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Post-Holiday Pick-Up: Miss December 1959, Ellen Stratton

E. — Sun, 27 Dec 2009 02:44:55 +0000

Photographed by William Graham, assisted by his wife. (Like the Gowlands, they were an artistic nude partnership. Very cool people, all of them.)

A girl can’t hold down a position as a legal secretary with a pleasing appearance and a head full of feathers, so our December Playmate Ellen Stratton is further proof, if proof be needed, that a girl can be bright and beautiful at the same time. Ellen has worked for a leading West Coast law office for the past 2 1/2 years, and confides that her secret ambition is to be a lady lawyer. (“Legal Tender,” Playboy, December 1959.)

A “lady lawyer?!” What will they think of next?

Actually and admirably, Ellen raised herself up from very hardscrabble roots and no early formal education whatsoever to become a legal secretary in a time when women were mainly fucking their way to that position, and she did it specifically so she could go to law school.

Ellen’s family worked as sharecroppers picking cotton. When she was 10, her parents decided that there was little opportunity in Mississippi and they moved to California, settling in the Los Angeles area. (Ellen has noted that at the time, Mississippi did not require children to attend school.) Her mother found work as an upholsterer.

After [entering and] graduating from high school, Ellen took a job as a legal secretary and took classes at Los Angeles City College.

Ellen now works in property management and owns rental properties in the Los Angeles area. (the wiki)

Her work with Playboy took her to Chicago, where she was a bunny at the Playboy Club and lived at the Playboy Mansion. While there, Ellen became acquainted with Shel Silverstein, Sammy Davis Jr. and, of course, Hugh Hefner.

How do Ellen’s lawyer bosses feel about her appearance in Playboy’s Playmate of the Month? They dig it. So, gentleman of the jury, we are prepared to testify that we’ve a serious case on Ellen Stratton and any objections will be promptly overruled as soon as you’ve considered Exhibit A, her full-color Playmate pose attached hereto.

Exhibit A was impressive enough to make Ms. Stratton the first-ever, brand-spanking new, inaugural titleholder of Playmate of the Year, which she used as a launchpad to get the modeling money to continue her career in law, real estate, and set aside a nest egg to raise her family. Today she is a grandmother in Los Angeles and has recently begun attending GlamourCon, likely to the delight of vintage cheesecake fans everywhere. (What kind of weirdos keep track of this stuff? one can only imagine how empty and pathetic their lives are.) You keep on keepin’ on, girl!

Hugh Hefner and Ellen Stratton, late 1998, in what looks to be a genuinely affectionate hug at the announcement of the PMOY for 1999 (Heather Kozar, formerly Miss January 1998).

I am here-and-there on the Hef-love but I fiercely heart this picture. Playboy made a huge difference in her life and enabled her to fulfill her dreams. She used the magazine instead of the common perception of the magazine using the playmates. Good on all parties invovled!

Un Dollaro Di Onore (1959)

50swesterns — Wed, 23 Dec 2009 21:28:00 +0000

One of those cheesy Italian-to-English translation things on the Web says that title translates to “A Dollar Of Honor.” By whatever name, it’s Rio Bravo, which I haven’t mentioned in weeks. Sorry for the delay.

This depicts the scene where Dude (Dean Martin) finds the bad guy by noticing the blood dropping into the mug on the bar. It’s my favorite part of the picture.

Actually, my favorite part lasts 141 minutes.

Tweed Fender Champ Rectifier Tube - 5Y3GT

myfenderchamp — Sun, 20 Dec 2009 21:21:53 +0000

The 1959 tweed Fender Champ is a 5 watt single ended Class A amplifier. That means that it has one rectifier tube – the 5Y3GT. Wikipedia has a brief write up about it. The 5Y3GT is all the way to the left when looking at the electronics. The one in my 1959 Champ was manufactured by RCA. So what does a Rectifier tube do? Again, Wikipedia does a better job explaining it than I could, but basically, it changes the alternating current from your wall into direct current for use in the amp.

Tweed Fender Champ Tubes (Left to Right) 5Y3GT, 6V6GT, 12AX7

5Y3GT

Open-Ended Autobiography

arlenecorwin — Tue, 15 Dec 2009 23:15:06 +0000

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Arlene Corwin’s Poetry

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Archive for the ‘biography’ Category

Arlene Corwin’s Open-Ended Biography

January 14, 2009

Arlene Corwin’s Open-Ended Biography

(10.3.2007 updated 10.24.2007 updated 1.3.2008; updated December 15, 2009)

Arlene Corwin (born Arlene Faith Nover) is an American jazz singer and pianist, poet, teacher and practitioner of Yoga. Born November 8, 1934 in the Williamsburg Maternity Hospital, Brooklyn, New York. She has two children. Jonathan Eric Corwin (born July 24. 1956 and) Jennifer Nover Council (born February 2, 1964). Mother Margy Lillian (born Brown). Father Albert S. Nover. Both were hairdressers, owning a beauty salon together. Everyone was musical on both sides of the family. Mother sang, could play some piano. Father was a gifted sculptor and wood carver, played a little harmonica and mandolin.

Early Life

Started studying piano age 8. Studied voice at the famous 1650 Broadway with ‘coach’ Matty Levine. Did a little recording at aged 10 in Nola Studios. (The record has since disappeared) At 12 she started studying harp with Meyer Rosen (Julliard and NBC Orchestra) and the occasional piano lesson with an NBC pianist who taught her how to read chord changes, seeing at once that she was not interested in learning classical piano.

As a child she had already sung at weddings, bar mitzvahs and for the USO, raising bonds for the war effort. At 13, having a boyfriend who played the saxophone and who listened to Symphony Sid, jazz disc jockey whose late night show originated from Birdland, she awakened to jazz, listening to the late night show “under my blanket”. “A turning point”, she says. (Well before “Lullaby of Birdland” was put to words Arlene had written a lyric of her own – a lyric she still sings today) At 14,she was playing for a dancing school once a week. Then she got an accidental job (“slipping in on a banana peel when the singer got sick”) in a Brooklyn nightclub singing with a group. “Mom and dad chaperoned, of course”.

1950s

She began to sing regularly when again, out of the blue, an agent rang offering a job for a hundred dollars a week to play at the Mayflower Hotel in Manhattan. It was a restaurant owned by Bob Olin, a former light heavyweight world champion. “I was so naïve I played the whole evening without ever taking a break. Who knew about breaks? Why they kept me I’ve no idea.” But they did and the steady salary of $100.00 a week (which she gave directly to her mother, any other choice never occurring to her) and the experience of having to make a varied program led to her singing to the piano, and eventually to playing to the singing. At this time she was still in high school as attending the prestigious High School of Music & Art as a harpist.She graduated from Music & Art getting a scholarship to Hofstra College as a music major.

Then in 1952, while still at Hofstra College (now university), she was playing on the weekends in a Hempstead, Long Island nightclub-restaurant when Slim Gaillard, who’d come to see Jack Teagarden (also working there) began to take notice of her. He started showing up regularly. There he met Arlene’s mother Margy, and the two eventually opened a jazz nightclub, the first to cater to blacks and whites. It was called The Turf and it, like Birdland had its own radio show, for which Arlene wrote the theme song “The Slim Gaillard Show”. Now she was standing as well as sitting, getting a chance to sit in and sing as often as she chose. The die was cast. It was jazz, cool jazz.

Early Influences

In 1954, on the day she ought to have been attending her college graduation, she married Bob Corwin, a 21-year-old jazz pianist with the Don Elliot Quartet. Because Bob toured, Arlene began her new stage of education: listening to Don’s group while they played on the same bill as the jazz greats of the 50’s. There was Helen Merrill at George Wein’s Storyville in Boston, Terry Gibbs and Illinois Jacquet in Detroit, Bill Evans, Cy Coleman, Bernard Peiffer, Tal Farlowe,Johnny Smith John Mehagan and Billy Taylor (who had also performed at the Turf) at the sophisticated Composer in Manhattan. ” It was also a chance to see and listen to other singers of the day. New York was marvelous in those days. I saw Peggy Lee at Basin Street, Blossom Dearie at Trudy’s in the village, Oscar Peterson, Marian McPartland at the Hickory House, Sheila Jordan, Morgana King. It was THE university for me. I was introduced to Tony Fruscella, the tragic, unsung genius of the trumpet, ‘who I took on my gigs, but to whom I was actually the apprentice’ – and through Tony to Morgana King and Beverly Getz, the talented [and equally tragic] wife of Stan Getz. I feel blessed to have experienced jazz at that time. The guys would gossip about who played ‘behind’ or ‘ahead’ of the beat, bass lines, good changes, bad changes. No Music & Art or Hofstra did that. I learned almost the whole of what is now called The American Songbook. And I, I was sounding like Sarah Vaughn with a little voice.”

Hanging Around Manhattan; Not This, Not That…

Living in New York, and looking for a niche she spent time, as other musicians did, at the Musicians Union Local 802 or Charlie’s Tavern where jobs could show up. In this way, there were weeks and weekends away with big bands: Tommy Dorsey’s Orchestra under the leadership of Warren Covington, Claude Thornhill and Larry Sonn.

“When you hang around New York all kinds of opportunities show up”. And so, she got a leading role in a B film called “Jukebox Racket’, wrote the score for another B film called, at the time “She Should Have Stayed In Bed”, later to be called ‘1,000 Shapes Of A Female: see IDMB (the company, called Exploit Films was owned by Errol Flynn “tall, big in every way, veins on his face, but exuding old world charm” He was quite, quite overwhelming.”

Then there was a bit part in John Cassavetes “Shadows”, followed by the lead in what has become a cult ‘beat’ musical called “The Nervous Set” by Fran and Jay Landesman where she introduced the now-standards “Spring Can Really Hang You Up The Most and “Ballad Of The Sad Young Men”, both subsequently recorded by Ella Fitzgerald, Shirley Bassey and numberless major artists. She studied acting with Joshua Shelley. “It was a time to find out who and what I was. “I was definitely not an actress. I was too introverted and none of those clothes fit” she says.

More Influences and more Not This, Not That…

In 1959 she met Johnny Burke (Burke & Van Heusen) who took her under his wing, taking her to Hollywood to demonstrate his show “Donnybrook” for Rosalind Russell and husband, producer Frederick Brisson “It was a glitzy time. I stayed at Bob Hope’s house in Palm Springs, met Frank Sinatra and his then fiancee Juliet Prowse, Jerry Lewis, Marlene Deitrich, had my own suite in Las Vegas , traveled first class, but was so introverted I always kept to myself, never saying much, definitely not participating in any of these scenes. Those clothes didn’t fit either.”

All the while she returned to the intimacy of New York supper clubs. They were the bottom line, singing and playing.

It was during the supper club period, she met Al Weissman who became her manager. She was signed to the Joe Glazer Agency and began to tour with her own trio. “Wherever I went they’d say, “You know, there’s just been a girl here who sounds like you. Her name was Barbra something. I suppose we had Brooklyn Jewishness in common. ” (She too was signed with Glazer.)

Although published by Frank Publishing (owned by composer Frank Loesser) years later she asked for the songs back because “nothing happened.” “It was a period of promise, a period I was not equipped to fulfill”.

1960s-1970s

In 1962 it was back to Hollywood with Al Weissman and high hopes. “I had some jobs, but never in my genre.” Back to New York. A little jaunt of songwriting with singer Dick Haymes. A short marriage of four months to Richard Robin Palmer.

Greece, Lebanon, Greece, Oxford – Yoga & Jazz

In 1966, by way of Paris, Greece (where she and husband Jim Council were neighbors with Leonard Cohen and Marianne) and Lebanon, “where I actually managed to do some television, singing jazz”, she settled in Oxford, England for the next 18 years, teaching yoga,(“lectured and demonstrated in what must have been a hundred Women’s Insitutes, posed for one of the very first health magazines called Health & Fitness, wrote articles on nutrition, had a weekly radio spot on a little radio show for BBB Oxford actually doing Yoga on radio while describing each pose with a microphone up my nose, did a tape on meditation – it was a lot of Yoga”) and singing and playing, being voted Best Jazz Singer in the Midlands 1972, appearing at Ronnie Scott’s three times. She did 3 television shows; a late night BBC jazz show called “In The Cool Of The Evening”, radio for BBC overseas, was invited over to Amsterdam to do Dutch radio, sang at universities around England, (“one night opposite Pink Floyd, “who were just starting out, I suppose”), the American air bases.

She appeared several times at The Stables in Wavendon (run by John Dankworth – now Sir John Dankworth – and Cleo Laine -now Dame Cleo Laine – while at the same time giving weekly yoga lessons to a group there, (which included Dame Cleo – “a wonderful

yogin”). The Wavendon All-Music Plan, later known simply as WAP “was the most stimulating and original enterprise I’ve ever encountered, pairing all kinds of musical genre. I even played on the same bill as Vladimir Ashkenazy.”

Starting in 1969 and all during the 70’s fate gave a push to the yoga side of things and Arlene was teaching yoga classes in doctor’s offices for hyper-tense, cardiac and overweight men. teaching regularly at conferences for IBM. She gave demonstrations, lectured all over for the Women’s Institute, posed and wrote for Health and Fitness Magazine (summer issue 1982) a book called The New Manual Of Yoga by Karen Ross (1973) wrote articles on nutrition, made a cassette called This Is Meditation. It was a full double life with Yoga taking half the time and singing the other half.

1980s to now.

In 1983 she once again ran into Slim Gaillard – this time in London. He asked her to appear on a television show he was producing that was to star himself, Kai Winding and Wayne Shorter. It was the last appearance she ever made in England.In 1984, finding Sweden fertile ground for singer/pianists, and meeting and falling in love with Kent Anderson, she moved to Sweden where she lives until today, performing, and writing regularly for “Live With Good Intentions” an online magazine.

Still growing, still changing

The latest news – 2009 and 25 years later, aged 75: a cd of her own songs for Imogen Records produced by George Reece, a concert of Johnny Mercer to commemorate his 100th birthday, poetry grown to 2000 poems (see Arlene Corwin Poetry).

2009 finds her favorite project on Google called Arlene Corwin’s Poetry, a project that started in 1949 or about 2,000 poems ago.

Tags:arlene corwin’s background, biography, life

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10.10.1959

stupin — Sat, 12 Dec 2009 21:51:00 +0000

白い雲にのった赤い飛行機がとんできた	По белым облакам приближается красный самолет.
それは危険な兵器、薬品を搭載している	В нем смертоносное оружие, медикаменты.
マヤがひとりで風呂に行った　心配だったがそのままにした　果して飛行機は着陸してきた　アメリカ人がおりてきた　薬品を撒布　吸うとがいこつになってしまう　然し吸わずにおれない	Мая одна идет в баню. Беспокоюсь, но оставляю как есть. Наконец, самолет приземляется. Из него выходят американцы. Разбрасывают медикаменты. Стоит вдохнуть и от тебя остается один лишь скелет. Но нельзя не вдыхать.

粘土をはなにあてていきをすると中和をする　マヤが湯船でひとりで泳いでいる　粘土をあてがうはだかのまま負ぶって帰宅　ミホと伸三に粘土をあてがう　他の人には教えてください	Если глину поднести к носу и вдохнуть, действие медикамента нейтрализуется. Мая одна купается в бадье. Нагрузив глины на спину, голышом возвращается в дом. Прикладываю глину Михо и Синдзо. Расскажи остальным.

10.10.1959

kimushi — Sat, 12 Dec 2009 21:51:00 +0000

白い雲にのった赤い飛行機がとんできた	По белым облакам приближается красный самолет.
それは危険な兵器、薬品を搭載している	В нем смертоносное оружие, медикаменты.
マヤがひとりで風呂に行った　心配だったがそのままにした　果して飛行機は着陸してきた　アメリカ人がおりてきた　薬品を撒布　吸うとがいこつになってしまう　然し吸わずにおれない	Мая одна идет в баню. Беспокоюсь, но оставляю как есть. Наконец, самолет приземляется. Из него выходят американцы. Разбрасывают медикаменты. Стоит вдохнуть и от тебя остается один лишь скелет. Но нельзя не вдыхать.

粘土をはなにあてていきをすると中和をする　マヤが湯船でひとりで泳いでいる　粘土をあてがうはだかのまま負ぶって帰宅　ミホと伸三に粘土をあてがう　他の人には教えてください	Если глину поднести к носу и вдохнуть, действие медикамента нейтрализуется. Мая одна купается в бадье. Нагрузив глины на спину, голышом возвращается в дом. Прикладываю глину Михо и Синдзо. Расскажи остальным.

09.10.1959

stupin — Sat, 12 Dec 2009 20:01:00 +0000

麟五郎兄の夢　ミホと三人のとき　カンバイについて話している	Сон о брате Рингоро. Я, он и Михо. Говорим о слове «камбай» («ранняя слива»).
あわて者は神梅などと字を当てるだろうと兄が言う	Брат Рингоро говорит, что многие без раздумий записали бы это слово иероглифами как «божественная слива».
ぼくが先走って神南風じゃないですかというと、黙っている	Когда я, забегая вперед, спрашиваю, «А не “божественный южный ветер”?», он молчит.
ミホに説明しはじめるのをきくと神南風ではなく灌漑のようでもあるがよく分からない	Начав объяснять Михо, не могу точно понять, слышу ли я уже не «божественный южный ветер», а «орошение» («кангай»).

09.10.1959

kimushi — Sat, 12 Dec 2009 20:01:00 +0000

麟五郎兄の夢　ミホと三人のとき　カンバイについて話している	Сон о брате Рингоро. Я, он и Михо. Говорим о слове «камбай» («ранняя слива»).
あわて者は神梅などと字を当てるだろうと兄が言う	Брат Рингоро говорит, что многие без раздумий записали бы это слово иероглифами как «божественная слива».
ぼくが先走って神南風じゃないですかというと、黙っている	Когда я, забегая вперед, спрашиваю, «А не “божественный южный ветер”?», он молчит.
ミホに説明しはじめるのをきくと神南風ではなく灌漑のようでもあるがよく分からない	Начав объяснять Михо, не могу точно понять, слышу ли я уже не «божественный южный ветер», а «орошение» («кангай»).

08.10.1959

stupin — Sat, 12 Dec 2009 14:31:00 +0000

バスに乗って温泉場（？）のような所に行くと終点にルカ神父がジーップをとめて待っている（ぼくはそこにルカ神父がいることは考えていなかった）

Когда на автобусе еду к месту, напоминающему горячие источники (?), на конечной остановке встречаю отца Луку, который ждет меня в своем джипе, припаркованном рядом (не думал, что могу встретить его здесь).

08.10.1959

kimushi — Sat, 12 Dec 2009 14:31:00 +0000

07.10.1959

stupin — Sat, 12 Dec 2009 14:21:00 +0000

泉豊光さんがミサのとき信者に福音書をよませたみんな呼びすてにしぼくのとき―さん付にした一字だけへんな字があってよまないルカ神父がのみこみ顔に笑っているので「このあたりまでは読んでいないことを証明しました」とぼくは言う

Во время мессы Идзуми Тоёмицу-сан просит прихожан прочитать ему из Евангелия. Ко всем обращается на «ты». Когда очередь доходит до меня, переходит на «вы».　В тексте встречается странный иероглиф, из-за которого не могу читать дальше. Отец Лука улыбается с понимающим видом, поэтому говорю, «Это подтверждает то, что до этого места я еще не читал».

07.10.1959

kimushi — Sat, 12 Dec 2009 14:21:00 +0000

22.08.1959

stupin — Sat, 12 Dec 2009 13:43:00 +0000

Lodging for the night	Lodging for the night
アンチオーダークリームのにおい	Запах дезодоранта.
二人のアメリカ人（坊主頭のアメリカ人）	Два американца (бритые наголо)
集会（？）が終わる	Собрание (?) закончилось.
沢山のバスやタクシー（夜中おそい）	Много автобусов и такси (поздняя ночь)
そのあとで一つの部屋――	Позднее, в каком-то помещении -
県商の時の連中　それに三島、圧野、吉行、安岡、遠藤ら	Знакомые по торговому училищу. Кроме них, Мисима, Сёно, Ёсиюки, Ясуока, Эндо, другие
何々新聞のシマオ先生の愛の復活は苦労（？）したね	Говорят, что в какой-то газете было про муки (?) возрождения любви профессора Симао.
それの反発――回心へのヤユ	Отнекиваюсь. – Подтрунивают над моим крещением.
連中、出かけてしまう	Все выходят.
残る　多田礎らがはいってくる	Я остаюсь. Заходит Тада Мотои с кем-то еще.
追い出そうとするがはいってくる	Собираюсь выпроводить их, но они заходят.
ホテルの作法も知らぬということ　朝食の方法　スノブ	Понятия не имею о гостиничных порядках. Как позавтракать. Снобы.
一人、別の部屋に	Один, в другой комнате.
トアがしまらぬ　カーテンがちぎれている　又、はいってくる	Дверь не закрывается. Порванные шторы. Снова заходят.
しめようとしていると　ベールで頭を包んでいる　マヤのような	Когда собираюсь закрыть дверь, голова окутывается пеленой. Как у моей Мая.
救けたモーターバスの女車掌	Проводница с машины скорой помощи.
隣室のベッドあいている	В соседней комнате свободная кровать.
一人だと思って行くと、一ぱい　来タ来タ――ササヤキ	Подумав было, что никого нет, захожу, а там перешептывание, «Пришел! Пришел!».
貧乏人の母と赤ん坊	Нищая с ребенком.
ガンコで黒いイナカのヨッパライ	Отталкивающего вида пьяница неотёсанный.
ムットシタ空気	Очень душно.
アケ方	Светает.
思イキッテ外ニ	Решаюсь выйти на улицу.
原が何カ云ウ　ソレニ皮肉ナ返事　誰彼に皮肉な返事	Хара что-то говорит. Язвительно отвечаю. Всем язвительно отвечаю.
どこかに出て行こうとする	Собираюсь куда-то пойти.

22.08.1959

kimushi — Sat, 12 Dec 2009 13:43:00 +0000

Lodging for the night	Lodging for the night
アンチオーダークリームのにおい	Запах дезодоранта.
二人のアメリカ人（坊主頭のアメリカ人）	Два американца (бритые наголо)
集会（？）が終わる	Собрание (?) закончилось.
沢山のバスやタクシー（夜中おそい）	Много автобусов и такси (поздняя ночь)
そのあとで一つの部屋――	Позднее, в каком-то помещении -
県商の時の連中　それに三島、圧野、吉行、安岡、遠藤ら	Знакомые по торговому училищу. Кроме них, Мисима, Сёно, Ёсиюки, Ясуока, Эндо, другие
何々新聞のシマオ先生の愛の復活は苦労（？）したね	Говорят, что в какой-то газете было про муки (?) возрождения любви профессора Симао.
それの反発――回心へのヤユ	Отнекиваюсь. – Подтрунивают над моим крещением.
連中、出かけてしまう	Все выходят.
残る　多田礎らがはいってくる	Я остаюсь. Заходит Тада Мотои с кем-то еще.
追い出そうとするがはいってくる	Собираюсь выпроводить их, но они заходят.
ホテルの作法も知らぬということ　朝食の方法　スノブ	Понятия не имею о гостиничных порядках. Как позавтракать. Снобы.
一人、別の部屋に	Один, в другой комнате.
トアがしまらぬ　カーテンがちぎれている　又、はいってくる	Дверь не закрывается. Порванные шторы. Снова заходят.
しめようとしていると　ベールで頭を包んでいる　マヤのような	Когда собираюсь закрыть дверь, голова окутывается пеленой. Как у моей Мая.
救けたモーターバスの女車掌	Проводница с машины скорой помощи.
隣室のベッドあいている	В соседней комнате свободная кровать.
一人だと思って行くと、一ぱい　来タ来タ――ササヤキ	Подумав было, что никого нет, захожу, а там перешептывание, «Пришел! Пришел!».
貧乏人の母と赤ん坊	Нищая с ребенком.
ガンコで黒いイナカのヨッパライ	Отталкивающего вида пьяница неотёсанный.
ムットシタ空気	Очень душно.
アケ方	Светает.
思イキッテ外ニ	Решаюсь выйти на улицу.
原が何カ云ウ　ソレニ皮肉ナ返事　誰彼に皮肉な返事	Хара что-то говорит. Язвительно отвечаю. Всем язвительно отвечаю.
どこかに出て行こうとする	Собираюсь куда-то пойти.

26.07.1959

stupin — Fri, 11 Dec 2009 21:10:00 +0000

映画の見物	Прихожу в кинотеатр.
それを割引してもらいたい	Хочу пройти со скидкой.
映画館主（不法者）に誰が交渉するか	Через кого можно выйти на директора кинотеатра (незаконного)?
彼は不在だ	Его нет.
彼の寝室が見えている　八畳の間にふとんが二つ敷いてある	Видна его спальня на восемь татами. Расстелено два футона.
妹娘に交渉　もちろん話は通じない（平一雄校長の声）	Обращаюсь к его младшей дочери. Разговор естественно не клеится (голос директора школы H)
姉娘に交渉　しかし彼女は延髄麻痺	Обращаюсь к старшей дочери. Но у нее паралич продолговатого мозга.
淵の上に建てられた家	Дом, построенный над пропастью.
淵の水を部屋のてすりから眺めている	Смотрю на воду на дне пропасти, оперевшись на балюстраду.
登山路のような公道　広告板にはられた観光ポスター　旅への誘い	Дорога, напоминающая горную тропу. Наклеенный на доску объявлений рекламный плакат для туристов. Зазывает в путешествие.

おどろおどろした日暮時	Сгущаются сумерки.

ざるそば屋でこちらをしきりにうかがう青年	В забегаловке, где подают дзарусоба, за мной пристально следит какой-то парень.

仲居がいるのようないないのような	Официантка словно есть и словно нет ее.
やっぱりあなたでしたかと言うが思い出せずにほどほどに相槌をうつ	«А я сразу и подумал, что это были вы», – говорит тот, что напротив, но я, так и не вспомнив, лишь поддакиваю.
多分精神病院の中で会ったのだろう	Наверное, встречались в психиатрической лечебнице.
何気なく外に一緒に出る	Без каких-то особых причин вместе выходим на улицу.
是非よってくれという　誰かがついてくるようでもある	«Обязательно зайди», – говорит. Кажется, что с нами кто-то еще.
一軒の家にはいる	Входим в один дом.
部屋部屋に人が一っぱいいる　おしわけてはいって行く	Много комнат, набитых людьми. Входим, продираясь через толпу.
彼の部屋は二人だけ　相宿は不在	Его комната только на двоих. Сожителя нет на месте.
相手をたしかめるために名刺を出す	Чтобы проверить, кто он, даю ему свою визитку.
彼の机の上に僕の著書　小説本あり　彼の現在の仕事（あいまい）	У него на столе написанные мной книги. Художественная литература. Его текущая работа (неясно).
秘密結社？	Из тайного общества?
彼もなのったように思う　ききとれぬ　思い出せぬ	Он как будто представился. Не расслышал. Не могу вспомнить.
航空等の本　はっきり思い出す、軍隊のときの知り合い	Книги по авиации и прочему. Вспомнил. Вместе служили в армии.
奇妙な宗教団体の一行来て彼に洗礼（？）を授ける	Приходит группа людей из какой-то странной религиозной организации. Принимают у него крещение (?)
彼の名前どうしても分からない	Никак не могу вспомнить его имя.
カフタンのようなものをきている自分、十字架を首に下げて	Я в чем-то вроде кафтана, на шее свисает крест.
外は打撃的な雨	На улице барабанит дождь.
伸三が先に出て悲鳴をあげる　出て行くべきかどうか	Сначала выходит Синдзо и поднимает крик. Выходить или нет?
やっと帰る　倉庫のような家　二階でミホが待っている	Наконец, возвращаюсь. Дом похож на склад. На втором этаже ждет Михо.
ぼくが帰ったのに外の人を待っている	Я пришел уже, но она ждет кого-то другого.

26.07.1959

kimushi — Fri, 11 Dec 2009 21:10:00 +0000

映画の見物	Прихожу в кинотеатр.
それを割引してもらいたい	Хочу пройти со скидкой.
映画館主（不法者）に誰が交渉するか	Через кого можно выйти на директора кинотеатра (незаконного)?
彼は不在だ	Его нет.
彼の寝室が見えている　八畳の間にふとんが二つ敷いてある	Видна его спальня на восемь татами. Расстелено два футона.
妹娘に交渉　もちろん話は通じない（平一雄校長の声）	Обращаюсь к его младшей дочери. Разговор естественно не клеится (голос директора школы H)
姉娘に交渉　しかし彼女は延髄麻痺	Обращаюсь к старшей дочери. Но у нее паралич продолговатого мозга.
淵の上に建てられた家	Дом, построенный над пропастью.
淵の水を部屋のてすりから眺めている	Смотрю на воду на дне пропасти, оперевшись на балюстраду.
登山路のような公道　広告板にはられた観光ポスター　旅への誘い	Дорога, напоминающая горную тропу. Наклеенный на доску объявлений рекламный плакат для туристов. Зазывает в путешествие.

おどろおどろした日暮時	Сгущаются сумерки.

ざるそば屋でこちらをしきりにうかがう青年	В забегаловке, где подают дзарусоба, за мной пристально следит какой-то парень.

仲居がいるのようないないのような	Официантка словно есть и словно нет ее.
やっぱりあなたでしたかと言うが思い出せずにほどほどに相槌をうつ	«А я сразу и подумал, что это были вы», – говорит тот, что напротив, но я, так и не вспомнив, лишь поддакиваю.
多分精神病院の中で会ったのだろう	Наверное, встречались в психиатрической лечебнице.
何気なく外に一緒に出る	Без каких-то особых причин вместе выходим на улицу.
是非よってくれという　誰かがついてくるようでもある	«Обязательно зайди», – говорит. Кажется, что с нами кто-то еще.
一軒の家にはいる	Входим в один дом.
部屋部屋に人が一っぱいいる　おしわけてはいって行く	Много комнат, набитых людьми. Входим, продираясь через толпу.
彼の部屋は二人だけ　相宿は不在	Его комната только на двоих. Сожителя нет на месте.
相手をたしかめるために名刺を出す	Чтобы проверить, кто он, даю ему свою визитку.
彼の机の上に僕の著書　小説本あり　彼の現在の仕事（あいまい）	У него на столе написанные мной книги. Художественная литература. Его текущая работа (неясно).
秘密結社？	Из тайного общества?
彼もなのったように思う　ききとれぬ　思い出せぬ	Он как будто представился. Не расслышал. Не могу вспомнить.
航空等の本　はっきり思い出す、軍隊のときの知り合い	Книги по авиации и прочему. Вспомнил. Вместе служили в армии.
奇妙な宗教団体の一行来て彼に洗礼（？）を授ける	Приходит группа людей из какой-то странной религиозной организации. Принимают у него крещение (?)
彼の名前どうしても分からない	Никак не могу вспомнить его имя.
カフタンのようなものをきている自分、十字架を首に下げて	Я в чем-то вроде кафтана, на шее свисает крест.
外は打撃的な雨	На улице барабанит дождь.
伸三が先に出て悲鳴をあげる　出て行くべきかどうか	Сначала выходит Синдзо и поднимает крик. Выходить или нет?
やっと帰る　倉庫のような家　二階でミホが待っている	Наконец, возвращаюсь. Дом похож на склад. На втором этаже ждет Михо.
ぼくが帰ったのに外の人を待っている	Я пришел уже, но она ждет кого-то другого.

Pata note karo hamaaraa

squarecutatul — Fri, 11 Dec 2009 01:54:11 +0000

I have mentioned it in the past that Bollywood movie music was enriched not only by legendary music directors, but also by lesser known names who often got to work in forgettable C grade movies.

Here is a wonderful light hearted song from “Zara Bachke” (1959). It was a movie where Suresh and Nanda played lead roles, but this song was picturised on Johny Walker. When I herad this song for the first time, I was convinced that this had to be one of the best light hearted song sung by Rafi.

This song is written by Raja Mehdi Ali Khan. Mostly known for writing serious songs, here Raja Mehdi Ali Khan shows that he could right fun loving songs as well.

Music direction is by Nashaad and he too comes up with lovely music of a kind that he is not normally associated with.

This song is a nice gem unearthed.

song-Pataa note karo hamaaraa (Zara Bachke) (1959) Singer-Rafi , Lyrics-Raja Mehdi Ali Khan, MD-Nashaad

Lyrics

arre pataa note karo
ho pataa note karo hamaara
o pataa note karo hamaara
hamse aa milna dobaaraa
premnagar mein prem sadak ke
sabse oonche maale par hai
kholi number gyaarah
pataa note karo
ho pataa note karo hamaara
hamse aa milna dobaaraa
premnagar mein prem sadak ke
sabse oonche maale par hai
kholi number gyaarah
pataa note karo

premnagar ki pariyaan apna asli roop chhupaayen
do aane ka powder munh pe maaren aur muskaayen
premnagar ki pariyaan apna asli roop chhupaayen
do aane ka powder munh pe maaren aur muskaayen
jo dekhe unko wo fatkaa khaa jaaye bechaara
o memsaab
arre pataa note karo
o pataa note karo hamaara
hamse aa milna dobaaraa
premnagar mein prem sadak ke
sabse oonche maale par hai
kamra number gyaarah
pataa note karo

ho jaaye kamzor jo khaaye premnagar ki food
sehat bigde soorat bigde bigde uska mood
ho jaaye kamzor jo khaaye premnagar ki food
sehat bigde soorat bigde bigde uska mood
nakli ghee khaa khaa ke roye har premi bechaaraa
ho bhaisaab
arre pata note karo
ho pataa note karo hamaara
hamse aa milna dobaaraa
prem nagar mein premsadak ke
sabse oonche maale par hai
kholi number gyaarah
pataa note karo

premnagar mein faili hai ek bahut badi beemaari
kyaa main uska naam bataaun naam uska bekaari
premnagar mein faili hai ek bahut badi beemaari
kyaa main uska naam bataaun naam uska bekaari
aao yaaron doob maren ham
padaa samundar saara
ho bhaisaab
arre pata note karo bhai
pataa note karo hamaara
hamse aa milna dobaaraa
premnagar mein prem sadak ke
sabse oonche maale par hai
kamra number gyaarah
pataa note karo

Teresa Pous y Salvador Espriu

Aaoiue — Wed, 09 Dec 2009 10:03:00 +0000

Salvador Espriu

Teresa Pous con Theresa Mitsopoulou

O Tejo é mais belo que o rio que corre pela minha aldeia,

Mas o Tejo não mais belo que o rio que corre pela minha aldeia

Porque o tejo não é o rio que corre pela minha aldeia

Fernando Pessoa

No sé si estamos en el mejor de los mundos posibles como decía Leibniz, o en el peor como dijo Voltaire. Tampoco sé si la época que me ha tocado vivir es la mejor posible o la peor posible. Diría lo que dijo Fernando Pessoa: “El río Tajo es más bello que el río que correo por mi aldea, | pero el río Tajo no es más bello que el río que correo por mi aldea | porque el río Tajo no corre por mi aldea”. Por cierto, la versión cantada de Tom Jobim me desfigura un tanto lo que me sugiere Pessoa. Es diferente, muy diferente a lo que me ha ocurrido con uno de mis discos preferidos, Time out. Los royalties de interpretación de su canción más famosa, “Take five”, que no me canso de oír nunca, al parecer fueron legados por su compositor, Paul Desmond, a la Cruz Roja Americana. Es decir, al saber que esa maravillosa pieza de jazz beneficia además una causa social me parece miel sobre hojuelas. Así que como hay cosas que con el tiempo por raro que parezca son susceptibles de ser empeoradas (Pessoa) también las hay que son mejorables (“Take five”) por imposible que parezca.
Servidora está muy contenta de vivir en esta época tan degradada simplemente porque si bien es cierto que la violencia, el hambre y las calamidades han existido, existen e incluso existirán siempre, Shakespeare no. Claro que me hubiera gustado vivir la Hispania romana, sobre todo la Bética, pero es algo que no descarto. No podemos descartar nada. Me viene estos días a la memoria una entrevista que tuvimos con Salvador Espriu Teresa Pous y quien ésto escribe y a la que ya hice una breve referencia en *A la flor del berro. Fue en 1984, creo, y el poeta murió en 1985. Recuerdo que nos dijo muchas cosas, y sobre todo que para mentir había que tener memoria. Nos lo dijo a cuento de nuestra insistencia con su biblioteca personal. Sus libros los tenían, dijo literalmente, “persones de la meva confiança”, y si es que los necesitaba sabía donde estaban. La razón de no conservar a su lado más que algún diccionario −que se guardó de concretar− era que durante la guerra de 1936 su familia había perdido pertenencias. Como si así renunciando a ellos nada le pudiera ser quitado.
El despacho del Paseo de Gracia donde nos recibió era desnudo y pulcro como celda de cartujo. En un momento dado una mota de polvo brillante y errática en suspensión animó la pieza atravesando un haz de luz, pero Espriu la interceptó entre los dedos índice y pulgar, y siguió ordenadamente explicándonos sus afinidades literarias haciendo una estricta cronología de poetas occidentales. Si no hubiera enfermado nos habría recibido más veces, según nos prometió, y habría continuado no sé si con otros géneros. No puedo aventurarlo.
Todo en él era exactitud, agudeza, claridad, discreción, penetración y pulcritud: el corte y el color de su traje, la forma de sentarse y la forma de pasar por cada nombre sin desviarse con rodeos o digresiones, anécdotas innecesarias, etc. Teniendo en cuenta que nos recibió inesperadamente, de improviso, la seguridad con la que pasaba de un autor a otro no podría más que haberla dado un perfecto y reposado conocimiento de aquello de lo que estaba hablando. La sobriedad la daba el respeto, su solidez. Y todo con las solas palabras. Al leer sus obras y conocer su estilo de lenguaje es fácil hacerse cargo de todo cuanto pretendo recordar. Pienso a veces que aunque su familia no hubiera sufrido el expolio en la Guerra Civil, la relación con los libros que tuvo no habría sido muy diferente. Esta hipótesis me llevaría horas probarla y evidentemente no conseguiría llevarla a terrenos irrefutables. Tampoco busco tener la razón, más bien lo dejo ahí, en la mera impresión.

Otra cosa sería indagar qué hacía que unos libros fueran a parar a una persona de su confianza y otros fueran a parar a otra persona de su confianza. No me atreví a preguntárselo, para no abusar de su hospitalidad. Teresa y yo habíamos hecho un inventario comentado sobre la biblioteca particular de Joan Maragall. Teresa se animó a enviárselo a Espriu proponiéndole hacer algo semejante con la suya. Antes de una semana nos contestó. Me envió a mi domicilio una tarjeta felicitándonos por el estudio pero rechazando amablemente nuestra proposición por no tener biblioteca. Esto ya nos lo había advertido F.C., el jefe de Teresa, pero creímos que algún libro tendría, con lo cual la selección aún hacía mucho menos engorroso e interesante el proyecto. Como Espriu nos invitaba a recoger por su bufete de abogado la copia del estudio sobre Maragall, tuvimos la ocasión de hablar con él. Fue Teresa quien tuvo la iniciativa de pedírselo al conserje.
El conserge nos pasó a una sala que se parecía mucho a la que hay en una foto del disco de Mª del Mar Bonet con la carátula de Miró. Al poco apareció Espriu, muy serio, molesto, adusto. Cuando T. se dio cuenta de su aspereza se le inundaron los ojos de lágrimas. Teresa es así, con los sentimientos a flor de piel. Y sin embargo es fortísima interiormente. No tuve otro remedio que -como se dice en el lenguaje taurino- echar yo un capote y apresurarme a decir algo y a decir que nos habíamos atrevido a molestarlo porque lo admirábamos (y lo admiramos). La reacción de los tres fue rápida y la escena se recompuso como en un caleidoscopio. Tomamos notas de cuanto dijo sobre sus gustos en poesía. Las perdí así como perdí la tarjeta. “Fons scelera”, como diría un personaje Plauto. A veces creo que aún puede aparecerme entre las páginas de algún libro querido. No sé qué me pudo ocurrir. A indicación suya le telefoneamos al cabo de unos días para concertar otra entrevista, pero ya había enfermado, como llevo dicho.
Así que nos dijo que para mentir había que tener memoria. Con el tiempo esa afirmación adquirió pleno significado. Me di cuenta de que esa frase era la punta visible de otra frase mayor obviando a quien cree que mentir es solo cuestión de imaginación. Si nos deslizamos al terreno moral, quien es sorprendido en una mentira tiene que afrontar por lo menos dos “vergüenzas”: la de haber sido descubierto y la de haber mentido. También podrían acumularse las de tomar a los demás por tontos, la de tener un conocimiento del mundo insuficiente para elaborar una historia verosímil y la de tener una pésima relación con la verdad.
La imaginación suele ser una facultad que se atribuye a los escritores. Muchas veces no se les atribuye gran cosa más. La amenidad se celebra. Hay demasiadas tonterías en torno a la literatura y más ahora, gracias a la implantación de lo que llamamos literatura de consumo. Son generalmente novelas. Una lectora profesional de Planeta, que lee a gran velocidad, reveló el otro día en televisión las consignas de su editor: trasfondo histórico o exótico, familias desestructuradas y sexo. Todo sonaba terriblemente convencional y huero, y como neutralizado, como ocurre con la música en manos de un pianista mediocre cuando hace que todo parezca indistinto se trate de un fado, un bolero o el concierto para piano número 1 de Chopin.

Años después Teresa Pous Mas es una escritora consagrada, con varios libros editados, pero estoy segura de que recuerda la entrevista que en buena parte se debió a su interés pero en gran medida también a la admiración de las dos hacia el poeta. En los noventa tuve ocasión de conocer a Cela, pero decliné la oportunidad. Veraneaba en Finisterre/Fisterra aún. Cuando todavía estaba casado con su primera esposa, Rosario. Estaba yo tomando café en casa de una prima y lo ví pasar desde la ventana de la cocina. Pasado un rato le dije a María Jesús: “No sabrás a quien me pareció ver…” Y ella misma me contestó: “A Camilo José Cela”. Una amiga de Mallas se ofreció a presentarme, pero como digo decliné la ocasión. Dije: “No sabría qué decirle”. Sé que era un buen conversador y tengo razones para pensar que mi trato no es difícil. Era una excusa, porque la pura verdad es que no me gusta importunar a nadie. La otra razón, que no es menor, es la de que cada vez que he conocido a alguien famoso luego se ha muerto.

"race mixing is communism"

tiffdjones — Mon, 07 Dec 2009 19:20:10 +0000

I guess we have come a long way, tho we’ve got so far to go…

Tweed Fender Champ Rear Panel - Asbestos

myfenderchamp — Sun, 06 Dec 2009 23:40:36 +0000

The best parts of a vintage tweed Fender Champ are the vacuum tubes. State of the art technology when my Fender Champ amp was built in 1959, they were in every electronics device at the time. One of the coolest things about these big vacuum tubes is that you can see and feel them working. They glow. They get hot. They get REALLY hot.

It is pretty common on these old Fender Champs to see that the power cord has been replaced. More often than not, it is because the power cord was wrapped up after use, tucked inside the cabinet, came in contact with the still hot tubes and melted through.

Safety considerations of the time not being up to what we expect today, the tubes are mounted pointing down from the rear of the metal chassis and are completely exposed. There is plenty of clearance between the hot tubes and the wood of the cabinet on all but one side – the rear. Having hot vacuum tubes too close to nice and combustable pine wood panels could be quite problematic. So, what was the best material available at the time to deal with this issue? Asbestos of course! The video below gives a comprehensive overview of asbestos (minus all the health problems associated with it). It is called Asbestos – A Matter of Time. It was produced in 1959 by the US Bureau of Mines. I thought it was too sweet that it was made in the same year as my amp!

From these videos, it looks like everything had asbestos in it at one point. So what does this have to do with my Fender Champ? Asbestos fabric is what was used to keep the wood of rear panel from catching fire due to the heat of the tubes.

Tweed Fender Champ Rear Panel

You can see that on the inside of the rear panel there is a white, cottony cloth like material, about 1/16th of an inch thick, covering most of the panel. This is the side that is closest to the hot vacuum tubes and was most likely to catch fire if not adequately protected from the heat. Sometimes you will see scorching on this fabric , but it usually stays in pretty good condition. So, just how heat resistant is asbestos fabric? One more old time video clip demonstrates this quite dramatically. The clever wordplay is kind of cute.

P.S. Greasers (1961)

Fred Kagel — Sat, 05 Dec 2009 19:39:41 +0000

Hot cars, hot chicks, Priscilla, Kelly’s. We didn’t have that in AZA … or did we? Yes, come to think of it, we did have some wild and crazy guys…but Ray Richardson, apparently was in a class all by himself… and he’s still cruisin’!

Ray, keep making us smile!

(See high res scan at 50s Memory Lane).

Harry Belafonte Live In Concert At The Carnegie Hall

borguez — Fri, 04 Dec 2009 13:57:50 +0000

Harry Belafonte
Live In Concert At The Carnegie Hall
(RCA Records, 1959)
more details ↔ link in comments

Sleeping Beauty

kirkosborn1970 — Fri, 04 Dec 2009 03:59:00 +0000

Sleeping Beauty (1959)

IMDB rating: 7.40

Plot: Adaptation of the fairy tale of the same name. Princess Aurora is cursed by the evil witch Maleficent – who declares that before Aurora reaches her 16th birthday she will die by a poisoned spinning-wheel. To try to prevent this, the king places her into hiding, in the care of three goodnatured – but not too bright – fairies.

Directors: Geronimi Clyde

Actors: Shirley Bill,Holmes Taylor,Thompson Bill,Amsbery Bill,Candido Candy,Colvig Pinto,McKennon Dal,Miller Marvin,Ravenscroft Thurl,Animation,Fantasy,Family,Musical,Romance,

Are these good presents for a girl turning 1 in a few weeks?
I was thinking of getting Gracie:

Bubbles
Crayons
A little "dress up" Sleeping Beauty outfit
Dog Cuddly animal
Cupcakes!

Wasn’t planning on spending to much! Do you think that is too much? To less?? What do you think! My budget is about $75, I have already spent around $50 on just that!

Thanks again! Also answer this question for me http://answers.yahoo.com/question/index; _ylt=Au3I5VjC.6CXQ30FF12FgSbsy6IX;_ylv=3 ?qid=20091121055236AAyq1kB.
I’m only 17, so I can’t spend much, but i like the ball pit idea!! I’ll have to look into that

I think that is plenty, she will grow into the things she can’t use right away and will enjoy the things that she can. If you want to spend a little bit more money I would suggest some educational toys, my son has a soft piano that he can play and he loves that, I think I got it at target. Tambourines and drums are always a nice idea as well so that they can learn to be creative and make music.

Claire | Nov 21, 2009

Those are okay. Be prepared, she may eat the crayons instead of color with them! lol

I think a couple educational toys would be a good add. Maybe a shape sorter or stacking blocks. Neither costs very much. Another idea is some toys for bathtime. My daughter at that age also really go into her ballpit with soft balls. That can be educational too if you want to teach her different colors.
Captain | Nov 21, 2009

Hello, my son is turning 1 in 2 weeks and I’m in the same boat. I wouldn’t reccommend crayons, she will probably eat them. Bubbles are fun, but a little battery opeated machine to make them blow is what my son enjoys. She probably won’t get the concept of ‘dress up’ either. The cuddly dog is great and cupcakes sound yummy – easy on the icing
I got this toy a couple days ago, its a fisher price learning table. Its got a couple settings where you can make noise, or play songs or learn abcs. Its a great toy for them to grow into and my son is hooked. Can even be put on ground or on legs (in case she isn’t standing/walkin yet)Cost about 40$ at walmart, even comes with batteries!
Just keep in mind where she is at with her development. If she’s active or quiet. I would even suggest a smaller (6in diameter) ball. Its a good way to interact, develop eye/hand cordination and keeps the child busy. (My son is a ball freak)
Good luck with your gift search!
littlemiseternity | Nov 21, 2009

I wouldn’t bother with crayons just yet…all she’ll want to do is eat them. LOL.

All the others sound great though.
BeautyBlitz [has twins!] | Nov 21, 2009

Good gifts. Just make sure the crayons are the fat ones made for little hands, and they are crayola brand. they are the only ones that are actually non toxic. Also I agree that bath toys are a great idea.
jkn143 | Nov 21, 2009

i work at a day care with 1 yr olds. some of the kids favorite toys are: mini size furniture-just a little soft chair with cartoon charecters on them, nesting cups, or blocks- just anything they can build and knock down, anything dramatic or you can get her a bike she can sit on and push with her feet they are really cheap. they also do like to color but you have to watch them sooo close other wise they do eat them, same with the bubbles.
JoE | Nov 21, 2009

Grand Canyon fun - back in the day

eideard — Fri, 04 Dec 2009 01:00:27 +0000

Thanks, David Snyder