Meeting Marcin Bondarowicz
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While abroad, I had the chance to meet in Krakow (Poland) the fantastic Polish artist Marcin Bondarowicz (Also see a previous interview with him). We virtually met about one and a half year ago and evolved together in the political cartoon spheres. And finally the meeting happened in the reality as well... I must say that his timeless art is a permanent inspiration to me. He is also such a great person. I'll try to post more pictures of this meeting in the coming days/weeks...
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THE DRUNKEN BOAT

By Arthur Rimbaud

As I was floating down unconcerned Rivers
I no longer felt myself steered by the haulers:
Gaudy Redskins had taken them for targets
Nailing them naked to coloured stakes.

I cared nothing for all my crews,
Carrying Flemish wheat or English cottons.
When, along with my haulers those uproars were done with
The Rivers let me sail downstream where I pleased.

Into the ferocious tide-rips
Last winter, more absorbed than the minds of children,
I ran! And the unmoored Peninsulas
Never endured more triumphant clamourings

The storm made bliss of my sea-borne awakenings.
Lighter than a cork, I danced on the waves
Which men call eternal rollers of victims,
For ten nights, without once missing the foolish eye of the harbor lights!

Sweeter than the flesh of sour apples to children,
The green water penetrated my pinewood hull
And washed me clean of the bluish wine-stains and the splashes of vomit,
Carring away both rudder and anchor.

And from that time on I bathed in the Poem
Of the Sea, star-infused and churned into milk,
Devouring the green azures; where, entranced in pallid flotsam,
A dreaming drowned man sometimes goes down;

Where, suddenly dyeing the bluenesses, deliriums
And slow rhythms under the gleams of the daylight,
Stronger than alcohol, vaster than music
Ferment the bitter rednesses of love!

I have come to know the skies splitting with lightnings, and the waterspouts
And the breakers and currents; I know the evening,
And Dawn rising up like a flock of doves,
And sometimes I have seen what men have imagined they saw!

I have seen the low-hanging sun speckled with mystic horrors.
Lighting up long violet coagulations,
Like the performers in very-antique dramas
Waves rolling back into the distances their shiverings of venetian blinds!

I have dreamed of the green night of the dazzled snows
The kiss rising slowly to the eyes of the seas,
The circulation of undreamed-of saps,
And the yellow-blue awakenings of singing phosphorus!

I have followed, for whole months on end, the swells
Battering the reefs like hysterical herds of cows,
Never dreaming that the luminous feet of the Marys
Could force back the muzzles of snorting Oceans!

I have struck, do you realize, incredible Floridas
Where mingle with flowers the eyes of panthers
In human skins! Rainbows stretched like bridles
Under the seas' horizon, to glaucous herds!

I have seen the enormous swamps seething, traps
Where a whole leviathan rots in the reeds!
Downfalls of waters in the midst of the calm
And distances cataracting down into abysses!

Glaciers, suns of silver, waves of pearl, skies of red-hot coals!
Hideous wrecks at the bottom of brown gulfs
Where the giant snakes devoured by vermin
Fall from the twisted trees with black odours!

I should have liked to show to children those dolphins
Of the blue wave, those golden, those singing fishes.
- Foam of flowers rocked my driftings
And at times ineffable winds would lend me wings.

Sometimes, a martyr weary of poles and zones,
The sea whose sobs sweetened my rollings
Lifted its shadow-flowers with their yellow sucking disks toward me
And I hung there like a kneeling woman...

Almost an island, tossing on my beaches the brawls
And droppings of pale-eyed, clamouring birds,
And I was scudding along when across my frayed cordage
Drowned men sank backwards into sleep!

But now I, a boat lost under the hair of coves,
Hurled by the hurricane into the birdless ether,
I, whose wreck, dead-drunk and sodden with water,
neither Monitor nor Hanse ships would have fished up;

Free, smoking, risen from violet fogs,
I who bored through the wall of the reddening sky
Which bears a sweetmeat good poets find delicious,
Lichens of sunlight [mixed] with azure snot,

Who ran, speckled with lunula of electricity,
A crazy plank, with black sea-horses for escort,
When Julys were crushing with cudgel blows
Skies of ultramarine into burning funnels;

I who trembled, to feel at fifty leagues' distance
The groans of Behemoth's rutting, and of the dense Maelstroms
Eternal spinner of blue immobilities
I long for Europe with it's aged old parapets!

I have seen archipelagos of stars! and islands
Whose delirious skies are open to sailor:
- Do you sleep, are you exiled in those bottomless nights,
Million golden birds, O Life Force of the future? -

But, truly, I have wept too much! The Dawns are heartbreaking.
Every moon is atrocious and every sun bitter:
Sharp love has swollen me up with heady langours.
O let my keel split! O let me sink to the bottom!

If there is one water in Europe I want, it is the
Black cold pool where into the scented twilight
A child squatting full of sadness, launches
A boat as fragile as a butterfly in May.

I can no more, bathed in your langours, O waves,
Sail in the wake of the carriers of cottons,
Nor undergo the pride of the flags and pennants,
Nor pull past the horrible eyes of the hulks.

- As translated by Oliver Bernard: Arthur Rimbaud, Collected Poems -
(The poem appeared on mag4.net)
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THE YOUNG FOOLS

By Paul Verlaine

High-heels were struggling with a full-length dress
So that, between the wind and the terrain,
At times a shining stocking would be seen,
And gone too soon. We liked that foolishness.

Also, at times a jealous insect's dart
Bothered out beauties. Suddenly a white
Nape flashed beneath the branches, and this sight
Was a delicate feast for a young fool's heart.

Evening fell, equivocal, dissembling,
The women who hung dreaming on our arms
Spoke in low voices, words that had such charms
That ever since our stunned soul has been trembling.

(The poem appeared on poemhunter.com)
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In the south of Poland, I also discovered the Tatra mountains (see picture below), which constitute a mountain range which forms a natural border between Slovakia and Poland. They occupy an area of 750km², the major part of which lies in Slovakia. The highest Tatra peak, at 2655m, is Gerlachovský štít, located in Slovakia. Rysy, at 2499m, is the highest Polish peak.

The Tatra Mountains are the highest mountain range in the Carpathian Mountains. Although considerably smaller than the Alps, they are classified as having an alpine landscape. Their high mountain character, combined with great accessibility, makes them popular with visitors and scientists.

The area is a well-known winter sports area, with resorts such as Poprad and the town (Mesto) Vysoké Tatry in Slovakia (in English literally (Town of the) High Tatras; created in 1999 and including the former separate resorts Štrbské Pleso, Starý Smokovec, and Tatranská Lomnica), and Zakopane, the "Winter Capital" of Poland.

The Tatra Mountains (especially the High Tatras) are known to have undergone four glaciations. The most extensive transformations were caused by a glacier 100-230 m thick; the most apparent features of this process are the numerous cirques and mountain lakes. The mountains were shaped by glacial erosion, which formed many alpine cliffs, some up to 1,000 m high.

The Mountains lie in the temperate zone of Central Europe. They are an important barrier to the movements of air masses. Their mountainous topography causes the most diverse climate in that region. The effects of global warming in the Tatra Mountains started to be visible around the 1980s.

Temperatures range from -40 °C in the winter to 33 °C in warmer months. Temperatures also vary depending on altitude and sun exposure of a given slope. Temperatures below 0 °C last for 192 days on the summits. Highest precipitation figures are recorded on northern slopes. In June and July monthly precipitation reaches around 250 mm. Precipitation occurs for 215 to 228 days a year. Thunderstorms occur 36 days a year on average.

The Mountains have a diverse variety of plants. They are home to more than 1,000 vascular plants, about 450 mosses, 200 hepatics, 700 lichens, 900 fungi, and 70 slime moulds. There are five climatic-vegetation belts in Tatras:

The Tatra Mountains are home to a lot of species of animals: 54 tardigrades, 22 turbellarians, 100 rotifers, 22 copepods, 162 spiders, 81 molluscs, 43 mammals, 200 birds, 7 amphibians and 2 reptiles. The most notable mammals are the Tatra chamois, marmot, snow vole, brown bear, wolf, Eurasian lynx, red deer, roe deer, and wild boar. Notable fish include the brook trout and alpine bullhead.

The Tatra Mountains were used in the 18th and 19th centuries for sheep grazing and mining and a lot of trees were cut down to make way for human exploitation. Although these activities were stopped, the impact is still clearly visible. Moreover, there are new problems. Pollution from the industrialized regions of Kraków, Ostrava and Orava and uncontrolled tourism are damaging the mountains.

The Slovak Tatra National Park (Tatranský národný park; TANAP) was founded in 1949, and the contiguous Polish Tatra National Park (Tatrzański Park Narodowy) was founded in 1954. Both areas were added to the UNESCO Biosphere Reserve list in 1993.

On 19 November 2004, large parts of the forests in the southern part of the High Tatras were damaged by a strong wind storm. 3 million cubic metre of trees were uprooted, two people died and several villages were totally cut off. Further damage was done by a subsequent forest fire, and it will take many years until the local ecology is fully recovered.

(Source : Wikipedia)
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CORRESPONDENCES

By Charles Baudelaire

Nature is a temple in which living pillars
Sometimes give voice to confused words;
Man passes there through forests of symbols
Which look at him with understanding eyes.

Like prolonged echoes mingling in the distance
In a deep and tenebrous unity,
Vast as the dark of night and as the light of day,
Perfumes, sounds, and colors correspond.

There are perfumes as cool as the flesh of children,
Sweet as oboes, green as meadows
— And others are corrupt, and rich, triumphant,

With power to expand into infinity,
Like amber and incense, musk, benzoin,
That sing the ecstasy of the soul and senses.

- As translated by William Aggeler -
(The poem appeared on fleursdumal.org)
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SwaziAID
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(Ben Heine © Cartoons)
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SwaziAID is a non-profit organization dedicated to socio-economic and healthcare improvements in Swaziland through innovative, cost-effective, and sustainable solutions. Our goal as an organization is to avoid inefficiencies typical of larger non-profit organizations and to ensure proper spending of all collected funds. This is done by seeking out and evaluating pre-exisinting humanitarian programs in Swaziland which are cost-effective, efficient, and which have sustainable means of providing aid. Through our Makers United Fine Art Gallery, swaziAID raises steady funding to support these programs.

The Makers United program is swaziAID's creative undertaking initiated to bring artists of all genres and skill levels together with humanitarian efforts to raise funding for Swazi relief and development programs by promoting, reprinting and selling the artists' work to the public on our online gallery.

Swaziland is a nation situated between South Africa and Mozambique with a population of approximately 1 Million people. (click here to see map) The Swazi people have the highest prevalence rate of HIV/AIDS victims in world at currently over 40% of the adult population. Due to grave poverty and health circumstances all over Sub-Saharan Africa, Swaziland often receives relatively little attention from large international foundations and non-profit organizations.
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Below is a sample of
the artworks I donated
to Swaziaid.
Click on
the image to view all the
paintings and cartoons...

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More on HIV/Aids and Swaziland :

CD4 Measurements in Patients with HIV: Are They Feasible for Poor Settings?
Toward a Cheap and Easy Way to Monitor HIV/AIDS
Lazarus Drug: Antiretroviral's in the treatment era
New lower-cost assay system equivalent to flow cytometry for accurate CD4+/CD8+ cell counts in AIDS patients
What is driving hiv/aids epidemic in Swaziland and what can we do about it?



UNICEF - Finding the best way to care for children orphaned by AIDS
Relief Web - Swaziland: Plight of orphans and vulnerable children highlighted
WHO - World Health Organization - Action for Orphans in Swaziland : A Time to Help
US Dept. of State - Swaziland Profile
Wikipedia - Swaziland Profile

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Paintings by Simon Regis (*)




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(Click on images to enlarge)





(Click on images to enlarge)

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(*) Simon Regis is a young Tanzanian artist. He paints and draws editorial cartoons in MTANZANIA and THE AFRICAN newspapers. Below are examples of his work and you can view more of his fantastic art on HIS NEW BLOG and contact him at regiscartoontz@yahoo.co.uk
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Simon Regis
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Simon Regis is a young and talented Tanzanian political cartoonist. He draws editorial cartoons in MTANZANIA and THE AFRICAN newspapers. Below are examples of his work and you can view more of his fantastic art on HIS NEW BLOG

Keep doing these sharp, striking and remarkable images, Simon !
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(Click on images to enlarge)
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(Click on images to enlarge)

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Burned in a Holy Place
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A Little Boy Lost
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By William Blake
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'Nought loves another as itself,
Nor venerates another so,
Nor is it possible to thought
A greater than itself to know.

'And, father, how can I love you
Or any of my brothers more?
I love you like the little bird
That picks up crumbs around the door.'

The Priest sat by and heard the child;
In trembling zeal he seized his hair,
He led him by his little coat,
And all admired the priestly care.

And standing on the altar high,
'Lo, what a fiend is here! said he:
'One who sets reason up for judge
Of our most holy mystery.'

The weeping child could not be heard,
The weeping parents wept in vain:
They stripped him to his little shirt,
And bound him in an iron chain,

And burned him in a holy place
Where many had been burned before;
The weeping parents wept in vain.
Are such thing done on Albion's shore?

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--> The poem appeared on everypoet.com
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Polluted Civilization
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Mind Pollution
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By David Moe
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What is the solution
To mind pollution?
Will it take a revolution
To reform this evolution?

Our youth are being bombarded
With music, pornography and drugs,
Their souls are not highly regarded
By the pollutants of the mind.

So much art
Is not enlightened,
But designed to dehumanize
And destroy the spirit.

Let us unite
Ecologists of the mind,
To clean up the world
And the minds of all mankind.

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--> The poem appeared on poemhunter.com
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In The Age of Gold
A Little Girl Lost
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By William Blake
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Children of the future age,
Reading this indignant page,
Know that in a former time
Love, sweet love, was thought a crime.

In the age of gold,
Free from winter's cold,
Youth and maiden bright,
To the holy light,
Naked in the sunny beams delight.

Once a youthful pair,
Filled with softest care,
Met in garden bright
Where the holy light
Had just removed the curtains of the night.

Then, in rising day,
On the grass they play;
Parents were afar,
Strangers came not near,
And the maiden soon forgot her fear.

Tired with kisses sweet,
They agree to meet
When the silent sleep
Waves o'er heaven's deep,
And the weary tired wanderers weep.

To her father white
Came the maiden bright;
But his loving look,
Like the holy book
All her tender limbs with terror shook.

'Ona, pale and weak,
To thy father speak!
Oh the trembling fear!
Oh the dismal care
That shakes the blossoms of my hoary hair!'

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--> The poem appeared on chold5.english.uga.edu
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Marcin Bondarowicz's

New Selfportrait...






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Marcin Bondarowicz

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Self Portrait
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By Tony Stadick
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Am I wrong to believe in choice, perhaps freedom. Love is told to be a blessing, now I can't find time to blossom. How is it I end up like this for 1 of every 2. Unbelievably conscious and breathing in change. Hesistating to pull my way, but anxious and willing to fight for what I want and believe in. Powerful to point of no control, suddenly I'm taken over, and brought down to being dishonest with myself, or so I think. All I needs an answer... help. Like a stain I feel so notice and vunerable, if only I could wash clean and start over. Indiginous to reality and a concept of concrete, that sometimes slowly crumbles. Falling hurts especially for truth, but truth is I can't really tell, or even see what lies ahead. I know my heart pumps and it's still pretty bossy, inept to telling me what to do, instant and spontaneous I respond in just a beat. I like it though and seem to have this taste with loss of words. Description is even tough to spell. Myself is a whole nother story. Fluent for the most part and going somewhere. Happiness is awaiting arrival, for everyone, simple seclusion sometimes, anything that does the trick. The one you can never figure out. Because it truly is magic and I've seen it, in the walls and in faces. Certain that my life needs a little, for I have my destiny.

--> The poem appeared on poemhunter.com

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Carlos Brito is a famous French graphic journalist. He is a paid cartoonist at « Le Canard Enchaîné » and a freelance journalist at « Le Monde ». He is the chief editor of the FECO website (Federation of Cartoonists' organisations). Brito also won the recent "Immigration Cartoon Contest" organized by Don Quichotte. (Click HERE to see his winning cartoon). Brito is keen on the new opportunities that Internet offers for a wider broadcasting of cartoons and a better protection of the press and humour cartoonists’ status.

Below is an interview that he gave to Marlène Pohle (FECO president) in August 2006 (and I'll publish an interview he gave to me as soon as it is translated into French).
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MP : What does Internet make you think of ?

CB : In my workshop I’ve got two windows, one is overlooking a corn field and the other one is opened on to the rest of the world.

MP : What’s the use of Internet for you ?

CB : It helps me to follow what’s going on, search for documentation and communicate, i.e exchange written and drawn information, especially with other cartoonists. To put it shortly, it helps me watch the world stirring far beyond my favourite countryside. It’s quite enriching.

MP : Do you use Internet to communicate with the newspapers you are working with ?

CB : Not really ! I’m still using the good old fax, since I have to send black and white cartoons that are going to be printed on newspaper ordinary paper. The need for quality in the transmission doesn’t justify the use of a computer. The fax still remains the fastest means and as far as press is concerned the notion of time is prevailing.

MP : Well ! Then, Internet isn’t really a way that you use to send your production.

CB : Yes, it is ! I happened to send colour cartoons to « Le Monde » and then I used Internet for that. How could I do otherwise ? But it seems to me that Internet can become a particularly interesting means of diffusion. If you want to show cartoons that, whatever the reasons, were not published in the written press.

MP : So, you mean Internet could replace the printed issues ?

CB : Well ! You know, living has become more and more difficult for cartoonists because of the dramatically decreased space allowed to drawings in the press in general. If you want to go on existing as a cartoonist you have to find other frames to show your work. But, obviously, this is not a solution to the problem which is basically economical. The cartoonist’s work must be published to be a living for him. So far Internet has never fed any cartoonist. So let’s use it as, let’s say, a complementary medium.

MP : Actually...

CB : Let’s take the example of the FECO, that is to say about two thousand cartoonists living or trying to live on their work in thirty countries or so. All this little world succeeding in communicating one with the other is a good example of what can be done thanks to Internet. So, to achieve that, what could be better than a dynamic website opened to all the FECO members, with cartoons galleries on alternative topics and on current issues, forums discussions on problems linked to our profession or wider social subjects, enabling the circulation of any information concerning the work of the cartoonists.

MP : More precisely, how do you foresee your future contribution to the FECO website ?

CB : In a world said to be in a globalization process, it seems to me that the press and humour cartoonists that we are, are detaining a powerful means to defend some principles which would help mankind live harmoniously the time to come (which, we all know, is announced to be much darker). So, to my mind, we have to propose a few initiatives that would enable the FECO to be more actively committed to the life of the planet. Likewise what we did for the Muhammad cartoons fuss, it would be interesting to open a cartoons gallery on « oil » for instance.

MP : On oil ?

CB : Yes, on oil because this subject would allow the cartoonists to fire against the unconditional defender of the tankers, George W. Bush, the war wager, to go on dealing with all that concerns the Middle East, so near and so far at the same time and to start talking about the alternative energies problem. In one word, a wide subject leading to a very rich gallery of cartoons echoing with wit and humour to all these questions which happen to be crucial for the future of humankind.

MP : So, a kind of Agora ?

CB : Exactly, an Agora. As a cartoonist, I notice, as I said before, that less an less space is left for press and humour cartoons in printed issues and television. It is not only frustrating but it also keeps the cartoonist from living normally on his work. The gallery will not solve the economical problem, nevertheless, the fact of showing the works of the cartoonist will help him overcome the frustration of not seeing them published, it will also help him to get more fame and sometimes (every one can dream) orders without having to give any commission to the FECO...

MP : There are less cartoons in the written press, perhaps there is no demand from the readers.

CB : The reader is asked nothing. Only the director and the chief editor decide « what the readers want ». As some Liebling, a journalist at the «New Yorker » in the fifties, put it rightly, « The freedom of the press belongs to those who own a press medium ».Therefore, it is the newspaper owner who, at last, has the freedom of dictating his rules just in the same way as, today in France, one Dassault, the owner of the « Figaro », one Lagardère, the owner of « Paris-Match » or one Rothschild, co-owner of « Libération ». Whereas there is a greater demand for cartoons to pin up on walls, i.e. pictures for exhibitions, festivals, salons, competitions, why would there be no demand for drawings to « pin up » in the columns of the written press ? In fact, we are in a contradictory situation. If there is a need for cartoons to provide cultural or simply entertainment happenings with, there must be cartoonists and these must be able to live on their work so as to go on doing their job as real professionals and not amateurs. Yet, a cartoonist, to be able to live on his work, must have his drawings printed somewhere. And where, if not on newspapers ? The fight for the right to be published should partake of our goals but we are not a trade union. Every one plays his parts...

MP : Today...

CB : Today, we are living tragic events. The situation in the Middle East keeps growing worse, it is soaring to horror in Gaza, in Lebanon, in Israel, with civilians on the front line like in Iraq. As usual. Yet, the cartoonist is not only a joker for the king, he is, at the same time and perhaps more especially, the observer who is going to shoot a dart to hit where it can hurt. No killing, just underlining the fact. It seems to me, therefore, the FECO website should permanently open a large page on news so as to house the productions of the cartoonist members of our association and put together our different points of view on the current events. Two thousand cartoonists all around the world can represent a tremendous power, can’t it ?

MP : « Make humour, not war. » ?...

CB : I’d rather say « make laugh, not war ». It phonetically matches better the « make love, not war » of our youth. On the other hand, in French, in fact, it could be « faites l’humour, pas la guerre ». But now, at this point, we start being too serious, don’t we ?

MP : You’re right, perhaps it’s time to have a glass of Chinon...

CB : Excellent idea ! Let’ go down to the cellar.

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--> The interview originally appeared on the FECO website and was translated from French to English by Batti
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Something Howls
.(Ben Heine © Cartoons)
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Pastor says the decision wasn't based on hatred,
but on principle...


ARLINGTON, TEXAS — a mega-church canceled a memorial service for a Navy veteran 24 hours before it was to start because the deceased was gay. Officials at the nondenominational High Point Church knew that Cecil Howard Sinclair was gay when they offered to host his service, said his sister, Kathleen Wright. But after his obituary listed his life partner as one of his survivors, she said, it was called off. "It's a slap in the face. It's like, 'Oh, we're sorry he died, but he's gay so we can't help you,' " she said Friday.
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Is it that you suffer not for this soldier’s fading?
The landscape of your thinking is littered,
Tufts of lifeless matter dark as death fall away-
You’ve this behind you; furrows of measured evil
Snaking across the damp gorge of your being.
You are not sacred in time, not humane, righteous.
You crawl upon your knees, grovel of your creation,
Yet it’s not your author and no one bends for you.

Something is howling. Something is howling now.
Something wicked this way screams…It shrieks.
It shrieks at your shadow, “You’re already dead!”
Its talons scrape the ground at your feet- you fail to see.

Come. Follow its marks upon the dust.
Come! It beckons!
Follow its howling through your darkness.
Let it show you the place where bombs descend,
Let it show you your god.
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Beautiful Curves
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Beautiful Black Woman
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By Michelle Jones
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I never knew the beauty was there.
I was a little girl with curvaceous hips, and thighs.
I was perfect in size.
I was young, tender, and firm.

I remember a little pudgy girl.
Fat hips and thighs.
Only a love saw the good in what I despised.
Then a look back, showed all the beauty in me.

I‘ve grown into a
Beautiful Black Woman
I have full breast, hips and thighs.
I’m a voluptuous full figured woman.
I’m beautiful, strong, intelligent, and independent.
I’ve brought beauty to the world.
I ‘m proud and not ashamed
I shall not apologize for who I’ve become.

I’m a sexy brown thick sista (sister) .
Finer than the rarest bottle of wine
I’m good to you, and for you
I know now the beauty is in me
I’m a Beautiful Black Woman

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--> The poem appeared on poemhunter.com
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The Mystery of Pablo Picasso
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(Ben Heine © Cartoons)
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Picasso and the Myth of the Minotaur
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By Martin Ries (*)
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It may be this love is a debt I am paying, due to the destiny of my line, and that Aphrodite is exacting a tribute of me for all my race. Europa - this is the first beginning of our line - was loved of Zeus; a bull's form disguised the god, Pasiphaë, my mother, a victim of the deluded bull, brought forth in travail her reproach and burden.
-Ovid, Heroides
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Art is a human development before it is an aesthetic phenomenon, and Pablo Picasso, the twentieth century metaphysician, autobiographically represents his world translated into a personal aesthetic expression. As a Spaniard it was inevitable that the bull, the bullfight, and eventually the Minotaur, would concern Picasso ("His bulls are real bulls; bulls, not oxen, but wild creatures, vibrant with life and with incalculable strength; proud, courageous animals with ferocious impulses 1/4" - Jamie Sabartés). His early work of the bullfight, however stamped with his personal aesthetic, is straightforward and simple, and indicates no great regard for the bull as a carrier of Europa and Western civilization, nor even as a mythic totem of Spain. These early bullfight scenes are depicted in the same athletic spirit that George Bellows portrayed American boxing matches or George Stubbs presented his magnificent English horses.

André Masson was the first twentieth century artist to turn to the myth of the Minotaur and initiate its resurgence (which may or may not have influenced Jackson Pollock's Pasiphaë much later); at any rate it was Masson and Georges Bataille who suggested Le Minotaure as well as Labyrinthe as titles for Albert Skira's publications. According to Masson he was to illustrate the first cover for Le Minotaure "but Teriade and Skira asked me to let Picasso do it. I did so. I did one myself a couple of years later." [1]

Le Minotaure lasted from 1933 to 1939; Labyrinthe from 1944 to 1946; the catastrophes of Europe, the Great War, the Depression, the Spanish Civil War, and the tremors in Western civilization weighed on men's minds. That Teutonic anti-metaphysician, Oswald Spengler, born a year before Picasso, wrote in The Decline of the West:

Again and again between these catastrophes of blood and terror the cry rises for reconciliation of the peoples and for peace on earth 1/4 Esteem as we may the wish towards all this, we must have the courage to face facts as they are - that is the hall-mark of men of race-quality and it is by the being of these men that alone history is. Life if it would be great, is hard; it lets choose only between victory and ruin, not between war and peace, and to the victor belongs the sacrifices of victory. For that which shuffles querously and jealously by the side of the events is only literature - written or thought or lived literature - mere truths that lose themselves in the moving crush of facts. History has never deigned to take notice of these propositions.[2]

The Minotaur myth emerged in the arts: Matisse illustrated Henry de Montherland's Pasiphaë: Chant de Minos; Max Ernst's Labyrinth and his Wheel of the Sun both allude to this myth, while his Spanish Physician shows a woman flirtatiously dropping her hankerchief before a minotaur-like figure; Giorgio de Chirico made many versions of sleeping The Soothsayer's Recompense surrounded by labyrinthine colonnades, arches, and facades; and Victor Brauner depicted a

wide-awake Ariadne on conveyance that Ernst Trova could have built for his Falling Man; while Masson continued his variations on the Pasiphaë-Labyrinth-Minotaur idea often greatly influenced by Picasso. Writers, too, treated the West's imprisonment in the maze of the monstrous aftermaths of "The War To End All Wars." Surrealist Michel Leiris' character Aurora (a reference to the Russian cruiser that fired on the Winter Palace ?): " . . . advanced into the labyrinth of phases in which she was her own Ariadne, equipped with the thread of her breathing, so full of intelligence, the median point indeed began to rise, perhaps beneath the secret pressure of the prison's spiral "[3]

André Gide's exquisite Thésée depicted a barbarian adventurer from a new emerging nation vanquishing an over-sophisticated and effete Minoan civilization via seduction and cunning; Jorge Luis Borges wrote a similar account of Theseus, while James Joyce invoked Daedalus in A Portrait of the Artist as a Young Man, his Stephen Dedalus in Ulysses is autobiographical, an explorer of unknown arts and deviser of labyrinthine prose. T. S. Eliot referred to the myth in Sweeney Erect, as did Ezra Pound in his Cantos.

Picasso's etchings for Skira's Metamorphosis of Ovid and Lysistrata, a series characterized by classic calm, were followed by the lusty, vibrant and vigorous Minotaurs. None of the depictions of this man-bull chimera tell a known story; they are more a series of Capricios, with the Minotaur reveling with a sculptor (who looks like Zeus), and his model; approaching a sleeping nude, Picasso's sleeping women are often in the pose of the Vatican's Sleeping Ariadne, reclining in a delirious orgy "the first conclusion of the principle of death" - Alfred de Musset, or watched by a beautiful

woman as he sleeps behind a flower-patterned curtain. This is not the terrible monster from Crete but a sympathetic and pampered pet.

On June 12, 1934 , Picasso etched a Tauromachiai with a Europa-like Torera (bare-breasted like the female acrobats of ancient Crete ) draped over a bull. This was followed by a series of Oedipal Minotaurs bereft of creative powers and guided by a "Flower Child".

To the left is an Onlooker, and in the back-ground is a boat with sailors, recalling Theseus' return to Athens after escaping the labyrinth and abandoning Ariadne. Picasso's Minotaur series takes on more serious meaning with the appearance of his Minotauromachia in 1935.

This important etching incorporates elements of the earlier work but, in contrast to most of Picasso's graphics at this time, it is heavily textured, indicating much pentimenti, viz:

the rain cloud, upper right, with the line extending down through the Minotaur's left arm (the etching plate evidently was burnished to erase the line and finally scratched over);

Picasso is always explicit about sex organs, yet obfuscates the Minotaur's genitals here;

there is a difference in scale of the Minotaur's arms and legs, his left leg is similar in distortion to the knee of the Rushing Woman in Guernica ;

there is an unexplained drape (muleta?) to the right of the Minotaur; the lump on the back of the Minotaur's neck could have been a smaller head scratched over to become a large hirsute neck;

the decoration on the Torera's traje de luces changes; her legs and right arm seemed unattached to her body;

the building either extends out into the water beyond the shore, or Picasso did not continue the side down to the earth.

These and many other indications suggest that the Minotauromachia began as another variation of the frolicking brute. Evidently as Picasso was caught up in the more profound implications of the myth he used it as a comment on his times, and that comment reached its culmination with Guernica, that gray icon of life and anti-life.

Monsters are expressions of time out of joint, they are the anithesis of the hero whose weapons are positive powers.[4] Thus the Torera (Europa? Pasiphaë? Ariadne?) in Minotauromachia surrenders her sword to the Minotaur in suicidal gesture. Does this sword become the lance that pierces the horse in Guernica ? Was the Warrior, finally ossified into a fallen and broken statue, originally the vital rider of the horse, a traditional symbol of the unconquerable force of the ego? Like the composed, unmoved Onlookers with their doves of Venus in Minotauromachia, the bull in Guernica presides over the catastrophe aloof from human suffering, not as a symbol of "darkness and depravity" but of the natural forces of the universe, of creativity, fertility and regeneration, existentially unconcerned with moral issues. The bull ("a bull's form disguised the god") is the principle fecundity; the Minotaur ('deluded bull") devouring youths in his pentagon-labyrinth is the perversion of god and man.

Like a comment on the beginning of life and the power of regenerative force, the Rushing Woman of Guernica with the large knee, genuflects before amoebic vegetation while she looks in adoration at the bull (the handkerchief on her head has religious connotations). The horse too seems to kneel before this sprig, yet throws its head back, looking at the bull as though acknowledging a superior power. The horse, always a white mare in Picasso's oeuvre, is the opposite of the aggressive, ferocious and powerful bull; the erotic spasms of death in the afternoon have their sadistic counterpart in the perverted sexuality of the mad orgasms of war. Life may "choose between victory and ruin" but Picasso says Make Love Not War as he elevates symbolism above the level of the personal and places the individual expression of his private emotions within the context of his culture. Carl Jung stated: "Picasso did not deposit in Guernica what he had thought about the world; rather he endeavors to understand the world through the making of Guernica ."[5]

We usually reproach those who talk only of themselves, but this is a burden that Picasso, with his extraordinary depth in poetic intuition, carries to us with fertile and generous metamorphoses and countless illuminations. Picasso reproaches our world for its just pleasures lost, its mis-use of life, its worship of darkness and depravity, death and destruction. Does he sense through the making of Guernica, that Western civilization is declining and coming to an end "due to the destiny of my line" because "Aphrodite is exacting a tribute of me for all my race"?

Man's brief existence in a transitory world contradicts his participation in a world of infinite ideas and meanings. Throughout history, and because of history, man is estranged and displaced from what he essentially is; his apotheosis requires encounters in which new meanings and values ("reproaches and burdens"?) are created. These are expressed in mythic terms, externalizations of our psychic forces and social dilemmas, "because existence resists conceptualization."[6] To open oneself to death is to accept that aspect of "becoming" which is the very stuff of life, and to realize that the human condition can transcend itself and that life, even with "the sacrifices of victory," is the final victor against death's ultimate absurdity. Guernica is an existential resurrection-icon in which Picasso is the officiating but unseen priest.

Friedrich Nietzsche exclaimed of the ancient Greeks: "How much did these people have to suffer to become so beautiful!" In all history no culture has so passionately adored another culture as the West has idolized ancient Greece , not because Greek culture is filled with "mere truths" but because the Greeks, like Picasso, confronted by the chaos of history and the unconscious, moved toward a deepened awareness of life and a cultivation of that awareness.

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NOTES

[1] Letter, 26 June 1967, in answer to questions by the author.

[2] Spengler, Oswald. The Decline of the West, tr. Charles Francis Atkinson, 2 vols., Alfred A. Knopf, N.Y., 1947; vol. 2, p.429.

[3] Leiris, Michel. Aurora, Paris: Gallimard, 1946, p.68.

[4] Arnheim, Rudolf. Toward a Psychology of Art, University of California Press, Berkeley and Los Angeles, 1966, p.256.

[5] Yung, Carl G. Civilization in Transition, tr. R. F. C. Hull, Bollingen Series XX, Pantheon Books, N.Y., 1964, p.78.

[6] Tillich, Paul. The Courage to Be, Yale University Press, New Haven, 1952, p. 127.

This paper was written with the help of a Release-Time Research Grant from Long Island University, the Brooklyn Campus.

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(*) Martin Ries is painter, printmaker, art historian, art critic and Professor Emeritus at Long Island University.

--> This essay appeared on MartinRies.com

--> Watch also this great video with Picasso (this was sent to me by Ann El Khoury)
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Marilyn Monroe, 45 Years Later
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The 45th anniversary of the death of Marilyn Monroe passed without any any fanfare or commemoration.... almost as if she never existed.

To my generation she did.... she was admired, loved and pitied. Admired for literally rising to fame from a totally impoverished and miserable childhood, loved for her charm and beauty, and pitied because of the exploitation the evil system put her through.

A victim in the truest sense of the word. Victimised by the industry she was a part of, by the press and finally by her murder. She was about to go public with the fact that both John and Bobby Kennedy had been her lovers. Since Robert was getting ready to succeed his brother to the White House, that was a threat that could not be allowed to stand. She is remembered.... she is still loved.... and she is definitely missed.

Following is the last interview she gave...
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Marylin Monroe's Last Interview
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By Richard Meryman 1962
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Sometimes wearing a scarf and a polo coat and no make up and with a certain attitude of walking, I go shopping or just looking at people living. But then you know,there will be a few teenagers who are kind of sharp and they'll say, "Hey, just a minute. You know who I think that is?" And they'll start tailing me. And I don't mind. I realize some people want to see if you're real.The teenagers, the little kids, their faces light up. They say, "Gee," and they can't wait to tell their friends. And old people come up and say, "Wait till I tell my wife." You've changed their whole day. In the morning, the garbage men that go by 57th Street when I come out the door say, "Marilyn, hi! How do you feel this morning?"

To me, it's an honor, and I love them for it. The working men, I'll go by and they'll whistle. At first they whistle because they think, oh, it's a girl. She's got blond hair and she's not out of shape, and then they say, "Gosh,it's Marilyn Monroe!" And that has it's, you know, those are times it's nice. People knowing who you are and all of that, and feeling that you've meant something to them.

I don't know quite why, but somehow I feel they know that I mean what I do, both when I'm acting on the screen or when if I see them in person and greet them. That I really always do mean hello, and how are you? In their fantasies they feel "Gee,it can happen to me!"

But when you're famous you kind of run into human nature in a raw kind of way. It stirs up envy, fame does. People you run into feel that, well, who is she who does she think she is, Marilyn Monroe? They feel fame gives them some kind of privilege to walk up to you and say anything to you, you know, of any kind of nature and it won't hurt your feelings. Like it's happening to your clothing. One time here I am looking for a home to buy and I stopped at this place. A man came out and was very pleasant and cheerful, and said, "Oh, just a moment, I want my wife to meet you." Well,she came out and said, "Will you please get off the premises?" You're always running into peoples unconscious. Let's take some actors or directors. Usually they don't say it to me, they say it to the newspapers because that's a bigger play.

You know, if they're only insulting me to my face that doesn't make a big enough play because all I have to say is, "See you around, like never." But if it's in the newspapers, it's coast to coast and all around the world. I don't understand why people aren't a little more generous with each other. I don't like to say this, but I'm afraid there is alot of envy in this business. The only thing I can do is stop and think, "I'm all right but I'm not so sure about them!" For instance, you've read there was some actor that once said that kissing me was like kissing Hitler. Well, I think that's his problem. If I have to do intimate love scenes with somebody who really has these kinds of feelings toward me, then my fantasy can come into play. In other words, out with him, in with my fantasy. He was never there.

But one thing about fame is the bigger the people are, the simpler they are, the more they are not awed by you! They don't feel they have to be offensive, they don't feel they have to insult you. You can meet Carl Sandburg and he is so pleased to meet you. He wants to know about you, and you want to know about him. Not in any way has he ever let me down. Or else you can meet working people who want to know what it is like. You try to explain to them. I don't like to disillusion them and tell them it's sometimes nearly impossible. They kind of look toward you for something that's away from their everyday life.

I guess you call that entertainment, a world to escape into, a fantasy. Sometimes it makes you a little bit sad because you'd like to meet somebody kind of on face value. It's nice to be included in peoples fantasies but you also like to be accepted for your own sake. I don't look at myself as a commodity, but I'm sure alot of people have. Including, well, one corporation in particular which shall be nameless. If I'm sounding picked on or something, I think I am. I'll think I have a few wonderful friends and all of a sudden, ooh, here it comes. They do alot of things. They talk about you to the press, to their friends, tell stories, and you know, it's disappointing. These are the ones you aren't interested in seeing everyday of your life.

Of course, it does depend on the people, but sometimes I'm invited places to kind of brighten up a dinner table like a musician who'll play the piano after dinner, and I know you're not really invited for yourself. You're just an ornament.

When I was 5 I think, that's when I started wanting to be an actress. I loved to play. I didn't like the world around me because it was kind of grim, but I loved to play house. It was like you could make your own boundaries. It goes beyond house, you could make your own situations and you could pretend, and even if the other kids were a little slow on the imagining part you could say, "Hey, what about if you were such and such, and I were such and such wouldn't that be fun?" And they'd say, "Oh, yes," and then I'd say, "Well, that will be a horse and this will be..."it was play, playfulness.

When I heard that this was acting, I said that's what I want to be. You can play. But then you grow up and find out about playing, that they make playing very difficult for you. Some of my foster families used to send me to the movies to get me out of the house and there I'd sit all day and way into the night. Up in front, there with the screen so big, a little kid all alone, and I loved it. I loved anything that moved up there and I didn't miss anything that happened and there was no popcorn either. When I was 11, the whole world which was closed to me. I just felt I was on the outside of the world. Suddenly, everything opened up.

Even the girls paid a little attention to me because they thought, "Hmmm, she's to be dealt with!" And I had this long walk to school 2 1/2 miles to school, 2 1/2 miles back. It was just sheer pleasure. Every fellow honked his horn you know, workers driving to work, waving, you know, and I'd wave back. The world became friendly. All the newspaper boys when they delivered the paper would come around to where I lived, and I used to hang from the limb of a tree, and I had sort of a sweatshirt on. I didn't realize the value of a sweatshirt in those days, and then I was sort of beginning to catch on, but I didn't quite get it, because I couldn't really afford sweaters.

But here they come with their bicycles, you know, and I'd get these free papers and the family liked that, and they'd all pull their bicycles up around the tree and then I'd be hanging, looking kind of like a monkey, I guess. I was a little shy to come down. I did get down to the curb, kinda kicking the curb and kicking the leaves and talking, but mostly listening. And sometimes the family used to worry because I used to laugh so loud and so gay; I guess they felt it was hysterical. It was just this sudden freedom because I would ask the boys, "Can I ride your bike now?" and they'd say, "Sure." Then I'd go zooming, laughing in the wind, riding down the block, laughing, and they'd all stand around and wait till I came back, but I loved the wind. It caressed me. But it was kind of a double edged thing. I did find too, when the world opened up that people took alot for granted, like not only could they be friendly, but they could suddenly get overly friendly and expect an awful lot for very little. When I was older, I used to go to Grauman's Chinese Theater and try to fit my foot in the prints in the cement there. And I'd say, "Oh, oh, my foot's too big! I guess that's out." I did have a funny feeling later when I finally put my foot down into that wet cement.

I sure knew what it really meant to me. Anything's possible, almost. It was the creative part that kept me going, trying to be an actress. I enjoy acting when you really hit it right. And I guess I've always had too much fantasy to be only a housewife. Well, also, I had to eat. I was never kept, to be blunt about it. I always kept myself. I have always had a pride in the fact that I was my own. And Los Angeles was my home, too, so when they said, "Go home!" I said, "I am home." The time I sort of began to think I was famous, I was driving somebody to the airport, and as I came back there was this movie house and I saw my name in lights. I pulled the car up at a distance down the street, it was too much to take up close, you know, all of a sudden. And I said, "God, somebody's made a mistake." But there it was, in lights. And I sat there and said, "So that's the way it looks," and it was all very strange to me, and yet at the studio they had said, "Remember you're not a star."

Yet there it is up in lights. I really got the idea I must be a star, or something from the newspapermen, I'm saying men, not the women who would interview me and they would be warm and friendly. By the way, that part of the press, you know, the men of the press, unless they have their own personal quirks against me, they were always very warm and friendly and they'd say, "You know, you're the only star," and I'd say, "Star?" and they'd look at me as if I were nuts. I think they, in their own kind of way, made me realize I was famous.

I remember when I got the part in Gentlemen Prefer Blondes. Jane Russell, she was the brunette in it and I was the blonde. She got $200,000 for it, and I got my $500 a week, but that to me was ,you know, considerable. She by the way, was quite wonderful to me. The only thing was I couldn't get a dressing room. I said, finally, I really got to this kind of level, I said, "Look, after all, I am the blonde, and it is Gentlemen Prefer Blondes!" Because still they always kept saying, "Remember, you're not a star." I said, "Well, whatever I am, I am the blonde!" And I want to say the people, if I am a star, the people made me a star. No studio, no person, but the people did.

There was a reaction that came to the studio, the fan mail, or when I went to a premiere, or the exhibitors wanted to meet me. I didn't know why. When they all rushed toward me I looked behind me to see who was there and I said, "My heavens!" I was scared to death. I used to get the feeling, and sometimes I still get it, that sometimes I was fooling somebody. I don't know who or what, maybe myself. I've always felt toward the slightest scene, even if all I had to do in a scene was just to come in and say, "Hi," that the people ought to get their money's worth and that this is an obligation of mine, to give them the best you can get from me. I do have feelings some days when there are scenes with alot of responsibility toward the meaning, and I'll wish, "Gee, if only I had been a cleaning woman." On the way to the studio I would see somebody cleaning and I'd say, "That's what I'd like to be. That's my ambition in life." But I think that all actors go through this.

We not only want to be good, we have to be. You know, when they talk about nervousness, my teacher, Lee Strasberg, when I said to him, "I don't know what's wrong with me but I'm a little nervous," he said, "When you're not, give up, because nervousness indicates sensitivity." Also, a struggle with shyness is in every actor more than anyone can imagine. There is a censor inside us that says to what degree do we let go, like a child playing.

I guess people think we just go out there, and you know, that's all we do. Just do it. But it's a real struggle. I'm one of the world's most self conscious people. I really have to struggle. An actor is not a machine, no matter how much they want to say you are. Creativity has got to start with humanity and when you're a human being, you feel, you suffer. You're gay, you're sick, you're nervous or whatever. Like any creative human being, I would like a bit more control so that it would be a little easier for me when the director says, "One tear, right now," that one tear would pop out. But once there came two tears because I thought, "How dare he?" Goethe said, "Talent is developed in privacy," you know? And it's really true.

There is a need for aloneness which I don't think most people realize for an actor. It's almost having certain kinds of secrets for yourself that you'll let the whole world in on only for a moment, when you're acting. But everybody is always tugging at you. They'd all like sort of a chunk of you. They kind of like to take pieces out of you. I don't think they realize it, but it's like "rrr do this, rrr do that." But you do want to stay intact. Intact and on two feet.

I think that when you are famous every weakness is exaggerated. This industry should behave like a mother whose child has just run out in front of a car. But instead of clasping the child to them, they start punishing the child. Like you don't dare get a cold. How dare you get a cold! I mean, the executives can get colds and stay home forever and phone it in, but how dare you, the actor, get a cold or a virus. You know, no one feels worse than the one who's sick. I sometimes wish, gee, I wish they had to act a comedy with a temperature and a virus infection. I am not an actress who appears at a studio just for the purpose of discipline. This doesn't have anything at all to do with art.

I myself would like to become more disciplined within my work. But I'm there to give a performance and not to be disciplined by a studio! After all, I'm not in a military school. This is supposed to be an art form, not just a manufacturing establishment. The sensitivity that helps me to act, you see, also makes me react. An actor is supposed to be a sensitive instrument. Isaac Stern takes good care of his violin. What if everybody jumped on his violin? If you've noticed in Hollywood where millions and billions of dollars have been made, there aren't really any kind of monuments or museums, and I don't call putting your footprint in Grauman's Chinese a monument, all right this did mean a lot, sentimentally at the time.

Gee, nobody left anything behind, they took it, they grabbed it and they ran, the ones who made the billions of dollars, never the workers. You know alot of people have, oh gee, real quirky problems that they wouldn't dare have anyone know. But one of my problems happens to show, I'm late. I guess people think that why I'm late is some kind of arrogance and I think it is opposite of arrogance. I also feel that I'm not in this big American rush, you know, you got to go and you got to go fast but for no good reason.

The main thing is, I want to be prepared when I get there to give a good performance or whatever to the best of my ability. A lot of people can be there on time and do nothing, which I have seen them do, and you know, all sit around and sort of chit chatting and talking trivia about their social life. Gable said about me, "When she's there, she's there. All of her is there! She's there to work." I was honored when they asked me to appear at the President's birthday rally in Madison Square Garden.

There was like a hush over the whole place when I came on to sing Happy Birthday, like if I had been wearing a slip I would have thought it was showing, or something. I thought, "Oh, my gosh, what if no sound comes out!" A hush like that from the people warms me. It's sort of like an embrace. Then you think, by God, I'll sing this song if it's the last thing I ever do. And for all the people. Because I remember when I turned to the microphone I looked all the way up and back, and I thought, "That's where I'd be, way up there under one of those rafters, close to the ceiling, after I paid my $2 to come into the place." Afterwards they had some sort of reception. I was with my former father-in-law, Isadore Miller, so I think I did something wrong when I met the President. Instead of saying, "How do you do?" I just said "This is my former father-in-law, Isadore Miller."

He came here an immigrant and I thought this would be one of the biggest things in his life, he's about 75 or 80 years old and I thought this would be something that he would be telling his grandchildren about and all that. I should have said, "How do you do, Mr.President," but I had already done the singing, so well you know. I guess nobody noticed it. Fame has a special burden, which I might as well state here and now.

I don't mind being burdened with being glamorous and sexual. But what goes with it can be a burden. Like the man was going to show me around but the woman said, "Off the premises." I feel that beauty and femininity are ageless and can't be contrived, and glamour, although the manufacturers won't like this, cannot be manufactured. Not real glamour, it's based on femininity. I think that sexuality is only attractive when it's natural and spontaneous. This is where alot of them miss the boat. And then something I'd just like to spout off on.

We are all born sexual creatures, thank God, but it's a pity so many people despise and crush this natural gift. Art, real art, comes from it, everything. I never quite understood it, this sex symbol. I always thought symbols were those things you clash together! That's the trouble, a sex symbol becomes a thing. I just hate to be a thing. But if I'm going to be a symbol of something I'd rather have it sex than some other things they've got symbols of! These girls who try to be me, I guess the studios put them up to it, or they get the ideas themselves. But gee, they haven't got it. Y

ou can make alot of gags about it like they haven't got the foreground or else they haven't the background. But I mean the middle, where you live. All my stepchildren carried the burden of my fame. Sometimes they would read terrible things about me and I'd worry about whether it would hurt them. I would tell them, don't hide these things from me. I'd rather you ask me these things straight out and I'll answer all your questions. Don't be afraid to ask anything. After all, I have come up from way down.

I wanted them to know of life other than their own. I used to tell them, for instance, that I worked for 5 cents a month and I washed one hundred dishes, and my step kids would say, "One hundred dishes!" and I said, "Not only that, I scraped and cleaned them before I washed them. I washed them and rinsed them and put them in the draining place, but I said, "Thank God I didn't have to dry them." Kids are different from grown ups. You know when you get grown up you can get kind of sour, I mean that's the way it can go, but kid's accept you the way you are. Fame to me certainly is only a temporary and a partial happiness, even for a waif and I was brought up a waif. But fame is not really for a daily diet, that's not what fulfills you.

It warms you a bit but the warming is temporary. It's like caviar, you know, it's good to have caviar but not when you have it every meal every day. I was never used to being happy, so that wasn't something I ever took for granted. I did sort of think, you know, marriage did that. You see, I was brought up differently from the average American child because the average child is brought up expecting to be happy. That's it, successful, happy, and on time. Yet because of fame I was able to meet and marry two of the nicest men I'd ever met up to that time.

I don't think people will turn against me, at least not by themselves. I like people. The "public" scares me but people I trust. Maybe they can be impressed by the press or when a studio starts sending out all kinds of stories. But I think when people go to see a movie, they judge for themselves. We human beings are strange creatures and still reserve the right to think for ourselves. Once I was supposed to be finished, that was the end of me.

When Mr. Miller was on trial for contempt of Congress, a certain corporation executive said either he named names and I got him to name names, or I was finished. I said, "I'm proud of my husband's position and I stand behind him all the way," and the court did too. "Finished," they said. "You'll never be heard of." It might be a kind of relief to be finished. It's sort of like, I don't know, what kind of a yard dash you're running, but then you're at the finish line and you sort of see you've made it! But you never have. You have to start all over again.

But I believe you're always as good as your potential. I now live in my work and in a few relationships with the few people I can really count on. Fame will go by and, so long, I've had you fame. If it goes by, I've always known it was fickle. So at least it's something I experienced, but that's not where I live.Source

And below is her obituary that appeared in the New York Times on August 6 1962...
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Brilliant Stardom and Personal Tragedy
Punctuated the Life of Marilyn Monroe
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By THE NEW YORK TIMES
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The life of Marilyn Monroe, the golden girl of the movies, ended as it began, in misery and tragedy. Her death at the age of 36 closed an incredibly glamorous career and capped a series of somber events that began with her birth as an unwanted, illegitimate baby and went on and on, illuminated during the last dozen years by the lightning of fame.

Her public life was in dazzling contrast to her private life. The first man to see her on the screen, the man who made her screen test, felt the almost universal reaction as he ran the wordless scene. In it, she walked, sat down and lit a cigarette.

Recalled 'Lush Stars'

"I got a cold chill," he said. "This girl had something I hadn't seen since silent pictures. This is the first girl who looked like one of those lush stars of the silent era. Every frame of the test radiated sex." Billy Wilder, the director, called it "flesh impact."

"Flesh impact is rare," he said. "Three I remember who had it were Clara Bow, Jean Harlow and Rita Hayworth. Such girls have flesh which photographs like flesh. You feel you can reach out and touch it."

Fans paid $200,000,000 to see her project this quality. No sex symbol of the era other than Brigitte Bardot could match her popularity. Toward the end, she also convinced critics and the public that she could act.

During the years of her greatest success, she saw two of her marriages end in divorce. She suffered at least two miscarriages and was never able to have a child. Her emotional insecurity deepened; her many illnesses came upon her more frequently.

Dismissed From Picture

In 1961, she was twice admitted to hospitals in New York for psychiatric observation and rest. She was dismissed in June by Twentieth Century-Fox after being absent all but five days during seven weeks of shooting "Something's Got to Give."

"It's something that Marilyn no longer can control," one of her studio chiefs confided. "Sure she's sick. She believes she's sick. She may even have a fever, but it's a sickness of the mind. Only a psychiatrist can help her now."

In her last interview, published in the Aug. 3 issue of Life magazine, she told Richard Meryman, an associate editor: "I was never used to being happy, so that wasn't something I ever took for granted." Considering her background, this was a statement of exquisite restraint.

She was born in Los Angeles on June 1, 1926. The name on the birth record is Norma Jean Mortenson, the surname of the man who fathered her, then abandoned her mother. She later took her mother's last name, Baker.

Family Tragedies

Both her maternal grandparents and her mother were committed to mental institutions. Her uncle killed himself. Her father died in a motorcycle accident three years after her birth. Her childhood has been described as "Oliver Twist in girl's clothing."

During her mother's stays in asylums, she was farmed out to twelve sets of foster parents. Two families were religious fanatics; one gave her empty whisky bottles to play with instead of dolls.

At another stage, she lived in a drought area with a family of seven. She spent two years in a Los Angeles orphanage, wearing a uniform she detested. By the time she was 9 years old, Norma Jean had begun to stammer--an affliction rare among females.

Her dream since childhood had been to be a movie star, and she succeeded beyond her wildest imaginings. The conviction of her mother's best friend was borne out; she had told the little girl, day after day: "Don't worry. You're going to be a beautiful girl when you get big. You're going to be a movie star. Oh, I feel it in my bones."

Nunnally Johnson, the producer and writer, understood that Miss Monroe was something special. Marilyn, he said, was "a phenomenon of nature, like Niagara Falls and the Grand Canyon. "You can't talk to it. It can't talk to you. All you can do is stand back and be awed by it," he said.

This figure in the minds of millions was difficult to analyze statistically. Her dimensions--37-23- 37--were voluptuous but not extraordinary. She stood 5 feet 5 1/2 inches tall. She had soft blonde hair, wide, dreamy, gray-blue eyes. She spoke in a high baby voice that was little more than a breathless whisper.

Heavy Fan Mail

Fans wrote her 5,000 letters a week, at least a dozen of them proposing marriage. The Communists denounced her as a capitalist trick to make the American people forget how miserable they were. In Turkey a young man took leave of his senses while watching "How to Marry a Millionaire" and slashed his wrists.

There were other symbols of success. She married two American male idols--one an athlete, one an intellectual. Her second husband was Joe DiMaggio, the baseball player. Her third and last was the Pulitzer- Prize winning playwright, Arthur Miller.

She was 16 when she married for the first time. The bridegroom was James Dougherty, 21, an aircraft worker. Mr. Dougherty said after their divorce four years later, in 1946, that she had been a "wonderful" housekeeper.

Her two successive divorces came in 1954, when she split with Mr. DiMaggio after only nine months, and in 1960, after a four-year marriage to Mr. Miller. She became famous with her first featured role of any prominence in "The Asphalt Jungle," issued in 1950.

Her appearance was brief but unforgettable. From the instant she moved onto the screen with that extraordinary walk of hers, people asked themselves: "Who's that blonde?" In 1952 it was revealed that Miss Monroe had been the subject of a widely distributed nude calendar photograph shot while she was a notably unsuccessful starlet.

Revealed Her Wit

It created a scandal, but it was her reaction to the scandal that was remembered. She told interviewers that she was not ashamed and had needed the money to pay her rent. She also revealed her sense of humor. When asked by a woman journalist, "You mean you didn't have anything on?" she replied breathlessly: "Oh yes, I had the radio on."

One of her most exasperating quirks was her tardiness. She was, during the years of her fame, anywhere from one to twenty-four hours late for appointments. Until lately, she managed to get away with it. Her dilatory nature and sicknesses added nearly $1,000,000 to the budget of "Let's Make Love." The late Jerry Wald, head of her studio, simply commented:

"True, she's not punctual. She can't help it, but I'm not sad about it," he said, "I can get a dozen beautiful blondes who will show up promptly in make-up at 4 A.M. each morning, but they are not Marilyn Monroe."

The tardiness, the lack of responsibility and the fears began to show more and more through the glamorous patina as Miss Monroe's career waxed. Speaking of her career and her fame in the Life interview, she said, wistfully:

"It might be kind of a relief to be finished. It's sort of like I don't know what kind of a yard dash you're running, but then you're at the finish line and you sort of sigh--you've made it! But you never have--you have to start all over again."
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