Tag Archives: war



Hidden in Plain View


During WW II Lockheed (unbelievable 1940s pictures). This is a version of special effects during the 1940’s. I have never seen these pictures or knew that we had gone this far to protect ourselves. During World War II the Army Corps of Engineers needed to hide the Lockheed Burbank Aircraft Plant to protect it from a possible Japanese air attack. They covered it with camouflage netting to make it look like a rural subdivision from the air.





The person I received this from said she got back an interesting story about someone’s mother who worked at Lockheed, and she as a younger child, remembers all this.  And to this day, it is the first pictures of it she’s seen.


Another person who lived in the area talked about as being a boy, watching it all be set up like a movie studio production.  They had fake houses, trees, etc. and moved parked cars around so it looked like a residential area from the skies overhead.


Note…. I lived in  North Long Beach  during World War II, I was 13 years old. (1940) The Long Beach airport was near Lakewood, CA. There was a large Boeing Plant there.  If you would drive down Carson St. going south you could drive under the camouflage netting.  Ed Pollard 


I am 85 and had much of my pilot training in Calif.  I have been under this net and have seen it from the air.  During preflight training I rode a bus under the net and was very surprised as I didn’t know it was there.  It was strong enough to walk on and they hired people to ride bicycles and move around as if they lived there to make it look authentic.  Warren Holmgreen Jr 




Hiding the Lockheed Plant during World War II – wow this is amazing!

Read more: http://stories-etc.com/hidden.htm#ixzz3k2KmkF1Z

The Counterculture


The Counterculture

m987images 98nh k98n 09kiimages 890u bg678images

photo Janis Joplin and Big Brother and The Holding Company, Lagunitas, California, 1967. Joplin’s gritty, full-throttle blues-rock style offered a new, liberating image for women in the world of rock music.

Unconventional appearance, music, drugs, communitarian experiments, and sexual liberation were hallmarks of the sixties counterculture, most of whose members were white, middle-class young Americans. To some Americans, these attributes reflected American ideals of free speech, equality, and pursuit of happiness. Other people saw the counterculture as self-indulgent, pointlessly rebellious, unpatriotic, and destructive of America’s moral order.

Authorities banned the psychedelic drug LSD, restricted political gatherings, and tried to enforce bans on what they considered obscenity in books, music, theater, and other media. Parents argued with their children and worried about their safety. Some adults accepted elements of the counterculture, while others became estranged from sons and daughters.

In 1967 Lisa and Tom Law moved to San Francisco, joining thousands of young people flocking to the Haight-Ashbury district. The counterculture lifestyle integrated many of the ideals and indulgences of the time: peace, love, harmony, music, mysticism, and religions outside the Judeo-Christian tradition. Meditation, yoga, and psychedelic drugs were embraced as routes to expanding one’s consciousness.


photo The “Freak-Out” show, Los Angeles, 1965. Rock music, colorful light shows, performance artists, and mind-altering drugs characterized the psychedelic dance parties of the sixties held in large halls in Los Angeles and San Francisco.


photo A concert in the Panhandle, Golden Gate Park, San Francisco, 1967


photo The Haight-Ashbury section of San Francisco, 1967. Students, hippies, musicians, and artists gravitated toward the community’s inexpensive housing and festive atmosphere.



photo Hell’s Angels motorcycle club members, the Panhandle in Golden Gate Park, San Francisco, 1967. While some people admired the Hell’s Angels’ audacious style, its members had an uneven and sometimes violent relationship with people in the counterculture.


photo Musician in the Panhandle, San Francisco, 1967


photo “Summer of Love,” the Panhandle, San Francisco, 1967


photo San Francisco, 1967


photo Easter Sunday Love-In, Malibu Canyon, California, 1968. This was a celebration of the counterculture movement.


photo Suzuki-Roshi, a Buddhist teacher, at the Human Be-In, Golden Gate Park, San Francisco, January 14, 1967. Also known as “A Gathering of the Tribes,” the Human Be-In was an effort to promote positive interactions among different groups in society.


photo Poet Allen Ginsberg, Human Be-In festival, Golden Gate Park, San Francisco, 1967. Ginsberg, known for his poem Howl, lived and symbolized the bohemian ideals of the Beat Generation of the 1950s and embraced the counterculture of the sixties.


It [the counterculture] was an attempt to rebel against the values our parents had pushed on us. We were trying to get back to touching and relating and living.

-Lisa Law, 1985


photo Monterey International Pop Festival, Monterey, California, 1967. Monterey Pop was one of the first large outdoor rock festivals in the 1960s. Lisa and Tom Law sheltered people who were having difficult psychedelic drug experiences in their “Trip Tent.”


photo Timothy Leary, the Harvard-trained psychologist who coined the phrase “Turn On, Tune In, Drop Out,” at the Human Be-In, San Francisco, 1967

Social Activism and the Counterculture

photo Musician Judy Collins performing at anti-Vietnam War rally, Kezar Stadium, San Francisco, 1967

In the 1960s, Lisa Law and thousands of other Americans were moved by the Vietnam War, racial injustice, fear of nuclear annihilation, and the rampant materialism of capitalist society. Many were inspired by leaders such as John F. Kennedy and Martin Luther King Jr. Small groups staged sit-ins at schools, local lunch counters, and other public facilities. Masses gathered in the nation’s cities to protest what they saw as America’s shortcomings.

Many members of the counterculture saw their own lives as ways to express political and social beliefs. Personal appearance, song lyrics, and the arts were some of the methods used to make both individual and communal statements. Though the specifics of the debates were new, arguments for personal freedom, free speech, and political reform go back to the foundations of American society and the arguments of 19th-century social reformers and founders of new communities.

photo Artist Liberation Front meeting, San Francisco, 1967. This group of artists presented alternatives to “official” art in the form of street fairs that featured live music, mimes, puppet shows, and participatory painting.


photo Victor Maymudes, Bob Dylan’s road manager, with a mandala, a symbol of life, Monterey International Pop Festival, 1967. Maymudes carried this mandala made from burnt doll parts to protest the U.S. dropping of napalm in Vietnam.


photo Coretta Scott King, anti-Vietnam War rally, Kezar Stadium, San Francisco, 1967


photo Paul Krassner (center), editor of the underground publication The Realist, and Harvey Kornspan (far right), a member of the Diggers, the Panhandle, San Francisco, 1967. The Diggers were political activists and performers who distributed free food and clothing and staged theatrical events in the streets of San Francisco.


photo Tony Price playing the atomic gongs, El Rancho, New Mexico, 1970. Price made musical instruments out of materials salvaged from the U.S. atomic bomb research facility at Los Alamos, New Mexico.


photo Black Panthers, anti-Vietnam War rally, Kezar Stadium, San Francisco, 1967. The newly formed Black Panther Party, frustrated with the status quo, called attention to the purportedly disproportionate numbers of black men bearing the burden of combat in the Vietnam War.


photo “General Hershey Bar,” San Francisco, 1967. Antiwar demonstrators used street theater and satire to make political commentary. Gen. Lewis B. Hershey headed the Selective Service (Draft Board) in the Vietnam era.



Communal Living

photo New Buffalo Commune, Arroyo Hondo, New Mexico, 1967


Some children of the sixties counterculture dropped out and left the cities for the countryside to experiment with utopian lifestyles. Away from urban problems and suburban sameness, they built new lives structured around shared political goals, organic farming, community service, and the longing to live simply with one’s peers.

The Laws lived in several groups of poets, musicians, artists, and idealists. These communities experimented with redefining family structure, the relationship between work and leisure, and the role of their community in the world. Their degrees of success varied, however. Many men and women struggled to balance personal and political freedom with individual responsibilities and commitments, and to develop the farming and building skills needed to sustain the community.


photo Caravan, including Lisa and Tom Law’s bus “Silver,” en route to Love-In protest at Los Alamos atomic proving grounds, New Mexico, 1968

c90 mn87 niyimages mn78

photo Horse trainer Tommy Masters teaching Prince to harness, Truchas, New Mexico, 1970


photo Building the communal house at the New Buffalo Commune, Arroyo Hondo, New Mexico, 1968. The Laws traveled to New Mexico to have their first child at a facility that practiced natural childbirth. They helped build the New Buffalo commune and decided to move to New Mexico to live among a group of friends.


photo Rick Klein and Steve, Jenna, and Carol Hinton, New Buffalo Commune, 1967. Rick Klein and other benefactors sometimes bought the land and founded communes, enabling members to implement their ideals.


photo Ben Marcus and Little Joe Gomez of the Peyote Church, Taos Pueblo, New Mexico, 1967. New Buffalo Commune members interpreted the ways of nearby American Indians to model a new life of self-sufficiency and tribal community.


photo Lisa Law writing birth announcements and breast-feeding newborn daughter Dhana Pilar, Embudo, New Mexico, 1967. Lisa Law and Steve Hinton made the cradleboard. Photograph by Tom Law


photo Miles Hinton, New Buffalo Commune, 1967


photo Hog Farm Commune members and friends, Spence Hot Springs, Jemez Mountains, New Mexico, 1967


photo Musician, New Buffalo Commune, Arroyo Hondo, New Mexico, 1967

c9c98 xixu c90 mn87

photo Ken Kesey, aboard his bus “Further,” Aspen Meadows, New Mexico, 1969. Author of One Flew Over the Cuckoo’s Nest, Kesey and his troupe, the Merry Pranksters, celebrated both spontaneous street theater to engage a mainstream audience and the use of psychedelic drugs.


photo Indian Sikh Yogi Bhajan teaching Kundalini yoga class, summer solstice, Tesuque Reservation, New Mexico, 1969. As part of a spiritual reawakening, some members of the counterculture rejected drug use in favor of mind and spiritual expansion through yoga, meditation, and chanting.


We stopped smoking marijuana and started getting high on breathing. Enough of being potheads. Now we could be healthy, happy and holy.

-Lisa Law, 1987


photo Hog Farm leader Wavy Gravy, Llano, New Mexico, 1969. Spontaneity, playfulness, and openness were cherished elements of commune life.


photo Commune members Laura and Paul Foster’s wedding at the Hog Farm’s summer solstice celebration, Aspen Meadows, New Mexico, 1968


photo Barry, Patty, and Ever McGuire with Don and Cindy Gallard watching the sunset, New Mexico, 1967. Barry McGuire, formerly of the New Christy Minstrels, recorded the hit protest song “Eve of Destruction.”


photo Pilar Law and yoga altar at New Buffalo Commune, 1969


Fifteen of us lived together, one room per family, and a kitchen and a communal room. I can’t say that I enjoyed that kind of living. It always seemed that women ended up doing a lot more chores than the men. The men played music, smoked the herb, chopped wood and repaired vehicles. The lack of privacy was a test.

-Lisa Law, 1987


photo Lisa and Tom Law with children Solar Sat and Dhana Pilar on Law farm, Truchas, New Mexico, 1970. Seeking more independence and privacy, the Laws moved into their own house, farmed, and raised animals.


photo Planting first garden on Law farm, Truchas, New Mexico, 1970



09kiimages 98nh m987images

Organizing Woodstock

photo Hog Farm members in free kitchen, Woodstock, 1969

The Woodstock Music and Art Fair made history. It was, depending on one’s point of view, four days of generosity, peace, great music, liberation, and expanding consciousness, or four days of self-indulgence, noise, promiscuity, and illegal drug use.

In 1969, Lisa Law and eighty-five experienced commune organizers were asked to assist with the medical tents, security, food services, stage activities, and information booths at a music festival near Woodstock, a little town in upstate New York. Seven months pregnant, with a toddler in hand, Law managed to take photographs of the festival, help run a free kitchen, and film an hour of home movies. She captured images of an event that remains one of the most powerful symbols of the decade.

Woodstock enabled thousands of middle-class young people to experience the communal spirit. For the first time, these young people felt empowered by their numbers. Politicians and manufacturers in the music and clothing industries took note of the potential of a growing youth market.

photo Hog Farmers arrival at John F. Kennedy Airport en route to the Woodstock Music and Art Fair, Woodstock, New York, 1969. The Laws and others in the counterculture saw music festivals as “purveyors of consciousness and peace.”


photo The musical group Quill on stage, Woodstock, 1969


photo Woodstock Music and Art Fair, Woodstock, New York, 1969


photo Dennis Hopper, director and co-star of the film Easy Rider, New Mexico, 1970. The New Buffalo Commune served as a model for Hollywood depictions of communal living.


Just as increasing numbers of people were coming to the communes looking for answers, the Laws’ final back-to-the-land experiment at Truchas, New Mexico, was faltering. In 1976, Lisa Law moved to Santa Fe, where she eventually made her living as a photographer.

The counterculture movement, greeted with enormous publicity and popular interest, contributed to changes in American culture. A willingness to challenge authority, greater social tolerance, the sense that politics is personal, environmental awareness, and changes in attitudes about gender roles, marriage, and child rearing are legacies of the era.

Today Lisa Law lives by the Rio Grande in northern New Mexico in a solar-powered house. Her tepee is pitched beside her organic garden. Law continues to use her camera to document social issues, including efforts to end nuclear arms testing, the struggles of the young and elderly of New Mexico, and issues of Native American sovereignty.


photo Janis Joplin and Tommy Masters at Law farm, Truchas, New Mexico, 1970. In 1970, Joplin and fellow musician Jimi Hendrix died of drug and alcohol abuse.

hippiefest1 wq23images sa23 ws32


best #movies of the #60’s

best #movies of the #60’s


vid-lawrence vid_sp-od vid_psycho vid_once-west vid_drstrangelove vid_812 mov-title_03 mov-title_02 mov-title_01 51ydPWzleGL._SL160_ images (208) images (204) images (203) images (201) images (197) images (200) images (199) images (198) images (196) images (195) images (194) images (193) images (192) images (191) images (190) images (189) images (188) images (187) images (186) images (184) images (185)

  1. Lawrence of Arabia – (1962, David Lean) (Peter O’Toole, Alec Guinness)
  2. Psycho – (1960, Alfred Hitchcock) (Anthony Perkins, Janet Leigh)
  3. Dr. Strangelove… – (1964, Stanley Kubrick) (Peter Sellers, George C. Scott)
  4. 8 1/2 – (1963, Federico Fellini) (Marcello Mastroianni, Claudia Cardinale)
  5. 2001: A Space Odyssey – (1968, Stanley Kubrick) (Keir Dullea, Gary Lockwood)
  6. Once Upon a Time in the West – (1968, Sergio Leone) (Henry Fonda, Charles Bronson)
  7. To Kill a Mockingbird – (1962, Robert Mulligan) (Gregory Peck, Mary Badham)
  8. Midnight Cowboy – (1969, John Schlesinger) (Dustin Hoffman, Jon Voight)
  9. Bonnie and Clyde – (1967, Arthur Penn) (Warren Beatty, Faye Dunaway)
  10. La Dolce Vita – (1960, Federico Fellini) (Marcello Mastroianni, Anouk Aimee)
  11. The Good, the Bad and the Ugly – (1966, Sergio Leone) (Clint Eastwood, Lee Van Cleef, Eli Wallach)
  12. The Graduate – (1967, Mike Nichols) (Dustin Hoffman, Anne Bancroft, Katharine Ross)
  13. Breathless – (1960, Jean-Luc Godard) (Jean-Paul Belmondo, Jean Seberg)
  14. The Yojimbo – (1961, Akira Kurosawa) (Toshiro Mifune, Tatsuya Nakadai)
  15. Wild Bunch – (1969, Sam Peckinpah) (William Holden, Ernest Borgnine)
  16. Persona – (1966, Ingmar Bergman) (Liv Ullmann, Bibi Andersson)
  17. The Leopard – (1963, Luchino Visconti) (Burt Lancaster, Claudia Cardinale)
  18. L’Avventura – (1960, Michelangelo Antonioni) (Gabriele Ferzetti, Monica Vitti)
  19. The Apartment – (1960, Billy Wilder) (Jack Lemmon, Shirley MacLaine)
  20. The Manchurian Candidate – (1962, John Frankenheimer) (Frank Sinatra, Laurence Harvey)
  21. Easy Rider – (1969, Dennis Hopper) (Peter Fonda, Dennis Hopper, Jack Nicholson)
  22. Last Years at Marienbad – (1961, Alain Resnais) (Delphine Seyrig, Giorgio Albertazzi)
  23. West Side Story – (1961, Jerome Robbins, Robert Wise) (Natalie Wood, Richard Beymer)
  24. Cool Hand Luke – (1967, Stuart Rosenberg) (Paul Newman, George Kennedy, Strother Martin)
  25. The Battle of Algiers – (1966, Gillo Pontecorvo) (Brahim Hadjadj, Jean Martin)
  26. Doctor Zhivago – (1965, David Lean) (Omar Sharif, Julie Christie)
  27. A Hard Day’s Night – (1964, Richard Lester) (The Beatles, Wilfrid Brambell, Norman Rossington)
  28. Alphaville – (1965, Jean-Luc Godard) (Eddie Constantine, Anna Karina)
  29. The Music Man – (1962, Morton DaCosta) (Robert Preston, Shirley Jones, Buddy Hackett)
  30. Spartacus – (1960, Stanley Kubrick) (Kirk Douglas, Laurence Olivier, Jean Simmons)
  31. Peeping Tom – (1960, Michael Powell) (Karlheinz Bühm, Moira Shearer)
  32. The Umbrellas of Cherbourg – (1964, Jacques Demy) (Catherine Deneuve, Nino Castelnuovo)
  33. The Sound of Music – (1965, Robert Wise) (Julie Andrews, Christopher Plummer)
  34. Medium Cool – (1969, Haskell Wexler) (Christine Bergstrom, Harold Blankenship)
  35. The Producers – (1968, Mel Brooks) (Zero Mostel, Gene Wilder)
  36. Planet of the Apes – (1968, Franklin J. Schaffner) (Charlton Heston, Roddy McDowell)
  37. In the Heat of the Night – (1967, Norman Jewison) (Sidney Poitier, Rod Steiger, Warren Oates)
  38. Marat/Sade – (1966, Peter Brook) (Patrick Magee, Ian Richardson, Glenda Jackson)
  39. Belle de jour – (1967, Luis Buñuel) (Catherine Deneuve, Jean Sorel)
  40. Andrei Rublev – (1966, Andrei Tarkovsky) (Anatoli Solonitsyn, Ivan Lapikov)
  41. Blow-Up – (1966, Michelangelo Antonioni) (David Hemmings, Vanessa Redgrave, Sarah Miles)
  42. The Birds – (1963, Alfred Hitchcock) (Rod Taylor, Tippi Hedren, Jessica Tandy)
  43. Tom Jones – (1963, Tony Richardson) (Albert Finney, Susannah York, Hugh Griffith)
  44. Night of the Living Dead – (1968, George A. Romero) (Duane Jones, Judith O’Dea)
  45. The Hustler – (1961, Robert Rossen) (Paul Newman, Jackie Gleason, George C. Scott)
  46. My Fair Lady – (1964, George Cukor) (Audrey Hepburn, Rex Harrison, Wilfrid Hyde-White)
  47. Goldfinger – (1964, Guy Hamilton) (Sean Connery, Gert Fröbe, Honor Blackman)
  48. Woman in the Dunes – (1964, Hiroshi Teshigahara) (Eiji Okada, Kyôko Kishida)
  49. The Man Who Shot Liberty Valance – (1962, John Ford) (John Wayne, James Stewart, Vera Miles)
  50. Butch Cassidy and the Sundance Kid – (1969, George Roy Hill) (Paul Newman, Robert Redford)
  51. Rosemary’s Baby – (1968, Roman Polanski) (Mia Farrow, John Cassavetes, Ruth Gordon)

imagesCBU40XMS images1HYKPARX images2PPRPO3X imagesTCZOOGZ3 images7EQ2RBRE imagesCIIW34CQ imagesEZL9KD2H imagesFDEN329K imagesW4LOFGMB images8WEVUCLM imagesDBQLI6SU imagesM040VKTG images (229) images (230) images (233) images5DNKRCRE images9EF5L4IG images45CTJ0LO imagesF70HOC87 (2)

52.(1966, Jiri Menzel) (Václav Neckár, Josef Somr)
53. Rocco and His Brothers – (1960, Luchino Visconti) (Alain Delon, Renato Salvatori)
54. Weekend – (1967, Jean-Loc Godard) (Mireille Darc, Jean Yanne)
55. Breakfast at Tiffany’s – (1961, Blake Edwards) (Audrey Hepburn, George Peppard, Patricia Neal)
56. The Longest Day – (1962, Ken Annakin) (Richard Burton, Robert Ryan, Henry Fonda)
57. Point Blank – (1967, John Boorman) (Lee Marvin, Angie Dickinson, Keenan Wynn)
58. Oliver! – (1968, Carol Reed) (Mark Lester, Ron Moody, Jack Wild, Oliver Reed)
59. Judgment at Nuremberg – (1961, Stanley Kramer) (Spencer Tracy, Burt Lancaster)
60. The Dirty Dozen – (1967, Robert Aldrich) (Lee Marvin, Ernest Borgnine, Charles Bronson)
61. Dog Star Man – (1964, Stan Brakhage) (Jane Brakhage, Stan Brakhage)
62. Bullitt – (1968, Peter Yates) (Steve McQueen, Jacqueline Bisset, Robert Vaughn)
63. Pierrot Le Fou – (1965, Jean-Loc Godard) (Jean-Paul Belmondo, Anna Karina)
64. Mary Poppins – (1964, Robert Stevenson) (Julie Andrews, Dick Van Dyke)
65. A Raisin in the Sun – (1961, Daniel Petrie) (Sidney Poitier, Claudia McNeil, Louis Gossett Jr.)
66. Romeo and Juliet – (1968, Franco Zeffirelli) (Leonard Whiting, Olivia Hussey)
67. The Shop On Main Street – (1965, Jan Kadar, Elmar Klos) (Ida Kaminska, Jozef Króner)
68. Funny Girl – (1968, William Wyler) (Barbra Streisand, Omar Sharif)
69. Hud – (1963, Martin Ritt) (Paul Newman, Melvyn Douglas, Patricia Neal)
70. In Cold Blood – (1967, Richard Brooks) (Robert Blake, Scott Wilson, John Forsythe)
71. Lolita – (1962, Stanley Kubrick) (Sue Lyon, Shelley Winters, Gary Cockrell)
72. The Pawnbroker – (1964, Sidney Lumet) (Rod Steiger, Geraldine Fitzgerald)
73. The Innocents – (1961, Jack Clayton) (Deborah Kerr, Peter Wyngarde, Michael Redgrave)
74. My Night at Maud’s – (1969, Eric Rohmer) (Jean-Louis Trintignant, Françoise Fabian)
75. Jules and Jim – (1962, Francois Truffaut) (Jeanne Moreau, Oskar Werner)
76. The Great Escape – (1963, John Sturges) (Steve McQueen, James Garner, Richard Attenborough)
77. Yellow Submarine – (1968, George Dunning) (Animation)
78. Repulsion – (1965, Roman Polanski) (Catherine Deneuve, Ian Hendry)
79. From Russia With Love – (1963, Terence Young) (Sean Connery, Robert Shaw, Daniela Bianchi)
80. Who’s Afraid of Virginia Woolf? – (1966, Mike Nichols) (Elizabeth Taylor, Richard Burton)
81. One Hundred and One Dalmatians – (1961, Clyde Geronimi) (Animation)
82. Elmer Gantry – (1960, Richard Brooks) (Burt Lancaster, Jean Simmons, Arthur Kennedy)
83. The Exterminating Angel – (1962, Luis Buñuel) (Silvia Pinal, Enrique Rambal)
84. Lilies of the Field – (1963, Ralph Nelson) (Sidney Poitier, Lilia Skala, Lisa Mann)
85. A Man for All Seasons – (1966, Fred Zinnemann) (Paul Scofield, Leo McKern, Robert Shaw)
86. Long Day’s Journey into Night – (1962, Sidney Lumet) (Katharine Hepburn, Ralph Richardson)
87. Ride the High Country – (1962, Sam Peckinpah) (Randolph Scott, Joel McCrea, Edgar Buchanan)
88. A Thousand Clowns – (1965, Fred Coe) (Jason Robards, Barbara Harris, Martin Balsam)
89. Le Trou – (1960, Jacques Becker) (Michel Constantin, Jean Keraudy)
90. Z – (1969, Costa-Gavras) (Yves Montand, Irene Papas, Jean-Louis Trintignant, Jacques Perrin)

untitled (161) untitled (160) untitled (159) untitled (158) untitled (157) images (211) images (205) images62PZS97O images (221) untitled (156) images (213) images (214) images (215) images (216) images (217) images (223) images (222) images (220) images (219) images (218)

  1. The Pink Panther – (1964, Blake Edwards) (Peter Sellers, David Niven, Robert Wagner)
  2. Inherit the Wind – (1960, Stanley Kramer) (Spencer Tracy, Fredric March, Harry Morgan)
  3. The Haunting – (1963, Robert Wise) (Julie Harris, Claire Bloom, Richard Johnson)
  4. Shoot the Piano Player – (1960, Francois Truffaut) (Charles Aznavour, Marie Dubois)
  5. Cape Fear – (1962, J. Lee Thompson) (Robert Mitchum, Gregory Peck, Polly Bergen)
  6. Contempt – (1963, Jean-Luc Godard) (Brigitte Bardot, Michel Piccoli, Jack Palance)
  7. Red Desert – (1964, Michelangelo Antonioni) (Monica Vitti, Richard Harris)
  8. Georgy Girl – (1966, Silvio Narizzano) (James Mason, Lynn Redgrave, Alan Bates)
  9. Juliet of the Spirits – (1965, Federico Fellini) (Giulietta Masina, Sandra Milo)
  10. Darling – (1965, John Schlesinger) (Laurence Harvey, Julie Christie, Dirk Bogarde)

20 More Movies Worth Mentioning

  1. The Jungle Book – (1967, Wolfgang Reitherman) (Voices of: Phil Harris, Sebastian Cabot, Louis Prima)
  2. Faces – (1968, John Cassavetes) (John Marley, Gena Rowlands, Lynn Carlin)
  3. Playtime – 1967, Jacques Tati) (Jacques Tati, Barbara Dennek, Rita Maiden)
  4. Viridiana – (1961, Luis Bunuel) (Silvia Pinal, Francisco Rabal, Fernando Rey)
  5. Le Samouraï – 1967, Jean-Pierre Melville) (Alain Delon, François Périer, Nathalie Delon)
  6. If – (1968, Lindsay Anderson) (Malcolm McDowell, David Wood, Richard Warwick)
  7. Shock Corridor – (1963, Samuel Fuller) (Peter Breck, Constance Towers, Gene Evans)
  8. Through a Glass Darkly – (1961, Ingmar Bergman) (Gunnar Björnstrand, Harriet Andersson)
  9. Whatever Happened to Baby Jane? – (1962, Robert Aldrich) (Bette Davis, Joan Crawford, Victor Buono)
  10. My Life To Live – (1962, Jean-Luc Godard) (Anna Karina, Sady Rebbot, André S. Labarthe)
  11. Knife In The Water – (1962, Roman Polanski) (Leon Niemczyk, Jolanta Umecka)
  12. The Nutty Professor – (1963, Jerry Lewis) (Jerry Lewis, Stella Stevens, Del Moore)
  13. The Miracle Worker – (1962, Arthur Penn) (Patty Duke, Anne Bancroft, Victor Jory)
  14. Dr. No – (1962, Terence Young) (Sean Connery, Ursula Andress, Joseph Wiseman)
  15. War and Peace – (1968, Sergei Bondarchuk) (Lyudmila Savelyeva, Vyacheslav Tikhonov, Gennadi Ivanov)
  16. They Shoot Horses, Don’t They? – (1969, Sydney Pollack) (Jane Fonda, Michael Sarrazin, Susannah York)
  17. Memories of Underdevelopment – (1968, Tomás Gutiérrez Alea) (Sergio Corrieri, Daisy Granados)
  18. True Grit – (1969, Henry Hathaway) (John Wayne, Glen Campbell, Kim Darby)
  19. The Misfits – (1961, John Hutson) (Clark Gable, Marilyn Monroe, Montgomery Clift)
  20. High School – (1968, Frederick Wiseman) (Documentary)

images2H37NAGC imagesC7J4A2EJ imagesKTOOIZY0 imagesOO8T4V0F imagesRU0T3D2X imagesQRQMH1BC images0VP5O5ZJ imagesQTV859VB images1SRKK5J0

14 Things We Learned from Bill Murray


14 Things We Learned from Bill Murray’s Reddit AMA

Image credit:
Monuments Men Facebook

Tonight, Bill Murray did something that is very, very Bill Murray: He did a surprise Reddit AMA to promote his upcoming movie, The Monuments Men. His answers to user questions are equal parts delightful and thoughtful. Here’s what we learned.

1. Even Bill Murray can’t believe how awesome he is.

When one user asked Murray what it was like to be so awesome, Murray replied, “Nothing prepared me for being this awesome. It’s kind of a shock. It’s kind of a shock to wake up every morning and be bathed in this purple light.”

2. After filming Broken Flowers, he didn’t think he could do anything better.

Murray told Jim Jarmusch that he would only do Broken Flowers if the director could find places to film that were within an hour of the actor’s house. Jarmusch did, so Murray did the movie—and when it was finished, “I thought ‘this movie is so good, I thought I should stop,'” Murray wrote. “It’s a film that is completely realized, and beautiful, and I thought I had done all I could do to it as an actor. And then 6-7 months later someone asked me to work again, so I worked again, but for a few months I thought I couldn’t do any better than that.”

3. Murray thinks Einstein was a “pretty cool guy.”

But if he could go back in time and have a conversation with just one person, it would be scientist and friar Gregor Mendel, “because he was a monk who just sort of figured this stuff out on his own,” Murray said. “That’s a higher mind, that’s a mind that’s connected. They have a vision, and they just sort of see it because they are so connected intellectually and mechanically and spiritually, they can access a higher mind. Mendel was a guy so long ago that I don’t necessarily know very much about him, but I know that Einstein did his work in the mountains in Switzerland. I think the altitude had an effect on the way they spoke and thought.”

4. He really likes Wes Anderson.

It’s probably not a surprise that Murray likes director Wes Anderson—they’ve worked on seven films together. But during his AMA, Murray enumerated why he likes working with Anderson so much: “I really love the way Wes writes with his collaborators, I like the way he shoots, and I like HIM,” Murray said. “I’ve become so fond of him. I love the way that he has made his art his life. And you know, it’s a lesson to all of us, to take what you love and make it the way you live your life, and that way you bring love into the world.”

5. He thinks that, at the time it came out, Groundhog Day was underrated.

“The script is one of the greatest conceptual scripts I’ve ever seen,” he wrote. “It’s a script that was so unique, so original, and yet it got no acclaim. To me it was no question that it was the greatest script of the year. To this day people are talking about it, but they forget no one paid any attention to it at the time. The execution of the script, there were great people in it.”

6. The strangest experience he had in Japan while filming Lost in Translation involved an eel.

Once, while at a sushi restaurant, the chef asked Murray, “Would you like some fresh eel?” Murray replied that yes, he would. “So [the chef] came back with a fresh eel, a live eel, and then he walked back behind a screen and came back in 10 seconds with a no-longer-alive eel,” the actor said. “It was the freshest thing I had ever eaten in my life. It was such a funny moment to see something that was alive that no longer was alive, that was my food, in 30 seconds.”

7. He thinks the previous SNL cast was “the best group since the original group.”

The current SNL cast is good, in Murray’s opinion, but “the last group with Kristen Wiig and those characters, they were a bunch of actors and their stuff was just different,” he said.

It’s all about the writing, the writing is such a challenge and you are trying to write backwards to fit 90 minutes between dress rehearsal and the airing. And sometimes the writers don’t get the whole thing figured out, it’s not like a play where you can rehearse it several times. So good actors—and those were really good actors, and there are some great actors in this current group as well I might add—they seem to be able to solve writing problems, improvisational actors, can solve them on their feet. They can solve it during the performance, and make a scene work. … So this group, there are definitely some actors in this group, I see them working in the same way and making scenes go. They really roll very nicely, they have great momentum, and it seems like they are calm in the moment.

8. Doing the voice recording for The Fantastic Mr. Fox was basically one big party.

The process, Murray said, “dragged on and on and on,” but it was “great fun” that started at a friend’s farm:

[W]e all stayed at her place for a handful of days while we recorded during the day and then at night we would have these magnificent meals and we would all tell stories. We had a LOT of great food, a lot of great wine and great stories. It went on until people started literally falling from their chairs and being taken away. And then we had to go to another place and do it again, we went to George’s place, but then something happen and the whole party broke up, and George said “you don’t have to go, do ya” and I didn’t, so we just kicked around Northern Italy for a while. It was a real fiesta.

9. He didn’t part on good terms with his assistant.

When the actor was working on Groundhog Day, director Harold Ramis asked Murray to hire an assistant to make communicating easier. So Murray hired a deaf woman who didn’t speak—and Murray didn’t know American Sign Language. Murray says he and the woman didn’t part well:

I was sort of ambitious thinking that I could hire someone that had the intelligence to do a job but didn’t have necessarily speech or couldn’t quite hear or spoke in sign language. … I tried my best, but I was working all day. She was lovely and very smart, but there’s a lot of frustration when you meet people who can’t speak well. Being completely disabled in that area causes a great amount of frustration, and this was going back 30 years or so before there were the educational components that there are today. It didn’t go particularly well for me, but for a few weeks she really was a light and had a real spirit to her. … We were both optimistic, but it was harder than either of us expected to make it work.

10. Here’s where to get what is, in Murray’s opinion, the best sandwich.

“There’s a place not far from Warner Brothers, I think it was called the Godfather? And they made all kinds of sandwiches with smashed avocado and sprouts and stuff like that,” he said. “And when you were having a bad day … you’d get sandwiches from this place. And they were very filling and very tasty, and then you’d forget about the morning.”

11. You can thank Murray’s brother Brian for Bill.

Murray called his brother his “first great influence. He made much of what I am possible. To this day, if I have a question about something ethical or about being an actor or entertainer or a person or something like that, he’s a person who helped form me.”

12. Bill has some pretty interesting thoughts on marijuana.

When asked what he thought about the recreational use of marijuana, Murray didn’t exactly answer the question—instead, he discussed the American penal system and the failure of the war on drugs. “Now that we have crack and crystal and whatnot, people don’t even think about marijuana anymore, it’s like someone watching too many videogames in comparison,” he said. “The fact that states are passing laws allowing it means that its threat has been over-exaggerated. Psychologists recommend smoking marijuana rather than drinking if you are in a stressful situation. These are ancient remedies, alcohol and smoking, and they only started passing laws against them 100 years ago.”

13. He likes pickles.

And peanut butter. But he’s never tried them together. “I’m big on pickles, but I’ve never had them with peanut butter,” he says. “I really like peanut butter though. I’m kind of surprised because I like them both so much that I haven’t combined them.”

14. He thinks stealing art is “worse than stealing gold and diamonds.”

Murray’s next film, The Monuments Men, tells the story of a group of museum curators and art historians who venture into Germany to rescue art stolen by the Nazis and return the pieces to their rightful owners. And there are direct parallels between what happened in history (and in the film) and what’s happening in some parts of the world today. “You hate to say that a film is an important film but I think it’s a movie that people will say enlightened them about something that was forgotten, and it’s a situation that exists around the world now,” Murray said. “For example when we invaded Iraq, we weren’t really taking care of business and a bunch of criminals went in and looted the museums. It’s what’s happening in Syria now. It’s far worse than stealing gold or diamonds. It’s stealing a culture, a mystery, and if those works of art are stolen, we are losing the ability to learn about culture and about ourselves.”

From Pentagon To Life In A Van



From Pentagon To Life In A Van

January 7, 2014
Share It | Print This

Source: Philidelphia Inquirer

After a 30-year military career in which he earned three graduate degrees, rose to the rank of colonel, and served as an aide to Pentagon brass, Robert Freniere can guess what people might say when they learn he’s unemployed and lives out of his van:

Why doesn’t this guy get a job as a janitor?

Freniere answers his own question: “Well, I’ve tried that.”

Freniere, 59, says that his plea for help, to a janitor he once praised when the man was mopping the floors of his Washington office, went unfulfilled. So have dozens of job applications, he says, the ones he has filled out six hours a day, day after day, on public library computers.

So Freniere, a man who braved multiple combat zones and was hailed as “a leading light” by an admiral, is now fighting a new battle: homelessness.