1950s FIFA World Cup Champions:
- 1958: Brazil (1st title)
- 1954: West Germany (1st title)
- 1950: Uruguay (2nd title)
1950s FIFA World Cup Champions:
Lincoln Continental Mark III Berline proposal, 1958. These were styling clays based on the Mk III that developed into the fourth generation Continental
Kim Il-sung and Zhou Enlai in Beijing, 1958
Paul Bunyan, 1958
Marilyn posing as Clara Bow for Life Magazine’s December 22nd issue in a piece entitled “Fabled Enchantresses.” Included was an article written by Arthur Miller entitled “My Wife, Marilyn.” She also posed as Jean Harlow, Theda Bara, Marlene Dietrich, and Lillian Russell.
From Clara Bow: Runin’ Wild by David Stenn:
Her admiration for her favorite actress, Marilyn Monroe, was accompanied by feelings of kinship and protectiveness. The affinity was obvious: both Clara and Monroe had mentally ill mothers and maternal grandmothers, all of whom were committed to asylums; both suffered physical and emotional abuse in childhood; both had been catapulted to oppressive fame, then underpaid for their services and underrated for their talent; and both had been endowed with, then entrapped by the same sexual-vulnerable, womanly- babyish, stupid-shrewd image. When Life magazine assigned photographed Richard Avedon to shoot Monroe as Clara [image above], the blonde donned a red wig and decided to portray her predecessor in a movie. Clara was flattered but would not permit a “biopic” about herself in her lifetime. She did, however, make her casting preference clear: “I slip my old crown of ‘It’ Girl not to Taylor or Bardot, but to Monroe,” she wrote Hedda Hopper and Louella Parsons. It was Clara’s way of returning Monroe’s compliment, for the two women, both so brazen on film, were too insecure to meet each other in person.
Marilyn Monroe on the set of Some Like It Hot, 1958.
Ever heard of Tennis for Two? It was basically Pong before Pong, the earliest known video game I could find a recreation of. It was made in 1958. Also, to pad things out, Pong The Next Level for GBC.
André ALMURO [Antonin ARTAUD]
“Van Gogh, le Suicidé de la Société”
(LP. BAM. 196? / rec. 1958) [FR]
Vintage Magazine - True Police Stories (Jan1958)
Marjorie Morningstar (1958)
Marilyn Monroe photographed by Carl Perutz, New York, USA, 1958.
In 1971, director Don Siegel changed the face of the police procedural forever with his film Dirty Harry about a violent, rule-breaking San Francisco police inspector who kills and tortures above and beyond the purview of the law. Correctly identified by Roger Ebert as fascistic, it’s since served as the template for any number of copycat cop characters who shoot first and ask questions later. (The legacy it’s had on the self-image of real-life cops is one we’re tragically still dealing with today.) But those who turn to Siegel’s earlier film The Lineup—another police procedural about San Francisco cops chasing mentally unstable killers—hoping for a precursor to Dirty Harry will be sorely disappointed. With a script penned by Stirling Silliphant who’d go on to perfect the police potboiler with the shows Route 66 and Naked City before winning an Oscar for Norman Jewison’s In the Heat of the Night (1967), the film has more in common with its fellow 50s noir which frequently eschewed the dreamlike atmosphere and carefully constructed studio sets of late 30s and 40s noir in favor of gritty, realistic stories shot on location in major cities and suburbs. Curiously, though, the film could also be seen as a crime procedural, as it gives equal narrative weight to its villains and their criminal methods as it does its police heroes. The villains here are Dancer (Eli Wallach) and Julian (Robert Keith), two unbalanced collectors-cum-hitmen for an international drug-smuggling ring who “visit” a number of recently returned tourists who unknowingly had heroin stashed in their souvenirs. As they leave a trail of bodies all over the city, they’re chased down by Lieutenant Ben Guthrie (Warner Anderson), a no-nonsense (and no-personality) cop who embodies the kind of impersonal yet dogged professionalism the police were desperate to project to the 50s American public. The story itself is competently told yet hardly remarkable for its era, and with the exception of Wallach and Keith’s performances none of the acting is particularly memorable. Instead the film’s main selling point is its intense visual beauty; veteran cinematographer Hal Mohr made the best of his locations, more than once pausing the story so the film can drink in its characters being dwarfed by their surroundings like the cavernous hallways of the San Francisco Opera House or the spacious inner shell of the Sutro Baths.
James Houston (left) with Kananginak Pootoogook and an unknown woman, Cape Dorset, 1958
Photo by Rosemary Gilliat Eaton, from “Blanket Toss Under Midnight Sun” by Paul Seesequasis
Plymouth Cabana station wagon styling concept… 1958