dancing in the dark You can't start a fire Worrying about your little world falling apart This gun's for hire Even if we're just dancing in the dark [Outro] Even if we're just dancing in the dark Even if we're just dancing in the dark Even if we're just dancing in the dark Hey, baby [Outro Saxophone Solo]

[stuckasmain]

Surprising direction

So this is more a ramble then a review but it’ll cover a lot of topics from Trick or Treat (1986). My main thing is that I’m actually surprised and really happy that the movie didn’t chose the “all metal is evil actually” route. I don’t know why I thought it would considering Ozzy and Gene signed on but- it was common at the time

It’s surprisingly touching? At least in the beginning. Eddie has one friend in the world and the other is his God. This bullied metalhead kid who writes to his idol constantly and feels like the one person who gets him (He quite literally implies he would not be here if it wasn’t for Sammi’s music and that is dark right off the bat) and that person dies.

Now as the movie goes on and things get violent Eddie is suddenly no longer best pals with the rockstar once people start getting hurt (despite that being implied from the beginning but I digress). Naturally as things get darker and more chaotic I expected the stereotypical “im normal now” moment where he drops the music all together but he doesn’t! He attempts to, wearing colorful shirts and trying to listen to some easy listening but- he just doesn’t. Eddie sees the situation as it is- “hey this one guys a little fucked up but that doesn’t mean the whole genres evil” hell! At the very end he takes over for Nuke at the rock radio station!

This is what I wish more movies would’ve got at the time instead of doing a “normal transformation” where they un-Alternative or un-metal a certain character.

Another part I really like is while totally batshit- Sammi is a little sympathetic? (I’ve yet to figure out if the fire circle thing was just a bad dream or what actually happened because it’s random and funny ass Shit. It’s like the dragon later on that just appears. It’s not addressed or explained the rest of the movie)

He’s made to be relatable. He’s a angry guy who’s been pushed around his whole life who just lets it out instead of pushing it in. He channels it into music and his wild ass publicity stunts and stirring controversy. Man found his calling I’ll say that. Honestly he’s “Dee Snider goes to congress: gone bad”. The guy finds out he has powers and pulls a Carrie- big time revenge etc. Sammi for the whole beginning of the film was mainly doing what Eddie wanted… maybe not violence but getting back at the fuckers who tried to kill him like six times (I’m not kidding. What they do is not bullying it’s a murder attempt). It’s also somewhat implied that he is not in complete control of his actions? Like there is several several references to owing one’s soul and being under someone’s control etc— honestly I think he just wants to play music forever but the violence is a bit out of control but that’s just me (this is also way broader of a topic then I can lay out here this post is already long)

Anyways, I just wanted to say that I love this movie because it doesn’t condemn metal and it has a enjoyable and purposefully relatable Antagonist (I’m assuming especially for metalheads and outcasts in the 80s) and it’s just- so good

[wyrmfedgrave]

Pics: Bert Terhune related notes.

1. Mary Virginia Haws, Bert's mom was a writer of novels, travelogues, memoirs, domestic manuals, etiquette booklets & cookbooks.

2. Cover of 1 of her house 'running' books.

3. Who doesn't recognize a Lassie poster? This being for 1 of her many movies.

4 & 5. Covers of some of Bert's many works.

6. At least 1 of Bert's short stories focused on the danger that spies & assassins posed to General George Washington.

7. Poster for the "Ogre" TV movie, with a great tagline!

8. Bust of Cleisthenes, the Father of Athenian democracy.

9. Bust of Alexander Pope, the English poet, translator & satirist on society & politics.

10. John Dryden painting, an earlier English poet, literary critic, translator, satirist & playwright.

Notes (on yesterday's post):

1. The Adventurers Club of NY was a private men's club founded in 1912 by one A. Hoffman.

Its main functions were monthly dinners & a weekly lunch.

Their main rule was that "No one talks about Fight Club!"

There's complete silence on most of their activities.

Yet, for a secretive group, they certainly went out of their way to announce their events.

First, they published The Adventurer, a monthly newsletter that ran until 1960!

Then they had a weekly radio show, the Gold Seat Associates, where club members spoke of the most exciting moment of their lives.

The Adventurers Club finally faded out during the 1970s.

2. Lassie is the star of an American TV series (1954 to 1973) & several movies.

'She' (actually male dogs were used!) is a smart & fearless collie living in a Virginia farm with her companions - human or otherwise.

Later in the show, Lassie worked with forest rangers - out in the wilderness!

There's also an animated series that brought Lassie's heroic acts into the 2000s.

Lassie's latest film came out in 2022...

3. Mary V. Haws wrote several novels set in the southern states before the Civil War, which began in 1861.

(But, this was actually only after many decades of rising tensions - mostly on the subject of slavery.

It only ended after 4 years & some 610,000+ deaths!!)

Haws completed her last book at the age of 88 - while she was quite blind!

4. Other books by Bert Terhune are: "World's Great Events", "Famous American Indians", "Wonder Woman in History", "Around the World in 30 Days" & "Superwomen."

5. Scribblers are people who write for hire or as a hobby. Usually, scribblers worked for newspapers & magazines.

It's just that readers don't actually like their articles!

6. The American Revolution lasted from 1775 to 1783. Its causes were British taxes, the Boston Massacre & the Intolerable Acts.

Only 45% of colonists supported this war - as it forced neighbors against each other!

In Ben Franklin's case, it permanently tore his family apart...

7. Don't know why Lovecraft equates the famous folk he mentioned with ogres - except for Bonaparte, maybe.

Ogres are hideous looking, human eating giants from fairy tales & folk- lore.

It's no better in slang, as it describes "a person who's monstrously ugly, cruel or barbarous."

(Shrek they are not!)

Ogre comes to us thru France. But, it's actually from Etruscan (ancient north Italian nation & language) "Orcus", God of the Dead & punisher of oath- breakers.

8. "Where freedom 1st arose..."

A. This would be ancient Athens, in Greece on 508 BC. That's when Cleisthenes 1st set up a democratic government there.

(But, Howard could be referring to the American Revolution again.)

B. In that case, Congress did approve in becoming independent on July 2nd, 1776, thru the Lee Resolution.

We now celebrate when our politicians started signing the official Declaration of Independence, on July the 4th.

But, it took some time before all of the congressmen actually did so...

England didn't really 'recognize' our victory until the Paris Treaty of 1783!

Even then, Britain tried to 'reacquire' its 13 colonies during the War of 1812...

9. HPL seemed aware of his writing limits.

His evoking of imagery & emotion rested upon his skill at following strict poetic structures & his own aesthetic taste.

Lovecraft thought it more important to be formally correct, rather than to be creatively interesting.

10. As to Howard's personal writing style, it's actually his own copying of the forms of A. Pope & J. Dryden.

Pope was 1 of the most prominent writers of the 1700s.

Dryden was the 1st Poet Laureate of England & is chiefly responsible for introducing heroic couplets & the triplet into English poetic structures...

END.

[echrai]

My grandmother went to be with all of her loved ones who had walked before her on the morning of May 7th, and I can only imagine that she greeted them with as much rejoicing there as she ever did here.

Unlike my grandfather, my relationship with my grandmother is the furthest thing in the world from complicated. It was always easy. It was comfortable. It was home. She was baking bread and cookies homemade fudge and cross stitch and crochet and french fries at the Burger King at Andrews Air Force base. For the majority of my life my grandfather was an incidental accessory to the brightness that was my grandmother, and it broke my heart when that light dimmed at all eleven years ago when Sharon died.

I really think that it shattered both of our hearts in similar ways. We could barely look at each other for years without crying. Each of us a memory of what was lost and how alone we felt in holding it. She lost a daughter. I lost a mother. But we had each other in the middle of it all. An anchor to the grief we couldn’t articulate.

My grandmother was stacks and stacks of books and old movies and the air and space museum and the library of Congress. Music. Humming along with the radio. She was Christmas morning presents in a pink chair covered in an afghan. She is a bookmark in every book. She was orange juice in an old Tupperware cup. Raspberry tea with too much honey. A chocolate pudding snuck before bed. The soft humming click of a sewing machine. Click of her low heels and swish of her pocketbook on a Sunday morning. Hiss of hairspray. Turning pages of the hymnal to make sure I was keeping up with the verses.

Piano, and choir, and handbells. Sunday school. Church dinners. Oxen Hill farm. Making lunch for Grandpa before he went to work and greeting him with a snack when he got home. She is me standing on a chair in the kitchen to help knead bread. She is magnets on the never used front door. She’s a stuffed otter, and a seal, and a Garfield pillow. She is every new family child’s star baby blanket. She is my baby blanket. She is my Puck, when a tiny one year old wouldn’t put down a stuffed cat. She is the scolding I got after cutting the eyebrows off a mink teddy bear hiding under the coffee table.

She is hummingbirds. She is a stained glass Angel on the tv stand. Grapes from the backyard. Bubbles and playing in the bathtub water. Mickey Mouse computer games.

She was souvenirs from every trip. She was handing me a new book to take home every time I visited. She was always asking if I had met anyone that made me happy, and she was delighted when my answer was finally yes. She took a sum total of 24 hours to find her way to a God that loves my wife as much as I do. And who would never hesitate to be in my corner.

She was an only child from rural Indiana who joined the navy to have a future that looked different than her parents. She raised three children in Maryland, South Carolina, Florida, and California while my grandfather was deployed. After her children were grown she became a research librarian, never stopped learning new things, and was sharp as a fucking tack.

She was easy with praise and with joy and support and also firm in what she thought was right and wrong. She was the gentler, softer half of their marriage but she was also someone you never wanted to cross. They were equals in every way and loved each other fully. She followed where Troy led, and often waited until he came back to lead her where she intended them both to end up.

She was my eternal constant, the reason for my name. The first person to hold me when I was born. She took me to the nursery, carried me herself while my father stayed with my mother. My entire life she was a steady presence that I counted on to be there. Always safe. The last piece of home. I knew she would be gone one day but I would be lying if I said I was ready. I’ve always known that losing her would be the next axis shift in my world and it is.

Fair winds and following seas Meme. I love you.

[ghostboyjules]

about me

omg tagged first by @mathomhouse-e and then right as I was abt to post this @wordsinhaled tagged me too!! so delighted and honored to be in this wonderful group of mutuals, y'all make my heart warm 💖🥰

Nickname: Jules, I guess, counts? other than that I don't really have a current one... @weirdfishy has been calling me ghostie tho, which I absolutely adore 🥺💕

Sign: Aquarius Sun, Aries Moon, Gemini Rising (Cap Mercury, and if y'all wanna talk astrology my dm's are always open lmaaoo)

Height: 5'7 or 5'8 on a good day (a.k.a when my sciatica isn't elbow dropping me to death)

Last thing I googled: "piercing places" and before that, "images of a shrimp" which I'm including because I thought that was very funny

Song stuck in my head: surprisingly I don't have one up there right now?? well.. I guess kinda,, but it's like a mix of a couple. All Up In Your Mind by Beyoncé, Genghis Khan by Miike Snow, Go Your Own Way by Fleetwood Mac, and In a Week by Hozier.. weird combo of songs but they're kinda cycling through my brain like a weird spirit box-esque radio station

Number of followers: 713 (😳, most of these are like, weird bots or deactivated blogs but still woah..)

Amount of sleep: hmm generally I get anywhere from 3-7 hrs, but as of right this moment (10:38pm) I've had 4hrs 36mins of Actual Sleep (from last night to when I woke up for work this morning) and then a 2 hr nap (before I started dinner this evening)

Dream job: Archivist of Some Sort™ in the Library of Congress,,, with a specialty in Thanatology?? I don't really know the specifics yet but something along those lines ig, if at all possible

Wearing: ..... a gray Cowboy Garfield t-shirt with the phrase "when I die I may not go to heaven. I don't know if they let cowboys in." and black underwear (THESE ARE MY PAJAMAS, OKAY? had to include the undies so you would get the Look™, I can't just say I'm wearing a t-shirt and leave it at that obvi... ajdjakfkg)

Movies/books that summarize you: my brain can't decide which way it wants to take this, so I'm just gonna answer with the Books/movies that I feel has shaped who I am as a person, currently. LOTR & the Hobbit trilogies, The Raven Cycle series by Maggie Stiefvater, the Conjuring (only the first one 🔪), Spirited Away, and The Labyrinth. OH SHIT almost forgot, Final Fantasy VII: Advent Children.

Favorite song: this changes daily 😐 rn tho I think probably Blood Upon the Snow by Hozier and Bear McCreary

Favorite instrument: Pipe Organ, Cello, Bass Clarinet, and the voice

Aesthetic: uh... weird goth gay uncle who is lazy and also a witch? is that anything?

Favorite authors: oof alright, well. Maggie Stiefvater, Neil Gaiman, Nora Sakavic, Gege Akutami, Lemony Snicket (Daniel Handler), and a handful of Fanfic Authors that I won't list here because I'm terrified of forgetting someone, but know that I am absolutely counting them and will forever remember their names

Random fun fact: I really love playing guitar hero games but I've never once really tried to learn how to play the guitar

thanks again for tagging me, you two 🥺🥰🥰 y'all have already tagged a lot of the peeps I would have tagged in fandom (so if I tag you again, my bad beloved homies just ignore me lmao), but let's see here... @weirdfishy, @watermelon-mafia, @rabooots, @aquilathefighter, @leave-me-alone-doctor, @eel-divinity, @an-asuryampasya, @pacospandora, @rainbowvamp, @runningheadless, and @howlittleweare <3 WHEW no obligation to do this at all obvi, but if you don't, this is just a reminder that ily 😘 if you do tho, I also love you 💖 okay g'night, loves

[cgunawan]

Film Journal #4

Gerald Mcboing Boing  (1950)

Directors: Robert Cannon director)

In the animated short Gerald McBoing-Boing, a little youngster uses sound effects rather than words to communicate. The film was created by United Productions of America (UPA), and on November 2, 1950, Columbia Pictures released it widely. It was adapted by Phil Eastman and Bill Scott from a Dr. Seuss story, and it was made by John Hubley and Robert Cannon.

1) Technique section:

The space age aesthetic that suited the burgeoning post-World War II American economy was introduced by this cartoon by the outlaw company United Productions of America (UPA). The principles of perspective are no longer applicable because of the hectic, slick, and contemporary speed of life. One or two objects imply backgrounds, and the use of colour is impressionistic rather than realistic. Although charming, the characters are sparingly drawn.

Which would all fit a Dr. Seuss story given in his well-known rhythmic rhyming style, and which already.

This animation was hand drawn traditionally.

2) Representation section:

The main character of the story is two-year-old Gerald McCloy, who starts "talking" by making sound effects. His first word is the title "boing boing." His father calls the doctor in a panic, but the doctor tells him there is nothing he can do about it. The youngster learns more sounds as he gets older and has the ability to communicate with gestures, but he is still unable to speak a single word of English. Despite this, he is accepted into a general public school, but things get worse when his classmates criticise him and call him "Gerald McBoing-Boing."

He is forced to flee after shocking (and upsetting) his father and board a train to an unidentified area. But just as Gerald is about to board the train, a talent scout from the NBC Radio Network (identified by the NBC chimes) spots him and hires him as one of their foley artists. Gerald then goes on to become very well-known by performing for a department of the company that is designated "XYZ" on the microphones. 

3) Reception section:

The movie went on to defeat the well-known studios of Warner Bros., MGM, and Disney to win the Oscar that year for Best Animated Short. It paved the way for Hanna-more Barbera's restrained animation (Gerald's dad has a pre-George Jetson appearance), the National Film Board of Canada's more abstract films, the Klasky Csupo studio, and others during the 1990s animation revival. Gerald McBoing-Boing enjoyed success.

In addition to receiving an Oscar, "Gerald McBoing-Boing" is currently included as a noteworthy American picture in the Library of Congress' Film Registry and is frequently chosen as one of the top animated movies of the 20th century. (One thousand animation professionals rated it the ninth best animation of all time.)

I think the first time I watched this show when I was a kid, that this type of animation would be the future. The simplicity of its visual is really amazing. But now that we live in the present, animation is actually getting more complex (in a good way). I still love this type of style though.

 

Source:

https://www.imdb.com/title/tt0043581/

https://en.wikipedia.org/wiki/Gerald_McBoing-Boing

https://www.openculture.com/2020/12/gerald-mcboing-boing.html

[disneydelights]

Walt's Museum in his hometown of Marceline is a really fun place to visit. Just like with any Disney Theme Park, you enter and exit through a gift shop. Then as you go around the corner you see a giant Mickey Mouse in a train conductor's uniform. This Mickey is one of 75  that were made for the Mickey's 75th Birthday Celebration at Walt Disney World in Kissimmee, Florida. Then the entire collection toured the country. After the tour was completed they were sold at auction and one of the patron's of the museum bought the All Aboard Mickey and gave it to the Museum where it resides to this day.

The Museum resides in an old train Depot and the Ticket counter is left preserved the way it was when it still operated as a depot. You can stand on the spot where Walt "found the Magic" after getting off the train as a young boy in Marceline. He only spent 5 years there as a boy but it was the key to his success. "To tell the truth, more things of importance happened to me in Marceline than have happened since - or are likely to in the future." Walt  wrote in a letter to the local newspaper in 1938.

The museum is two stories of memorabilia, artifacts and history. There is a 2 hour star studded film about Walt Disney's impact on Marceline and the world as told through the voices of his friends and family. There are models and drawings of many of the elements of all the theme parks, early artwork and conceptual designs, photos, letters and so much more. There are multiple video loops playing throughout the museum with interviews and clips from some of the most  historical moments of Walt Disney's career. And so many of them tie back directly to this tiny little town in rural America. Here are a few pictures of the museum.

While you could spend hours in the museum alone there is more to do in Marceline than just the museum. A couple of blocks away is a US Post office that issued a a stamp honoring Walt Disney. Commemorative stamps are generally issued 10 years after a person has died and it has to be passed by an act of Congress. Believe it or not only two years after Walt Disney's death a unanimous vote in Congress made it possible to issue a commemorative stamp honoring this American legend. Mickey Mouse was on hand and they unveiled it at the post office in Marceline. There's another little gem at the post office too but I don't want to give away everything. You really need to go yourself and see this beautiful homage to turn of the century America and Walt Disney.

The radio station, call letters KDWD 99.1, the movie theater and many other buildings in town were Walt Disney's inspiration for the stores and shops along Main Street in both Disneyland in California and Walt Disney World in Florida. One of those places is a corner shop called Zurchers. It is on the corner of Main Street and Ritchie Avenue. Walt said it was the inspiration for Coke Corner at Disneyland and Casey's at Walt Disney World. A lot of people were unsure why as the architecture appeared to be quite a bit different and it just didn't seem to make sense. But after a fire took place in the back of Zurchers and part of the building was destroyed it became apparent where Mr. Disney got his inspiration. The back wall of the building behind Zurchers had a large Coca-Cola mural painted on the side of the building on the back corner of that block. When it was discovered after the fire they restored the original mural and it looks like this today. 

You can also tour the family farm and see the spot where Walt's Dreaming Tree stood. Then there is the barn which now is a place where you can you pay your respects to Walt Disney yourself. After the barn was restored the workers "autographed" their work and pretty soon visitors were doing the same. Now you really have a hard time finding a spot left to autograph!

This little town in the heartland, that still in so many ways is reminiscent of turn of the 20th Century life in rural America has not simply faded into obscurity as a tourist attraction. It is a vibrant town with wonderful people and thriving on local industry. They also keep up with the times in other ways. While exploring the town you can scan a QR code at many locations and get in Paul Harvey's famous words, "the rest of the story" as it pertains to each location. I did not get to see or do everything in the time I had, but I plan to go back again... and I recommend that you do the same! 

Postscript: Before I forget, Walt Disney loved trains. There are a lot of train related things to see in Marceline. They also have 75 trains a day go by just outside the museum. 

[tmarshconnors]

"If I were the Devil"

Paul Harvey, the famous radio commentator, delivered "If I Were the Devil" in 1965. The piece is a reflection on how society could be led astray by moral decay and cultural deterioration. Harvey's hypothetical scenario outlines a plan the devil might undertake to lead humanity away from virtue.

"If I were the Devil"

If I were the Devil, I wouldn’t be happy until I had seized the ripest apple on the tree Thee.

So, I’d set about however necessary to take over the United States. I’d subvert the churches first. I’d begin with a campaign of whispers. With the wisdom of a serpent, I would whisper to you as I whispered to Eve: "Do as you please."

To the young, I would whisper, "The Bible is a myth." I would convince them that man created God instead of the other way around. I would confide that what is bad is good, and what is good is "square."

And the old, I would teach to pray after me: "Our Father, which art in Washington..."

And then I’d get organised. I’d educate authors in how to make lurid literature exciting, so that anything else would appear dull and uninteresting. I’d threaten TV with dirtier movies, and vice versa. I’d peddle narcotics to whom I could. I’d sell alcohol to ladies and gentlemen of distinction. I’d tranquillise the rest with pills.

If I were the Devil, I’d soon have families at war with themselves, churches at war with themselves, and nations at war with themselves until each, in its turn, was consumed. And with promises of higher ratings, I’d have mesmerizing media fanning the flames.

If I were the Devil, I would encourage schools to refine young intellects but neglect to discipline emotions—just let those run wild. Until before you knew it, you’d have to have drug-sniffing dogs and metal detectors at every schoolhouse door.

Within a decade, I’d have prisons overflowing. I’d have judges promoting pornography. Soon I could evict God from the courthouse, then from the schoolhouse, and then from the houses of Congress. And in His own churches, I would substitute psychology for religion and deify science. I would lure priests and pastors into misusing boys and girls, and church money.

If I were the Devil, I’d make the symbol of Easter an egg and the symbol of Christmas a bottle.

If I were the Devil, I would take from those who have and give to those who wanted until I had killed the incentive of the ambitious.

And what’ll you bet I couldn’t get whole states to promote gambling as the way to get rich?

I would caution against extremes in hard work, in patriotism, in moral conduct.

I would convince the young that marriage is old-fashioned, that swinging is more fun, that what you see on TV is the way to be. And thus I could undress you in public, and I could lure you into bed with diseases for which there is no cure.

In other words, if I were the Devil, I’d just keep right on doing what he’s doing.

[ear-worthy]

Threshold Podcast: About People And The Planet

 In the last two weeks, I've seen Inside out 2, Despicable Me 4, Deadpool and Wolverine, and Alien Romulus. I haven't seen that many quality films in a such a short period, in five years, before the pandemic and the infiltration of streaming services. 

In any calendar year, there may be 10 to 20 terrific movies that you must or should see. Great films are a precious gift to the public.

Contrast the dearth of terrific films with podcasting. Not only are there a lot of podcasts, there are a lot of terrific podcasts. On any given day, with access to a smartphone or computer and a modicum of computer skills, any person can search for and find thousands of ear-worthy podcasts. With a portable storage device that could hold tens of thousands of podcasts, you could listen to a new podcast every day for decades and never duplicate a show.

The F5 tornado funneling around podcasting is its discoverability. It's like looking for galaxies through the Webb Telescope, there are so many.  

The other danger sign is that independent podcasts get shoved aside by network-supported podcast networks, who have the resources to promote their podcasts, no matter how derivative they may be. Meanwhile, indie podcasters are scrambling to attract ears, eyeballs, media buzz, and achieve that ever-elusive tipping point.

I told you all that because of Threshold podcast series. I am embarrassed that a professional podcast reviewer (I have a name tag that says that) like myself could not find out about such a superb podcast as Threshold after it's produced four seasons of stellar episodes and is getting ready for season number five in the next few months.

Threshold is a Peabody Award-winning podcast and radio show that tackles one pressing environmental story each season. The podcast explores the intersections of environment, history, culture, science, politics and social justice, focusing on the human relationships with the natural world.

Is it a climate change podcast? Yes, but more. Is it a nature podcast? Yes, but more. Is it an environmental podcast? Yes, but more. Is it a history podcast? Again, yes, but more. Is it a culture podcast? Yes, but, yet again, more.

Threshold is a serial, season-based show. Each season, Threshold tackles one pressing environmental issue, exploring it from several angles and perspectives. 

Here are the four seasons of the show:

Season 1 Season one explores the history of the American bison, the United States' national mammal. Hundreds of years ago, over 50 million bison roamed the lands of the United States freely. By 1901, only 23 wild bison were left inside Yellowstone National Park. Reporting from across Montana and interviewing ranchers, tribal members, scientists, and many others, the season asks: Can we ever live with wild, free-roaming bison again? Season 2 Season two focuses on how the Arctic is changing due to climate change, and why that matters. The focus is on the four million people live in the Arctic, and they've been dealing with the effects of climate change for decades. Season 3 Season three focuses on oil drilling in the Alaska's Arctic National Wildlife Refuge. In 2017, Congress opened part of the refuge for oil and gas development. But a number of communities, including indigenous communities, such as Iñupiat and the Gwich'in, in the region, oppose the drilling. Season 4 Season four focuses on the climate goal of 1.5 °C over pre-industrial levels. Will we be able to prevent warming beyond 1.5 °C is the question. The first episode of the season was released on 1 February 2022 with a new episode each following week.

Threshold also releases Threshold Conversations, which is a spinoff show featuring interviews with environmental thought leaders on important issues impacting cultures, communities, and ecosystems in the United States and beyond. This series aims to create space for thoughtful, civil dialogue about the urgent environmental issues we're living with today.  

So, what makes this show so terrific and special? Besides the fascinating topics, it's Amy Martin, the creator/ host of Threshold. As a host, Martin is like the "Earth Mother" on the show, guiding listeners to places we can only imagine and then discussing issues that have either already impacted us in the past, are doing so right now, or will cause cataclysmic changes in the future. Martin is responsible for the show's lush sonic architecture and its thematic premise.

 She created Threshold in 2016. Under her leadership, Threshold has received a Peabody Award, a national Edward R. Murrow Award as well as awards from the Society of Professional Journalists, the Overseas Press Club, and the Montana Broadcasters Association. In addition to creating Threshold, Amy has produced stories for NPR’s All Things Considered, PRI’s The World, Reveal, Here & Now, and other national outlets. In 2016, she was selected for the Scripps Fellowship in Environmental Journalism at the University of Colorado Boulder. Amy Martin has been invited to give presentations about her work at the Environmental Film Festival in The Nation's Capital, the International Wildlife Film Festival, the Arctic Frontiers conference in Tromsø, Norway, and on the TEDx stage. Amy Martin holds a BA in philosophy from Augustana College. She was raised on an Iowa farm, which makes sense because farmers respect the majesty of the land and the tenuous balance that humans can easily and willingly disrupt.

Here are two reviews of Threshold.  Holly Kirkpatrick of Rise Collaborative wrote that Threshold Season 2 helps listeners gain a more in-depth understanding of the Arctic. "In most of the 1–4 minute news and radio reports about the Arctic or climate change, we don't always hear enough from the four million people actually living there. Threshold aims to change that by exploring the complexities of the Arctic through the stories of its residents," Kirkpatrick writes. Dan DeLuca of The Philadelphia Inquirer wrote that Threshold Season 1: "an immersive exploration of the nation's history with the [bison]... It digs deep into issues about conservation and politics and the relationship of the U.S. government to native populations, both animal and human, while never losing a sense of wonder about the majestic beasts." As I mentioned, the sonic lushness of the show is produced via original music by Travis Yost in seasons two and three and Threshold Conversations. Music in season four was composed by Todd Sicakafoose. Such an ambitious undertaking requires a team, and Erika Janik has her hand in every aspect of production, from training and managing the production team and developing new projects to helping edit and elevate the stories. She previously worked as the Director of On-Demand at New Hampshire Public Radio where she oversaw the award-winning podcasts Civics 101, Outside/In, and Patient Zero, among others, and co-founded and oversaw Wisconsin Life, a multimedia storytelling project at Wisconsin Public Radio. Check out Threshold. Did you know that before Europeans came to North America, 50 million bison (buffalo) roamed the land? By 1903, there were 23 left. Did you know that, despite the climate deniers here in the lower 48, four million people in the Arctic are being affected by climate change right now? Did you know that The Arctic Refuge is an important carbon reserve, locking carbon in the frozen ground? Drilling for oil in the Arctic Refuge would release large amounts of carbon into the atmosphere.

Listen to Threshold. Your ears and your brain will thank you.

[theogmissg]

Citizen Kane (1941) is frequently cited as the greatest film ever made.[5] For 40 years (5 decennial polls: 1962, 1972, 1982, 1992, 2002), it stood at number 1 in the British Film Institute's Sight & Sound decennial poll of critics,[6] and it topped the American Film Institute's 100 Years ... 100 Movies list in 1998, as well as its 2007 update. The film was nominated for Academy Awards in nine categories and it won for Best Writing (Original Screenplay) by Mankiewicz and Welles. Citizen Kane is praised for Gregg Toland's cinematography, Robert Wise's editing, Bernard Herrmann's music, and its narrative structure, all of which have been considered innovative and precedent-setting.

The quasi-biographical film examines the life and legacy of Charles Foster Kane, played by Welles, a composite character based on American media barons William Randolph Hearst and Joseph Pulitzer, Chicago tycoons Samuel Insull and Harold McCormick, as well as aspects of the screenwriters' own lives. Upon its release, Hearst prohibited any mention of the film in his newspapers.[7]

After the Broadway success of Welles's Mercury Theatre and the controversial 1938 radio broadcast "The War of the Worlds" on The Mercury Theatre on the Air, Welles was courted by Hollywood. He signed a contract with RKO Pictures in 1939. Although it was unusual for an untried director, he was given freedom to develop his own story, to use his own cast and crew, and to have final cut privilege. Following two abortive attempts to get a project off the ground, he wrote the screenplay for Citizen Kane, collaborating with Herman J. Mankiewicz. Principal photography took place in 1940, the same year its innovative trailer was shown, and the film was released in 1941.

Citizen Kane was selected by the Library of Congress as an inductee of the 1989 inaugural group of 25 films for preservation in the United States National Film Registry for being "culturally, historically, or aesthetically significant".[8][9][10] Roger Ebert wrote of it: "Its surface is as much fun as any movie ever made. Its depths surpass understanding. I have analyzed it a shot at a time with more than 30 groups, and together we have seen, I believe, pretty much everything that is there on the screen. The more clearly I can see its physical manifestation, the more I am stirred by its mystery."[11]

[the-mechanica]

What Began as a War on Theater Won’t End There

By James Shapiro

Mr. Shapiro is the author of the forthcoming “The Playbook: A Story of Theater, Democracy, and the Making of a Culture War.”

Productions of plays in America’s high schools have been increasingly under attack. In 2023, Anton Chekhov’s “Three Sisters” was rejected in Tennessee (since it deals with adultery); “August: Osage County,” the Pulitzer Prize-winning play by Tracy Letts, was canceled in Iowa after rehearsals had begun (the community was deemed not ready for it); and in Kansas, students were not even allowed to study, let alone stage, “The Laramie Project,” a play by Moisés Kaufman and members of the Tectonic Theater Project about the murder of a gay student, Matthew Shepard.

It should come as no surprise, then, that in the Educational Theater Association’s most recent survey, 85 percent of American theater teachers expressed concern about censorship. Even Shakespeare is at risk: In Florida, new laws led to the restriction of “A Midsummer Night’s Dream” to grades 10 through 12 and “Romeo and Juliet” could not be taught in full to avoid falling afoul of legislation targeting “sexual conduct.” Kill off young people’s exposure to theater, and you kill off a generation of playgoers, along with the empathy and camaraderie (already in short supply) that is intrinsic to theater. According to the latest report from the National Endowment for the Arts, from 2017 to 2022 the percentage of Americans who went even once a year to see a nonmusical play dropped by roughly half, from about 10 percent to less than 5 percent.

What begins as a war on theater never ends there.

The current attacks on theater in American schools have their origins in a struggle that took place in the late 1930s, when America’s political leadership believed that the arts, no less than industry and agriculture, were vital to the health of the Republic and deserving of its financial support. There was still an implicit understanding that theater and democracy — twinborn in ancient Greece, spheres where competing visions of society could be aired and debated — were mutually dependent. Funded by Congress as part of a Works Progress Administration relief bill and established in 1935, the Federal Theater Project by 1939 had staged over 1,000 productions in 29 states, seen free or for a pittance by 30 million spectators, or roughly one in four Americans, two-thirds of whom had never seen a play before.

It brought children’s plays on touring trucks to kids in crowded cities. It staged works in Spanish, Yiddish and Italian to reach immigrants. It established what it called Negro units from Hartford, Conn., to Seattle to support Black actors and playwrights. It staged Christmas plays and classics by Shakespeare and Euripides and nurtured young playwrights and directors, including Arthur Miller and Orson Welles. It brought free theater to asylums, orphanages, hospitals, prisons and veterans’ homes. It revived playgoing in rural states where the movies had all but ended it. Ten million listeners a week tuned in to its radio broadcasts. It established ties with hundreds of educational, fraternal, civic and religious groups, strengthening communal bonds.

It turned out that Americans were hungry for plays about issues that mattered to their lives, topics largely shunned by Hollywood and the commercial stage. So they flocked to see new plays about substandard housing and the plight of struggling farmers. One of the most remarkable Federal Theater ventures was a stage version of Sinclair Lewis’s novel “It Can’t Happen Here,” in which a fascist is elected president of the United States. It opened on the same day, Oct. 27, 1936, in 18 cities across the country, and by the time it closed, more than 379,000 Americans had seen it. The cost of these thousand or so productions to taxpayers was roughly the price of building a single battleship.

The program’s popularity contributed to its undoing. Many of those in Congress who had voted to fund the Federal Theater became frightened by its reach and impact, its interracial casting, its challenge to the status quo — frightened, too, perhaps, by the prospect of Americans across racial, economic and political divides sitting cheek by jowl in packed playhouses.

Three years after the creation of the Federal Theater, Congress authorized the establishment of what would become the House Un-American Activities Committee, chaired by Martin Dies of Texas. It was to supposed to spend seven months investigating the rise of Nazism, fascism and communism in America and submit a report. The ambitious Mr. Dies, desperate to have his committee’s life extended, instead focused much of his attention on a more vulnerable target: the Federal Theater, accusing it of disseminating offensive and communistic and therefore un-American values. In the course of waging and winning this battle, he assembled a right-wing playbook so pervasive that it now seems timeless. He succeeded wildly: All Federal Theater productions were abruptly terminated in 1939, and the House Un-American Activities Committee lasted until 1975. With a nascent national theater now destroyed, targeting theater in schools was the inevitable next step for his successors, who — whether cynical politicians or school board members eager to police what offends their sensibilities — have all stolen a page from the Dies playbook.

It’s hard to imagine what America would be like today had support for the Federal Theater continued and Mr. Dies’s committee not been renewed. Counterfactual history is best left to novelists. But a more vibrant theatrical culture extending across the land might well have led to a more informed citizenry and, by extension, a less divided and more equitable and resilient democracy. What happened instead was that Mr. Dies begat Joseph McCarthy, who begat Roy Cohn, who begat Donald Trump.

Some of those familiar with this history haven’t given up. Right now, artists are preparing projects that on July 27 will open simultaneously in 18 U.S. cities and towns, much as “It Can’t Happen Here” did in 1936. Under the rubric of Arts for EveryBody, the initiative is bringing together performers, audiences, community leaders and local officials. It is a small start and a promising one. So, too, is legislation coming before Congress, the STAGE Act of 2024, that would provide badly needed support for endangered nonprofit theaters across the land. Passing it should be a no-brainer, but there’s a likelihood that the Dies playbook will be used to defeat it. Until those in power in this country pivot from suppressing theater to investing in it, it’s not just the arts but also democracy itself that remains vulnerable.

[expo-newz]

Unveiling the Layers of "Ae Watan Mere Watan": Beyond its Cinematic Shortcomings

In the world of cinema, there are occasional gems that manage to shine through despite their apparent flaws. "Ae Watan Mere Watan" falls into this category, offering a narrative that transcends its lackluster execution to deliver powerful political messages. Let's delve into the depths of this film, exploring its portrayal of pressing issues such as press freedom, generational divides, and the struggle against ingrained conservatism.

At its core, "Ae Watan Mere Watan" serves as a tribute to the spirit of Usha Mehta, a pivotal figure in India's Independence movement. While the film may not excel in direction or performances, it boldly confronts the toxic propaganda prevalent in today's political landscape. Despite its shortcomings, the movie stands as a beacon of progressive thought amidst a sea of regressive narratives.

One of the film's strengths lies in its exploration of press freedom during authoritarian times. Inspired by Usha Mehta's involvement in founding the underground Congress Radio, the narrative sheds light on the importance of disseminating information in challenging political climates. In a world where media freedoms are increasingly under threat, "Ae Watan Mere Watan" serves as a timely reminder of the vital role journalists play in upholding democratic values.

Furthermore, the film delves into the theme of generational conflict, a topic that resonates with many viewers. Through Usha's strained relationship with her conservative father, the audience is confronted with the reality of youth rebelling against the ideologies of the older generation. Despite some stilted dialogue, the film manages to capture the essence of this struggle, presenting it as a timeless and relatable narrative.

Additionally, "Ae Watan Mere Watan" challenges blind faith and celebrates the role of women in the freedom struggle. By portraying Gandhi in a flattering light and highlighting Usha's resilience in a male-dominated society, the film breaks away from conventional narratives and offers a refreshing perspective on historical figures and events.

In a cinematic landscape often dominated by superficial narratives, "Ae Watan Mere Watan" dares to tackle complex themes with sincerity and depth. While it may not be without its flaws, the film succeeds in sparking conversations about the pressing issues facing society today.

In conclusion, "Ae Watan Mere Watan" may not be the most polished film, but its underlying messages are powerful and thought-provoking. As we reflect on its portrayal of press freedom, generational divides, and the fight against conservatism, we are reminded of the enduring relevance of cinema as a tool for social commentary and change.