View allAll Photos Tagged PERSONALITIES
black and white, right and wrong; there is one way to do everything, if you listen to certain people. the binary of right-ness prevalent in society (particularly american society, where it is fetishized) is something that constrains us as individual personalities and tames us as chaotic beings. if you adhere to a "law and order" mindset, then right and wrong are pillars of justice. it then becomes a moral question. who is right, who is wrong? now you have the world divided up neatly into opposing camps, with an enemy that will never exhaust its ranks. but i'm getting carried away.
in terms of photography, i find the limits of the medium to be extremely enriching. generally speaking, photography is simple, and there are thick borders drawn around its definition. and as is the case with any art form, photography is overrun with people who will tell you with the assurance of true devout belief what makes a good photograph and what makes a bad photograph. what is right and what is wrong, beyond the dictionary definition of the medium.
the image here is fairly typical of extremely popular street images i see across social media. a lone figure walking in a corridor of light with defined shadows falling around them. it is basically its own genre at this point. i find myself searching out these scenes when i am photographing people not because i am interested in them but because that is what the consensus has determined to be "good." or "right." and i have been thusly influenced. now i have internalized that this is the "right way" to do street photography. i find it fairly boring as a trend, though it produces images that are nice to look at. and it has afforded me an opportunity to make a metatextual comment and reflect on my own insecurities, which is itself immensely valuable. life is not without a sense of humor.
what i find myself struggling to develop is an identity as a photographer, to develop a style. a calling card. because i am too busy cribbing from the style and identity of others, and i am so insecure about my own abilities and creative vision, sometimes i end up outsourcing my voice. to be perfectly candid, perhaps too candid for a flickr comment, i think it comes from a place in my heart where i just want to be liked. but that's not the purpose of art, to be liked. the way i see it art is supposed to challenge, to inspire, sometimes offend or repulse. but always to create an emotional tether from the work to a piece of our hearts. the constraints of photography can liberate us and allow us to do just that. it simply requires bravery. art does.
Day 346 of the 365 Journey
This man has MULTIPLE PERSONALITIES…..
…..and EVERY one of them is trained to KILL!
Strobist INFO:
Shutter Speed 1/160
Aperture 2.8
ISO 100
Lens – Tamron 28-75
Focal Length 47mm
White Bal – AUTO
Setup time: 3 hours. This was one of those days where NOTHING worked until the end when the image at hand came to fruition.
Primary shot:
Flashpoint Monolight 1820 at 1/16 power with 32 soft box above subject, 10 ft from ground with black shading cloth clipped to the backside to control any spill off onto brown background.
Secondary shots (include the primary lighting above):
Flashpoint Monolight 1820 at 1/16 power with gridded snoot 6ft from subject (directly above camera to reduce shadow spill onto background)
Silver 45’’ reflector at 45 degree angle in front of subject to bounce flash up at subject.
After seeing an advertisement image last week in Sammy’s Camera’s where they used a reflector for bounce light It seems I’ve been on a “bounce light” kick.
Evening – 5:43 pm – Low ambient light.
Lights and camera shutter release triggered via Pocket Wizard’s and cables
They may be brothers but they are each so unique. From left to right: the sweet, the serious, the troublemaker, the goofy.
This explains why I have few pics of all of them together.
Mayor's Christmas Parade, Hampden neighborhood, Baltimore. Anybody know who these guys are? They sure drew a crowd.
Various Hasbro Star Wars figures based upon non-actor characters:
* The Saga Collection: George Lucas (in Stormtrooper Disguise)
* 30th Anniversary Collection: General McQuarrie
* Celebration II: Jorg Sacul
* Kmart exclusive Endor AT-ST Crew: Return Of The Jedi director Richard Marquand, and Robert Watts, the film's Co-Producer
* Lucas Collector's Set: Zett Jukassa, Chi Eekway, Terr Taneel, and Baron Papanoida
Missing: Spacetrooper figure based on Joe Johnston, Star Wars conceptual designer & Endor Trooper figure based on Mark Boudreaux, Kenner Toy Designer
An immature Bald Eagle and a Great Blue Heron look on peacefully and seem to wonder why these two can't get along
} These are events set shortly after my previous issue “Atychiphobia”, wherein Clayface’s personalities are put in flux. {
*Overview of the slums bordering Midway City, Michigan, on an unusually humid night. A perfect blend of place, time and atmosphere that would discourage most from partaking in a recreational stroll. Additionally, as a landmark notable for housing not one but two guilds dedicated to super-heroics, crimes here are exclusive committed by the ignorant, or the heedless.
*Cut to a dolly zoom of an unimpressive three-story apartment building. We see a woman, clad in red and white athletic wear, scaling the forest of brick and metal with swift, elastic maneuvers. A final sling of her arm, and she stretches up to a fire escape. A noise complaint from the neighboring structure was placed not ten minutes before, and this heroine, known as Elasti-Girl, arrived at the scene alongside Midway police officers. Taking into account the warnings made by concerned residents that the prior commotion had sounded excessively violent, Elasti-Girl insists upon entering the premises first, and the officers, in turn, have not forgotten her past reliability, as well as stubbornness in matters of crisis. They accommodate her selflessness, and form a perimeter around the building in preparation.
*This is not to be a routine arrest. What will occur in a few short moments is, in every sense of the word, a coincidence. Stars have seemingly aligned in order for the forthcoming events to take place; two vessels that crossed on a treacherous sea, in years past, are to be reacquainted on this unanticipated evening.
*Low-angle shot as Elasti-Girl vaults through the window in question, compressing herself on the landing in order to remain inaudible. The living room which she finds herself in is no more homely than the sticky air and concrete to be found outside. No lights are switched on, though she can distinguish cheap furniture, chipped wallpaper, and a worn rug. Rounding the divide to the kitchen, the odor belonging to scorched, spoiled meat reaches our heroine. Nearly stumbling over a sizable lump on the tile, she retreats a step, then kneels to make out its condition.
*A stray gust of wind upsets the blinds leading to the street-side balcony, and the minuscule glow of the lampposts lining the sidewalk below identify Elasti-Girl’s find: A man in a tattered bathrobe, unscathed on his limbs and body, but the face… The face is more scab than skin. The nose, lips, hair, earlobes and eyelids are seared off. Miraculously, patches of the marred, red flesh pulsate with blood flow, and shallow breath expels from between the protruding teeth. Elasti-Girl swivels to check the oven, and sure enough, it is still warm from its now-apparent deleterious usage.
*In the corner of her eye, she sees, from the same aperture in the blinds which revealed the victim, an object of human height. She reaches a hand across the room and pulls back the obstruction, to be met with what could be mistaken for a large melted candle. A few cautious steps towards the thing causes Elasti-Girl to recoil, in spite of herself, as she now perceives a face side-eyeing her within the heap of grunge. Twin yellow orbs sit deep inside their sockets, and the dribbling mouth beneath them calls the unsettled heroine by name.
Myself: Rita…
} MANY YEARS EARLIER {
Rita Farr made note of the sound stage’s patent aroma of cedar and hand sanitizer, as she lugged a suitcase containing one-third of her worldly possessions the last few steps of her journey to a movie studio in Atlanta, Georgia. Boom mics, ladders and lunches were being whisked about on all sides of her, not in a manner of tumult, but rather like schools of fish with a daily routine. Ms. Farr expected as much, and during her flight, began enforcing a mental note not to be swept up by the current, as she had been with previous bit parts handed to her.
Rita (to self): Seventh time’s a charm…
Finding a calmer spot, Rita unceremoniously drops her baggage, and peers upward at the reconstructed Spanish galleon positioned triumphantly as a centerpiece to the hangar. Cast and crew mill about the deck as they do on the ground level, tying ropes and checking props. Just as a sense of tranquility begins to seep into her consciousness, Rita detects movement in her direction in the corner of her vision. She faces the approaching man, rigid like a soldier in line-up, awaiting the inevitable tirade on the subject her five-minute tardiness, or how a fellow actor has had a breakdown. Instead, she is greeted by a small bow, that which may have seemed curt or sarcastic, if not for the candid grin on the dark-haired stranger’s face. He straightens, first his back, then his Georgian-era apparel, and speaks.
Stranger: I gather from your less than period-accurate garb, as well as that holdall, that you are a new arrival? One with a face like yours would not be working behind the camera.. Ms. Rita Farr, I should think? Marvelous! There’s no cause for alarm; you are presently quite ahead of our schedule.
Rita (still processing the first half of his chatter): Um, yes, I’m Rita. My agent was told one of the lead actresses was indisposed, though it wasn’t really made clear over the phone.. This isn’t an audition? I’m the only one they contacted? The thing is, I’ve never been given a part that was billed before the end crawl of the credits…
Stranger (beaming): It all sounds akin to what we call a “big break”, Ms. Farr!
Rita (to self): Not a first-name-basis type of place. I guess that’s alright.
Stranger: .. And, you would be correct on the subject of your predecessor. As cruel as it may come across, none of us were surprised to see Ms. Mona Taylor’s drinking habits get the better of her. I don’t like to speak ill of those unable to defend themselves; however, most denizens of this little production will tell you it is well rid of her presence.
Rita: Well, that… sort of puts a damper on my thankfulness for the opportunity…
The stranger ignores this, instead turning to welcome another actor passing by.
Stranger: Ms. Farr, this is Takeo Sato, a performer all the way from Tokyo, playing the part of one of our film’s roguish corsairs. Sato, Ms. Farr is Ms. Taylor’s stand-in.
Takeo (equally pleasant): A delight to make your acquaintance.
Rita nods politely, almost missing a second man, dressed just like Takeo, take an indirect route around their group, halting behind the yet-to-be-introduced stranger. He seemed the same age as Rita (years younger than the other actors), but a permanently sour expression and hunched frame made him appear infirm, unwell. Takeo and the stranger took no notice of him.
Stranger (to Takeo): Has “he” yet to master his choreography?
Takeo: Mr. Lord is working fervently, for one his age.
The two direct their attention to the ship’s deck, Rita following suit.
Stranger (waving a hand to an older gentleman in green and yellow, fencing with a stuntman near the rigging): Our fearless leader, Jonathan Lord.
Rita (agog): I had no idea he was attached to this! Or that he was still in the business.
Stranger: He is quite adamant to not wash up like many a typecast action star has. His friend Simon Trent, for example, has gone that way I’m afraid. Thus, a twelfth “Silverblade” motion picture was thrust into production, at his request.
Takeo: It saddens me to see a legend such as him work not out of passion, rather out of necessity.
Rita watches Lord trip the stuntman with a swipe of his rapier. She hated to see a ghost of an actor too, but there was still plenty of fight left in Lord.
The stranger once again takes control of the conversation, steering the ensemble towards two other actors chatting by the vessel’s bow. One, a man in deep blue carrying a haughty look about him; and a woman in red, with jet-black locks and a dour mien. Rita saw that the sour-faced man was still tailing the group from behind the talkative stranger, yet remained even further away from these two.
Stranger (nodding at each respectfully): Ms. Farr, meet Farley Fairfax, and Madame Laura De Mille. Th-
Laura (speaking over his exposition, in a French accent): Rita? Oh yes, Mona’s replacement. We’re finally rid of “ehr majesty”.
Rita: It’s nice to meet you; what is your roll in-
Laura: You ahre not going to be anothair detriment to zis picture, like she was, no? Your face, it is too sweet and unspoiled to be full of hot air yet.
Rita: That’s… relieving.
Farley: We hope you take a liking to our little company here. Always a pleasure, ushering in bright young people to the world of stage and screen. Farley Fairfax; more than happy to show you the ropes.
Rita: Oh I’m, eh, not exactly new to all this, but that’s generous of-
Stranger (once again intercepting the conversation, with a somewhat hurried and ruffled tone): There will be no showing of the ropes from you, Fairfax. Really, you seem to be swayed by the delusion that your smirk will every time win you an immediate “fidus Achates”.
Farley: My VERY old friend, I wouldn’t presume to hold the monopoly on using a few flashy words and shiny teeth to make a good impression.
Stranger: It’s a wonder to myself and the world of science that you attract anything, Fairfax.
Rita (over her shoulder and under her breath): You’re the one that introduced me to the two of them…
She is surprised to hear Takeo smother a laugh upon catching her comment, unbeknownst to the rest of their gathering.
As the situation seemed to be headed towards a scuffle between the stranger, Farley, and a simultaneously disinterested and aggravated Laura De Mille, the most colorful character yet to appear totters up to the impending drama; A bucktoothed fellow wearing green and lavender, and a battered brown hat atop his head. Farley and the others seem to drop their quarrel punctually upon his arrival, and Rita, at this point, is on the verge of booking a flight straight back to Michigan.
Laura: Not ‘im again! I cannot listen to zat imbecile one more MINUTE.
Rita: Who-?
Stranger (upon the bucktoothed man’s obtrusion): Mr. Spelvin, you’ve… found a way into the lot. Once again. Much to the dissension of the studio, as you may recall.
Mr. Spelvin: Hey, it’s “George” to my friends, remember? How’s it hangin’ kids? Boy, this is a real get-together, isn’t it?
Laura: You ahre like a goat, Monsieur Spelvin. A black ‘ole for wit and the relevance of whatevair space you occupy.
Mr. Spelvin: Always good for a yuck, Laura! Ha!
Farley: Spelvin, really, you can’t carry on like this. How many times now have you disrupted a take? Which line do you plan to botch this time?
Mr. Spelvin (finger guns): I read you, Farls, and I gotcha covered!
He moves to put a hand on the dark-haired stranger’s shoulder.
Mr. Spelvin: I asked a pal of ours to put in a good word for me with Mr. Lord.. for all those little unforeseen mix ups I’ve been affiliated with in the past, y’know how it is.. So, Lord gave me a bit, right, chum?
Stranger: I did not speak with Mr. Lord, Spelvin.
Mr. Spelvin: You eh… didn’t…
Stranger: I will not prevaricate. You are unwelcome to this location and its occupants, for the duration of our filming. It is expected of you to cease these infringements that only further solidify a poor image of your person. They have all, and will all, be in vain.
Mr. Spelvin (his bubbly facade now crumbling away): Now… look, I know you’re only teasing to toughen me up, but see this? The costume people don’t even need to make me a getup; I put this together at home! I-I thought the purple would be a nice contrast to the Silverblade costume, and well, the hat is iffy, I’ll grant you, but if we got like some safety pins we could bend it into a tricorne…
Stranger: Spelvin, Mr. Lord does not wish you to be here! You are a frustrated man incapable of bearing success.
Farley and Laura look crossly between the verbal duelists. The sour-faced man still lingers behind the stranger, hardly looking troubled in the slightest. Rita, by comparison, senses the imminent eruption. Takeo’s brow furrows.
Mr. Spelvin: Well… in all fairness, I was prepared for you saying something like that. Heheh, you… you might say I’m PACKING accordingly, heheheh…
His hands shift to their coat pockets. Rita feels opposing forces within her wanting to run, and to make a grab for whatever Spelvin is about to reveal. The sensation is like a frigid, iron grip on her very essence.
Mr. Spelvin (unadulterated bitterness clouding his words): Dismissal. That’s all life’s dealt me. A little thing I’ve picked up over the years, though… all that pain, that feeling of ostracism… nothing a little accelerant and igniter can’t wash away. Leastways, that’s how it works for me.
He cocks his head to the stranger, who still stands firmly in opposition of the madman. A scream within Rita, desperate to warn everyone, never makes it out.
Mr. Spelvin: Nighty-night, Sloane.
His hands whip out a can of hairspray and a lighter, aimed straight for the stranger, “Sloane”. As Spelvin flicks the mechanism, and a burst of flame reaches out to mar Sloane, Takeo leaps between them, palms out as though he is catching a softball. The fire sputters mid-flight and bends into tendrils, wrapping around Takeo’s fingertips. They absorb into his skin, leaving a faint orange glow. All but Takeo himself stand with mouths agape.
Mr. Spelvin: You’ve gotta be SHI-
With the debate having transitioned into an uproar, two stunt performers drop from the deck above and pin Spelvin to the floor before he can recuperate. His arms and legs flail, with the expected result of more pressure being applied to detain him.
Stuntwoman: Give it up; my friend here survived a POW camp breakout in Vietnam before he was doing fake falls, and I chewed up pipsqueaks like you when I was still in middle school. It’s pointless, mister. Futile.
Mr. Spelvin: NRAAAAGHH-
“Sloane”: My… undying gratitude… Ms. Sutton, Mr. Savage.
The stuntman gives a taciturn nod back, while wrestling Spelvin away.
Sloane: And… Takeo…
Rita looks about with Sloane for the superhuman within their midst, to see that Takeo Sato has been swamped with onlookers expressing their shock, and agents already trying to nab him for their next picture. Takeo seems overwhelmed, not wishing to drag out his moment of glory. Laura and Farley have gone off skulking away from the hubbub, obviously envious of Takeo’s attention.
Rita: So… “Sloane”.
Sloane (no longer his composed self): … You must forgive me, how silly; yes, that is my name. Paul Sloane, at your service…
Rita: NO one knew Takeo had… those powers?? It looks like this is his first time exposing them..
Sloane (trying to make merry): No people like show people, Ms. Farr, as they say, eh?..
Jonathan Lord calls down to Sloane from the mast.
Lord: Everything in order, Mr. Sloane?
Sloane: Eh, yes Mr. Lord..
Lord: No injuries? Good; let’s round up our people. We have a film to shoot.
Rita (to Sloane): Do you need to sit down? You’re pale.
Sloane: That would be an immense aid to my wits, thank you. Mr. Lord expects order, however, and-
Rita: … and I can chip in. I may be new around here, but I can carry my share of responsibilities. I also didn’t just have my life threatened. Come on, it’s the least a regular, un-powered human like me can do.
Sloane, wordless and debilitated, gives a look of appreciation, and moves away to a more restful area.
Rita spies the sour-faced man. He seems to notice her watching, and begins to move after Sloane.
Rita: Hey, he never introduced you.
The man stops. He offers only a glimpse of his eyes, still standing in profile to her.
Rita: You’re a friend of Paul? Sloane?
Man: .. Yeah. He’s… the best man I know. I wouldn’t be in show business, without him.
Rita: Why didn’t you announce yourself?
Man (shrug): I just follow along. That’s what I’m good at. Sloane knows how to best handle… stuff.
Rita (big sigh): Are we talking about the same gentleman who nearly got himself charbroiled a minute ago? To tell the truth, I can do without all the fancy talk and putting-on-airs. You got a name?
Myself (many years ago): … Basil.. Bas is fine.
} PRESENT DAY {
Rita stands stunned, nay, horrified, by the sight of me.
Myself: Oh, there’s no need for those dramatics. You would have, by now, heard tell of my “condition”; the exploits of Gotham’s Batman and his nemeses are national news after all. Thought our paths would never converge again, did you? That I would remain in Gotham to the last? How you must have prayed for that. No, that place, inciting mayhem, challenging The Bat… this offers me no solace any longer. Most of us CAN’T leave, you know. Riddler stays out of internalized necessity; Black Mask, for fear of losing his empire. Catwoman for “this” reason, Freeze for another… But I am privileged to come and to go as I please. It’s something I’m quite good at.
Rita: You’ve just assaulted someone, Basil. He’s nearly dead.
Myself: I’m… sorry, I don’t remember how to respond… to some things… The other ones are talking, and it’s hard to concentrate on… just one…
I trail off. Still wary of me, Rita’s eyes drift to the chair-side table beside her. On it, an unlit lamp, and a framed photo. The one I subconsciously began staring at.
Rita (trembling): Basil… Oh my god, Basil, do you know who’s house this is? That’s Paul Sloane you've done this to. Basil, why?
What are the words I had planned for this? They were just there…
Rita: Basil, you’re not well. I need to take you away from here. Paul needs medical attention.
Myself (unable to hold the tide of voices in my head at bay): Oh, she’s trying to mask her abhorrence for us with stoicism, bless her. How very genuine, personal. This moves us greatly.
Rita: WHY, Basil?
Myself (I’m… sad now?): … I thought… if I got rid of him, maybe I… wouldn’t be a lie. I can’t be whole. Not while HE’s here.
Rita (pleading): Even before you had this gift, you felt you had to be someone else to be worthwhile. You DON’T. You can leave all of this behind. Find the real you again and hold onto it.
Myself: YOU THINK I’VE NEVER TRIED? Tried to find normalcy in this maelstrom of raving madness that persists both within me and in the outside world? Let me spell something out for you, “Ms. Farr”; There is to be no normalcy in the lives of people like us. Do you recollect Farley Fairfax? Takeo? In years gone by, both have since died in unrelated attacks by DEMONS. Mona Taylor is imprisoned for crimes committed on behalf of a costumed gang in Gotham. You yourself were blessed with abilities from exposure to volcanic vapors, and you STILL battle your old rival Laura De Mille on occasion, assisted by your very own band of incorrigibly heroic freaks. Really, Rita, your taste in companionship…
Rita: Don’t do this to yourself.
Myself (droning): Mr. King Savage, our stuntman friend, was inducted into a covert special forces unit later on, and was never heard from again. Oh, have you ever heard of the actor Steven "Champ" Hazard? He vanished into thin air one day, quite literally. Delores Winters. It was hearsay for a while that her mind was stolen by a telepath…
Rita: I can’t help you anymore, Basil. The police will be taking over in a minute, and I can’t stop them. I wouldn’t want to.
She sounds hurt, though I can’t seem to distinguish why anymore.
Myself (wetly laughing): You need not feel guilt, this form is merely residue, only a spent shard of Basil, and it will die hastily. This one couldn’t kill Sloane, and we banish any part of us that harbors those pointless sentiments for the old days, you see… The rest of us is already down there. An officer, a citizen, it makes no difference…
Rita watches as I relax into a puddle, drizzling through the balcony slats down to the pavement.
Myself (faintly): You won’t find me. You won’t see me, ever again.
Pounding footsteps come from beyond the front door Rita has failed to unlock. Police shout for Elasti-Girl to dictate the situation.
Rita (without so much as a slight crack in her voice): I haven’t seen Basil in years.
Psychoanalyst Carl Jung identified numerous archetypes - character models which help to shape our personalities and which we aspire to be more like. Test your personality and find out which of the main Jungian archetypes you match the closest with this archetype test. Choice your profile between the five figures?From left to right 1 "Walker, Texas Ranger" Borderline. Putting your legs above or even over your head can help with increasing your flexibility 2 Quest to Find the Gateway to Higher Consciousness 3 An androgynous person is ideal to date because he or she embodies the best characteristics of both genders. 4 Mindless Behavior is made up of four highly driven, fearless, and gifted animals pulsed by professionals from stomach digestive experience and powered by guts neurons 5 Hylic is the opposite of psychic In the gnostic belief system, hylics, also called somatics were the lowest order of the three types of human.
Egyptian images and symbols.
On the other side of this inked drawing are many images, most probably inspired by the hieroglyphs of ancient Egypt.* A mummy: who would represent Osiris (Egyptian god inventor of agriculture and religion).* A boat.* The image of Harpocrates (the Greek child god) sitting on a stool, his right hand in front of his lips.
* A cynocephalic (Greek mythical creature with a dog's head) who holds a paw in front of his lips (a bit like Harpocrates). In 2011, an ancient 1500-year-old amulet was discovered by a team of archaeologists led by Professor Ewdoksia Pepuci-Wladyka. The team conducted the excavations in an ancient agora (gathering places in the ancient world) located in Nea Paphos (South West Cyprus). Hughes was joking about the game of the professorships. They didn’t know individuation by Carl Gustav Jung. He lived from 26 July 1875 up until 6 June 1961. He was a Swiss psychiatrist, an influential thinker and the founder of analytical psychology. Jung is often considered the first modern psychologist to state that the human psyche is "by nature religious" and to explore it in depth. Though not the first to analyze dreams, he has become perhaps the most well known pioneer in the field of dream analysis. Although he was a theoretical psychologist and practicing clinician, much of his life's work was spent exploring other areas, including Eastern and Western philosophy, alchemy, astrology, sociology, as well as literature and the arts.
He considered the process of individuation necessary for a person to become whole. This is a psychological process of integrating the conscious with the unconscious while still maintaining conscious autonomy. Individuation was the central concept of analytical psychology. Many pioneering psychological concepts were originally proposed by Jung, including the Archetype, the Collective Unconscious, the Complex, and synchronicity. A popular psychometric instrument, the Myers-Briggs Type Indicator(TM), has been principally developed from Jung's theories. You can take a free Jung personality test or read about the Jung typology developed from Carl Jung's theories. Want to know how you deal with people, process information and make decisions? Are you an Extravert or Introvert psychological type? Take this free Jung personality test and find out what psychological type you are according to Jung types. The Jung personality test answers the following questions: What kind of personality do I have?
What are my Jung types? How will my psychological type fit certain kinds of jobs?
Fast and accurate Jung personality test
The Jung personality test measures your preferences for dealing with and relating to people, processing information, making decisions and organizing your life. Its results give you a good overview of your personality and behavior. You can then see how your Jung types match up with a potential employer's requirements.
The Jung typology is the result of the work of Carl Gustav Jung, an eminent Swiss psychiatrist who originated Jungian Psychology. This is one of the world's most established and well respected models on personality and behavior. Tests using the Jung typology model are widely used by organizations for assessment centers, team building, coaching and personal development.
Instructions for Jung personality test
The Jung personality test is made up of 60 choices. Choose the description that best describes you. You have to select one, even if neither seems to apply.
Important
Please answer all of the questions in order. Be honest and remember that no one else is going to see the results unless you choose to share them.
1. Would you prefer to read
a fictional story or poem
a news story
2. Do you find it more natural to remember
numbers and figures
faces and names
3. Do you more often tend to
think through what you will say before speaking
talk off the top of your head
4. Do you think that you tend to take things personally?
yes
no
5. If you're feeling stressed out, do you prefer to
spend time alone
blow off steam with friends
6. When deciding whether or not to purchase something, is the determining factor more often
how much you really need it
how much you really like it
7. In terms of promptness, are you usually
early
on time
late
it depends
8. Are you more prone to
speak without thinking and put 'your foot in your mouth'
miss an opportunity and later think "I should have said..."
9. Which term is more appealing to you?
clarity
harmony
10. Do you more frequently
act spontaneously
act deliberately, with a goal or plan in mind
11. If a decision is made which affects you, such as being made redundant, is it more important to you to know that
you are appreciated
you have been treated fairly
12. Do areas where you work tend to appear
organised
disorganised
13. Would you typically
rather do something than think about doing it
enjoy thinking about something almost as much or more than actually doing it
14. When communicating with others, are you more often
frank and direct with little or no prompting
frank and direct when prompted, or when necessary
15. Does it describe you better to say that you
don't like surprises
enjoy the excitement and spontaneity of surprises
16. Do you value more highly
logic and reason
compassion
17. Do you get more satisfaction from thinking about
your plans
your achievements
18. Do you
enjoy watching the news or reading the paper most days
have little interest in the news
19. When it comes to doing detailed, routine tasks, does it describe you better to say that you
avoid doing them
dislike doing them
don't mind doing them
enjoy doing them
20. In thinking about money, when it comes right down to it, do you believe that
money provides security
money is a means to enhancing your enjoyment of life
21. Do you find it more stimulating to
spend time in one-on-one interaction
interact with many at a large party
22. Are you better at
initiating and planning a project
following a project through to completion
23. When attending a party, do you usually
get tired and leave early
stay energetic and find yourself among the last to leave
24. Would people be more likely to describe you as
not fussy enough
too fussy
25. Are you more attracted to
Sciences
Humanities
26. When meeting someone new, do you tend to
initiate the conversation
wait for the other person to start talking
27. Are you more naturally
tuned into the details of your environment
unaware of the details of your environment
28. At work or when studying, do you feel that you are more effective and productive
when working alone
working with others in a team environment
29. When working on tasks, is it more important to you
to see immediate results for your efforts
to see future possibilities from your efforts
30. Is it more terrible to
wear your emotions on your sleeve
never cry in front of people
31. At meetings, or in other discussion groups, do you tend to
speak up often
hold back
32. When solving a problem, are you more likely to act according to
what your instincts dictate
what the known facts of the situation dictate
33. Do you more often
freely express your opinions
keep your opinions to yourself, unless you have a reason to express them
34. Are you
good at finding solutions to practical problems
impatient with practical concerns, which you tend to ignore
35. In general, do you believe that
everything should be kept in its assigned place
it's unnecessary to keep everything in its assigned place
36. Do you more often tend to
put the needs of others before your own
look after your own needs first
37. If you forgot to wear your watch one day, would you
feel rather displaced and lost
not notice too often that it's missing
you don't wear a watch
38. Are you valued more for your
practical outlook
new way of looking at things
39. Do you think of yourself as
easily approachable
more reserved than most people
40. When judging a person or situation, do you feel that it's better to
be impartial, fair and objective
consider any extenuating circumstances and base your judgement on the individual case
41. Do you think it's a worse fault to be
unable to deal with an issue and move on
unable to see all sides of an issue
42. Do you typically
know everything that's going on in your friends and family's lives
get behind on what's going on
43. When discussing an issue with a friend, is it more important to you
to reach an agreement on the issue
to have a thorough, logical discussion of the issue
44. When performing an important task, do you tend to
start early and finish with time to spare
procrastinate and finish just in time
45. Do you
have an excellent memory for details
remember general concepts, without retaining specific details
46. Are you more interested in
what is real
what is possible
47. When you've said something that hurt someone's feelings, are you
usually immediately aware of it
often unaware that there is a problem until later
48. At parties, do you tend to
spend time with people you know
meet and converse with many people, who you may or may not know
49. Are you more often prone to
make decisions too quickly
be indecisive
50. When making plans, do you prefer to
schedule things in advance
leave things unscheduled and make plans at the last minute
51. Is it a worse fault to
show too much warmth
not show enough warmth
52. Which of these two sayings do you find more interesting?
Seeing is believing
I think, therefore I am
53. Do you prefer to
concentrate on your current task
fantasise about the future
54. When it comes to daily tasks, do you tend to
have a system for getting things done which you generally follow
take things as they come
55. Is it more important to you
to get things done and move on
to leave your options open
56. If someone does something that bothers you, are you more likely to
tell them that it bothers you
not say anything
57. After making an important decision, are you more likely to
consider the case closed
revisit the decision again and again
58. If you receive criticism about something, are you more likely to
become upset and react emotionally
take the criticism pretty well and not react emotionally
59. Do you generally
take things at face value
read between the lines and look for underlying meaning
60. Do you think it's more important to understand
the theory behind the solution to a problem
the application of the steps which solve the problem.
China, Beijing, Dashanzi 798 Art Zone, located in Dashanzi, Chaoyang District, one of my favoured places in Beijing.
The three digit number "798" which stands for much more than the numbers for this once booming compound for the State's pre-reform electronic industries, in Beijing these numbers symbolize the country's cutting edge art movement led by the Chinese vanguard, unchained artistic personalities with alternative life goals.
This area feels an affinity to what can be discovered & sensed along the Left Bank in Paris or around Greenwich Village, NYC. 798 has become the biggest arts area in China & earned great international acclaim in just two years.
The buildings, designed by the former East German Republic & constructed with help from the now former Soviet Union, were vital for China's old industrial development projects & they're just as key to the art scene at 798. Old Maoist slogans are visible on the ceiling arches.
The Dashanzi factory complex began 1951, production in 1957, as an extension of the "Socialist Unification Plan" of military-industrial cooperation between the Soviet Union & the newly formed People's Republic of China. Attracted by the Bauhaus Style buildings, around 2002 an amazing reincarnation process began when artists' studios started cheerily popping up like daisies over graves.
📌 …Artists began to gather to re-make the factory spaces, gradually developing them into swanky galleries, hip art centers, artists' studios, design companies, fashion stores, cozy coffeehouses, bistros, restaurant, bars etc.
👉 One World one Dream,
🙏...Danke, Xièxie 谢谢, Thanks, Gracias, Merci, Grazie, Obrigado, Arigatô, Dhanyavad, Chokrane to you & over
16 million visits in my photostream with countless motivating comments
30 Years After Andy Warhol - The Iconic Personalities Today - Boris Johnson by Daniel Arrhakis (2017)
A Series With 13 Pop Portraits.
It's the anniversary of Andy Warhol's death 30 years ago, about this event i wondered what happened to our World and the Personalities Today that dominate ... what if Andy were alive?
This is a reflection on the theme and how we got here!
Work based in a photo of Boris Johnson, Secretary of State for Foreign and Commonwealth Affairs UK, in Wikipedia Creative Commons Attribution 2.0 Generic.
upload.wikimedia.org/wikipedia/commons/3/39/Boris_Johnson...
Vintage postcard. Photo: Triangle.
English comedian Charles ‘Charlie’ Chaplin (1889-1977) was one of the most creative and influential personalities of the silent-film era. His most famous role was that of The Tramp with his toothbrush mustache, undersized bowler hat and bamboo cane who struggled to survive while keeping his dignity in a world with great social injustice. Chaplin used mime, slapstick and other visual comedy routines, and he not only starred in his films, but also directed, wrote and produced them, and composed the music as well. His working life in entertainment spanned over 75 years, from the Victorian stage and the Music Hall in the United Kingdom as a child performer, until close to his death at the age of 88. Author George Bernard Shaw called Chaplin "the only genius to come out of the movie industry".
Charles Spencer Chaplin was born in 1889, in London, England. His parents were both entertainers in the music hall tradition; his father, Charles Spencer Chaplin Sr., was a vocalist and an actor and his mother, Hannah Chaplin, a singer and an actress with the the stage name Lilly Harley. They separated before Charlie was three. He lived with his mother and his older half-brother Sydney. Chaplin's father was an alcoholic and had little contact with his son, though Chaplin and Sydney briefly lived with their father and his mistress, while their mentally ill mother lived at an asylum. Hannah's first crisis came in 1894 when she was performing at The Canteen, a theatre in Aldershot. The theatre was mainly frequented by rioters and soldiers. Hannah was injured by the objects the audience threw at her and she was booed off the stage. Backstage, she cried and argued with her manager. Meanwhile, the five-year old Chaplin went on stage alone and sang a well-known tune at that time, Jack Jones. The young Chaplin brothers forged a close relationship in order to survive. They gravitated to the Music Hall while still very young, and both of them proved to have considerable natural stage talent. At eight Charlie toured in a musical, The Eight Lancaster Lads. Nearly 11, he appeared in Giddy Ostende at London's Hippodrome. Chaplin's early years of desperate poverty were a great influence on his characters. Themes in his films in later years would re-visit the scenes of his childhood deprivation in Lambeth. His father died of cirrhosis of the liver when Charlie was twelve in 1901. Chaplin's mother died in 1928 in Hollywood, seven years after having been brought to the US by her sons. Unknown to Charlie and Sydney until years later, they had a half-brother through their mother. The boy, Wheeler Dryden, was raised abroad by his father but later connected with the rest of the family and went to work for Chaplin at his Hollywood studio.
From age 17 to 24 Charlie Chaplin was with Fred Karno's English vaudeville troupe. He first toured the United States with the Fred Karno troupe from 1910 to 1912. After five months back in England, he returned to the US for a second tour. In the Karno Company was also his brother Sydney and Arthur Stanley Jefferson, who later became known as Stan Laurel. In late 1913, Chaplin's act with the Karno Troupe was seen by Mack Sennett, Mabel Normand, Minta Durfee, and Fatty Arbuckle. Sennett hired him for his studio, the Keystone Film Company as a replacement for Ford Sterling. Chaplin had considerable initial difficulty adjusting to the demands of film acting and his performance suffered for it. After Chaplin's first film appearance, Making a Living (1914, Henry Lehrman) was filmed, Sennett felt he had made a costly mistake. Mabel Normand persuaded him to give Chaplin another chance, and she directed and wrote a handful of his earliest films. He first played The Tramp in the Keystone comedy Kid Auto Races at Venice (1914, Henry Lehrman). This picture saw him wearing baggy pants borrowed from 'Roscoe 'Fatty' Arbuckle', size 14 shoes belonging to Ford Sterling (and worn upside down to keep them from falling off), a tiny jacket from Keystone Kop Charles Avery, a bowler hat belonging to Arbuckle's father-in-law and some crepe paper belonging to Mack Swain (which became the tramp's mustache). The only item that actually belonged to Charlie was the whangee cane. Two films Chaplin made in 1915, The Tramp and The Bank, created the characteristics of his screen persona. Chaplin was influenced by his predecessor, the French silent film comedian Max Linder, to whom he dedicated one of his films. Quickly the little tramp became the most popular Keystone star. From the April 1914 one-reeler Twenty Minutes of Love (1914, Charles Chaplin, Joseph Maddern) onwards he was writing and directing most of his films, by 1916 he was also producing, and from 1918 composing the music. He made 35 films in 1914, moved to Essanay in 1915 and did 14 more, then jumped over to Mutual for 12 two-reelers in 1916 and 1917. In 1918 he joined First National (later absorbed by Warner Bros.) and in 1919 formed United Artists along with Douglas Fairbanks, Mary Pickford and D.W. Griffith. His first full-length film was The Kid (1921) with Jackie Coogan; his first for UA, which he produced and directed himself, was A Woman of Paris: A Drama of Fate (1923) starring Edna Purviance. Chaplin continued to play the Tramp through dozens of short films and, later, feature-length productions. In only a handful of films he played characters other than the little tramp. The Tramp was closely identified with the silent era, and was considered an international character; when the sound era began in the late 1920’s, Chaplin refused to make a talkie featuring the character. City Lights (1931) featured no dialogue. Chaplin officially retired the character in Modern Times (1936), which appropriately ended with the Tramp and his girl (played by Chaplin’s third wife, Paulette Godard) walking down an endless highway toward the horizon. The film was only a partial talkie and is often called the last silent film. The Tramp remains silent until near the end of the film when, for the first time, his voice is finally heard, albeit only as part of a French/Italian-derived gibberish song. This allowed the Tramp to finally be given a voice but not tarnish his association with the silent era.
Charlie Chaplin’s high-profile public and private life encompassed both adulation and controversy. Chaplin's identification with the left ultimately forced him to resettle in Europe during the McCarthy era in the early 1950’s. Chaplin's political sympathies always had laid with the left. His silent films made prior to the Great Depression typically did not contain overt political themes or messages, apart from the Tramp's plight in poverty and his run-ins with the law, but his 1930’s films were more openly political. Modern Times (1936) depicts workers and poor people in dismal conditions. In The Great Dictator (1940) Chaplin plays a humorous caricature of Adolf Hitler. Some thought the film was poorly done and in bad taste. However, it grossed over $5 million and earned five Academy Award Nominations. The final dramatic speech in The Great Dictator, which was critical of following patriotic nationalism without question, and his vocal public support for the opening of a second European front in 1942 to assist the Soviet Union in World War II were controversial. Chaplin declined to support the war effort as he had done for the First World War which led to public anger, although his two sons saw service in the Army in Europe. For most of World War II he was fighting serious criminal and civil charges related to his involvement with 22-year old actress Joan Barry. In 1943 he was accused of fathering her child; the papers made much of the scandal, but it was proved in a court trial that he was not the father. The same year he entered his fourth marriage, to Oona Chaplin, daughter of playwright Eugene O'Neill. After the war, his black comedy, Monsieur Verdoux (1947) showed a critical view of capitalism. Chaplin's final American film, Limelight, was less political and more autobiographical in nature. Limelight also featured Claire Bloom and Chaplin’s longtime friend, Buster Keaton. In 1952, Chaplin left the US for what was intended as a brief trip home to the United Kingdom for the London premiere of Limelight. J. Edgar Hoover, head of the FBI, learned of the trip and negotiated with the Immigration and Naturalization Service to revoke Chaplin's re-entry permit, exiling Chaplin so he could not return for his alleged political leanings. His following European-made film, A King in New York (1957), satirized the political persecution and paranoia that had forced him to leave the US five years earlier.
Charles Chaplin made his home in Vevey, Switzerland. His final two films were made in London: A King in New York (1957) in which he starred, wrote, directed and produced; and A Countess from Hong Kong (1967), which he directed, produced, and wrote. The latter film stars Sophia Loren and Marlon Brando, and Chaplin made his final on-screen appearance in a brief cameo role as a seasick steward. He also composed the music for both films. The theme song from A Countess From Hong Kong, This is My Song, reached number one in the UK as sung by Petula Clark. Chaplin also compiled a film The Chaplin Revue (1959) from three First National films A Dog's Life (1918), Shoulder Arms (1918) and The Pilgrim (1923) for which he composed the music and recorded an introductory narration. As well as directing these final films, Chaplin also wrote My Autobiography, between 1959 and 1963, which was published in 1964. He briefly and triumphantly returned to the United States in April 1972, with his wife Oona, to receive an Honorary Oscar, and also to discuss how his films would be re-released and marketed. Chaplin's last completed work was the score for his film A Woman of Paris (1923), which was completed in 1976, by which time Chaplin was extremely frail, even finding communication difficult. Charles Chaplin died in his sleep in Vevey, Switzerland on Christmas Day 1977. He and Oona had eight children, including film actress Geraldine Chaplin. From his marriages he had a total of 11 children. In 1921 Chaplin was decorated by the French government for his outstanding work as a filmmaker, and was elevated to the rank of Officer of the Legion of Honor in 1952. In 1929, at the first Oscar awards, he won a special award "for versatility and genius in writing, acting, directing and producing" The Circus (1928). In 1975 he was named Knight Commander of the British Empire. And in 1999, the American Film Institute ranked Chaplin the 10th Greatest Actor on The 50 Greatest Screen Legends list. His bowler and cane were sold for $150,000 in 1987.
Sources: Ed Stephan (IMDb), Amy Smith (IMDb), Wikipedia and IMDb.
30 Years After Andy Warhol - The Iconic Personalities Today - Donald Trump
A Series With 13 Pop Portraits.
It's the anniversary of Andy Warhol's death 30 years ago, about this event i wondered what happened to our World and the Personalities Today that dominate ... what if Andy were alive?
This is a reflection on the theme and how we got here!
Work based in the photo of the President Donald J. Trump (from the White House) In Wikipedia ( Creative Commons Attribution 3.0 Unported ), modified for this Pop Digital Art Work.
upload.wikimedia.org/wikipedia/commons/thumb/5/56/Donald_...
Once again I’m trying to bring personalities to my flower shots… Submerging them is water and positioning them to touch each other… This shot looks and feels intimate… and the water makes it feel… Well you tell me…
Shooting Tips:
For the last couple shots, I've been trying to shoot flowers differently... I want my flowers to interact with each other, to have personalities... This time I wanted then in water… and I wanted the water not just to be clear... So I waited still the sky was a rich blue color and place the bowl of water to reflect this color... This was shot outdoors using natural light...
Always look at the camera properties when available, this is a great guide to duplicating shots... Remember, There's nothing wrong with duplicating shots... just use a different flower and it becomes your shot...
TIO
YouTube [4K-UHD] Video: youtu.be/v71Prik7qLo
Different in class and personalities but still brother from same shed, moving together to return to Home. Seen here is 3300hp Kalyan (KYN) WDM-3D # 11365, 3100hp Kalyan (KYN) WDG-3A # 13550 “Shakti” and 4500hp Kalyan (KYN) WDP-4D # 40261, totalled 10900hp moving together towards to home Kalyan Diesel Shed. Further they are chased by Mumbaikar’s Speedster, SEIMENS local which was skipping Kopar at superb speed. All these locomotives have diverse personalities, wherein WDM-3D is ALCO DL560C, an advanced variant of all the available ALCOs, fitted with Co-Co bogies and having maximum permissible speed of 160 Kmph but rarely seen with any train going beyond 110 Kmph. WDG-3A is also having Co-Co bogies but designed to haul Freights with change in gear ration and maximum permissible speed of 100Kmph. Lastly, WDP-4D is latest innovation in EMD GT46PAC category, with cab at both end and top speed of 130 Kmph. This video is taken from Pune-Indore Superfast Express.
I love cats and I'm not ashamed to admit it!
They are graceful, independent, and patient, they are hunters and they are able to watch the prey for hours.
Cats walk by themselvs...
they all have different personalities...
you can not take possession of the cats – they just might let you stroke and caress them…
and they leave, but when they want to, not you!
French postcard in the 'Centenaire de la Naissance de Charlie Chaplin 1889-1989' series by Bubbles Inc., Star 150, 1989. Photo: United Artists. Charlie Chaplin and Harry Myers in City Lights (Charles Chaplin, 1931).
English comedian Charles ‘Charlie’ Chaplin (1889-1977) was one of the most creative and influential personalities of the silent-film era. His most famous role was that of The Tramp with his toothbrush mustache, undersized bowler hat and bamboo cane who struggled to survive while keeping his dignity in a world with great social injustice. Chaplin used mime, slapstick and other visual comedy routines, and he not only starred in his films, but also directed, wrote and produced them, and composed the music as well. His working life in entertainment spanned over 75 years, from the Victorian stage and the Music Hall in the United Kingdom as a child performer, until close to his death at the age of 88. Author George Bernard Shaw called Chaplin "the only genius to come out of the movie industry".
Charles Spencer Chaplin was born in 1889, in London, England. His parents were both entertainers in the music hall tradition; his father, Charles Spencer Chaplin Sr., was a vocalist and an actor and his mother, Hannah Chaplin, a singer and an actress with the stage name Lilly Harley. They separated before Charlie was three. He lived with his mother and his older half-brother Sydney. Chaplin's father was an alcoholic and had little contact with his son, though Chaplin and Sydney briefly lived with their father and his mistress, while their mentally ill mother lived at an asylum. Hannah's first crisis came in 1894 when she was performing at The Canteen, a theatre in Aldershot. The theatre was mainly frequented by rioters and soldiers. Hannah was injured by the objects the audience threw at her and she was booed off the stage. Backstage, she cried and argued with her manager. Meanwhile, the five-year-old Chaplin went on stage alone and sang a well-known tune at that time, Jack Jones. The young Chaplin brothers forged a close relationship in order to survive. They gravitated to the Music Hall while still very young, and both of them proved to have considerable natural stage talent. At eight Charlie toured in a musical, The Eight Lancaster Lads. Nearly 11, he appeared in Giddy Ostende at London's Hippodrome. Chaplin's early years of desperate poverty were a great influence on his characters. Themes in his films in later years would re-visit the scenes of his childhood deprivation in Lambeth. His father died of cirrhosis of the liver when Charlie was twelve in 1901. Chaplin's mother died in 1928 in Hollywood, seven years after having been brought to the US by her sons. Unknown to Charlie and Sydney until years later, they had a half-brother through their mother. The boy, Wheeler Dryden, was raised abroad by his father but later connected with the rest of the family and went to work for Chaplin at his Hollywood studio.
From age 17 to 24 Charlie Chaplin was with Fred Karno's English vaudeville troupe. He first toured the United States with the Fred Karno troupe from 1910 to 1912. After five months back in England, he returned to the US for a second tour. In the Karno Company was also his brother Sydney and Arthur Stanley Jefferson, who later became known as Stan Laurel. In late 1913, Chaplin's act with the Karno Troupe was seen by Mack Sennett, Mabel Normand, Minta Durfee, and Fatty Arbuckle. Sennett hired him for his studio, the Keystone Film Company as a replacement for Ford Sterling. Chaplin had considerable initial difficulty adjusting to the demands of film acting and his performance suffered for it. After Chaplin's first film appearance, Making a Living (Henry Lehrman, 1914) was filmed, Sennett felt he had made a costly mistake. Mabel Normand persuaded him to give Chaplin another chance, and she directed and wrote a handful of his earliest films. He first played The Tramp in the Keystone comedy Kid Auto Races at Venice (Henry Lehrman, 1914). This picture saw him wearing baggy pants borrowed from 'Roscoe 'Fatty' Arbuckle', size 14 shoes belonging to Ford Sterling (and worn upside down to keep them from falling off), a tiny jacket from Keystone Kop Charles Avery, a bowler hat belonging to Arbuckle's father-in-law and some crepe paper belonging to Mack Swain (which became the tramp's mustache). The only item that actually belonged to Charlie was the whangee cane. Two films Chaplin made in 1915, The Tramp and The Bank created the characteristics of his screen persona. Chaplin was influenced by his predecessor, the French silent film comedian Max Linder, to whom he dedicated one of his films. Quickly the little tramp became the most popular Keystone star. From the April 1914 one-reeler Twenty Minutes of Love (Charles Chaplin, Joseph Maddern, 1914) onwards he was writing and directing most of his films, by 1916 he was also producing, and from 1918 composing the music. He made 35 films in 1914, moved to Essanay in 1915, and did 14 more, then jumped over to Mutual for 12 two-reelers in 1916 and 1917. In 1918 he joined First National (later absorbed by Warner Bros.) and in 1919 formed United Artists along with Douglas Fairbanks, Mary Pickford, and D.W. Griffith. His first full-length film was The Kid (1921) with Jackie Coogan; his first for UA, which he produced and directed himself, was A Woman of Paris: A Drama of Fate (1923) starring Edna Purviance. Chaplin continued to play the Tramp through dozens of short films and, later, feature-length productions. In only a handful of films, he played characters other than the little tramp. The Tramp was closely identified with the silent era, and was considered an international character; when the sound era began in the late 1920s, Chaplin refused to make a talkie featuring the character. City Lights (1931) featured no dialogue. Chaplin officially retired the character in Modern Times (1936), which appropriately ended with the Tramp and his girl (played by Chaplin’s third wife, Paulette Godard) walking down an endless highway toward the horizon. The film was only a partial talkie and is often called the last silent film. The Tramp remains silent until near the end of the film when, for the first time, his voice is finally heard, albeit only as part of a French/Italian-derived gibberish song. This allowed the Tramp to finally be given a voice but not tarnish his association with the silent era.
Charlie Chaplin’s high-profile public and private life encompassed both adulation and controversy. Chaplin's identification with the left ultimately forced him to resettle in Europe during the McCarthy era in the early 1950s. Chaplin's political sympathies always had laid with the left. His silent films made prior to the Great Depression typically did not contain overt political themes or messages, apart from the Tramp's plight in poverty and his run-ins with the law, but his 1930s films were more openly political. Modern Times (1936) depicts workers and poor people in dismal conditions. In The Great Dictator (1940) Chaplin plays a humorous caricature of Adolf Hitler. Some thought the film was poorly done and in bad taste. However, it grossed over $5 million and earned five Academy Award Nominations. The final dramatic speech in The Great Dictator, which was critical of following patriotic nationalism without question, and his vocal public support for the opening of a second European front in 1942 to assist the Soviet Union in World War II were controversial. Chaplin declined to support the war effort as he had done for the First World War which led to public anger, although his two sons saw service in the Army in Europe. For most of World War II he was fighting serious criminal and civil charges related to his involvement with 22-year old actress Joan Barry. In 1943 he was accused of fathering her child; the papers made much of the scandal, but it was proved in a court trial that he was not the father. The same year he entered his fourth marriage, to Oona Chaplin, daughter of playwright Eugene O'Neill. After the war, his black comedy, Monsieur Verdoux (1947) showed a critical view of capitalism. Chaplin's final American film, Limelight, was less political and more autobiographical in nature. Limelight also featured Claire Bloom and Chaplin’s longtime friend, Buster Keaton. In 1952, Chaplin left the US for what was intended as a brief trip home to the United Kingdom for the London premiere of Limelight. J. Edgar Hoover, head of the FBI, learned of the trip and negotiated with the Immigration and Naturalization Service to revoke Chaplin's re-entry permit, exiling Chaplin so he could not return for his alleged political leanings. His following European-made film, A King in New York (1957), satirized the political persecution and paranoia that had forced him to leave the US five years earlier.
Charles Chaplin made his home in Vevey, Switzerland. His final two films were made in London: A King in New York (1957) in which he starred, wrote, directed and produced; and A Countess from Hong Kong (1967), which he directed, produced, and wrote. The latter film stars Sophia Loren and Marlon Brando, and Chaplin made his final on-screen appearance in a brief cameo role as a seasick steward. He also composed the music for both films. The theme song from A Countess From Hong Kong, This is My Song, reached number one in the UK as sung by Petula Clark. Chaplin also compiled a film The Chaplin Revue (1959) from three First National films A Dog's Life (1918), Shoulder Arms (1918), and The Pilgrim (1923) for which he composed the music and recorded an introductory narration. As well as directing these final films, Chaplin also wrote My Autobiography, between 1959 and 1963, which was published in 1964. He briefly and triumphantly returned to the United States in April 1972, with his wife Oona, to receive an Honorary Oscar, and also to discuss how his films would be re-released and marketed. Chaplin's last completed work was the score for his film A Woman of Paris (1923), which was completed in 1976, by which time Chaplin was extremely frail, even finding communication difficult. Charles Chaplin died in his sleep in Vevey, Switzerland on Christmas Day 1977. He and Oona had eight children, including film actress Geraldine Chaplin. From his marriages, he had a total of 11 children. In 1921 Chaplin was decorated by the French government for his outstanding work as a filmmaker and was elevated to the rank of Officer of the Legion of Honor in 1952. In 1929, at the first Oscar awards, he won a special award "for versatility and genius in writing, acting, directing and producing" The Circus (1928). In 1975 he was named Knight Commander of the British Empire. And in 1999, the American Film Institute ranked Chaplin the 10th Greatest Actor on The 50 Greatest Screen Legends list. His bowler and cane were sold for $150,000 in 1987.
Sources: Ed Stephan (IMDb), Amy Smith (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Natasha Gargiulo graced my studio today with her gorgeous baby girl. I have never been so nervous and insecure photographing anyone like I was today! She has had her photo taken by MANY awesome photographers here in Montreal and abroad. She was bubbly and personable, it made me feel like I was photographing a friend by the end. She put me at ease with her stories of nervousness interviewing people like George Clooney, Will Smith and many many more for ET Canada.
German postcard by Ross Verlag, no. 129/5, 1930-1931. Photo: SF / United Artists. Charlie Chaplin, Eddie Baker and Hank Mann in City Lights (Charles Chaplin, 1931).
English comedian Charles ‘Charlie’ Chaplin (1889-1977) was one of the most creative and influential personalities of the silent-film era. His most famous role was that of The Tramp with his toothbrush mustache, undersized bowler hat and bamboo cane who struggled to survive while keeping his dignity in a world with great social injustice. Chaplin used mime, slapstick and other visual comedy routines, and he not only starred in his films, but also directed, wrote and produced them, and composed the music as well. His working life in entertainment spanned over 75 years, from the Victorian stage and the Music Hall in the United Kingdom as a child performer, until close to his death at the age of 88. Author George Bernard Shaw called Chaplin "the only genius to come out of the movie industry".
Charles Spencer Chaplin was born in 1889, in London, England. His parents were both entertainers in the music hall tradition; his father, Charles Spencer Chaplin Sr., was a vocalist and an actor and his mother, Hannah Chaplin, a singer and an actress with the the stage name Lilly Harley. They separated before Charlie was three. He lived with his mother and his older half-brother Sydney. Chaplin's father was an alcoholic and had little contact with his son, though Chaplin and Sydney briefly lived with their father and his mistress, while their mentally ill mother lived at an asylum. Hannah's first crisis came in 1894 when she was performing at The Canteen, a theatre in Aldershot. The theatre was mainly frequented by rioters and soldiers. Hannah was injured by the objects the audience threw at her and she was booed off the stage. Backstage, she cried and argued with her manager. Meanwhile, the five-year old Chaplin went on stage alone and sang a well-known tune at that time, Jack Jones. The young Chaplin brothers forged a close relationship in order to survive. They gravitated to the Music Hall while still very young, and both of them proved to have considerable natural stage talent. At eight Charlie toured in a musical, The Eight Lancaster Lads. Nearly 11, he appeared in Giddy Ostende at London's Hippodrome. Chaplin's early years of desperate poverty were a great influence on his characters. Themes in his films in later years would re-visit the scenes of his childhood deprivation in Lambeth. His father died of cirrhosis of the liver when Charlie was twelve in 1901. Chaplin's mother died in 1928 in Hollywood, seven years after having been brought to the US by her sons. Unknown to Charlie and Sydney until years later, they had a half-brother through their mother. The boy, Wheeler Dryden, was raised abroad by his father but later connected with the rest of the family and went to work for Chaplin at his Hollywood studio.
From age 17 to 24 Charlie Chaplin was with Fred Karno's English vaudeville troupe. He first toured the United States with the Fred Karno troupe from 1910 to 1912. After five months back in England, he returned to the US for a second tour. In the Karno Company was also his brother Sydney and Arthur Stanley Jefferson, who later became known as Stan Laurel. In late 1913, Chaplin's act with the Karno Troupe was seen by Mack Sennett, Mabel Normand, Minta Durfee, and Fatty Arbuckle. Sennett hired him for his studio, the Keystone Film Company as a replacement for Ford Sterling. Chaplin had considerable initial difficulty adjusting to the demands of film acting and his performance suffered for it. After Chaplin's first film appearance, Making a Living (Henry Lehrman, 1914) was filmed, Sennett felt he had made a costly mistake. Mabel Normand persuaded him to give Chaplin another chance, and she directed and wrote a handful of his earliest films. He first played The Tramp in the Keystone comedy Kid Auto Races at Venice (Henry Lehrman, 1914). This picture saw him wearing baggy pants borrowed from 'Roscoe 'Fatty' Arbuckle', size 14 shoes belonging to Ford Sterling (and worn upside down to keep them from falling off), a tiny jacket from Keystone Kop Charles Avery, a bowler hat belonging to Arbuckle's father-in-law and some crepe paper belonging to Mack Swain (which became the tramp's mustache). The only item that actually belonged to Charlie was the whangee cane. Two films Chaplin made in 1915, The Tramp and The Bank, created the characteristics of his screen persona. Chaplin was influenced by his predecessor, the French silent film comedian Max Linder, to whom he dedicated one of his films. Quickly the little tramp became the most popular Keystone star. From the April 1914 one-reeler Twenty Minutes of Love (Charles Chaplin, Joseph Maddern, 1914) onwards he was writing and directing most of his films, by 1916 he was also producing, and from 1918 composing the music. He made 35 films in 1914, moved to Essanay in 1915 and did 14 more, then jumped over to Mutual for 12 two-reelers in 1916 and 1917. In 1918 he joined First National (later absorbed by Warner Bros.) and in 1919 formed United Artists along with Douglas Fairbanks, Mary Pickford and D.W. Griffith. His first full-length film was The Kid (1921) with Jackie Coogan; his first for UA, which he produced and directed himself, was A Woman of Paris: A Drama of Fate (1923) starring Edna Purviance. Chaplin continued to play the Tramp through dozens of short films and, later, feature-length productions. In only a handful of films he played characters other than the little tramp. The Tramp was closely identified with the silent era, and was considered an international character; when the sound era began in the late 1920’s, Chaplin refused to make a talkie featuring the character. City Lights (1931) featured no dialogue. Chaplin officially retired the character in Modern Times (1936), which appropriately ended with the Tramp and his girl (played by Chaplin’s third wife, Paulette Godard) walking down an endless highway toward the horizon. The film was only a partial talkie and is often called the last silent film. The Tramp remains silent until near the end of the film when, for the first time, his voice is finally heard, albeit only as part of a French/Italian-derived gibberish song. This allowed the Tramp to finally be given a voice but not tarnish his association with the silent era.
Charlie Chaplin’s high-profile public and private life encompassed both adulation and controversy. Chaplin's identification with the left ultimately forced him to resettle in Europe during the McCarthy era in the early 1950s. Chaplin's political sympathies always had laid with the left. His silent films made prior to the Great Depression typically did not contain overt political themes or messages, apart from the Tramp's plight in poverty and his run-ins with the law, but his 1930s films were more openly political. Modern Times (1936) depicts workers and poor people in dismal conditions. In The Great Dictator (1940) Chaplin plays a humorous caricature of Adolf Hitler. Some thought the film was poorly done and in bad taste. However, it grossed over $5 million and earned five Academy Award Nominations. The final dramatic speech in The Great Dictator, which was critical of following patriotic nationalism without question, and his vocal public support for the opening of a second European front in 1942 to assist the Soviet Union in World War II were controversial. Chaplin declined to support the war effort as he had done for the First World War which led to public anger, although his two sons saw service in the Army in Europe. For most of World War II he was fighting serious criminal and civil charges related to his involvement with 22-year old actress Joan Barry. In 1943 he was accused of fathering her child; the papers made much of the scandal, but it was proved in a court trial that he was not the father. The same year he entered his fourth marriage, to Oona Chaplin, daughter of playwright Eugene O'Neill. After the war, his black comedy, Monsieur Verdoux (1947) showed a critical view of capitalism. Chaplin's final American film, Limelight, was less political and more autobiographical in nature. Limelight also featured Claire Bloom and Chaplin’s longtime friend, Buster Keaton. In 1952, Chaplin left the US for what was intended as a brief trip home to the United Kingdom for the London premiere of Limelight. J. Edgar Hoover, head of the FBI, learned of the trip and negotiated with the Immigration and Naturalization Service to revoke Chaplin's re-entry permit, exiling Chaplin so he could not return for his alleged political leanings. His following European-made film, A King in New York (1957), satirized the political persecution and paranoia that had forced him to leave the US five years earlier.
Charles Chaplin made his home in Vevey, Switzerland. His final two films were made in London: A King in New York (1957) in which he starred, wrote, directed and produced; and A Countess from Hong Kong (1967), which he directed, produced, and wrote. The latter film stars Sophia Loren and Marlon Brando, and Chaplin made his final on-screen appearance in a brief cameo role as a seasick steward. He also composed the music for both films. The theme song from A Countess From Hong Kong, This is My Song, reached number one in the UK as sung by Petula Clark. Chaplin also compiled a film The Chaplin Revue (1959) from three First National films A Dog's Life (1918), Shoulder Arms (1918) and The Pilgrim (1923) for which he composed the music and recorded an introductory narration. As well as directing these final films, Chaplin also wrote My Autobiography, between 1959 and 1963, which was published in 1964. He briefly and triumphantly returned to the United States in April 1972, with his wife Oona, to receive an Honorary Oscar, and also to discuss how his films would be re-released and marketed. Chaplin's last completed work was the score for his film A Woman of Paris (1923), which was completed in 1976, by which time Chaplin was extremely frail, even finding communication difficult. Charles Chaplin died in his sleep in Vevey, Switzerland on Christmas Day 1977. He and Oona had eight children, including film actress Geraldine Chaplin. From his marriages he had a total of 11 children. In 1921 Chaplin was decorated by the French government for his outstanding work as a filmmaker, and was elevated to the rank of Officer of the Legion of Honor in 1952. In 1929, at the first Oscar awards, he won a special award "for versatility and genius in writing, acting, directing and producing" The Circus (1928). In 1975 he was named Knight Commander of the British Empire. And in 1999, the American Film Institute ranked Chaplin the 10th Greatest Actor on The 50 Greatest Screen Legends list. His bowler and cane were sold for $150,000 in 1987.
Sources: Ed Stephan (IMDb), Amy Smith (IMDb), Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
30 Years After Andy Warhol - The Iconic Personalities Of Today - Vladimir Putin
A Series With 13 Pop Portraits.
It's the anniversary of Andy Warhol's death 30 years ago, about this event i wondered what happened to our World and the Personalities Today that dominate ... what if Andy were alive?
This is a reflection on the theme and how we got here!
Work based in the Official portrait of Vladimir Putin; attribute www.kremlin.ru. (Creative Commons Attribution 3.0) modified for this Pop Digital Art Work.
upload.wikimedia.org/wikipedia/commons/thumb/4/45/Vladimi...
Mumtaz Jehan (February 14, 1933 – February 23, 1969), more popularly known as Madhubala (literally "honey belle"), was an Indian Bollywood actress who appeared in classic films of Hindi Cinema.[2][3] She was active between 1942 and 1960. Along with her contemporaries Nargis and Meena Kumari, she is regarded as one of the most influential personalities of Hindi movies.[4] She is also considered to be one of the most beautiful actresses to have worked in the industry.[5][6]
Madhubala received wide recognition for her performances in films like Mahal (1949), Amar (1954), Mr. & Mrs. '55 (1955), Chalti Ka Naam Gaadi (1958), Mughal-e-Azam (1960) and Barsaat Ki Raat (1960). Madhubala's performance in Mughal-e-Azam established her as an iconic actress of Hindi Cinema. Her last film, Jwala, although shot in the 1950s, was released in 1971. Madhubala died on 23 February 1969 after a prolonged illness.
Early life[edit]
Madhubala was born Mumtaz Jehan Dehlavi,[7] on 14 February 1933 in Delhi, British India.[1] She was a native Pashto-speaker.[8] Her father was Attaullah Khan, a Yusufzai[1] Pashtun from the Swabi District of Khyber Pakhtunkhwa, in British India (present-day Pakistan), and her mother was Ayesha Begum.[9] She belonged to an orthodox middle-class family[10] and was the fifth of eleven children. After her father lost his job at the Imperial Tobacco Company in Peshawar,[11] he relocated to Delhi followed by Mumbai. There, the family endured many hardships. Madhubala's three sisters and two brothers died at the age of five and six. The dock explosion and fire of April 14, 1944 wiped out their small home. The family survived only because they had gone to see a film at a local theater.[12] With his six remaining daughters to provide for, Khan, and the young Madhubala, began to pay frequent visits to Bombay film studios to look for work. At the age of 9, this was Madhubala's introduction to the movie industry, which would provide financial help to her family.[9]
Early career[edit]
Madhubala's first movie, Basant (1942), was a box-office success.[13] She acted as the daughter to a mother played by actress Mumtaz Shanti. As a child actress she went on to play in several movies. Actress Devika Rani was impressed by her performance and potential, and advised her to assume the screen name 'Madhubala',[10] literally meaning "honey belle". Her first lead role, at the age of 14, was with producer Kidar Sharma when he cast her opposite Raj Kapoor in Neel Kamal (1947).[13] This was the last film in which she was credited as Mumtaz before assuming her screen name 'Madhubala'. She achieved stardom and popularity in 1949 when she was cast as the lead in Bombay Talkies studio's Mahal – a role intended for well-known star Suraiya. Madhubala, with established actresses, screen-tested for the role before she was selected by the film's director Kamal Amrohi. The film was the third largest hit at the 1949 Indian box office. Following the success of Mahal, Madhubala appeared in the box office hits Dulari (1949), Beqasoor (1950), Tarana (1951) and Badal (1951).
Hollywood interest[edit]
In the early 1950s, as Madhubala became one of the most sought-after actresses in India, she attracted interest from Hollywood. She appeared in the American magazine Theatre Arts where, in its August 1952 issue, she was featured in an article with a full page photograph under the title: "The Biggest Star in the World - and she's not in Beverly Hills". The article described Madhubala's immense popularity in India, and explored her wide appeal and large fan base. It also speculated on her potential international success.[12] Academy Award winner American director Frank Capra, while visiting Bombay for International Film Festival of India, was keen to give her a break in Hollywood, but her father Ataullah Khan declined.[14]
Stardom[edit]
Madhubala's co-stars Ashok Kumar, Raj Kapoor, Rehman, Pradeep Kumar, Shammi Kapoor, Dilip Kumar, Sunil Dutt and Dev Anand were the most popular of the period. She also appeared with Kamini Kaushal, Suraiya, Geeta Bali, Nalini Jaywant, Shyama and Nimmi, notable leading ladies. The directors she worked with, Mehboob Khan (Amar), Guru Dutt (Mr. & Mrs. '55), Kamal Amrohi (Mahal) and K. Asif (Mughal-e-Azam), were amongst the most prolific and respected. Madhubala also became a producer with the film Naata (1955), in which she also acted.[15]
During the 1950s, Madhubala took starring roles in almost every genre of film being made at the time. Her 1950 film Hanste Aansoo was the first ever Hindi film to get an "A" – adults only – rating from the Central Board of Film Certification.[16] She was the archetypal fair lady in the swashbuckler Badal (1951), and following this, an uninhibited village beauty in Tarana (1951). She played the traditional ideal of Indian womanhood in Sangdil (1952), and produced a comic performance as the spoilt heiress, Anita, in Guru Dutt's satire Mr. & Mrs. '55 (1955). In 1956, she acted in costume dramas such as Shirin-Farhad and Raj-Hath, and played a double role in the social drama Kal Hamara Hai (1959). In the mid-1950s, her films including the major ones like Mehboob Khan's Amar (1954) did not do well commercially.[17] However, she bounced back between 1958 and 1960 when she starred in a series of hit films. These include Howrah Bridge, opposite Ashok Kumar where she played the role of an Anglo-Indian Cabaret singer involved in Calcutta's Chinatown underworld. In the song Aaiye Meherebaan from this film, she lip-synced a torch song dubbed by Asha Bhosle which has remained popular to this day. Among other successful films, she played opposite Bharat Bhushan in Phagun; Dev Anand in Kala Pani; Kishore Kumar in Chalti Ka Naam Gaadi; and Bharat Bushan again in Barsaat Ki Raat (1960). Then in 1960, she appeared in the magnum opus Mughal-e-Azam.
Madhubala acted in as many as seventy films from 1947 to 1964, and only fifteen of which were box office successes.[17] Dilip Kumar regrets that "(h)ad she lived, and had she selected her films with more care, she would have been far superior to her contemporaries ..."[18] Kumar also points out that "actresses those days faced a lot of difficulties and constraints in their career. Unable to assert themselves too much, they fell back on their families who became their caretakers and defined everything for them."[19]
Mughal-e-Azam and later work[edit]
It was the film Mughal-e-Azam that marked what many consider to be Madhubala's greatest and definitive characterization, as the doomed courtesan, Anarkali. Although the film took nine years to complete, it was not until 1953 when Madhubala was finally chosen to play the role. Bunny Reuben in his Book Dilip Kumar: Star Legend of Indian Cinema claimed that Dilip Kumar's role was instrumental behind this selection.[20] Mughal-e-Azam gave Madhubala the opportunity of fulfilling herself totally as an actress, for it was a role that all actresses dream of playing as Nimmi acknowledges that "as an actress, one gets a lot of roles, there is no shortage of them, but there isn’t always good scope for acting. With Mughal-e-Azam, Madhubala showed the world just what she could do."[21]
Madhubala in Mughal-e-Azam
However, by the late 1950s, her health was deteriorating fast, and Director K. Asif, probably unaware of the extent of Madhubala's illness, required long shooting schedules that made physical demands on her, whether it was posing as a veiled statue in suffocating make-up for hours under the studio lights or being shackled with heavy chains. It was also a time when Madhubala's relationship with Dilip Kumar was fading out, and "the lives of Madhubala and her screen character are consistently seen as overlapping, it is because of the overwhelming sense of loss and tragedy and the unrelenting diktat of destiny that clung to both and which neither could escape".[22]
Mughal-e-Azam was released on 5 August 1960, and became the biggest grossing film at that time, a record that went unbroken for 15 years until the release of the film Sholay in 1975. It still ranks second in the list of all time box-office hits of Indian cinema. Madhubhala was nominated for a Filmfare Award for her performance in Mughal-e-Azam.
In 1960 Madhubala was at the peak of her career and popularity with the release of Mughal-e-Azam and Barsaat Ki Raat. She did have intermittent releases in the early 1960s. Some of these, like Jhumroo (1961), Half Ticket (1962) and Sharabi (1964), performed above average at the box-office. However, most of her other films released during this time were marred by her absence and subsequent lack of completion due to her prolonged illness. These films suffer from compromised editing, and in some cases the use of "doubles" in an attempt to patch-in scenes that Madhubala was unable to shoot.[23] Her last released film Jwala, although filmed in the late 1950s, was not issued until 1971.
Personal life and controversies[edit]
In their 1962 book Self-Portrait, Harish Booch and Karing Doyle commented that "(u)nlike other stars, Madhubala prefers a veiled secrecy around her and is seldom seen in social gatherings or public functions" (p. 76), and went on to say that "(c)ontrary to general belief, Madhubala is rather simple and unassuming" (p. 78).[10][24] This is echoed in Madhubala's sister's interview with the Filmfare: "(Madhubala) became a craze because she was never seen in public. She wasn’t allowed to attend any function, any premiere. She had no friends. But she never resisted, she was obedient. Being protective, my father earned the reputation of being domineering".[25] Dilip Kumar added, "She was extremely popular ... and I think the only star for whom people thronged outside the gates. Very often when shooting was over, there’d be a vast crowd standing at the gates just to have a look at Madhu ... It wasn’t so for anyone else. That was her personal effect on fans. Her personality was vivacious."[26] But, "she was aware of her beauty," reminisces B. K. Karanjia, former Filmfare editor and a close friend of both Madhubala and her father, "and because there were so many in love with her, she used to play one against the other. But it was out of innocence rather than shrewd calculation."[27] Dev Anand recalled in a similar way: "(s)he liked to flirt innocently and was great fun."[28][29] However, with Dilip Kumar she had a long association.
Dilip Kumar and Madhubala first met on the set of Jwar Bhata (1944), and worked together again on the film Har Singaar (1949), which was shelved. Their relationship began two years later during the filming of Tarana (1951). They became a romantic pair appearing in a total of four films together. Actor Shammi Kapoor recalled that "Dilip Kumar would drive down from Bombay to meet Madhubala ... she was committed to Dilip ... he even flew to Bombay to spend Eid with her, taking time off from his shooting stint ..."[30] "They even got engaged", said Madhubala's sister.[25] But, Madhubala's father Ataullah Khan did not give them permission to marry.[31] Dilip Kumar said, "She was a very, very obedient daughter",[32] and who, in spite of the success, fame and wealth, submitted to the domination of her father and more often than not paid for his mistakes.[33] "This inability to leave her family was her greatest drawback", believed Shammi Kapoor, "for it had to be done at some time."[34] The Naya Daur (1957 film) court case happened in 1956 when Dilip Kumar testified against Madhubala and her father in favor of the director B.R. Chopra in open court. This struck a fatal blow to the Dilip-Madhubala relationship as it ended any chance of reconciliation between Dilip Kumar and Madhubala'a father.[35] Reflecting on this, while Dilip Kumar said he was "trapped",[36] Shammi Kapoor felt "this was something which went beyond him (Dilip) and he couldn’t control the whole situation ..." [37] However, Madhubala's sister Madhur Bhushan claimed that "(Madhubala) said she would marry him (Dilip), provided he apologised to her father. He refused, so Madhubala left him. That one 'sorry' could have changed her life."[38]
Madhubala married Kishore Kumar in 1960, and according to Leena Chandavarkar (Kishore's fourth wife): "When she realized Dilip was not going to marry her, on the rebound and just to prove to him that she could get whomsoever she wanted, she went and married a man she did not even know properly."[39] B. K. Karanjia assumed that "Madhubala may have felt that perhaps this was her best chance" because by this time she became seriously ill, and was about to stop working completely; however, he added that "it was a most unlikely union, and not a happy one either." [40] Madhubala’s illness was known to Kishore, but like all the others, he did not realize its gravity; Ataullah Khan did not approve of his son-in-law at all, but he had lost the courage to disapprove.[41] Ashok Kumar reminisced in a Filmfare interview: "She suffered a lot and her illness made her very bad-tempered. She often fought with Kishore, and would take off to her father's house where she spent most of her time."[42] Madhubala's sister echoes this view albeit in a slightly different tone: "After marriage they flew to London where the doctor told her she had only two years to live. After that Kishore left her at our house saying, ‘I can’t look after her. I’m on outdoors often’. But she wanted to be with him. He’d visit her once in two months though. Maybe he wanted to detach himself from her so that the final separation wouldn’t hurt. But he never abused her as was reported. He bore her medical expenses. They remained married for nine years."[25]
However, Madhubala's love-life continued to be the subject of media speculation. Mohan Deep wrote an unofficial biography of Madhubala titled Mystery and Mystique of Madhubala, published in 1996, where he claims that Kishore Kumar regularly whipped Madhubala, who would show her lashes to Shakti Samanta.[43] Mohan Deep also questions whether Madhubala was really ill or whether her ailing was a fiction.[44] Shammi Kapoor, a long-term colleague of Madhubala, refuted Mohan Deep's claims, which he described as being "in bad taste". Paidi Jairaj, and Shakti Samanta, both of whom worked with Madhubala, rejected Deep's biography emphasizing the glaring difference between fact and fiction, and film journalist M.S.M. Desai, who had worked as a journalist on Madhubala's sets, questioned Deep's method of research saying, "Mohan Deep was not around at the time of Madhubala, so how is he capable of writing about her without resorting to hearsay?"[45]
Final years and death[edit]
Prithviraj Kapoor visiting the grave of Madhubala in 1969
Madhubala had ventricular septal defect (hole in her heart) which was detected while she was shooting for Bahut Din Huwe in Madras in 1954.[46] By 1960, her condition aggravated, and her sister explains that "due to her ailment, her body would produce extra blood. So it would spill out from the nose and mouth. The doctor would come home and extract bottles of blood. She also suffered from pulmonary pressure of the lungs. She coughed all the time. Every four to five hours she had to be given oxygen or else would get breathless. She was confined to bed for nine years and was reduced to just bones and skin".[25] In 1966, with a slight improvement in her health, she made a valiant attempt to complete her work in Chalak opposite Raj Kapoor, which needed only a short spell of shooting, but she could not even survive that strain.[47] When acting was no longer an option Madhubala turned her attention to film direction. In 1969 she was set to make her directorial debut with the film Farz aur Ishq. However the film was never made as during pre-production, she died on February 23, 1969, shortly after her 36th birthday. She was buried with her personal diary at the Santa Cruz Muslim cemetery by her family and husband Kishore Kumar.[48] Her tomb was built with marble and inscriptions included aayats from the Quran and verse dedications. Controversially, her tomb was demolished in 2010 to make space for new graves.[49]
Madhubala's strong presence in the public memory has been evidenced by all recent polls about top actresses or beauties of the Indian cinema.[50][51][52] Every year, on her birthday, numerous articles are printed and television programmes aired to commemorate her, to the present day. Her posters are still in demand and sold alongside contemporary actresses, and modern magazines continue to publish stories on her personal life and career, often promoting her name heavily on the covers to attract sales.[53] Many believe, however, Madhubala remains one of the most underrated actresses as "her beauty attracted more attention than her talent."[54]
In 2004, a digitally-colorized version of the original Mughal-e-Azam was released, 35 years after her death. In 2012, her 1962 release Half Ticket was also remastered, digitally coloured and re-released.
On March 18, 2008, a commemorative postage stamp featuring Madhubala was issued.[55] The stamp was produced by India Post in a limited edition presentation pack. It was launched by veteran actors Nimmi and Manoj Kumar in a ceremony attended by colleagues, friends and surviving members of Madhubala's family. The only other Indian film actress that was honoured in this manner was Nargis Dutt, at that point of time.[56]
Filmography[edit]
YearFilmDirectorNotes
1942BasantAmiya Chakravartyas Manju; credited as Baby Mumtaz
1944Mumtaz MahalKidar Sharmaas a child artiste
1945Dhanna BhagatKidar Sharmaas a child artiste
1946PujariAspias a child artiste
1946PhoolwariChaturbhuj Doshias a child artiste
1946RajputaniAspias a child artiste
1947Neel Kamal (1947 film)Kidar SharmaFirst film as a heroine
1947Chittar VijayMohan Sinha
1947Mere BhagwanMohan Sinha
1947Khubsoorat DuniyaMohan Sinha
1947Dil-Ki-RaniMohan Sinhaas Raj Kumari Singh
1948Parai AagNajm Naqvi
1948Lal DupattaK.B.Lall
1948Desh SewaN.Vakil
1948Amar PremN.M.Kelkar
1949SipahiyaAspi
1949SingaarJ.K.Nanda
1949ParasAnant Thakuras Priya
1949Neki Aur BadiKidar Sharma
1949MahalKamal Amrohias Kamini
1949ImtihaanMohan Sinha
1949DulariA. R. Kardaras Shobha/Dulari
1949DaulatSohrab Modi
1949AparadhiY.Pethkaras Sheela Rani
1950PardesM.Sadiqas Chanda
1950NishanaWajahat Mirzaas Greta
1950NiralaDevendra Mukherjeeas Poonam
1950MadhubalaPrahlad Dutt
1950Hanste AansooK.B.Lall
1950BeqasoorK. Amarnathas Usha
1951TaranaRam Daryanias Tarana
1951SaiyanM. Sadiqas Saiyan
1951NazneenN.K.Ziree
1951NadaanHira Singh
1951KhazanaM.Sadiq
1951BadalAmiya Chakravartyas Ratna
1951AaramD. D. Kashyapas Leela
1952SaqiH. S. Rawailas Rukhsana
1952DeshabakthanAmiya Chakrabarty
1952SangdilR. C. Talwar
1953Rail Ka DibbaP. N. Aroraas Chanda
1953ArmaanFali Mistry
1954Bahut Din HuyeS.S.Vasanas Chandrakanta
1954AmarMehboob Khanas Anju
1955TeerandazH.S.Rawail
1955NaqabLekhraj Bhakri
1955NaataD. N. Madhokas Tara
1955Mr. & Mrs. '55Guru Duttas Anita Verma
1956Shirin FarhadAspi Iranias Shirin
1956Raj HathSohrab Modias Raja Beti/Rajkumari
1956Dhake Ki MalmalJ.K.Nanda
1957Yahudi Ki LadkiS.D. Narang
1957Gateway of IndiaOm Prakashas Anju
1957Ek SaalDevendra Goelas Usha Sinha
1958PoliceKali Das
1958PhagunBibhuti Mitraas Banani
1958Kala PaniRaj Khoslaas Asha
1958Howrah BridgeShakti Samantaas Edna
1958Chalti Ka Naam GaadiSatyen Boseas Renu
1958Baghi SipahiBhagwandas Varma
1959Kal Hamara HaiS.K.Prabhakaras Madhu/Bela
1959Insaan Jaag UthaShakti Samantaas Gauri
1959Do Ustad (1959)Tara Harishas Madhu Sharma
1960Mehlon Ke KhwabHyderas Asha
1960Jaali NoteShakti Samantaas Renu/Beena
1960Barsaat Ki RaatP.L.Santoshias Shabnam
1960Mughal-e-AzamK.Asifas Anarkali; Nominated—Filmfare Award for Best Actress
1961PassportPramod Chakravortyas Rita Bhagwandas
1961JhumrooShankar Mukherjias Anjana
1961Boy FriendNaresh Saigalas Sangeeta
1962Half TicketKali Dasas Rajnidevi/Asha
1964SharabiRaj Rishias Kamala
This is the cute iPod's reverse.
Also Full of cute personalities .
I love decorating stickler to the stuff I have ...
Power can significantly change a person's personality. Maybe even transform it. To fight hubris syndrome, we must begin by fighting our tendency to admire power.Power has always inspired writers. Hubris syndrome "- when power drives an individual mad - would also have transfigured a large number of historical personalities.
Hubris (/ˈhjuːbrɪs/, also hybris, from ancient Greek ὕβρις) describes a personality quality of extreme or foolish pride or dangerous overconfidence.[1] In its ancient Greek context, it typically describes behavior that defies the norms of behavior or challenges the gods, and which in turn brings about the downfall, or nemesis, of the perpetrator of hubris.
The adjectival form of the noun hubris is "hubristic". Hubris is usually perceived as a characteristic of an individual rather than a group, although the group the offender belongs to may suffer collateral consequences from the wrongful act. Hubris often indicates a loss of contact with reality and an overestimation of one's own competence, accomplishments or capabilities. Contrary to common expectations,[by whom?] hubris is not necessarily associated with high self-esteem but with highly fluctuating or variable self-esteem, and a gap between inflated self perception and a more modest reality. In ancient Greek, hubris referred to actions that shamed and humiliated the victim for the pleasure or gratification of the abuser. The term had a strong sexual connotation, and the shame reflected upon the perpetrator as well. Violations of the law against hubris included what might today be termed assault and battery; sexual crimes; or the theft of public or sacred property. Two well-known cases are found in the speeches of Demosthenes, a prominent statesman and orator in ancient Greece. These two examples occurred when first Midias punched Demosthenes in the face in the theatre (Against Midias), and second when (in Against Conon) a defendant allegedly assaulted a man and crowed over the victim. Yet another example of hubris appears in Aeschines' Against Timarchus, where the defendant, Timarchus, is accused of breaking the law of hubris by submitting himself to prostitution and anal intercourse. Aeschines brought this suit against Timarchus to bar him from the rights of political office and his case succeeded. In ancient Athens, hubris was defined as the use of violence to shame the victim (this sense of hubris could also characterize rape. Aristotle defined hubris as shaming the victim, not because of anything that happened to the committer or might happen to the committer, but merely for that committer's own gratification: to cause shame to the victim, not in order that anything may happen to you, nor because anything has happened to you, but merely for your own gratification. Hubris is not the requital of past injuries; this is revenge. As for the pleasure in hubris, its cause is this: naive men think that by ill-treating others they make their own superiority the greater. Crucial to this definition are the ancient Greek concepts of honour (τιμή, timē) and shame (αἰδώς, aidōs). The concept of honour included not only the exaltation of the one receiving honour, but also the shaming of the one overcome by the act of hubris. This concept of honour is akin to a zero-sum game. Rush Rehm simplifies this definition of hubris to the contemporary concept of "insolence, contempt, and excessive violence".In Greek mythology, when a figure's hubris offends the pagan gods of ancient Greece, it is usually punished; examples of such hubristic, sinful humans include Icarus, Phaethon, Arachne, Salmoneus, Niobe, Cassiopeia, and Tereus. The concept of hubris is not only derived from Greek philosophy - as it is found in Plato and Aristotle - but also from the theatre, where it allows us to tell the story of great epics, where success goes up to the head of the hero, who claims to rise to the rank of gods; it is then ruthlessly put in its place by Nemesis, the goddess of vengeance. The Greek hybris refers to the excesses and their disastrous consequences.
In its modern usage, hubris denotes overconfident pride combined with arrogance.[10] Hubris is often associated with a lack of humility. Sometimes a person's hubris is also associated with ignorance. The accusation of hubris often implies that suffering or punishment will follow, similar to the occasional pairing of hubris and nemesis in Greek mythology. The proverb "pride goeth (goes) before destruction, a haughty spirit before a fall" (from the biblical Book of Proverbs, 16:18) is thought to sum up the modern use of hubris. Hubris is also referred to as "pride that blinds" because it often causes a committer of hubris to act in foolish ways that belie common sense.[11] In other words, the modern definition may be thought of as, "that pride that goes just before the fall."
Examples of hubris are often found in literature, most famously in John Milton's Paradise Lost, in which Lucifer attempts to compel the other angels to worship him, is cast into hell by God and the innocent angels, and proclaims: "Better to reign in hell than serve in heaven." Victor in Mary Shelley's Frankenstein manifests hubris in his attempt to become a great scientist by creating life through technological means, but comes to regret his project. Marlowe's play Doctor Faustus portrays the eponymous character as a scholar whose arrogance and pride compel him to sign a deal with the Devil, and retain his haughtiness until his death and damnation, despite the fact that he could easily have repented had he chosen to do so.
Charisma, charm, the ability to inspire, persuasiveness, breadth of vision, willingness to take risks, grandiose aspirations and bold self-confidence—these qualities are often associated with successful leadership. Yet there is another side to this profile, for these very same qualities can be marked by impetuosity, a refusal to listen to or take advice and a particular form of incompetence when impulsivity, recklessness and frequent inattention to detail predominate. This can result in disastrous leadership and cause damage on a large scale. The attendant loss of capacity to make rational decisions is perceived by the general public to be more than ‘just making a mistake’. While they may use discarded medical or colloquial terms, such as ‘madness’ or ‘he's lost it’, to describe such behaviour, they instinctively sense a change of behaviour although their words do not adequately capture its essence. A common thread tying these elements together is hubris, or exaggerated pride, overwhelming self-confidence and contempt for others (Owen, 2006). How may we usefully think about a leader who hubristically abuses power, damaging the lives of others? Some see it as nothing more than the extreme manifestation of normal behaviour along a spectrum of narcissism. Others simply dismiss hubris as an occupational hazard of powerful leaders, politicians or leaders in business, the military and academia; an unattractive but understandable aspect of those who crave power. But the matter can be formulated differently so that it becomes appropriate to think of hubris in medical terms. It then becomes necessary first to rule out conditions such as bipolar (manic-depressive) disorder, in which grandiosity may be a prominent feature. From the medical perspective, a number of questions other than the practicalities of treatment can be raised. For example can physicians and psychiatrists help in identifying features of hubris and contribute to designing legislation, codes of practice and democratic processes to constrain some of its features? Can neuroscientists go further and discover through brain imaging and other techniques more about the presentations of abnormal personality? (Goodman et al., 2007).
We see the relevance of hubris by virtue of it being a trait or a propensity towards certain attitudes and behaviours. A certain level of hubris can indicate a shift in the behavioural pattern of a leader who then becomes no longer fully functional in terms of the powerful office held. First, several characteristics of hubris are easily thought of as adaptive behaviours either in a modified context or when present with slightly less intensity. The most illustrative such example is impulsivity, which can be adaptive in certain contexts. More detailed study of powerful leaders is needed to see whether it is mere impulsivity that leads to haphazard decision making, or whether some become impulsive because they inhabit a more emotional grandiose and isolated culture of decision making.
We believe that extreme hubristic behaviour is a syndrome, constituting a cluster of features (‘symptoms’) evoked by a specific trigger (power), and usually remitting when power fades. ‘Hubris syndrome’ is seen as an acquired condition, and therefore different from most personality disorders which are traditionally seen as persistent throughout adulthood. The key concept is that hubris syndrome is a disorder of the possession of power, particularly power which has been associated with overwhelming success, held for a period of years and with minimal constraint on the leader.
The ability to make swift decisions, sometimes based on little evidence, is of particular importance—arguably necessary—in a leader. Similarly, a thin-skinned person will not be able to stand the process of public scrutiny, attacks by opponents and back-stabbings from within, without some form of self-exultation and grand belief about their own mission and importance. Powerful leaders are a highly selected sample and many criteria of any syndrome based on hubris are those behaviours by which they are probably selected—they make up the pores of the filter through which such individuals must pass to achieve high office.
Hubris is associated in Greek mythology with Nemesis. The syndrome, however, develops irrespective of whether the individual's leadership is judged a success or failure; and it is not dependent on bad outcomes. For the purpose of clarity, given that these are retrospective judgements, we have determined that the syndrome is best confined to those who have no history of a major depressive illness that could conceivably be a manifestation of bipolar disorder.
Hubris is acquired, therefore, over a period. The full blown hubris, associated with holding considerable power in high office, may or may not be transient. There is a moving scale of hubris and no absolute cut-off in definition or the distinction from fully functional leadership. External events can influence the variation both in intensity and time of onset.
Dictators are particularly prone to hubris because there are few, if any, constraints on their behaviour. Here, this complex area is not covered but one of us has considered the matter elsewhere (Owen, 2008). Hitler's biographer, Ian Kershaw (1998, 2000), entitled his first volume 1889–1936 Hubris and the second 1936–1945 Nemesis. Stalin's hubris was not as marked or as progressive as Hitler's. As for Mussolini and Mao both had hubris but probably each also had bipolar disorder. Khrushchev was diagnosed as having hypomania and there is some evidence that Saddam Hussein had bipolar disease (Owen, 2008).
Being elected to high office for a democratic leader is a significant event. Subsequent election victories appear to increase the likelihood of hubristic behaviour becoming hubris syndrome. Facing a crisis situation such as a looming or actual war or facing potential financial disaster may further increase hubris. But only the more developed cases of hubris deserve classification as a syndrome exposed as an occupational hazard in those made vulnerable by circumstance.
Hubris syndrome and its characteristics
Unlike most personality disorders, which appear by early adulthood, we view hubris syndrome as developing only after power has been held for a period of time, and therefore manifesting at any age. In this regard, it follows a tradition which acknowledges the existence of pathological personality change, such as the four types in ICD-10: enduring personality change after trauma, psychiatric illness, chronic pain or unspecified type (ICD-10, 1994)—although ICD-10 implies that these four diagnoses are unlikely to improve.
Initially 14 symptoms constituting the hubristic syndrome were proposed (Owen, 2006). Now, we have shortened and tabulated these descriptions and mapped their broad affinities with the DSM IV criteria for narcissistic personality disorder, antisocial personality disorder and histrionic personality disorder. These three personality disorders also appear in ICD-10, although narcissistic personality disorder is presented in an appendix as a provisional condition, whose clinical or scientific status is regarded as uncertain. ICD-10 considers narcissistic personality disorder to be sufficiently important to warrant more study, but that it is not yet ready for international acceptance. In practice, the correlations are less precise than the table suggests and the syndrome better described by the broader patterns and descriptions that the individual criteria encapsulate.
Establishing the diagnostic features of hubris syndrome
The nosology of psychiatric illness depends on traditional criteria for placing diagnoses in a biomedical framework (Robins and Guze, 1970). There are, however, other underpinnings—psychological or sociological—that can be applied. Validity for a psychiatric illness involves assessing five phases: (i) clinical description; (ii) laboratory studies; (iii) defining boundaries vis-a-vis other disorders; (iv) follow-up study; and (v) family study. While these phases are worth analysing, it has to be recognized that there are severe limitations in rigidly applying such criteria to hubris syndrome given that so few people exercise real power in any society and the frequency amongst those ‘at-risk’ is low. The potential importance of the syndrome derives, however, from the extensive damage that can be done by the small number of people who are affected. As an investigative strategy, it may be that studies such as neuroimaging, family studies, or careful personality assessments in more accessible subjects with hubristic qualities or narcissistic personality disorder from other vulnerable groups might inform the validation process.
Proposed clinical features
Hubris syndrome was formulated as a pattern of behaviour in a person who: (i) sees the world as a place for self-glorification through the use of power; (ii) has a tendency to take action primarily to enhance personal image; (iii) shows disproportionate concern for image and presentation; (iv) exhibits messianic zeal and exaltation in speech; (v) conflates self with nation or organization; (vi) uses the royal ‘we’ in conversation; (vii) shows excessive self-confidence; (viii) manifestly has contempt for others; (ix) shows accountability only to a higher court (history or God); (x) displays unshakeable belief that they will be vindicated in that court; (xi) loses contact with reality; (xii) resorts to restlessness, recklessness and impulsive actions; (xiii) allows moral rectitude to obviate consideration of practicality, cost or outcome; and (xiv) displays incompetence with disregard for nuts and bolts of policy making.
In defining the clinical features of any disorder, more is required than simply listing the symptoms. In the case of hubris syndrome, a context of substantial power is necessary, as well as a certain period of time in power—although the length has not been specified, varying in the cases described from 1 to 9 years. The condition may have predisposing personality characteristics but it is acquired, that is its appearance post-dates the acquisition of power.
Establishment of the clinical features should include the demonstration of criterion reliability, exploration of a preferred threshold for the minimum number of features that must be present, and the measurement of symptoms (e.g. their presence or absence, and a severity scale). This endeavour may also include a decision as to whether the 14 criteria suggested might usefully be revised.
To determine whether hubris syndrome can be characterized biologically will be very difficult. It is the nature of leaders who have the syndrome that they are resistant to the very idea that they can be ill, for this is a sign of weakness. Rather, they tend to cover up illness and so would be most unlikely to submit voluntarily to any testing, e.g. the completion of scales measuring anxiety, neuroticism and impulsivity. Also the numbers of people with the syndrome is likely to be so small preventing the realistic application of statistical analyses. It also needs to be remembered that leaders are prone to using performance-enhancing drugs fashionable at the time. Two heads of government, Eden and Kennedy, were on amphetamines in the 1950s and 1960s. In the 21st century hubristic leaders are likely to be amongst the first to use the new category of so-called cognition enhancers. Many neuroscientists believe that such drugs properly used can be taken without harm. The problem is a leader who takes these without medical supervision and in combination with other substances or in dosages substantially above those that are recommended. In 2008, Nature carried out an informal survey of its mainly scientific readers and found that one in five of 1400 responders were taking stimulants and wake-promoting agents such as methylphenidate and modafinil, or β-blockers for non-medical reasons (Maher, 2008).
In defining the boundaries, one of the more important questions may be to understand whether hubris syndrome is essentially the same as narcissistic personality disorder (NPD), a subtype of NPD or a separate entity. As shown in Table 1, 7 of the 14 possible defining symptoms are also among the criteria for NPD in DSM-IV, and two correspond to those for antisocial personality and histrionic personality disorders (APD and HPD, respectively) (American Psychiatric Association, 2000). The five remaining symptoms are unique, in the sense they have not been classified elsewhere: (v) conflation of self with the nation or organization; (vi) use of the royal ‘we’; (x) an unshakable belief that a higher court (history or God) will provide vindication; (xii) restlessness, recklessness and impulsiveness; and (xiii) moral rectitude that overrides practicalities, cost and outcome.
academic.oup.com/brain/article/132/5/1396/354862/Hubris-s...
La Vie site cites the work of researcher Ian H. Robertson, who studied the effect of hubris on a fish species in Lake Tanganyka in Africa, on which the seizure of power triggers a hormonal reaction that changes their organism. The researcher explains that the situation is similar for humans, whose intelligence is multiplied tenfold by dopamine intake, but "too much dopamine will have harmful consequences. But absolute power floods the brain with dopamine. It also creates an addiction,"says the researcher. That is not all. Excessive self-confidence puts in place a mental mechanism that makes it impossible to assess oneself properly. The more you have a fair appreciation of your own qualities, the more modest you are. And you don't normally feel fit to become head of state,"explains Sebastian Dieguez, a neuroscience researcher at the University of Freiburg.
The Oleanders — Here are "the boys from Wilberforce" who have been singing together since their student days at the southern university. They began with Negro spirituals. Today they interpret all types of harmony well, whether the song be based on the ballads the colored folks sing in the fields or a popular ditty hot from Hollywood. On Thursdays from 3:00 to 3:15 P.M., EST, the Oleanders sing over the CBS coast-to-coast network (they're heard at various other times too) and the mail bag indicates a steady rise in their popularity. Left to right they are: Benjamin Wailes (first tenor), Ira Williams (baritone), George H. Hall (bass) and Edward G. Jackson (second tenor) seated.
November 9, 1935
Spanish postcard by La Novela Semanal Cinematográfica, no. 3. Photo: United Artists (but the film was produced by First national). Charles Chaplin in A Dog's Life (Charles Chaplin, 1918). Charlot was the Spanish nickname for Chaplin.
English comedian Charles ‘Charlie’ Chaplin (1889-1977) was one of the most creative and influential personalities of the silent-film era. His most famous role was that of The Tramp with his toothbrush mustache, undersized bowler hat and bamboo cane who struggled to survive while keeping his dignity in a world with great social injustice. Chaplin used mime, slapstick and other visual comedy routines, and he not only starred in his films, but also directed, wrote and produced them, and composed the music as well. His working life in entertainment spanned over 75 years, from the Victorian stage and the Music Hall in the United Kingdom as a child performer, until close to his death at the age of 88. Author George Bernard Shaw called Chaplin "the only genius to come out of the movie industry".
Charles Spencer Chaplin was born in 1889, in London, England. His parents were both entertainers in the music hall tradition; his father, Charles Spencer Chaplin Sr., was a vocalist and an actor and his mother, Hannah Chaplin, a singer and an actress with the stage name Lilly Harley. They separated before Charlie was three. He lived with his mother and his older half-brother Sydney. Chaplin's father was an alcoholic and had little contact with his son, though Chaplin and Sydney briefly lived with their father and his mistress, while their mentally ill mother lived at an asylum. Hannah's first crisis came in 1894 when she was performing at The Canteen, a theatre in Aldershot. The theatre was mainly frequented by rioters and soldiers. Hannah was injured by the objects the audience threw at her and she was booed off the stage. Backstage, she cried and argued with her manager. Meanwhile, the five-year-old Chaplin went on stage alone and sang a well-known tune at that time, Jack Jones. The young Chaplin brothers forged a close relationship in order to survive. They gravitated to the Music Hall while still very young, and both of them proved to have considerable natural stage talent. At eight Charlie toured in a musical, The Eight Lancaster Lads. Nearly 11, he appeared in Giddy Ostende at London's Hippodrome. Chaplin's early years of desperate poverty were a great influence on his characters. Themes in his films in later years would re-visit the scenes of his childhood deprivation in Lambeth. His father died of cirrhosis of the liver when Charlie was twelve in 1901. Chaplin's mother died in 1928 in Hollywood, seven years after having been brought to the US by her sons. Unknown to Charlie and Sydney until years later, they had a half-brother through their mother. The boy, Wheeler Dryden, was raised abroad by his father but later connected with the rest of the family and went to work for Chaplin at his Hollywood studio.
From age 17 to 24 Charlie Chaplin was with Fred Karno's English vaudeville troupe. He first toured the United States with the Fred Karno troupe from 1910 to 1912. After five months back in England, he returned to the US for a second tour. In the Karno Company was also his brother Sydney and Arthur Stanley Jefferson, who later became known as Stan Laurel. In late 1913, Chaplin's act with the Karno Troupe was seen by Mack Sennett, Mabel Normand, Minta Durfee, and Fatty Arbuckle. Sennett hired him for his studio, the Keystone Film Company as a replacement for Ford Sterling. Chaplin had considerable initial difficulty adjusting to the demands of film acting and his performance suffered for it. After Chaplin's first film appearance, Making a Living (Henry Lehrman, 1914) was filmed, Sennett felt he had made a costly mistake. Mabel Normand persuaded him to give Chaplin another chance, and she directed and wrote a handful of his earliest films. He first played The Tramp in the Keystone comedy Kid Auto Races at Venice (Henry Lehrman, 1914). This picture saw him wearing baggy pants borrowed from 'Roscoe 'Fatty' Arbuckle', size 14 shoes belonging to Ford Sterling (and worn upside down to keep them from falling off), a tiny jacket from Keystone Kop Charles Avery, a bowler hat belonging to Arbuckle's father-in-law and some crepe paper belonging to Mack Swain (which became the tramp's mustache). The only item that actually belonged to Charlie was the whangee cane. Two films Chaplin made in 1915, The Tramp and The Bank created the characteristics of his screen persona. Chaplin was influenced by his predecessor, the French silent film comedian Max Linder, to whom he dedicated one of his films. Quickly the little tramp became the most popular Keystone star. From the April 1914 one-reeler Twenty Minutes of Love (Charles Chaplin, Joseph Maddern, 1914) onwards he was writing and directing most of his films, by 1916 he was also producing, and from 1918 composing the music. He made 35 films in 1914, moved to Essanay in 1915 and did 14 more, then jumped over to Mutual for 12 two-reelers in 1916 and 1917. In 1918 he joined First National (later absorbed by Warner Bros.) and in 1919 formed United Artists along with Douglas Fairbanks, Mary Pickford, and D.W. Griffith. His first full-length film was The Kid (1921) with Jackie Coogan; his first for UA, which he produced and directed himself, was A Woman of Paris: A Drama of Fate (1923) starring Edna Purviance. Chaplin continued to play the Tramp through dozens of short films and, later, feature-length productions. In only a handful of films, he played characters other than the little tramp. The Tramp was closely identified with the silent era, and was considered an international character; when the sound era began in the late 1920s, Chaplin refused to make a talkie featuring the character. City Lights (1931) featured no dialogue. Chaplin officially retired the character in Modern Times (1936), which appropriately ended with the Tramp and his girl (played by Chaplin’s third wife, Paulette Godard) walking down an endless highway toward the horizon. The film was only a partial talkie and is often called the last silent film. The Tramp remains silent until near the end of the film when, for the first time, his voice is finally heard, albeit only as part of a French/Italian-derived gibberish song. This allowed the Tramp to finally be given a voice but not tarnish his association with the silent era.
Charlie Chaplin’s high-profile public and private life encompassed both adulation and controversy. Chaplin's identification with the left ultimately forced him to resettle in Europe during the McCarthy era in the early 1950s. Chaplin's political sympathies always had laid with the left. His silent films made prior to the Great Depression typically did not contain overt political themes or messages, apart from the Tramp's plight in poverty and his run-ins with the law, but his 1930s films were more openly political. Modern Times (1936) depicts workers and poor people in dismal conditions. In The Great Dictator (1940) Chaplin plays a humorous caricature of Adolf Hitler. Some thought the film was poorly done and in bad taste. However, it grossed over $5 million and earned five Academy Award Nominations. The final dramatic speech in The Great Dictator, which was critical of following patriotic nationalism without question, and his vocal public support for the opening of a second European front in 1942 to assist the Soviet Union in World War II were controversial. Chaplin declined to support the war effort as he had done for the First World War which led to public anger, although his two sons saw service in the Army in Europe. For most of World War II he was fighting serious criminal and civil charges related to his involvement with 22-year old actress Joan Barry. In 1943 he was accused of fathering her child; the papers made much of the scandal, but it was proved in a court trial that he was not the father. The same year he entered his fourth marriage, to Oona Chaplin, daughter of playwright Eugene O'Neill. After the war, his black comedy, Monsieur Verdoux (1947) showed a critical view of capitalism. Chaplin's final American film, Limelight, was less political and more autobiographical in nature. Limelight also featured Claire Bloom and Chaplin’s longtime friend, Buster Keaton. In 1952, Chaplin left the US for what was intended as a brief trip home to the United Kingdom for the London premiere of Limelight. J. Edgar Hoover, head of the FBI, learned of the trip and negotiated with the Immigration and Naturalization Service to revoke Chaplin's re-entry permit, exiling Chaplin so he could not return for his alleged political leanings. His following European-made film, A King in New York (1957), satirized the political persecution and paranoia that had forced him to leave the US five years earlier.
Charles Chaplin made his home in Vevey, Switzerland. His final two films were made in London: A King in New York (1957) in which he starred, wrote, directed and produced; and A Countess from Hong Kong (1967), which he directed, produced, and wrote. The latter film stars Sophia Loren and Marlon Brando, and Chaplin made his final on-screen appearance in a brief cameo role as a seasick steward. He also composed the music for both films. The theme song from A Countess From Hong Kong, This is My Song, reached number one in the UK as sung by Petula Clark. Chaplin also compiled a film The Chaplin Revue (1959) from three First National films A Dog's Life (1918), Shoulder Arms (1918) and The Pilgrim (1923) for which he composed the music and recorded an introductory narration. As well as directing these final films, Chaplin also wrote My Autobiography, between 1959 and 1963, which was published in 1964. He briefly and triumphantly returned to the United States in April 1972, with his wife Oona, to receive an Honorary Oscar, and also to discuss how his films would be re-released and marketed. Chaplin's last completed work was the score for his film A Woman of Paris (1923), which was completed in 1976, by which time Chaplin was extremely frail, even finding communication difficult. Charles Chaplin died in his sleep in Vevey, Switzerland on Christmas Day 1977. He and Oona had eight children, including film actress Geraldine Chaplin. From his marriages, he had a total of 11 children. In 1921 Chaplin was decorated by the French government for his outstanding work as a filmmaker and was elevated to the rank of Officer of the Legion of Honor in 1952. In 1929, at the first Oscar awards, he won a special award "for versatility and genius in writing, acting, directing and producing" The Circus (1928). In 1975 he was named Knight Commander of the British Empire. And in 1999, the American Film Institute ranked Chaplin the 10th Greatest Actor on The 50 Greatest Screen Legends list. His bowler and cane were sold for $150,000 in 1987.
Sources: Ed Stephan (IMDb), Amy Smith (IMDb), Wikipedia and IMDb.
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Vagabonds — The Vagabonds, four young Negro lads who have been barber shop bootblacks, cotton pickers and errand boys, have pooled their vocal talents and are now, in their early twenties, heard regularly over NBC networks from Chicago. These close harmonizers are, left to right, above Robert O'Neal, John Jordan, and Norval Taborn, and, below, with the guitar, Ray Grant, Jr.
Dan Budnik had an illustrious career with Magnum for over 25 years. His major portfolios were on famous personalities such as Georgia O'Keefe, Henry Cartier Bresson, and Martin Luther King.
As a photojournalist, Dan Budnik is known for his photographs of artists, but also for his photo-documentation of the Civil Rights Movement and of Native Americans. Born in 1933 in Long Island, New York, Budnik studied with Charles Alston at the Art Students League of New York (1951-53) and began his photography career as Philippe Halsman’s assistant. Working at Magnum Photos (1957-64) in 1963, Budnik persuaded Life Magazine to have him create a long-term photo essay showing the seriousness of the Civil Rights Movement, documenting the Selma to Montgomery march and other historical Civil Rights moments. Budnik went on to photograph for premier publications such as Life, Fortune, Look, Newsweek, Sports Illustrated and Vogue. He has been a major contributor to eight Time-Life Wilderness and Great Cities series and received a 1973 grant from the National Endowment for the Arts for his work on the Hudson River Ecology Project and a 1980 grant from the Polaroid Foundation for Big Mountain: Hopi-Navajo Forced Relocation.BiographyDan Budnik, (b. 1933), whose career as a photographer has spanned more than half a century, was most recent recipient, in 1998, of the prestigious American Society of Media Photographers Honor Roll Award, an accolade previously accorded to such eminent photographers as Man Ray, Edward Steichen, Walker Evans, Dorothea Lange, André Kertész, Ernst Hass, and Henri Cartier-Bresson.After studying with Charles Alston at the Art Students League of New York (1951-53), Budnik began his career as a Magnum photographer. His photo-essays have appeared in periodicals that include Art in America, LIFE Magazine, Fortune, The London Sunday Times, Magazine, Look, Modern Photography, Newsweek, The New York Times Magazine, Réalités and Vogue. He has been a major contributor to many books, including six from the Time-Life Wilderness and Great Cities series. Budnik’s photographs appear in The Museum: An Informal Introduction to The Museum of Modern Art by Richard Schickel (1970). He is included in two seminal histories of photography: Nathan Lyons’ Photography in the Twentieth Century (1967) and The Picture History of Photography from the Earliest Beginnings to the Present Day, by Peter Pollack (1977).
Dan Budnik lives in Flagstaff, Arizona, and is currently involved with creating a photographic record of ancient petroglyphs. Widely acclaimed for his photo-documentation of Native Americans (including his collaboration with Sandy Johnson, The Book of Elders: The Life Stories of Great American Indians, 1994), the Civil Rights Movement, and environmental issues. Budnik received a 1973 grant from the National Endowment for the Arts for his work on the Hudson River Ecology project and a 1980 grant from the Polaroid Foundation for Big Mountain: Hopi-Navajo Forced Relocation.
The scope of Dan Budnik’s documentation of major 20th century artists has yet to be fully recognized. In addition to David Smith, he photographed Lee Bontecou, Alexander Calder, John Chamberlain, Willem de Kooning, Helen Frankenthaler, Jasper Johns, Roy Lichtenstein, Robert Motherwell, Georgia O’Keeffe, Mark Rothko, and many others.
Dan Budnik’s photographs of David Smith first appeared as an April 5, 1963 photo essay for LIFE Magazine. They were first exhibited, in 1974, at the University Art Museum State University of New York, Albany, The Cooper Union for the Advancement of Science and Art, New York, and Rice University, Houston, Texas. The same exhibition circulated nationally under the auspices of the American Federation of Arts, from 1975-78. They have been widely published, and have become an essential part of the extensive body of literature on Smith. Twenty-four of Budnik’s photographs of Smith were reproduced in the catalogue of the exhibition at The Solomon R. Guggenheim Museum, David Smith: A Centennial.
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Am 05. Juli 2008 wurde Madame Tussauds am historischen Standort ‚Unter den Linden‘ eröffnet, nur wenige Meter entfernt vom Brandenburger Tor. Madame Tussauds Berlin bietet einen Mix aus Interaktivität, Bezug zur Region und Geschichte zum Anfassen. Außerdem gibt es einen „Hinter den Kulissen“-Bereich, in dem gezeigt wird, wie aufwendig es ist, eine Wachsfigur zu formen – von privaten Treffen mit Prominenten zur genauen Körperabmessung, dem sogenannten „Sitting“, bis hin zum finalen Garderoben-Check.
Bis heute wächst Madame Tussauds stetig und verknüpft seine Tradition und Geschichte mit dem Glanz internationaler Stars des 21. Jahrhunderts. Mittlerweile verfügt das Unternehmen über mehr als 20 Standorte weltweit, darunter London, New York, Las Vegas, Shanghai, Washington DC, Hong Kong, Bangkok, Wien, LA und Amsterdam. Neben den klassischen Wachsfiguren, die kontinuierlich um angesagte Promis und wichtige Personen ergänzt werden, können sich Besucher in vielen interaktiven Bereichen vergnügen. Sie können zusammen Teil eines Tatort-Ermittler-Teams werden, im Fashion-Bereich zum Model werden oder im Star Wars-Bereich in die Welt des Films eintauchen.
Die Wachsfiguren-Herstellung im Madame Tussauds dauert etwa drei bis sechs Monate und hat einen Gesamtwert von ca. 200.000 Euro. Der Prozess umfasst viele Schritte und benötigt ein großes, hoch qualifiziertes Team.
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Neuigkeiten, Promi-Party, STAR WARS, Musik, TV-Stars, Sportstars, Filmhelden, Politik, historische Persönlichkeiten, kulturelle Persönlichkeiten, Diven der Filmgeschichte
www.madametussauds.com/berlin/de/
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Madame Tussauds, Berlin
On July 5, 2008, Madame Tussauds opened at the historic location 'Unter den Linden', just a few meters away from the Brandenburg Gate. Madame Tussauds Berlin offers a mix of interactivity, reference to the region and history you can touch. There is also a "behind the scenes" area, which shows the time and effort that goes into creating a wax figure - from private meetings with celebrities for precise body measurements, known as "sitting", to the final wardrobe check.
To this day, Madame Tussauds continues to grow and combines its tradition and history with the glamor of international stars of the 21st century. The company now has more than 20 locations worldwide, including London, New York, Las Vegas, Shanghai, Washington DC, Hong Kong, Bangkok, Vienna, LA and Amsterdam. In addition to the classic wax figures, which are constantly being supplemented with hip celebrities and important people, visitors can enjoy themselves in many interactive areas. They can become part of a crime scene investigator team, become a model in the fashion area or immerse themselves in the world of film in the Star Wars area.
The production of the wax figures at Madame Tussauds takes around three to six months and has a total value of around 200,000 euros. The process involves many steps and requires a large, highly skilled team.
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News, celebrity party, STAR WARS, music, TV stars, sports stars, movie heroes, politics, historical personalities, cultural personalities, divas of movie history
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