Written by: Mae Boren Axton, Tommy Durden, Presley
Produced by: Steve Sholes
Released: Jan. ‘56 on RCA
Charts: 27 weeks
Top spot: No. 1

When RCA records signed “hillbilly cat” Presley, they expected more songs like his rockabilly hits from Sun Records. Instead, for his first RCA single, Presley recorded this gloomy, downtempo number, co-written by Axton, his former publicist, and inspired by a newspaper report of a suicide note that consisted solely of the line “I walk a lonely street.” But what Sun Records founder Sam Phillips called “a morbid mess” went on to become Presley’s first Number One hit and million-selling single, thanks in part to Scotty Moore’s steely guitar and a thumping bass line from Bill Black.

With its stalking rhythm and gloomy mood, the song that made Elvis king of the world was at odds with his reputation as a wild rocker. Presley insisted on the song, though, throwing at it an intense performance full of stuttering, southern passion. Its jagged, morbid atmosphere struck a note with an international army of angst-sodden teens.

Summary: When Professor Hamilton, a naive scholar who believed that hydrogen and cobalt atomic bombs were good for humanity, decided to flee upon realizing his mistake, taking with him his inventions. He was hiding in the most marvellous village in the world where one can live and die in peace: Calabuch. Calabuch is a place where people can still live with a sense of humour, with friendship, waiting for death to come like an old friend that comes by foot without haste, taking along one at a time, instead of coming whistling through the air and killing half the world at one stroke. This is Calabuch.

Resumen: El profesor Hamilton, un sabio ingenuo que creía que las bombas atómicas, de hidrógeno, de cobalto, eran buenas para la humanidad huyó al convencerse de su equivocación y se llevó sus inventos. Se escondió en el pueblo más maravilloso del mundo, donde se puede vivir y morir en paz: Calabuch.Calabuch es ese lugar donde la gente aún puede vivir con sentido del humor, con amistad, esperando a la muerte como a una vieja amiga que llega a pie, sin prisas, llevándoselo uno a uno, en lugar de venir silbando por el aire y matar de un estallido a medio mundo. Esto es Calabuch.

Shelf location: 1 CAL

Pagina pubblicitaria del caccia imbarcato Hawker Sea Hawk in dotazione alla Fleet Air Arm britannica.

Uprising-the hungarian revolution 1956

Pillars Of The Sky is a good Universal-International picture starring Jeff Chandler and Dorothy Malone. Watched it over the weekend. Like so many U-I Westerns, it really deserves the widescreen DVD treatment. Notice it says “Print by Technicolor,” not “Color by Technicolor.”

Pillars was written by Sam Rolfe, who co-wrote The Naked Spur (1953) and a bunch of TV, ranging from The Man From UNCLE to Star Trek: The Next Generation. Ward Bond and Lee Marvin have very good roles. And it was directed by George Marshall — who did both You Can’t Cheat An Honest Man and Destry Rides Again in 1939. (He also did the Audie Murphy remake Destry.)

But what I’m celebrating here today is the picture’s incredible poster art by Reynold Brown. Up top, the half sheet. Below, a couple details from a different layout. (Click on them and they get large enough to really study.)

Download

Available versions:

DivX Version (Normal Quality), iPod/iPhone Version

Actors: More Kenneth,Brook Lyndon,Patterson Lee,Knox Alexander,Warre Michael,Tafler Sydney,Marion-Crawford Howard,Watling Jack,Green Nigel,Carson Charles,Adam Ronald,Hudd Walter,Biography,Drama,War,

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What do think about the late great Douglas Adams view on where the idea of God came from?
Sorry about the length but it’s a good read if you’ve not read it before. Christians, feel free to give me your well-informed views without reading it:

Where does the idea of God come from? Well, I think we have a very skewed point of view on an awful lot of things, but let’s try and see where our point of view comes from. Imagine early man. Early man is, like everything else, an evolved creature and he finds himself in a world that he’s begun to take a little charge of; he’s begun to be a tool-maker, a changer of his environment with the tools that he’s made and he makes tools, when he does, in order to make changes in his environment. To give an example of the way man operates compared to other animals, consider speciation, which, as we know, tends to occur when a small group of animals gets separated from the rest of the herd by some geological upheaval, population pressure, food shortage or whatever and finds itself in a new environment with maybe something different going on. Take a very simple example; maybe a bunch of animals suddenly finds itself in a place where the weather is rather colder. We know that in a few generations those genes which favour a thicker coat will have come to the fore and we’ll come and we’ll find that the animals have now got thicker coats. Early man, who’s a tool maker, doesn’t have to do this: he can inhabit an extraordinarily wide range of habitats on earth, from tundra to the Gobi Desert – he even manages to live in New York for heaven’s sake – and the reason is that when he arrives in a new environment he doesn’t have to wait for several generations; if he arrives in a colder environment and sees an animal that has those genes which favour a thicker coat, he says "I’ll have it off him". Tools have enabled us to think intentionally, to make things and to do things to create a world that fits us better. Now imagine an early man surveying his surroundings at the end of a happy day’s tool making. He looks around and he sees a world which pleases him mightily: behind him are mountains with caves in – mountains are great because you can go and hide in the caves and you are out of the rain and the bears can’t get you; in front of him there’s the forest – it’s got nuts and berries and delicious food; there’s a stream going by, which is full of water – water’s delicious to drink, you can float your boats in it and do all sorts of stuff with it; here’s cousin Ug and he’s caught a mammoth – mammoth’s are great, you can eat them, you can wear their coats, you can use their bones to create weapons to catch other mammoths. I mean this is a great world, it’s fantastic. But our early man has a moment to reflect and he thinks to himself, ‘well, this is an interesting world that I find myself in’ and then he asks himself a very treacherous question, a question which is totally meaningless and fallacious, but only comes about because of the nature of the sort of person he is, the sort of person he has evolved into and the sort of person who has thrived because he thinks this particular way. Man the maker looks at his world and says ‘So who made this then?’ Who made this? – you can see why it’s a treacherous question. Early man thinks, ‘Well, because there’s only one sort of being I know about who makes things, whoever made all this must therefore be a much bigger, much more powerful and necessarily invisible, one of me and because I tend to be the strong one who does all the stuff, he’s probably male’. And so we have the idea of a god. Then, because when we make things we do it with the intention of doing something with them, early man asks himself , ‘If he made it, what did he make it for?’ Now the real trap springs, because early man is thinking, ‘This world fits me very well. Here are all these things that support me and feed me and look after me; yes, this world fits me nicely’ and he reaches the inescapable conclusion that whoever made it, made it for him.

This is rather as if you imagine a puddle waking up one morning and thinking, ‘This is an interesting world I find myself in – an interesting hole I find myself in – fits me rather neatly, doesn’t it? In fact it fits me staggeringly well, must have been made to have me in it!’ This is such a powerful idea that as the sun rises in the sky and the air heats up and as, gradually, the puddle gets smaller and smaller, it’s still frantically hanging on to the notion that everything’s going to be alright, because this world was meant to have him in it, was built to have him in it; so the moment he disappears catches him rather by surprise. I think this may be something we need to be on the watch out for. We all know that at some point in the future the Universe will come to an end and at some other point, considerably in advance from that but still not immediately pressing, the sun will explode. We feel there’s plenty of time to worry about that, but on the other hand that’s a very dangerous thing to say. I think that we need to tak

There is your fatal mistake and why you have this misunderstanding. As for Douglas Adams? I hope he was saved, but the fruits of his life suggest otherwise.
brotherscain | Nov 18, 2009

                              Woman

My bloodstained hands and milkful breast

Attest to the enigma that is mine.

Endless children are my crest,

But destiny tests,

And alone I shall pine.

Alone I shall pine.

Alone I shall dine,

Alone I shall whine

Till my guts ache in languor.

©Woman 1956

Birth, Death & In Between; Circling Round Woman; Nature In & Of Reality;

Arlene Corwin

                      Visit  (after a tune by Bela Bartok)

Night comes,

Darkness fills the valley.

“Sleep, my children,”

Says the caller.

Muted velvet

Coats the hilltop.

Silent splendor from the west!

Dew-lights

Send a code of warning.

Morning comes

To chase the peace.

©Visit 56.10.1

Lyrics; Arlene Corwin

          The Womb

The womb is a flower

Whose folded petals hide

The precious pollen

Till morning comes,

Cajoling.

©The Womb 56.7.25

Circling Round Nature; Circling Round Woman; Love Relationships; Pure Nakedness; Mother Book;

Arlene Corwin

Med de senaste modellerna finns nu följande Thunderbird-modeller klara för brodyr på kudde, pläd, ryggbrodyr jacka mm.

- 1955 Convert
- 1956 Convert
- 1959 Convert
- 1960 HT
- 1966 HT

Jag kan lätt göra både HT och Convert av samtliga årsmodeller så det är bara att höra av sig.

Marilyn Monroe en uno de sus films más valorizados por la crítica, espectadores y admiradores.

Written by: Cash
Produced by: Sam Phillips
Released: Aug. ‘56 on Sun
Charts: 22 weeks
Top spot: No. 17

Cash’s first US country No 1 is one of the great mystery love songs of its era. The lyrics are a simple, heartfelt testimony to staying faithful to one’s true love. But the song’s ghostly qualities lie in its train-track rhythm, Sun Studios echo and Cash’s voice, so deep it seems raised from the earth’s core. Cash admitted that his eerie hum at the beginning of each verse was so he could find his pitch for the constant key changes.

Cash began work on this track while he was in Germany with the Air Force, years before he would ever enter a studio. He returned to it after he hit with “Folsom Prison Blues,” only to find that the tape he had made had gotten mangled. But Cash liked the strange sound and added a click-clack rhythm by winding a piece of wax paper through his guitar strings. “It was different than anything else you had ever heard,” Bob Dylan said. “A voice from the middle of the earth.”

The following stills are from the film En effeuillant la marguerite (1956) which went by various titles upon release in the US: Mademoiselle Striptease, Please Mr. Balzac, and Plucking the Daisy. The last of these is close to a literal translation of the original title. The stills range in size from quite small to very large. You can expand them by clicking once, twice, or three times (for the largest of them) on the image.

Plot summary from IMdB.com:

When ultra-respectable General Dumont discovers that his nubile daughter Agnes is “A.D.”, author of a scandalous under-the-counter novel, he wants her shipped to a convent; but she escapes to Paris, planning to live with her brother, ostensibly a rich artist but really a poor guide in the Balzac Museum. This misunderstanding gets both in serious trouble, and puts Agnes in immediate need of money…just the amount offered as grand prize in an amateur striptease contest, which her new boyfriend, reporter Daniel, is covering for his magazine…  by Rod Crawford {puffinus@u.washington.edu}

These stills were collected from a few different image libraries including google images, drmacro1.info (movie scans), and cinema-francais.fr (1).

Berlin 1989 mai no hauria succeït sense Poznan 1956 -vídeo-. Sense tantes altres revoltes populars contra el comunisme de les que enguany, com aquesta a Polònia però també a Hongria ¡ Txèquia i Eslovàquia i etc., gairebé enlloc se n’ha dit res.

Malgrat tots els europeus torturats i assassinats al seu decurs en lluitar per la seva llibertat i identitat:

Només el sacrifici de molta gent va fer possible la fi del mur de Berlín

El comunisme ha fracassat. Però les seves consignes fossilitzades segueixen voltant com zombis. Atiats per la gerontocràcia del maig del ‘68, que encara viu dels seus rèdits, enquistada com a classe pseudo-intel·lectual a Europa. Així com pels seus deixebles i tots els que s’hi deixen entabanar en general.

Malden perquè del comunisme resti un record esllanguit. Com si d’una anècdota inofensiva i fins i tot simpàtica es tractés en acabat. Fins que s’esvaeixi. Com el petó a la boca entre Brezhnev el dictador soviètic i el seu súbdit Honecker el dictador de la meitat d’Alemanya sota control soviètic -l’extinta RDA-.

Malgrat fer-se’l per explicitar el seu compromís de suport mutu contra alemanys, russos, ucraïnesos, estonians, letons, lituans, etc. Per reprimir-los plegats cada vegada que s’hi rebel·lessin en contra seva. Per massacrar-los, com a Poznan o Budapest també al 1956, en nom del seu comunisme. Poques vegades un petó ha estat tan amenaçador, una promesa de mort més que no pas d’amor.

Mentint-nos avui com mentien aquests mateixos comunistes ahir tant als europeus sota el seu control com als que pretenien sotmetre. Però ara fent-ho mitjançant els seus derivats postcomunistes com, per exemple, l’immigracionisme. Esperant així, amb aquest succedani, que no ens n’assabentem del que fan ni dels seus objectius.

Volen bastir en contra nostra la darrere malaltissa fantasia utòpica on s’han refugiat -l’immigracionisme-. En contra nostra en veure’ns com una nosa per la seva materialització. Nosaltres ja no som el subjecte del seu experiment ideològic. Perque hem estat nosaltres qui, combatent per la nostra llibertat i identitat, hem esmicolat i enterrat el comunisme. Nosaltres som el seu pitjor enemic.

De la que, com l’anterior simbolitzada pel mur de Berlín, ja se n’albira la degeneració en distòpia i potencialitat genocida. Ara, en concret, de la identitat etnocultural dels europeus. A qui ens comminen a deixar-nos deconstruir per poder fer realitat el seu nou paradís promès, el substitut del seu fracassat paradís del proletariat, és a dir el paradís multintercultural. Avui, com ahir, ens cal combatre per la nostra llibertat i identitat com europeus.

I have posted a couple of songs from “Parivaar” (1956) in the past, and they were classy songs of different genres, even though they have been forgotten.

Here is another song from this movie. And what a song it is ! If a listener wants to listen to a classy song based on a raag, then this is a very good song to listen to.

This song, “jaa tose nahin boloo Kanhaiyya” is an awesome song , be it singing (by Lata and Manna Dey), its lyrics (Shailendra) or the music 9Salil Chaudhary). The song is nicely picturised on Sabita Chatterji and Ashim Kumar.

This song is based on Rag Hansdhwani and it can be enjoyed whole heartedly even by those who are not into classical songs. It is a great example of a classical song based song that is very easy on the ears, and on the heart. It is a brilliant song in all respects.

While noting down the lyrics of this song, some classical music portion, sung by Manna Dey, is not included since I could not get them. Readers will keener ears are requested to point out those lyrics and then I will accordingly fill them in.

Song-Jaa tose naahin boloon Kanhaiyya (Parivaar) (1956) Singers-Lata, Manna Dey, Lyrics- Shailendra, MD-Salil Chaudhary

Lyrics

aaa
jaa tose nahin boloon Kanhaiyya
jaa tose nahin boloon Kanhaiyya
raah chalat pakdi mori bainyaa
raah chalat pakdi mori bainyaa
jaa tose nahin
jaa jaa tose nahin
jaa tose nahin boloon Kanhaiyya

roothi Raadhike
Krishna manaawat
murli ki saugandh uthaawat
roothi Raadhike
aaaa aaa aaa aaa
roothi Raadhike
Krishna manaawat
murli ki saugandh uthaawat
aaaa
maanat nahin Raaadhaa
maanat nahin Raaadhaa
maanat nahin Raaadhaa
jaa
jaa
jaa
jaa tose nahin boloon
raah chalat pakdi mori bainyaa
raah chalat pakdi mori bainyaa
jaa tose nahin
jaa jaa tose nahin
jaa tose nahin boloon Kanhaiyya

runak jhunak jab choodiyaan khanki
lahar lahar odhaniya lahki
runak jhunak jab choodiyaan khanki
aaa
runak jhunak jab choodiyaan khanki
lahar lahar odhaniya lahki
mridang dahkaa

maan gayi raadhaa
maan gayi raadhaa
maan gayi raadhaa

ta thaiya
dhi dhat
ta thaiya
dhi dhat
ta thaiya
dhi dhat
jaa tose nahin boloon Kanhaiyya
jaa tose nahin boloon kanhaiyya
raah chalat pakdi mori bainyya
raah chalat pakdi mori bainyya
jaa tose nahin
jaa tose nahin
jaa tose nahin boloon Kanhaiyya

If you’ve seen 7 Men From Now, you know how good this ad is. And with it based on that incredible closing shot, how could it not be?

If you haven’t seen it, what the hell are you reading this for? Come back in 78 minutes.

Working in Advertising, I’ve always been interested in how movie campaigns are put together. They often seem to be from a different movie than the one I saw. But some really nail a picture. Like this one. I’d love to know how much input, if any, Randolph Scott or Budd Boetticher or John Wayne’s people had in this.

Aside from the theme song, is there anything to do with 7 Men From Now that’s not terrific?

This little number was residing over at the “Green Car” display area, in which the Ugly Prius, and the Electric Porsche 912 was also on display. So you are wondering, why is a tricked out 1956 Ford Pickup hanging around with electric and hybrid vehicles? Two Words; Liquid Propane. Read more after the jump!

This Truck was built by Steve’s Hot Rod Shop, near Utica, New York. For those unaware of where Utica is, think upstate New York, which happens to be near the same area in which our own Jen Dunnaway escaped from to write for CarDomain. But I digress…. these guys have a lot of time in the winter to fabricate beautiful machinery.

In building this vehicle Steve’s Shop had to ensure that everything that was going to be used was environmentally friendly. The engine is a big block Ford 460 with aluminum heads, a tunnel ram & many other performance modifications. What sets this engine apart from many others is the fuel; it will run on 100% liquid propane, which creates next to zero emissions and produces more horse power than pump gas!

The finish was done with PPG’s Vibrance Envirobase (waterbase) Paint, which offers PPG’s Vibrance colors in a completely VOC compliant paint system. Another environmentally friendly attribute is including nitrogen filled tires by Nokian. It is reported that Nokian is the worlds first tire manufacturer to introduce a production method using earth friendly oils, which means that they can guarantee the complete absence of toxic chemicals in their tires.

Other interesting features include: a hydraulic dump box, swivel bucket seats, 3 DVD screens, a reverse open hood and suicide doors. The truck has handmade copper bedsides, copper interior trim and a copper engine bay. Also, copper anodized wheels that were built specifically for this vehicle.

When there are many great songs in a movie, and there are several movies like that, it is easy to lose track of songs that one has posted and that are not yet posted. I have posted several songs from CID (1956) and I thought I had posted this song too. But I just realised that I had not posted this song.

Here is this song from CID. “Aankhon hi aankhon mein ishaara ho gaya” is a “proper” song in the sense that this song is actually picturised on the hero and heroine of this song, unlike most other songs of this movie.

This song is sung by Rafi and Geeta Dutt with gusto. It takes us back to those days when Geeta Dutt used to be the lead female singer of O P Nayyar, and what superb songs she sang under O P Nayyar’s music direction. And Rafi was O P Nayyar’s lead male singer right from the beginning. O P Nayyar in fact would use Rafi’s voice for all songs, irrespective of the actor on which the song was required to be picturised on. In this movie for instance, Rafi’s voice was used for at least three different actors, including Dev Anand and Johny Walker).

Majrooh Sultanpuri had wrote all but one songs of this movie. This is the one song which he had not written. This song was written by Jaan Nissar Akhtar . And the lyrics of the song are really cute to listen to.

Song-Aankhon ki aankhon mein ishaara ho gayaa (CID) (1956) Singers-Rafi, Geeta Dutt, Lyrics-Jaan Nissar Akhtar, MD-O P Nayyar

Lyrics

Aankhon hi aankhon mein ishaara ho gaya
baithe baithe jeene ka sahaara ho gayaa
aankhon hi aankhon mein ishaara ho gaya
baithe baithe jeene ka sahaara ho gayaa
aankhon hi aankhon mein

gaate ho geet kyun
dil pe kyun haath hai
khoye ho kis liye
aisi kyaa baat hai
ye haal kab se tumhaara ho gayaa
haan
aankhon hi aankhon mein ishaara ho gaya
baithe baithe jeene ka sahaara ho gayaa
aankhon hi aankhon mein ishaara ho gaya
baithe baithe jeene ka sahaara ho gayaa
aankhon hi aankhon mein

chalte ho jhoom ke
badli hai chaal bhi
naino me rang hain
bikhre hain baal bhi
kis dilruba ka nazaara ho gayaa
haan
aankhon hi aankhon mein ishaara ho gaya
baithe baithe jeene ka sahaara ho gayaa
aankhon hi aankhon mein ishaara ho gaya
baithe baithe jeene ka sahaara ho gayaa
aankhon hi aankhon mein

apna wo zor hai
apna wo shor hai
hamko hai sab pata
dil mein jo chor hai
ye chor kaise gawaara ho gayaa
haan
aankhon hi aankhon mein ishaara ho gaya
baithe baithe jeene ka sahaara ho gayaa
aankhon hi aankhon mein ishaara ho gaya
baithe baithe jeene ka sahaara ho gayaa
aankhon hi aankhon mein

kaisa ye pyaar hai
kaisa ya naaz hai
ham bhi to kuch sunen
hamse kyaa raaz hai
achcha to ye dil hamaara ho gayaa
haan
aankhon hi aankhon mein ishaara ho gayaa
baithe baithe jeene ka sahaara ho gayaa
aankhon hi aankhon mein ishaara ho gayaa
baithe baithe jeene ka sahaara ho gayaa
aankhon hi aankhon mein ishaara ho gayaa
baithe baithe jeene ka sahaara ho gayaa
aankhon hi aankhon mein

La escena del baile, que tan famosa hizo a Brigitte Bardot.