Monday, February 28, 2011

Sightseeing with Margie

Botanical tiles
Orange treeAgave Pots
Urns
San Miguel de Allende-Guanajuato
La Aurora Gallery-San Miguel de Allende
Downtown Queretaro
Posada Carmina
Cobble stones
Mr. Handsome
Some of the beautiful things I saw while sightseeing with Margie.
She'll be going back home to the snow very early tomorrow morning.
I will miss her so much! It was such a special privilege to get to spend time with her.
She is the sweetest, kindest & most generous soul I've encountered.

Branch Davidian Siege in Waco, Texas Mount_Carmel

U.S. Department of Justice Washington, D.C. 20530 Evaluation of the Handling of the Branch Davidian Stand-off in Mount_Carmel, Waco, Texas February 28 to April 19, 1993 Edward S.G. Dennis, Jr. October 8, 1993 Redacted Version.

INTRODUCTION

This is a critical retrospective evaluation of the activities of the United States Department of Justice ("Department") and the Federal Bureau of Investigation ("FBI") during the fifty-one day stand-off at the Branch Davidians' Mt. Carmel compound near Waco, Texas which ended on April 19, 1993 when fire consumed the compound, killing David Koresh and most of his followers. To make this evaluation, I have reviewed the procedures followed by the Department and the FBI, giving particular attention to the means employed, the alternatives considered and the decisions made in attempting to resolve the stand-off.

I have not been called upon to conduct a de novo factual inquiry. A comprehensive factual report is being prepared by the Department and the FBI. I have primarily relied upon the record gathered by the Department as the basis for the conclusions in this Report, supplemented by a number of follow-up interviews. However, I am satisfied that the factual inquiry by the Department was conducted in a thorough and objective manner.

Prior to my appointment, the Department had completed over 800 field interviews and gathered pertinent documentation. They continued to gather documents and conduct interviews thereafter. I have been afforded access to documents gathered in that effort and to the reports of interviews conducted for the factual investigation. In addition, since my appointment I participated in a number of Department interviews. I have also conducted independent interviews of some witnesses. The scope of this Report is confined to the activities of the Department and the FBI.

I have not been asked to evaluate and I make no judgments about the activities of the Bureau of Alcohol, Tobacco and Firearms ("ATF") leading up to the February 28, 1993 gun battle at Mount Carmel. I have been assisted in my investigation and writing of this Report by Ms. Suzan E. DeBusk, Esq. whose invaluable contribution, I gratefully acknowledge.

Branch Davidian Siege in Waco, TexasBranch Davidian Siege in Waco, Texas

This file is a work of a solider or employee of the Federal Bureau of Investigation, taken or made during the course of the person's official duties. As a work of the U.S. federal government, the file is in the public domain.

Generally speaking, works created by U.S. Government employees are not eligible for copyright protection in the United States. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office.

From Branch Davidian investigator shared FBI photos with Carolmooredc


EXECUTIVE SUMMARY

After reviewing the stand-off at Waco, including the progress of the negotiations and the conception, approval and implementation of the tear gas plan on April 19, 1993, this Report concludes as follows.

The fire on April 19, 1993 was deliberately set by persons inside the compound and was not started by the FBI's tear gas insertion operations. It is not certain, however, whether a substantial number of the persons who died in the compound on April 19 remained inside voluntarily, were being held in the compound against their will or were shot in order to prevent their escape from the fire. Preliminary medical reports are that a substantial number of individuals had died of gunshot wounds. Among those shot were young children. Koresh's body was found with a gunshot wound to the forehead. The FBI did not fire on the compound during the tear gas operation, although shots were fired at the FBI from the compound. The FBI did not fire on the compound at any time during the fifty-one day stand-off.

The evidence forecasting David Koresh's intention to orchestrate a mass suicide was contradictory. Koresh and his followers repeatedly assured the negotiators that they did not intend to commit suicide. On several occasions agents were told that suicide was against the Davidians' religious beliefs. However, one released member said there was a suicide plan. Other released members denied there was a suicide plan. In any event, the risk of suicide was taken into account during the negotiations and in the development of the gas plan.

The FBI developed a coherent negotiating strategy to talk the Davidians out. However, the negotiators had strong objections to pressure tactics they felt were counterproductive. The use of pressure tactics immediately after Koresh sent out Davidians from the compound may have undermined the negotiators' credibility and blunted their efforts to gain the Davidians' trust and to discredit Koresh in the eyes of his followers. Nevertheless, tactical actions designed to increase the safety margin for agents were appropriately given priority over negotiating considerations. I conclude that the events of April 19 were the result of David Koresh's determined efforts to choreograph his own death and the deaths of his followers in a confrontation with federal authorities to fulfill Koresh's apocalyptic prophesy.

The deaths of Koresh, his followers and their children on April 19th were not the result of a flaw in the gas plan or the negotiation strategy. The FBI used many qualified experts, including its own FBI behavioral experts to evaluate Koresh. Their assessments were thorough and many proved quite accurate.

TEXT CREDIT: www.justice.gov

The Propaganda of Capitalism

Last week's series of American Legion magazine covers resulted in an interesting discussion in the comments section about Communism, Capitalism and the nature of propaganda. It got me thinking once again about how industry presented itself to the public through advertising during the mid-century. So I pulled out my stack of early 1950s Fortune magazines and found something very interesting.

The cover of the February 1953 issue of Fortune describes how this issue contains an in-depth look at the Soviet military/industrial complex.

Fortune01

Ironically, those 4 articles on Russia share space with an ad campaign unlike any I've ever seen - in Fortune or any other magazine.

GE01

General Electric chose that issue to present a multi-page ad campaign extolling their seemingly limitless accomplishments in industrial innovation.

GE02

The design esthetic GE employed for this campaign - a multitude of propaganda-style mini-posters - is so similar to that seen in Russian Constructivist art, one could easily imagine these posters being produced behind the Iron Curtain by some Soviet "Ministry of Machine Parts."

GE06

Sometimes the imagery (and the message) is fervently militaristic.

GE04

GE10

Sometimes it is aptly industrial.

GE05

Often it is remarkably pleasing, despite some really dull subject matter...

GE07

... and sometimes its amusingly obscure (to anyone but the hardcore technician, that is).

GE08

But what really impresses me is how consistently visually excellent it is. I could stare at these posters for hours. I could see hanging them on my walls!

GE03

Page after page after page of clean, colourful, simple, beautiful poster design - about subject matter I (and I'm guessing most other people) have absolutely no interest in!

These posters make the dull, utilitarian mechanisms of industry seem like something actually worth celebrating!

GE09

But then, isn't that the role of advertising... and propaganda?

* You'll find many more examples of mid-century 'industrial propaganda' in my Industry Flickr set.

Sunday, February 27, 2011

El Charco del Ingenio

Rock egg
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3
4
5
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After a morning visit to the botanical garden
we came home to work on a crochet covered rock collaboration
Margie and I are doing a for a summer show at Bookhou in Toronto, Canada.
We were very inspired by what we saw at the reserve.

31st Academy Awards (Oscars) 1959

Crowd lining street under the marquee of the Pantages Theater at the 31st Academy Awards in 1959.

Published caption: BIG NIGHT -- Crowd stands outside the RKO Pantages Theater in Hollywood as stars arrive for 31st Academy Awards presentation show.

Best Picture

* Arthur Freed - Gigi - Winner
* Jack L. Warner - Aunt Mame
* Lawrence Weingarten - Cat on a Hot Tin Roof
* Stanley Kramer - The Defiant Ones
* Harold Hecht - Separate Tables

Actor

* David Niven - Separate Tables - Winner
* Paul Newman - Cat on a Hot Tin Roof
* Tony Curtis - The Defiant Ones
* Sidney Poitier - The Defiant Ones
* Spencer Tracy - The Old Man and the Sea

Actress

* Susan Hayward - I Want to Live! - Winner
* Rosalind Russell - Mame aunt
* Elizabeth Taylor - Cat on a Hot Tin Roof
* Deborah Kerr - Separate Tables
* Shirley MacLaine - Some Came Running

31st Academy Awards (Oscars) 1959Publication: Los Angeles Times. Publication date: Tuesday, April 7, 1959.

This work is in the public domain because it was published in the United States between 1923 and 1963 with a copyright notice, and its copyright was not renewed.

Note about non-renewal of copyright.

Best Supporting Actor

* Burl Ives - White Canyon - Winner
* Lee J. Cobb - The Brothers Karamazov
* Theodore Bikel - The Defiant Ones
* Arthur Kennedy - Some Came Running
* Gig Young - Prymus

Best Supporting Actress

* Wendy Hiller - Separate Tables - Winner
* Peggy Cass - Aunt Mame
* Cara Williams - The Defiant Ones
* Maureen Stapleton - Lonelyhearts
* Martha Hyer - Some Came Running

Best Director

* Vincente Minnelli - Gigi - Winner
* Richard Brooks - Cat on a Hot Tin Roof
* Stanley Kramer - The Defiant Ones
* Robert Wise - I Want to Live!
* Mark Robson - the Sixth Happiness

Original Screenplay

* Nedrick Young , Harold Jacob Smith - The Defiant Ones - Winner
* Paddy Chayefsky - The Goddess
* Melville Shavelson , Jack Rose - Houseboat
* William Bowers , James Edward Grant - One against all
* Fay Kanin , Michael Kanin - Prymus

Best Adapted Screenplay

* Alan Jay Lerner - Gigi - Winner
* Richard Brooks , James Poe - Cat on a Hot Tin Roof
* Alec Guinness - The Horse's Mouth
* Nelson Gidding , Don Mankiewicz - I Want to Live!
* Terence Rattigan , John Gay - Separate Tables

Cinematography (black and white)

* Sam Leavitt - The Defiant Ones - Winner
* Daniel L. Fappani - Desire Under the Elms
* Lionel Lindon - I Want to Live!
* Charles Lang - Separate Tables
* Joseph MacDonald - Young Lions

Cinematography (color)

* Joseph Ruttenberg - Gigi - Winner
* Harry Stradling Sr. - Aunt Mame
* William H. Daniels - Cat on a Hot Tin Roof
* James Wong Howe - The Old Man and the Sea
* Leon Shamroy - South Pacific

Set design and interior decorations

* William A. Horning , Preston Ames , Henry Grace , Keogh Gleason - Gigi - Winner
* Malcolm C. Bert , George James Hopkins - Aunt Mame
* Cary Odell , Louis Diag - Black magic in Manhattan
* Lyle R. Wheeler , John DeCuir , Walter M. Scott , Paul S. Fox - A smile
* Hal Pereira , Henry Bumstead , Sam Comer , Frank R. McKelvy - Vertigo

Costumes

* Cecil Beaton - Gigi - Winner
* Jean Louis - Black magic in Manhattan
* Ralph Jester , Edith Head , John Jensen - Corsair
* Charles Le Maire , Mary Wills - A smile
* Walter Plunkett - Some Came Running

The sound

* Fred Hynes (Todd-AO Sound Department) - South Pacific - Winner
* Gordon Sawyer (Samuel Goldwyn SSD) - I Want to Live!
* Leslie I. Carey (Universal-International SSD) - The time of life and time of death
* George Dutton (Paramount SSD) - Vertigo
* Carlton W. Faulkner (20th Century-Fox SSD) - Young Lions

Assembly

* Adrienne Fazan - Gigi - Winner
* William H. Ziegler - Aunt Mame
* William A. Lyon , Al Clark - Cowboy
* Frederic Knudtson - The Defiant Ones
* William Hornbeck - I Want to Live!

Special Effects

* Tom Howard - Tom Thumb
* A. Arnold Gillespie , Harold Humbrock - Torpedo gone! - Winner

Song from a Movie

* "Gigi" - Gigi - Music by Frederick Loewe , lyrics: Alan Jay Lerner - Winner
* "A Certain Smile - A smile - Music by Sammy Fain , lyrics: Paul Francis Webster
* "Almost in Your Arms" - Houseboat - Jay Livingston , Ray Evans
* "A Very Precious Love" - Marjorie Morningstar - Music by Sammy Fain , lyrics: Paul Francis Webster
* "To Love and Be Loved" - Some Came Running - Music by Jimmy Van Heusen , lyrics: Sammy Cahn

Film music in drama / comedy

* Dimitri Tiomkin - The Old Man and the Sea - Winner
* Jerome Moross - White Canyon
* David Raksin - Separate Tables
* Oliver Wallace - White wilderness
* Hugo Friedhofer - Young Lions

Film music in the musical

* Andre Previn - Gigi - Winner
* Yuri Faier , Gennadi Rozhdestvensky - The Bolshoi Ballet
* Ray Heindorf - What Lola wants
* Lionel Newman - Mardi Gras
* Alfred Newman , Ken Darby - South Pacific

Short animated film

* John W. Burton - Knightly Knight Bugs - Winner

Short Film Board of Canada

* Walt Disney - Grand Canyon

Short documentary film

* Ben Sharpsteen - Ama Girls

Best Documentary

* Ben Sharpsteen - White Wilderness

JOE DE MERS' TONSORIAL PARLOR AND ABSTRACT ART GALLERY

Joe De Mers (1910-1984) illustrated women's magazines in the 1940s and 1950s, a market characterized by simplified pictures of pretty girls against plain backgrounds.





Later generations would look down on what Robert Weaver ridiculed as "candy box" illustration. Jim Silke accurately noted, "that style was derisively called the 'big head school of illustration,' a name derived from the fact that every picture was dominated by a huge close up of a beautiful woman...." Illustrator Al Parker explained the popularity of such illustrations with tasteless audiences:
Readers demand pretty people in pretty settings forming a pretty picture. The larger your audience, the more limited its taste. It prefers subject matter to design and girls to men. It wants no message other than girls are cute and men like cute girls.
At the same time De Mers was catering to popular taste, genius artists such as De Kooning, Franz Kline, Joan Mitchell and Diebenkorn were boldly experimenting with abstract paintings. Compare the freedom, vigor and originality of De Kooning's brilliant masterpiece:



...with these details from the bourgeois pablum being served up by De Mers:



Errrr.....







Umm....










See the difference?

Saturday, February 26, 2011

UFO From CIA Files

CIA's Role in the Study of UFOs, 1947-90 A Die-Hard Issue, Historical Document by Gerald K. Haines who is the National Reconnaissance Office historian.

An extraordinary 95 percent of all Americans have at least heard or read something about Unidentified Flying Objects (UFOs), and 57 percent believe they are real. Former US Presidents Carter and Reagan claim to have seen a UFO. UFOlogists--a neologism for UFO buffs--and private UFO organizations are found throughout the United States. Many are convinced that the US Government, and particularly CIA, are engaged in a massive conspiracy and coverup of the issue. The idea that CIA has secretly concealed its research into UFOs has been a major theme of UFO buffs since the modern UFO phenomena emerged in the late 1940s.

In late 1993, after being pressured by UFOlogists for the release of additional CIA information on UFOs, DCI R. James Woolsey ordered another review of all Agency files on UFOs. Using CIA records compiled from that review, this study traces CIA interest and involvement in the UFO controversy from the late 1940s to 1990. It chronologically examines the Agency's efforts to solve the mystery of UFOs, its programs that had an impact on UFO sightings, and its attempts to conceal CIA involvement in the entire UFO issue. What emerges from this examination is that, while Agency concern over UFOs was substantial until the early 1950s, CIA has since paid only limited and peripheral attention to the phenomena.

UFO From CIA FilesPassoria New Jersey, July 31, 1952.

Unless a copyright is indicated, information on the Central Intelligence Agency Web site is in the public domain and may be reproduced, published or otherwise used without the Central Intelligence Agency's permission. We request only that the Central Intelligence Agency be cited as the source of the information and that any photo credits or bylines be similarly credited to the photographer or author or Central Intelligence Agency, as appropriate.

This file is a work of an employee of the Central Intelligence Agency, taken or made during the course of the person's official duties. As a work of the U.S. federal government, the file is in the public domain.

Generally speaking, works created by U.S. Government employees are not eligible for copyright protection in the United States. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office.

The emergence in 1947 of the Cold War confrontation between the United States and the Soviet Union also saw the first wave of UFO sightings. The first report of a "flying saucer" over the United States came on 24 June 1947, when Kenneth Arnold, a private pilot and reputable businessman, while looking for a downed plane sighted nine disk-shaped objects near Mt. Rainier, Washington, traveling at an estimated speed of over 1,000 mph. Arnold's report was followed by a flood of additional sightings, including reports from military and civilian pilots and air traffic controllers all over the United States. In 1948, Air Force Gen. Nathan Twining, head of the Air Technical Service Command, established Project SIGN (initially named Project SAUCER) to collect, collate, evaluate, and distribute within the government all information relating to such sightings, on the premise that UFOs might be real and of national security concern.

The Technical Intelligence Division of the Air Material Command (AMC) at Wright Field (later Wright-Patterson Air Force Base) in Dayton, Ohio, assumed control of Project SIGN and began its work on 23 January 1948. Although at first fearful that the objects might be Soviet secret weapons, the Air Force soon concluded that UFOs were real but easily explained and not extraordinary. The Air Force report found that almost all sightings stemmed from one or more of three causes: mass hysteria and hallucination, hoax, or misinterpretation of known objects. Nevertheless, the report recommended continued military intelligence control over the investigation of all sightings and did not rule out the possibility of extraterrestrial phenomena

Artful Birds

Numbers
Paint by Numbers Bird
Bird Tattoo Bird
Tattoo Bird
Love
Margie & I had a very birdie afternoon yesterday.
We both used the wren pattern from Abigail Glassenberg's new book
"The Artful Bird" published by Interweave.
I recycled my 2010 Linea Carta linen calendar to make my birdie.
Margie used a piece of turquoise cotton I had previously stamped
with one of my hand carved bird stamps and made the beaks with polymer clay.
We gave each of them our own twist & when they saw each other
they immediately fell in love ♥

Thursday, February 24, 2011

Soaking up the Sun

Yellow
Botanical Platters
Media Naranja
Balcony with Cactus
Plants at Posada Carmina
Wall art
Margie & I enjoyed a gorgeous day at San Miguel de Allende, Guanjuato today.
Here are some of my shots of the day. I can't wait to see the photos she took!