Saturday, December 4, 2010

Movies I remember watching with my Dad on TV.

Monsieur Verdoux
Before I was born.

A suave but cynical man supports his family by marrying and murdering rich women for their money, but the job has some occupational hazards.

Henry Aldrich Swings It (1943)
Before I was born.

Complications arise when Henry, in love with the new music teacher, joins the band. He accidentally gets a Stradivarius that belongs to another man.

The Graduate (1967) 
Ten years old when this came out.

Recent college graduate Benjamin Braddock is trapped into an affair with Mrs. Robinson, who happens to be the wife of his father's business partner and then finds himself falling in love with her teenage daughter, Elaine.

Sixteen when this came out.

Robert Shaw in The Sting (1973)

In 1930s Chicago, a young con man seeking revenge for his murdered partner teams up with a master of the big con to win a fortune from a criminal banker.

Animal House  (1973)
Twenty One
 when this came out.

At a 1962 College, Dean Vernon Wormer is determined to expel the entire Delta Tau Chi Fraternity, but those troublemakers have other plans for him.

Hollywood - The History of a Movie Capital

The Legend of Hollywood

Hollywood, California - where, beginning a century ago, the great American dream burst out of our collective subcoscious and into the open. There is no other name that frees our fantasies and stirs our hopes and fears, our tears and our eternal romances, like that single incomparable word - Hollywood.

Before The Movies

In the seventeenth century when Spanish explorers first entered the area now known as Hollywood, Native Americans had been living in the canyons of the Santa Monica Mountains since time immemorial. Before long, the Indians had been moved to missions and the land which Hollywood now occupies was divided in two by the Spanish Government. Acreage to the west became part of Rancho La Brea and settlements to the East became Rancho Los Feliz.
By the 1870s an agricultural community flourished in the area and crops ranging from hay and grain to subtropical bananas and pineapples were thriving. During the 1880s, the Ranchos were sub-divided. Harvey Henderson Wilcox of Kansas, who made a fortune in real estate even though he had lost the use of his legs due to typhoid fever, and his wife, Daeida who was originally from Hicksville, Ohio, moved to Los Angeles from Topeka. In 1886, Wilcox bought 160 acres (0.6 km²) of land in the countryside to the west of the city at the foothills and the Cahuenga Pass. Within a few years, Wilcox had devised a grid plan for his new community, paved Prospect Avenue (now Hollywood Boulevard) for his main street and was selling large residential lots to wealthy Midwesterners looking to build homes so they could "winter in California."
There is some disagreement as to who was the first to name the place Hollywood. One account says that the name was coined by H. J. Whitley, the Father of Hollywood. He and his wife Gigi reportedly came up with the name in 1886 while on their honeymoon (from Margaret Virginia Whitley's memoir). Another account is that Mrs. Wilcox coined the name in 1883; while on a train she became acquainted with a wealthy lady who often spoke of her country home named after a settlement of Dutch immigrants from Zwolle called "Hollywood", and when she returned to Los Angeles she so named her country place.
Harvey's subdivisions soon became a town with streets named and paved and commercial ventures encouraged. Wilcox died in 1891 but Daeida carried on with their dream. She donated land for 3 churches, the first library and city hall, a park and a school and even a police station. But liquor was still outlawed in the community. In 1894 Daeida remarried and, with her new husband Philo J. Beveridge (the governor's son) she continued to help Hollywood grow.
Prospect Avenue soon became a prestigious residential street populated with large Queen Anne, Victorian, and Mission Revival houses. Mrs. Wilcox raised funds to build churches, schools and a library and Hollywood quickly became a complete and prosperous community. The community incorporated in 1903, but its independence was short-lived, as the lack of water forced annexation in 1910 to the city of Los Angeles, which had a surplus supply of water.

Hollywood, 1905

Hollywood Hotel

In early 1910, director D. W. Griffith was sent by the Biograph Company to the west coast with his acting troop consisting of actors Blanche Sweet, Lillian Gish, Mary Pickford, Lionel Barrymore, and others. They started filming on a vacant lot near Georgia Street in Downtown Los Angeles. The Company decided to explore new territories and traveled several miles north to a little village that was friendly and enjoyed the movie company filming there. And, you've guessed it, this place was called "Hollywood". Griffith then filmed the first movie ever shot in Hollywood called, aptly enough, 'In Old California', a Biograph melodrama about Latino-Mexican occupied California in the 1800s. The movie company stayed there for months and made several films before returning to New York.

The Hollywood Industry Develops

In the early 1900s, when the medium was new, many Jewish immigrants found employment in the U.S. film industry. They were able to make their mark in a brand-new business: the exhibition of short films in storefront theaters called nickelodeons, after their admission price of a nickel (five cents). Within a few years, ambitious men like Samuel Goldwyn, Carl Laemmle, Adolph Zukor, Louis B. Mayer, and the Warner Brothers (Harry, Albert, Samuel, and Jack) had switched to the production side of the business. Soon they were the heads of a new kind of enterprise: the movie studio. (It is worth noting that the US had at least one female director, producer and studio head in these early years, Alice Guy Blaché.)

Other moviemakers arrived from Europe after World War I: directors like Ernst Lubitsch, Alfred Hitchcock, Fritz Lang, and Jean Renoir; and actors like Rudolph Valentino, Marlene Dietrich, Ronald Colman, and Charles Boyer. They joined a homegrown supply of actors--lured west from the New York City stage after the introduction of sound films--to form one of the 20th century's most remarkable growth industries. At Hollywood's height of popularity in the mid-1940s, the studios were cranking out a total of about 400 movies a year, seen by an audience of 90 million Americans per week.



The Golden Age of Hollywood

During the so-called Golden Age of Hollywood, which lasted from the end of the silent era in American cinema in the late 1920s to the late 1940s, movies were issued from the Hollywood studios like the cars rolling off Henry Ford's assembly lines. Most Hollywood pictures adhered closely to a formula-Western, slapstick comedy, musical, animated cartoon, biopic (biographical picture)-and the same creative teams often worked on films made by the same studio. For instance, Cedric Gibbons and Herbert Stothart always worked on MGM films, Alfred Newman worked at Twentieth Century Fox for twenty years, Cecil B. De Mille's films were almost all made at Paramount, director Henry King's films were mostly made for Twentieth-Century Fox, etc. And one could usually guess which studio made which film, largely because of the actors who appeared in it. Each studio had its own style and characteristic touches which made it possible to know this - a trait that does not exist today. Yet each movie was a little different, and, unlike the craftsmen who made cars, many of the people who made movies were artists. For example, To Have and Have Not (1944) is famous not only for the first pairing of actors Humphrey Bogart (1899-1957) and Lauren Bacall (1924- ) but also for being written by two future winners of the Nobel Prize in Literature: Ernest Hemingway (1899-1961), author of the novel on which the script was nominally based, and William Faulkner (1897-1962), who worked on the screen adaptation.
Moviemaking was still a business, however, and motion picture companies made money by operating under the studio system. The major studios kept thousands of people on salary-actors, producers, directors, writers, stuntmen, craftspersons, and technicians. And they owned hundreds of theaters in cities and towns across the nation, theaters that showed their films and that were always in need of fresh material.
Many film historians have remarked upon the many great works of cinema that emerged from this period of highly regimented filmmaking. One reason this was possible is that, with so many movies being made, not every one had to be a big hit. A studio could gamble on a medium-budget feature with a good script and relatively unknown actors: Citizen Kane, directed by Orson Welles (1915-1985) and often regarded as the greatest film of all time, fits that description. In other cases, strong-willed directors like Howard Hawks (1896-1977) and Frank Capra (1897-1991) battled the studios in order to achieve their artistic visions. The apogee of the studio system may have been the year 1939, which saw the release of such classics as The Wizard of Oz, Gone with the Wind, Stagecoach, Mr. Smith Goes to Washington, Wuthering Heights, Goodbye, Mr. Chips, Only Angels Have Wings, Ninotchka, and Midnight. Among the other films from the Golden Age period that are now considered to be classics: Casablanca, It's a Wonderful Life, the original King Kong, and Snow White and the Seven Dwarfs.

Christmas in the USA during those Fabulous Fifties

The 1950s was a decade when America enjoyed the world's highest standard of living, and at the same time lived in fear of nuclear annihilation. We were technically at peace, but we were deeply involved in a "police action" in Korea.

Christmas became the time to pray for peace. President Truman said a prayer in 1951 when he lit the National Christmas Tree. By 1954, the National Christmas Tree Ceremony had become the "Christmas Pageant of Peace," and included a life size nativity scene as well as eight reindeer from Alaska! In addition to the national tree, there were smaller lighted trees bearing the names of the states and foreign countries that had donated them.

Macy's, Herald Square, New York

It was during this decade that big department stores in New York, Chicago, Philadelphia, and other cities commissioned elaborate Christmas window displays. Macy's spent $75,000 each year creating a lavish window display to stop shoppers in their tracks and entice them to enter their store.

Glass ornaments from Germany became available again in the 1950s. But they were not as popular as before, either because Americans refused to buy ornaments manufactured by their former enemy, or it could be we were just looking for a new style of ornaments. Plastic decorations were the rage; people loved the fact that these ornaments were practically indestructible. By the end of the decade, a new American fad was emerging: decorating Styrofoam balls with sequins, rhinestones, ribbons, and miniature beads. One could purchase these ornaments as a kit to make, or buy them already made.

Live trees were again plentiful in the fifties, and in 1954 alone, over 31 million were sold. Artificial trees were popular for people with a limited amount of space. These came in green and white, and the branches would fold flat for storage. By 1959 American manufacturers produced a much more realistic artificial tree with removable branches.

1951 saw the invention of aerosol-dispensed snow. People were infatuated with flocked trees, and this new invention made flocking simpler than the earlier methods. "Sensational Sno-Flock" was a sno-flock gun which fit onto your vacuum cleaner. This product was advertised to last 30 days without falling off and was fire retardant. You could color your tree white, pink, or blue for $4.49. It was recommended that you flock your tree before decorating, but not all followed these directions and consequently there were many snow covered ornaments.

The middle of the 50s saw the invention of the "aluminum" tree, the ultimate in artificial trees. These were created in response to the foil Christmas tree decorations that were so popular in the 1940s. Floodlights, or revolving color wheels, were recommended to light these trees because of the danger of putting electric lights on an aluminum tree. Silver trees were the rage, but some people were outraged, thinking it was sacrilegious to have a tree so contrary to what was once tradition.

And that was the decade that was: The Fabulous Fifties that brought so many changes while still clinging to the tradions of the past. Christmas during that time was a good snapshot of what was happening socially in the USA.

How the Oligarchs Took America

by Andy Kroll

There is a war underway. I'm not talking about Washington’s bloody misadventures in Afghanistan and Iraq, but a war within our own borders. It’s a war fought on the airwaves, on television and radio and over the Internet, a war of words and images, of half-truth, innuendo, and raging lies. I'm talking about a political war, pitting liberals against conservatives, Democrats against Republicans. I'm talking about a spending war, fueled by stealthy front groups and deep-pocketed anonymous donors. It’s a war that's poised to topple what's left of American democracy.

The right wing won the opening battle. In the 2010 midterm elections, shadowy outside organizations (who didn’t have to disclose their donors until well after Election Day, if at all) backing Republican candidates doled out $190 million, outspending their adversaries by a more than two-to-one margin, according to the Center for Responsive Politics. American Action Network, operated by Republican consultant Fred Malek and former Republican Senator Norm Coleman, spent $26 million; the U.S. Chamber of Commerce plunked down $33 million; and Karl Rove's American Crossroads and Crossroads GPS shelled out a combined $38.6 million. Their investments in conservative candidates across the country paid off: the 62 House seats and six Senate seats claimed by Republicans were the most in the postwar era -- literally, a historic victory.


Knocked out of their complacency, no longer basking in the glow of Barack Obama's 2008 victory, wealthy Democrats are now plotting their response. Left-wing media mogul David Brock plans to create an outside group dubbed American Bridge in response to Rove's Crossroads outfits that will fight in the trenches of 2012 campaign spending. Many more outfits like Brock's will surely follow, as liberal and centrist Democrats brace for a promised $500 million onslaught by the Chamber of Commerce and others of its ilk.

Even the Obama administration, which shunned outside groups in 2008, has opened the door to a covert spending war. The Democrats will now fight fire with fire. "Is small money better? You bet. But we're in a fucking fight," Democratic strategist and fundraiser Harold Ickes told me recently. "And if you're in a fistfight, then you're in a fistfight, and you use all legal means available."

The endgame here, of course, is non-stop war. No longer will outside groups come and go every two years. Now, such groups will be running attack ads, sending out mailers, and deploying robo-calls year-round in what is going to become a perpetual campaign to sway voters and elect friendly lawmakers. "We're definitely building a foundation," was how American Crossroads president Steven Law put it.

This is what nowadays passes for the heart and soul of American democracy. It used to be that citizens in large numbers, mobilized by labor unions or political parties or a single uniting cause, determined the course of American politics. After World War II, a swelling middle class was the most powerful voting bloc, while, in those same decades, the working and middle classes enjoyed comparatively greater economic prosperity than their wealthy counterparts. Kiss all that goodbye. We're now a country run by rich people.

Not surprisingly, political power has a way of following wealth. What that means is: you can't understand how the rich seized control of American politics, and arguably American society, without understanding how a small group of Americans got so much money in the first place.

That story begins in the late 1970s and continues through the Obama years, a period in which American policy has been so skewed toward the rich that we're now living through the worst period of income inequality in modern history. Consider the statistics: 50 years ago, the wealthiest 1% of Americans accounted for one of every 10 dollars of the nation's income; today, it's nearly one in every four. Between 1979 and 2006, the average post-tax household income (including benefits) of the wealthiest 1% increased by 256%; the poorest households saw an increase of 11%; middle class homes, 21%, much of which was due to the arrival of two-job families.

Tax guru David Cay Johnston recently crunched new Social Security Administration data and discovered an even starker divide. On the one hand, the number of Americans earning a steady income declined by 4.5 million between 2008 and 2009, and the average wage in the U.S. dipped by 1.2%, to $39,055. On the other hand, the average wage among Americans earning more than $50 million per year was $91 million in 2008 and $84 million in 2009. 

Harvard University economist Lawrence Katz put the situation Americans now find themselves in this way:

"Think of the American economy as a large apartment block. A century ago -- even 30 years ago -- it was the object of envy. But in the last generation its character has changed. The penthouses at the top keep getting larger and larger. The apartments in the middle are feeling more and more squeezed and the basement has flooded. To round it off, the elevator is no longer working. That broken elevator is what gets people down the most."

Let's call those select few in the penthouse the New Oligarchy, an awesomely rich sliver of Americans raking in an outsized share of the nation's wealth. They're oil magnates and media tycoons, corporate executives and hedge-fund traders, philanthropists and entertainers. Depending on where you want to draw the line, they're the top 1%, or the top 0.1%, or even the top 0.01% of the population. And when the Supreme Court handed down its controversial Citizens United decision in January, it broke the floodgates so that a torrent of anonymous donations from this oligarchic class could flood back down from the heights and inundate the political lands below.

"The Thirty-Year War"

How did we get here? How did a middle-class-heavy nation transform itself into an oligarchy? You'll find answers to these questions in Winner-Take-All Politics, a revelatory new book by political scientists Jacob Hacker and Paul Pierson. The authors treat the present figures we have on American wealth and poverty as a crime scene littered with clues and suspects, dead-ends and alibis.

Unlike so many pundits, politicians, and academics, Hacker and Pierson resist blaming the usual suspects: globalization, the rise of an information-based economy, and the demise of manufacturing. The culprit in their crime drama is American politics itself over the last three decades. The clues to understanding the rise of an American oligarchy, they believe, won’t be found in New York or New Delhi, but on Capitol Hill, along Pennsylvania Avenue, and around K Street, that haven in a heartless world for Washington’s lobbyists.

"Step by step and debate by debate," they write, "America's public officials have rewritten the rules of American politics and the American economy in ways that have benefitted the few at the expense of the many."

Most accounts of American income inequality begin in the 1980s with the reign of President Ronald Reagan, the anti-government icon whose "Reaganomics" are commonly fingered as the catalyst for today's problems. Wrong, say Hacker and Pierson. The origins of oligarchy lay in the late 1970s and in the unlikely figure of Jimmy Carter, a Democratic president presiding over a Congress controlled by Democrats. It was Carter's successes and failures, they argue, that kicked off what economist Paul Krugman has labeled “the Great Divergence."

In 1978, the Carter administration and Congress took a red pen to the tax code, slashing the top rate of the capital gains tax from 48% to 28% -- an enormous boon for wealthy Americans. At the same time, the most ambitious effort in decades to reform American labor law in order to make it easer to unionize died in the Senate, despite a 61-vote Democratic supermajority. Likewise, a proposed Office of Consumer Representation, a $15 million advocacy agency that was to work on behalf of average Americans, was defeated by an increasingly powerful business lobby.

Ronald Reagan, you could say, simply took the baton passed to him by Carter. His 1981 Economic Recovery and Tax Act (ERTA) bundled a medley of goodies any oligarch would love, including tax cuts for corporations, ample reductions in the capital gains and estate taxes, and a 10% income tax exclusion for married couples in two-earner families. "ERTA was Ronald Reagan's greatest legislative triumph, a fundamental rewriting of the nation's tax laws in favor of winner-take-all outcomes," Hacker and Pierson conclude.

The groundwork had by then been laid for the rich to pull definitively and staggering ahead of everyone else. The momentum of the tax-cut fervor carried through the presidencies of George H.W. Bush and Bill Clinton, and in 2000 became the campaign trail rallying cry of George W. Bush. It was Bush II, after all, who told a room full of wealthy donors at an $800-a-plate dinner, "Some people call you the elites; I call you my base," and who pledged that his 2001 tax cuts would be a boon for all Americans. They weren't: according to Hacker and Pierson, 51% of their benefits go to the top 1% of earners.

Those cuts will be around a lot longer if the GOP has its way. Take Republican Congressman Dave Camp's word for it. On November 16th, Camp, a Republican from Michigan,said the only acceptable solution when it came to the Bush-era tax cuts was not just upholding them for all earners, rich and poor, but passing more such cuts. Anything in between, any form of compromise, including President Obama's proposal to extend the Bush cuts for the working and middle classes but not the wealthy, was "a terrible idea and a total non-starter."

Why should you care what Dave Camp says? Here’s the answer: in January, he's set to inherit the chairman's gavel on the powerful House Ways and Means Committee, the body tasked with writing the nation's tax laws. And though most Americans wouldn't even recognize his name, Camp's message surely left America's wealthy elites breathing a long sigh of relief. You could sum it up like this: Fear not, wealthy Americans, your money is safe. The policies that made you rich aren't going anywhere.

Tear Down This Law

Where rewriting the tax code proved too politically difficult, demolishing regulations worked almost as well. This has been especially true in the world of finance. There, a legacy of deregulation transformed banking from a relatively staid industry into a casino culture, ushering in an era of eye-popping profits, lavish bonuses, and the "financialization" of the American economy.

April 6, 1998: it's a useful starting point in the story of financial deregulation. On that day, two well-known Wall Street denizens, Citicorp and Travelers Group, agreed to a historic $140 billion merger. The deal required much lobbying, but eventually the chiefs of these banks won an exemption from the Glass-Steagall Act, the New Deal-era law walling off commercial banks from riskier investment houses. The resulting institution, dubbed Citigroup, would be the largest supermarket bank in history, a marriage of teller windows and trading desks, customer banking and high-stakes investing -- all suddenly under one deregulated roof. It would prove an explosive, if not disastrous, mix.

The merger stirred visions of a future in which the U.S. would dominate the planet financially. All that stood in the way was undue regulatory red tape. At least that's the way free marketeers like then-Republican Senator Phil Gramm of Texas saw it. Gramm, who as an aide to presidential candidate John McCain infamously called America a "nation of whiners," was, in fact, the driving force behind two of the most influential pieces of deregulation in recent history.

In 1999, President Clinton signed the Gramm-Leach-Bliley Act, a bevy of deregulatory measures that obliterated Glass-Steagall. In December of the following year, Grammquietly snuck the 262-page Commodity Futures Modernization Act into a massive $384-billion spending bill. Gramm's bill blocked regulators like the Securities and Exchange Commission (SEC) from cracking down on the shadowy "over-the-counter derivatives" market, home to billions of dollars of opaque financial instruments that would, years later, nearly demolish the American economy.

As presidents, both Bill Clinton and George W. Bush wrapped their arms around financial deregulation. As a result, in a binge of financial gluttony, Wall Street grew fat in ways never previously seen. Between 1929, the year the Great Depression began, and 1988, Wall Street's profits averaged 1.2% of the nation's gross domestic product; in 2005, that figure peaked at 3.3% as industry bonuses soared ever-higher. In 2009, bad times for most Americans, bonuses hit $20 billion. So much wealth in so few hands. Nothing explains the rise of the new American oligarchy more starkly.

Of course, it's not just what politicians did that helped create today's oligarchy, but what they failed to do. A classic example: in the 1990s, the Financial Accounting Standards Board (FASB), a private American accounting regulator, set its sights on a loophole big enough to drive a financial Mack truck through. Until then, stock options included in executives' skyrocketing pay packages -- potentially worth tens of millions of dollars when exercised -- were valued at zero when issued. That's right: zero, zilch, nada. When FASB and the SEC tried to close the loophole, however, big business leapt to its defense. An avalanche of money went into the pockets of an army of K Street lobbyists and leviathan business trade associations. In the end, nothing happened. Or rather, everything continued happening. The loophole remained.

Citizen United's Brave New World

Hacker and Pierson ably guide us through 30 years of "winner-take-all" policymaking, politicking, and -- from the point of view of the wealthy -- judicious inaction. They offer an eye-opening journey across the landscape that helped foster the New Oligarchs, but one crucial vista appeared too late for the authors to include.

No understanding of the rise of our New Oligarchs could be complete without exploring the effects of the Supreme Court's January Citizens United decision, which set their power in cement more effectively than any tax cut ever could. Before Citizens United, the rich used their wealth to subtly shape policy, woo politicians, and influence elections. Now, with so much money flowing into their hands and the contribution faucets wide open, they can simply buy American politics so long as the price is right.

(Since most Americans only care about pop culture and celebrities, I thought I'd pop in a few here)!

There's no mistaking how, in less than a year, Citizens United has radically tilted the political playing field. Along with several other major court rulings, it ushered in American Crossroads, American Action Network, and many similar groups that now can reel in unlimited donations with pathetically few requirements to disclose their funders.

What the present Supreme Court, itself the fruit of successive tax-cutting and deregulating administrations, has ensured is this: that in an American “democracy,” only the public will remain in the dark. Even for dedicated reporters, tracking down these groups is like chasing shadows: official addresses lead to P.O. boxes; phone calls go unreturned; doors are shut in your face.

(Since most Americans only care about pop culture and celebrities, I thought I'd pop in a few here)!

The limited glimpse we have of the people bankrolling these shadowy outfits is a who's-who of the New Oligarchy: the billionaire Koch Brothers ($21.5 billion); financier George Soros ($11 billion); hedge-fund CEO Paul Singer (his fund, Elliott Management, is worth $17 billion); investor Harold Simmons (net worth: $4.5 billion); New York venture capitalist Kenneth Langone ($1.1 billion); and real estate tycoon Bob Perry ($600 million).

Then there's the roster of corporations who have used their largesse to influence American politics. Health insurance companies, including UnitedHealth Group and Cigna, gavea whopping $86.2 million to the U.S. Chamber to kill the public option, funneling the money through the industry trade group America's Health Insurance Plans. And corporate titans like Goldman Sachs, Prudential Financial, and Dow Chemical have given millions more to the Chamber to lobby against new financial and chemical regulations.

As a result, the central story of the 2010 midterm elections isn’t Republican victory or Democratic defeat or Tea Party anger; it’s this blitzkrieg of outside spending, most of which came from right-leaning groups like Rove's American Crossroads and the U.S. Chamber of Commerce. It's a grim illustration of what happens when so much money ends up in the hands of so few. And with campaign finance reforms soundly defeated for years to come, the spending wars will only get worse.

Indeed, pundits predict that spending in the 2012 elections will smash all records. Think of it this way: in 2008, total election spending reached $5.3 billion, while the $1.8 billion spent on the presidential race alone more than doubled 2004's total. How high could we go in 2012? $7 billion? $10 billion? It looks like the sky’s the limit.

We don't need to wait for 2012 to arrive, however, to know that the sheer amount of money being pumped into American politics makes a mockery out of our democracy (or what's left of it). Worse yet, few solutions exist to staunch the cash flow: the DISCLOSE Act, intended to counter the effects of Citizens United, twice failed in the Senate this year; and the best option, public financing of elections, can't even get a hearing in Washington.

Until lawmakers cap the amount of money in politics, while forcing donors to reveal their identities and not hide in the shadows, the New Oligarchy will only grow in stature and influence. Left unchecked, this ultimate elite will continue to root out the few members of Congress not beholden to them and their “contributions” (see: Wisconsin's Russ Feingold) and will replace them with lawmakers eager to do their bidding, a Congress full of obedient placeholders ready to give their donors what they want.

Never before has the United States looked so much like a country of the rich, by the rich, and for the rich.

Turn Me On Dead Man

The Story

The origin of the Paul is dead story has never been confirmed. The most popular belief is that the clues began at Northern Illinois University in 1969. As a joke, "clues" that proving that Paul had died and was replaced by a look-alike appeared in their school newpaper. Shortly after this, Detroit radio DJ, Russell Gibb, listed clues from an "underground newspaper." Newspapers began spreading the clues and several people began believing their joke.

According to the story, Paul was supposedly killed in a car crash. At five AM on a Wednesday morning in November, 1966, he drove his car and took his eyes off the road to look at a meter maid. He didn't see the lights change, and the car crashed. The car burst into flames and crowds of people gathered around the site of the accident. The person inside was badly mangled and hard to identify. He suffered severe head injuries and his teeth were knocked out, so he couldn't be identified by dental records. All they knew was that he was a young man with dark hair.

Shortly after the crash, a Paul McCartney look alike contest was held. The winner was William Campbell, who was chosen to replace Paul. He underwent plastic surgery and filled in for him. Then, they began putting clues into their songs to tell their fans of Paul's death...

Album Cover Clues

Yesterday and Today "Butcher Cover": The raw meat that the Beatles hold in this picture symbolizes how mangled Paul's body became during the crash. On Paul's arm, there are false teeth (his teeth were knocked out). The baby dolls are decapitated, symbolizing the severe head wounds Paul suffered. George is holding a doll's head next to Paul's head, also for his head injuries. Another reason why George is holding a head is because he was the "head" of the plans to cover up the "Butcher Cover"...

Yesterday and Today "Trunk Cover": This was pasted over the "Butcher Covers." Instead of having the other covers destroyed, George decided that they should cover them up with this picture (They were "covering up" Paul's death). If you look at this sideways, Paul appears to be in a coffin. On Paul's upper lip, there is a scar that was never there before.

Revolver: Paul is looking to the side, as if he doesn't belong. If you look carefully in one of the pictures, you can see an open palm above his head, a symbol of death.

Sgt. Pepper's Lonely Hearts Club Band: There are tons of clues on this one. First of all, Paul is holding a black musical instrument (symbolizing death). The other Beatles are facing slightly sideways and look more three-dimensional than Paul. He is facing forward and looks more like a cardboard cut-out. The whole scene looks like a funeral, with the wax figure of Ringo looking very sad and mournful and both the word "Beatles" and a left-handed bass in flowers. There are three sticks on the bass, meaning that there are three remaining Beatles. Some people think that the bass looks like it spells "Paul?" I see some of it, but it looks like the "A" and "P" are switched around. Above Paul's head is another open palm. Many of the people in the crowd were dead or outdated. If you hold a mirror horizontally across the words "Lonely Hearts," it says "One 1 One X He Die". This means that there are three Beatles (the three ones) and one is gone (the "X"). Between the words "He" and "Die," there is a shape that points to Paul. Near the cloth figure of Shirley Temple, there is a bloody driving glove. The car on her lap is the same model as the one that Paul "died in." Inside, there is a picture of the Beatles. On Paul's arm there is a patch that says "O.P.D." This stands for "Officially Pronounced Dead" in Canada. On the back on the record, George's thumb points to the words "Wednesday morning at five o'clock," the time of the accident. Paul is facing backwards because he doesn't belong. The hands of the other Beatles spell "L-ve," with Paul's "O" missing (he is the missing link). Paul looks taller in this picture, because he is "rising up."

Magical Mystery Tour: There was a picture booklet that was included with the record. In one picture, Paul is wearing a crushed hat (head injuries). While all the Beatles wear red carnations, Paul has a black one (this can also be seen in the "Magical Mystery Tour" film during "Your Mother Should Know"). In another one, Paul is sitting at a desk that says "I was" on it. On the cover, there is a black walrus, a symbol of death in a some parts of Europe. When the cover is held upside down, the letters in "Beatles" appear to spell out a phone number. I've heard two stories about this number. One says that it was the phone number of a London funeral home. The other one says that if you call this number, a voice says "You're getting closer" and abruply cuts off. If you look at the back sideways, it kind of looks like it says "RIP."

The White Album: There aren't any clues on the cover. Inside, there is a picture of Paul with a noticable scar on his upper lip. In another picture(on page 7 of the booklet), it looks like the hands of a skeleton are grabbing at him.

Yellow Submarine: John's hand is above Paul's head, the third time we've seen this symbol (you can't see it in this picture because the top got cut off a little). John is holding up three fingers (three remaining Beatles). The submarine is kind of like a coffin, resting in the hill. Some people, however, don't think these clues count because it says "nothing is real" on the cover.

Abbey Road: If you look in the background (hard to see in this picture), the liscence plate on the VW Bug says "LMW 28IF." I've heard that the "LMW" stands for "Linda McCartney Weeps." The "28IF" part means that Paul would have been 28 years old...if he had lived. The cover is a funeral procession, John is the preacher (wearing white), Ringo is the Pallbearer (wearing black), Paul is the corpse (barefoot, as people are buried in England), and George is the gravedigger (Wearing blue jeans). Also, John wears white, the mourning color of the Eastern world, and Ringo wears black, the mourning color of the western world.

Lyric Clues

"A Day in the Life": "He blew his mind out in a car. He didn't notice that the lights had changed. A crowd of people stood and stared. They'd seen his face before. Nobody was really sure if he was from the house of Lords."
The word "Lords" actually sounds kind of like the word "Paul" when you listen to this line, which describes the car crash.

"Don't Pass Me By": "You were in a car crash and you lost your hair."
When Paul "died" in the car crash, he lost his hair due to the head injuries.

"Eleanor Rigby": "Father McKenzie wiping the dirt from his hands as he walked from the grave."
This line was originally going to be about "Father McCartney."

"Glass Onion": "Well here's another clue for you all. The walrus was Paul."
A walrus is a symbol of death. "Looking through a glass onion." A glass onion is a coffin with a clear top.

"I Am the Walrus": "I am the walrus."
A walrus, as I said before, is a symbol of death.
"Bury my body...Oh untimely death!"
Near the end, these words are said (it's part of Shakespeare's "King Lear").

"She's leaving Home": "Wednesday morning at five o'clock"
This was the time of the accident.

"She Said She Said": "She said I know what it's like to be dead."
This one's pretty self-explanatory.

"Strawberry Fields Forever": "I buried Paul."
These lines are mumbled at the end of the song. John said that the line really was "Cranberry Sauce." (It sounds like he is saying "Cranberry Sauce" on Anthology 2)

"Yellow Submarine": "In the land of submarines...Sky of blue and sea of green. In our yellow submarines."
The land of submarines is a graveyard, the sea of green is the grass, and the submarines are coffins.

"You Know My Name (Look up the Number)": After the cuckoo clock chimes five times, a phone number is read off. When this number was called, a voice said "Beware of Abbey Road."

Backwards Clues

"Blue Jay Way": When played backwards, it sounds like "Paul is Bloody"

"Revolution 9": When the words "number nine" are played backwards, it sounds like "Turn me on, dead man"

"I'm So Tired": When the mumbling at the end is reversed, it sounds like "Paul is dead, man. Miss him, miss him, MISS HIM!"

"I Am the Walrus": When the ending is played backwards, it sounds a little like "Ha Ha, Paul is dead."

"Sgt. Pepper's Inner Groove": When these noises are played backwards (and you use your imagination a bit), it sounds kind of like "Will Paul come back as superman?"

Other Clues

Many changes took place when William Campbell joined the Beatles. The real Paul was engaged to Jane Asher. William Campbell broke off the engagement and married Linda Eastman instead.

A voice specialist from Miami listened to Beatles recordings and heard "three Pauls" singing.

Friday, December 3, 2010

The Secret The TSA Doesn’t Want You To Know

Paul Joseph Watson
Infowars.com

While many Americans think they can skip being sexually molested at the hands of the TSA by avoiding airports, Big Sis has been quietly preparing the groundwork for the total takeover of all public transport and highways by federal government goon squads.

Local police, TSA and Homeland Security agents are already implementing airport-style security measures at bus and train stations, including earlier this year in Tampa, where bomb-sniffing dogs and grope downs were used to check passengers.

As we reported earlier this year, as the national outrage surrounding the TSA’s use of naked body scanners at airports simmered, the feds had already purchased hundreds of x-ray scanners mounted in vans that were being used to randomly scan vehicles, passengers and homes in complete violation of the 4th amendment and with wanton disregard for any health consequences.

In addition, as was announced way back in 2005, VIPR teams now patrol Amtrak’s Northeast Corridor and Los Angeles rail lines; ferries in Washington state; bus stations in Houston; and mass transit systems in Atlanta, Philadelphia, Washington and Baltimore, “expanding their work beyond airplanes, launching counterterror surveillance at train stations and other mass transit facilities.”

Homeland Security is also implementing technology to be enforced at “security events” which purportedly reads “malintent” on behalf of an individual who passes through a checkpoint. The video below explains how “Future Attribute Screening Technology” (FAST) checkpoints will conduct “physiological” and “behavioral” tests in order to weed out suspected terrorists and criminals.

The clip shows individuals who attend “security events” being led into trailers before they are interrogated as to whether they are terrorists while lie detector-style computer programs analyze their physiological responses. The subjects are asked about their whereabouts, and if they are attempting to smuggle bombs or recording devices into the “expo,” proving that the technology is intended to be used at public events and not just airports. Individuals who do not satisfy the first lie detector-style test are then asked “additional questions”.

The implementation of ‘Checkpoint USA’, where citizens are routinely stopped, searched and radiated by federal VIPER teams is further evidence of how America is crumbling into a Soviet-style police state where the presumption of innocent until proven guilty is abolished and the 4th amendment eviscerated.

With the devices already being used at highway checkpoints, DHS chief Janet Napolitano has now publicly outlined the plan for mobile scanners to be used on all forms of transit, from trains and the metro to boats.

Apathetic Americans who think they can avoid the clutches of Big Sis by merely refusing to fly are going to be in for a rude awakening when they see DHS scanners rolling around their neighborhoods taking naked pictures of their children while firing them up with dangerous radiation, all in the name of safety and security.

We have been warning for years that everything you saw unfolding in the airports would soon be heading for the streets.

People who were perfectly happy with their naked body being ogled by TSA thugs scorned those who felt body scanners were a violation of privacy. “Don’t fly,” they said and you won’t have to go through it. Next it will be “don’t take a bus,” “don’t visit the shopping mall,” hey just “don’t leave your house”.

With authorities in Europe planning to unveil mobile body scanners and naked body scanners attached to lamp posts, and with Big Sis already cruising the highways with mobile radiation scanners, soon we won’t be able to walk down the street without some federal enforcer gawking at our genitalia – all for our own safety of course.

Is that the kind of society you want to live in? A warped hybrid of Orwell’s 1984 and The Running Man?

Link to source: http://tiny.cc/4sos1


Mind Control In America

Where do your thoughts come from?

The principles of mind control, hypnotic suggestion and mental programming are ancient. Modern technology allows the implementation of these age-old principles on a massive scale to influence the thinking and behavior of large numbers of people. The ultimate control is to control people without their conscious awareness.

Most people do not pay conscious attention to the things that affect them subconsciously. They do not usually know what to look for. However, when pointed to, these things can be recognized and understood.

WARNING: Psychological warfare and economic warfare are being waged against America. Mind control is the most important issue facing America. . . and the world! The most effective way to protect yourself and your loved ones from subconscious manipulation is by being aware of how it works.

In the book 1984, George Orwell warned that people were in danger of losing their freedom of mind without being aware of it while it was happening because of psychological, emotional and intellectual manipulation: Mind Control.

"All the problems in America are the result of people being led to believe things that are not true," says Steven Jacobson, author and producer of the audio series Mind Control in America and Wake-Up America.

If you have not been deprogrammed yet, then these two powerful audios (the result of more than ten years of research) will open your eyes and mind to a hidden reality!


"My entire family has truly enjoyed your audios and become enlightened from the knowledge contained in them. What a wonderful way to gain an education and insight into matters previously unknown or misunderstood. Please keep up the very good and necessary work you are doing." - J.C. Tuscon, Arizona

Listen to this 8 minute clip of Steven from a recent radio interview.