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Act I

               Married at 25, in a small chapel off Caustic drive. Mr. Robinson was the envy of the whole town, as they all witnessed the beauty of his wife in a wedding gown. Twas a truly glorious occasion, even for those opposed to the Victorian persuasion.
                As a gift from her father, Mrs. Robinson received a family home. It wasn’t a gigantic bother, just a free place to roam. The couple was instantly overjoyed, not that it was an emotion to avoid. It just wasn’t a typical occurrence, for Mr. Robinson who, devoid of the world, felt little congruence.
                For six long years Mrs. Robinson’s husband toiled with cars, and avoided the nightly pleasure of bars. He brought home every penny he could, but was robbed a bit, working in a “hood”. Still he had enough saved for a little vacation, something to distract him from his “wretched vocation”.
                On the way home from withdrawing some money, just some small cash to get something for his honey, Mr. Robinson was stood up by a common thief, who smiled viciously with rotted teeth.  The man handed over his wallet with little struggle, scarred for his life. Seeing a license the man remarked through a muddle, about ****** Mr. Robinson’s wife.

Act II

                  Brutality was in this man’s blood, his day of reckoning approaching like a flood. It was clear to see in the thief’s gaze, that this wasn’t some malformed craze. Mr. Robinson had seen the look before, in his own mirror before crashing to the floor.
                  Violence was something begrudged in his soul, burning hot now festered by burning coal. He had avoided it all his life, steered away by a devotion to a girl he knew would be his wife. But in this moment it could have all faded away. So Mr. Robinson allowed his mind to stray.
                   His fists flew in an uncontrolled manor, there was little there that resembled glamour. The thief thrashed with the might of a knife, but Mr. Robinson put up a fight, clamoring to an image of his wife. Soon the thief’s skull was as flat as the pavement, and then Mr. Robinson sat there, constant and patient.
                    After a trip to the bar, Mr. Robinson returned home to his wife, and then laid before her all his strife. He wasn’t one to hide behind a lie, which could sever such an ever-loving tie. Mrs. Robinson understood it all to well, though from her hysteria you could hardly tell.
                    Tears were shed between both the Robinsons, and then came a series of promises. The first was that they’d leave the country with great speed; the second came contingent on one final deed. Mr. Robinson had to clear out his chequeing account, without inspiring a hint of doubt.
                    Sure enough, the deed went off without a single hitch, but in the back of his mind, Mr. Robinson had an itch. The wish for chaos hadn’t gone unnoticed inside his head, just lingered behind like a common dose of dread. Still he pressed on, and bought two tickets to Milan.

Act III

                    Mr. Robinson was drenched in sweat as the couple went through the metal detectors, and crossed a path of lazy eyed T.S.A inspectors. Regardless of any present fear, the man was aware that his destination was more than near. Walking past the last of the T.S.A, Mr. Robinson looked cool, nodding along to the music of DFA.
                    Boarding the plane turned out to be no big deal, in the pat down security had hardly copped a feel. They played a movie on the plane; its plotline seemed to run quite the same. A man boarded a westbound flight, but fell victim to a trending plight.
                    The whole compartment was overloaded with rage, and it came in a parcel they couldn’t encage. One by one they fell victim to disillusion, surely the result of a drastic head contusion. Though quickly it spread like a vile pollution…no race exclusion.
                     In the end only one lay in the wake, the turmoil, to him, was no more than a piece of cake. He was immune to the disease spreading amongst the flight, and used brute force to conquer the plight. Slid from the plane a triumphant man, and smiled for the cameras after a quick scan.
                     The whole film was a colossal joke, told from the mirrored reflection of a director on coke. Mr. Robinson didn’t take much from it at all, except that the righteous stand tall, it didn’t matter that the plot was about a hero, Mr. Robinson was going to burn that down like the fires of Nero.

Act IV

                      He strolled off the plane with a righteous grin. Mrs. Robinson obliviously was seen coating sun tan lotion all over her skin. They stayed at a hotel near the beach; Mr. Robinson renewed his license and began to teach. Six months passed without blood, no names to drag through mud.
                      During this time the Robinsons had a child, who had a tendency to be quite wild. The little girl was far too rambunctious; though saying so may be a bit presumptuous. It seems though, that it was the opinion of her father, who found need in removing the life of his daughter.
                       Mrs. Robinson played the part of being willfully naive, searching for some desperate form of reprieve.  She knew her husband had gone insane, the facts for which were more than plain. Still she pushed through and looked for the good, no matter what sort of hallowed grounds the shadow stood.
                       Two years went by without incident, their tedious normalcy, overly consistent. Then a reporter came asking questions, about a small time mugger and their known relations. Mr. Robinson laughed it off as though nothing was the matter, and then took the man down through the science of avoided clatter.
                       Hidden amongst those who don’t get found, was Mr. Robinson’s third victim, newly crowned. The deed lay hidden for a decade or so, time’s vagueness makes it hard to know. Romance was lively in the Robinson household, though such flare up hardly needed to be foretold.

Act V**

                      Mrs. Robinson was blind to all her surroundings, making it rather hard to collect any findings. She continued to believe that her husband was a kind soul, an innocent, but worldly foal. He spoke to her by the tender light of a candles glimmer, held her close in that weak flames shimmer.
                      One day she fractured a wall overloading a shelf, behind the latex laid the Robinsons daughter herself. Terrified and confused, Mrs. Robinson waited for her husband to come through the door, when he did she was already curled up on the floor.
                     They prayed together for a solemn moment, and then Mr. Robinson murdered his wife with little postponement.  He placed her inside the wall of his family home, right night to the kitchen phone. The next 40 years he consoled his loss with many a life, but none were buried anywhere near his wife.
                      He left the home as a constant reminder, of those he had failed as a provider. Stayed in it for every moment one should, and held onto it as long as one could. But in death, the home went up for auction, and it was sold off without a hint of caution.
                      A young Stedman bought the home for him and his future wife. They bought the home at a very low price, at such a rate it was hard to think twice. Renovations came, as one would expect, though the issues found weren’t necessarily from neglect.
                      This family was tainted by that gruesome, wretched home. Turns out, Mr. Stedman was also forced to roam. He had a nasty habit with a very sharp blade…that type of predilection doesn’t typically fade. During upkeep, Mr. Stedman discovered an odd bit of insulation, but certainly wasn’t about to seek further consultation.
                      He realized exactly what it was laying in the walls of his home, and he saw no reason not to let it get overgrown. The first victim added was his very own wife; they had been going through a bit of a strife. Soon after mudded in his parents in law, but removed them thereafter finding their odour quite raw.  

……………………………………………………………………………………
hi dudes


i was just watching neighbours and i think paul robinson is going soft

because he is being really nice to his latest daughter and her son

and ya know what i think, i think that my dead dads spirit is helping in the

process of reforming paul robinson, i don’t know how long it’ll last

but it’s good to know that people can change, i am actually enjoying neighbours

lately, because paul robinson is actually trying to be closer to family and not

worrying about money, you see my dad gave me an iPad and a apple MAC

i know dad can be a tad cranky, but he does it over love, and i think it’s cool

to see this, i referred to paul robinson as a real big rich ****, but i think dads spirit

is trying to make paul robinmson a real family man, i hear horrible voices saying

dads not around anymore, but i can say, i believe in the paranormal, and anyone who

hates the paranormal isn’t the right people for me, i think it’s good paul robinson from neighbours

is connecting with his grandson jimmy and he is trying to connect with amy as well, i am sure

this could change, it’s just that i really am enjoying neighbours

you see dad taught me a lot about being safe on social media and i know paul robinson isn’t like dad

no everyone has different qualities, i said dad was like becker, as well, but that was when we were growing up

i don’t have to say i am artist, because i am artist

i don’t have to say i am a writer, cause i am a writer

i don’t have to say i am a youtube entertainer, cause i am a youtube entertainer

i don’t have to say anything, just do my writing and art and not worry about what the cool kids a doing

because i can’t understand why people want me to do what i used to do

all i can say is dads spirit is flying over paul robinson trying to take the rich ***** out of him

i believe in the paranormal, anyone who doesn’t, ain’t the people for me
jeffrey conyers Feb 2011
Listening to his song made me fall in love.
And, I will admit it's so wonderful.
To be in love.
Ooh, to be in love.

No longer am I sad since he sung that tune.
That made me fall deeper in love with you.

So play on Smokey Robinson.
Play on, Smokey Robinson singing that sweet, sweet song.

There I was so depressed.
Which now I can confess.
Now that I'm loving you more than before.

His words had me craving more of you each night and day.
That I was lost for words to say.

So play on Smokey Robinson.
Play on, just play on, just play on.

Because the more you sing about love.
The more I like the theme.

And, if the sun didn't shine in  the sky today.
I just know the lyrics you wrote will lead the way.
And with the positivity in all the words.
I gladly do anything for her on this earth.

So , play on Smokey Robinson.
Play on, Smokey Robinson.

Your song that so sweet.
It made this certain girl fall in love with me.
All rights belong to Jeffrey Conyers
A DEATH CREATES A DECEMBER/OCTOBER TWIN BIRTH WITH RAY POCOCK’S LIFE FOLLOWING HIS TRAGIC NEXT LIFE’S DEATH



YOU SEE ROBERT KINOSHITA, TURNS 100, AND GOES UP TO SATURN TO

DO A FEW ROBOT DANCES, AND INVENTS THIS LITTLE SONG

I AM THE GREATEST, I MADE A FAMOUS ROBOT

IT WAS IN A GREAT GREAT SHOW TITLED LOST IN SPACE

I WANTED TO LIVE FOREVER, BUT I EVENTUALLY KICKED THE BUCKET

BUT I LIVED TO BE 100, TO SAY I DID THE ROBOT DANCE

I DID THE ROBOT DANCE, SAYING

I AM A ROBOT, I AM A ROBOT, MY WAY IS COMING TRUE THROUGHOUT THE LAND

I AM A ROBOT EVERY SINGLE DAY

I CREATED ROBOT B-9, HE WAS FAMOUS FOR SAYING

DANGER WILL ROBINSON DANGER WILL ROBINSON DANGER WILL ROBINSON

AND THEN SAID, I AM A ROBOT, I AM A ROBOT,

I AM COMING TO EXTERMINATE YOU, I AM A ROBOT FOREVER AND EVER

AND THEN AS I GET OFF STAGE I TIP A KEG OF METHANE ALL OVER RAY POCOCK

TO SAY, LET’S MAKE TWINS IN OCTOBER, WELL LET’S MAKE THEM DUE IN OCTOBER ANYWAY

AND ROBERT AND RAY SAID WE ARE PERFECT ROBOTS

WE WILL CREATE NEW LIFE, IN OCTOBER, OH YEAH

RAY HAS NO IDEA, EITHER HAS ROBERT, BUT THEY BOTH SAID WE ARE ROBOTS

AND DANGER, IF WE LET THE TERRORISTS WIN

WE ARE CRONUS’S, EMBASSADORS, I AM CRONUS

I AM THE ONE IN THE FAMILY, WHO LIKES IMAGINATIVE ROBOTS

AND WE DANCE, WE ARE BIG ROBOTS, WE ARE BIG ROBOTS

WE HAVE COME TO ESTERMINATE YOU GUYS IF YA COME TO CLOSE

DANGER WILL ROBINSON, DANGER WILL ROBINSON

THERE WILL BE DANGER IF ROBERT AND RAY SEPERATE, CAUSE

THEY ARE JOINED TO PROTECT THE EARTH, AND BRING PROPER ROBOTS BACK

WE WANT HELPFUL ROBOTS WE WANT HELPFUL ROBOTS

WE WILL GET THEM NOW, ROBERT KINOSHITA TIP METHANE ALL OVER BARRY ALLAN

CAUSE, HE WON’T EXCEPT HE IS NOW ELIZABETH ANN CAMPBELL

DANGER BARRY ALLAN ROBERT SAID IF YOU GET THIS YOUR LIKE ME AND MUMMY CRAP OUT OF YOUR SONS

DANGER AHEAD, TO OLD HAGS WE ARE BIG ROBOTS, AND WE WILL STAY BIG ROBOTS FOREVER
RAJ NANDY Jul 2017
THE LEGEND OF HOLLYWOOD IN VERSE
Dear Readers, I have tried to cover the salient features of this True Story in free flowing verse mainly with end rhymes. If you read it loud, you can hear the chimes! Due to the short attention span of my readers I had to cut short this long story, and conclude with the
Golden Era of Hollywood by stretching it up to the 1950's only. When TV began to challenge the Big Screen Cinema seriously! I have used only a part of my notes here. Kindly read the entire poem and don't hesitate to know many interesting facts - which I also did not know! I wish there was a provision for posting a few interesting photographs for you here. Best wishes, - Raj Nandy, New Delhi.  

                 THE LEGEND OF HOLLYWOOD :
                        THE AMERICAN  DREAM
                             BY RAJ NANDY

           A SHORT  HISTORICAL  BACKGROUND
Since the earliest days, optical toys, shadow shows, and ‘magic
lanterns’, had created the illusion of motion.
This concept was first described by Mark Roget in 1824 as  
the 'persistent of vision'.
Giving impetus to the development of big screen cinema with its
close-ups, capturing all controlled and subtle expressions!
The actors were no longer required to shout out their parts with
exaggerated actions as on the Elizabethan Stage.
Now even a single tear drop could get noticed easily by the entire
movie audience!
With the best scene being included and edited after a few retakes.
To Thomas Edison and his able assistant William Rogers we owe the invention of Kinetoscope, the first movie camera.
On the grounds of his West Orange, New Jersey laboratory, Edison
built his first movie studio called the ‘Black Maria’.   (1893)
He also purchased a string of patents related to motion picture
Camera; forming the Edison Trust, - a cartel that took control of
the Film Industry entire!

Fort Lee, New Jersey:
On a small borough on the opposite bank of the Hudson River lay
the deserted Fort Lee.
Here scores of film production crews descended armed with picture Cameras, on this isolated part of New Jersey!
In 1907 Edison’s company came there to shoot a short silent film –
‘Rescue From an Eagle’s Nest’,
Which featured for the first time the actor and director DW Griffith.
The independent Chaplin Film Company built the first permanent
movie studio in 1910 in Fort Lee.
While some of the biggest Hollywood studios like the Universal,
MGM, and 20th Century Fox, had their roots in Fort Lee.
Some of the famous stars of the silent movie era included ‘Fatty’
Arbuckle, Will Rogers, Mary Pickford, Dorothy and Lillian Gish,
Lionel Barrymore, Rudolph Valentine and Pearl White.
In those days there were no reflectors and electric arch lights.
So movies were made on rooftops to capture the bright sunlight!
During unpredictable bad weather days, filming had to be stopped
despite the revolving stage which was made, -
To rotate and capture the sunlight before the lights atarted to fade!

Shift from New Jersey to West Coast California:
Now Edison who held the patents for the bulb, phonograph, and the Camera, had exhibited a near monopoly;
On the production, distribution, and exhibition of the movies which made this budding industry to shift to California from
New Jersey!
California with its natural scenery, its open range, mountains, desert, and snow country, had the basic ingredients for the movie industry.
But most importantly, California had bright Sunshine for almost
365 days of the year!
While eight miles away from Hollywood lay the port city of Los Angeles with its cheap labour.

                        THE RISE  OF  HOLLYWOOD
It was a real estate tycoon Harvey Wilcox and his wife Daeida from
Kansas, who during the 1880s founded ‘Hollywood’ as a community for like-minded temperate followers.
It is generally said that Daeida gave the name Hollywood perhaps
due to the areas abundant red-berried shrubs also known as
California Holly.
Spring blossoms around and above the Hollywood Hills with its rich variety,  gave it a touch of paradise for all to see !
Hollywood was incorporated as a municipality in 1903, and during
1910 unified with the city of Los Angeles.
While a year later, the first film studio had moved in from New
Jersey, to escape Thomas Edison’s monopoly!    (1911)

In 1913 Cecil B. De Mille and Jesse Lasky, had leased a barn with
studio facilities.
And directed the first feature length film ‘Squaw Man’ in 1914.
Today this studio is home to Hollywood Heritage Museum as we get to see.
The timeless symbol of Hollywood film industry that famous sign on top of Mount Lee, was put up by a real estate developer in 1923.  
This sign had read as ‘’HOLLY WOOD LAND’’ initially.
Despite decades of run-ins with vandals and pranksters, it managed to hang on to its prime location near the summit of the Hollywood Hills.
The last restoration work was carried out in 1978 initiated by Hugh
Hefner of the ******* Magazine.
Those nine white letters 45 feet tall now read ‘HOLLYWOOD’, and has become a landmark and America’s cultural icon, and an evocative symbol for ambition, glamour, and dream.
Forever enticing aspiring actors to flock to Hollywood, hypnotised
by lure of the big screen!

                     GOLDEN AGE OF HOLLYWOOD
The Silent Movie Era which began in 1895, ended in 1935 with the
production of ‘Dance of Virgins’, filmed entirely in the island of Bali.
The first Sound film ‘The Jazz Singer’ by Warner Bros. was made with a Vitaphone sound-on-disc technology.  (October 1927)
Despite the Great Depression of the 1930s, this decade along with the 1940s have been regarded by some as Hollywood’s Golden Age.
However, I think that this Golden Age includes the decades of the
1940s and the 1950s instead.
When the advent of Television began to challenge the Film Industry
itself !

First Academy Award:
On 16th May 1929 in the Roosevelt Hotel on Hollywood Boulevard,
the First Academy Award presentation was held.
Around 270 people were in attendance, and tickets were priced at
$5 per head.
When the best films of 1927 & 1928 were honored by the Academy
of Motion Production and Sciences, or the AMPS.
Emil Jennings became the best actor, and Janet Gaynor the best actress.
Special Award went to Charlie Chaplin for his contribution to the
silent movie era and for his silent film ‘The Circus’.
While Warren Brothers was commended for making the first talking picture ‘The Jazz Singer’, - also receiving a Special Award!
Now, the origin of the term ‘OSCAR’ has remained disputed.
The Academy adopted this name from 1939 onwards it is stated.
OSCAR award has now become “the stuff dreams are made of”!
It is a gold-plated statuette of a knight 13.5 inches in height, weighing 8.5 pounds, was designed by MGM’s art director Cedric Gibbons.
Annually awarded for honouring and encouraging excellence in all
facets of motion picture production.

Movies During the Great Depression Era (1929-1941):
Musicals and dance movies starring Fred Astaire and Ginger Rogers provided escapism and good entertainment during this age.
“Ginger Rogers did everything Fred Astaire did. She just did it
backwards and in high heels,” - the Critics had said.
This compatible pair entertained the viewers for almost one and
a half decade.
During the ‘30s, gangster movies were popular starring James Cagey, Humphrey Bogart, and Edward G. Robinson.
While family movies had their popular child artist Shirley Temple.
Swashbuckler films of the Golden Age saw the sword fighting scenes of Douglas Fairbanks and Errol Flynn.
Flynn got idolized playing ‘Robin Hood’, this film got released in
1938 on the big screen!
Story of the American Civil War got presented in the epic ‘Gone With The Wind’ (1939) with Clarke Gable and Vivian Leigh.
This movie received 8 Oscars including the award for the Best Film, - creating a landmark in motion picture’s history!
More serious movies like John Steinbeck’s ‘Grapes of Wrath’ and
John Ford’s  ‘How Green Was My Valley’, were released in 1940 and 1941 respectively.
While the viewers escaped that depressive age to the magical world
of  ‘Wizard of Oz’ with its actress Judy Garland most eagerly!
Let us not forget John Wayne the King of the Westerns, who began
his acting career in the 1930s with his movie ‘The Big Trail’;
He went on to complete 84 films before his career came to an end.
Beginning of the 40s also saw Bob Hope and the crooner Bing Crosby, who entertained the public and also the fighting troops.
For the Second World War (1939-45) had interrupted the Golden Age of Hollywood.
When actors like Henry Fonda, Clarke Gable, James Stewart and
Douglas Fairbanks joined the armed forces temporarily leaving
Hollywood.
Few propaganda movies supporting the war efforts were also made.
While landmark movies like ‘Philadelphia Story’, ‘Casablanca’, ‘Citizen Kane’,
‘The Best Years of Our Lives’, were some of the most successful movies of that decade.  (The 1940s)
Now I come towards the end of my Hollywood Story with the decade  of the 1950s, thereby extending the period of Hollywood’s Golden Age.
Since having past the Great Depression and the Second World War,  the Hollywood movie industry truly matured and came of age.

                        HOLLYWOOD  OF  THE  1950s

BACKGROU­ND:
The decade of the ‘50s was known for its post-war affluence and
choice of leisure time activities.
It was a decade of middle-class values, fast-food restaurants, and
drive-in- movies;
Of ‘baby-boom’, all-electric home, the first credit cards, and new fast moving cars like the Ford, Plymouth, Buick, Hudson, and Chevrolet.
But not forgetting the white racist terrorism in the Southern States!
This era saw the beginning of Cold War, with Eisenhower
succeeding Harry S. Truman as the American President.
But for the film industry, most importantly, what really mattered  
was the advent of the Domestic TV.
When the older viewers preferred to stay at home instead of going
out to the movies.
By 1950, 10.5 million US homes had a television set, and on the
30th December 1953, the first Color TV went on sale!
Film industries used techniques such as Cinemascope, Vista Vision,
and gimmicks like 3-D techniques,
To get back their former movie audience back on their seats!
However, the big scene spectacle films did retain its charm and
fantasy.
Since fantasy epics like ‘The Story of Robin Hood’, and Biblical epics like ‘The Robe’, ‘Quo Vadis’, ‘The Ten Commandments’ and ‘Ben-Hur’, did retain its big screen visual appeal.
‘The Robe’ released on 16th September 1953, was the first film shot
and projected in Cinema Scope;
In which special lenses were used to compress a wide image into a
standard frame and then expanded it again during projection;
Resulting in an image almost two and a half times as high and also as wide, - captivating the viewers imagination!

DEMAND FOR NEW THEMES DURING THE 1950s :
The idealized portrayal of men and women since the Second World War,
Now failed to satisfy the youth who sought exciting symbols for rebellion.
So Hollywood responded with anti-heroes with stars like James Dean, Marlon Brando, and Paul Newman.
They replaced conventional actors like Tyron Power, Van Johnson, and Robert Taylor to a great extent, to meet the requirement of the age.
Anti-heroines included Ava Gardner, Kim Novak, and Marilyn Monroe with her vibrant *** appeal;
She provided excitement for the new generation with a change of scene.
Themes of rebellion against established authority was present in many Rock and Roll songs,
Including the 1954 Bill Hailey and His Comets’ ‘Rock Around the Clock’.
The era also saw rise to stardom of Elvis Presley the teen heartthrob.
Meeting the youthful aspirations with his songs like ‘Jailhouse Rock’!
I recall the lyrics of this 1957 film ‘Jailhouse Rock’ of my school days, which had featured the youth icon Elvis:
   “The Warden threw a party in the county jail,
     The prison band was there and they began to wail.
     The band was jumping and the joint began to sing,
     You should’ve heard them knocked-out jail bird sing.
     Let’s rock, everybody in the whole cell block……………
     Spider Murphy played the tenor saxophone,
     Little Joe was blowing the slide trombone.
     The drummer boy from Illinois went crash, boom, bang!
     The whole rhythm section was the Purple Gang,
      Let's rock,.................... (Lyrics of the song.)

Rock and Roll music began to tear down color barriers, and Afro-
American musicians like Chuck Berry and Little Richard became
very popular!
Now I must caution my readers that thousands of feature films got  released during this eventful decade in Hollywood.
To cover them all within this limited space becomes an impossible
task, which may kindly be understood !
However, I shall try to do so in a summarized form as best as I could.

BOX OFFICE HITS YEAR-WISE FROM 1950 To 1959 :
Top Ten Year-Wise hit films chronologically are: Cinderella (1950),
Quo Vadis, The Greatest Show on Earth, Peter Pan, Rear Window,
Lady and the *****, Ten Commandments, Bridge on the River
Kwai, South Pacific, and Ben-Hur of 1959.

However Taking The Entire Decade Of 1950s Collectively,
The Top Films Get Rated As Follows Respectively:
The Ten Commandments, followed by Lady and the *****, Peter Pan, Sleeping Beauty, Bridge on the River Kwai, Around the World in Eighty Days, This is Cinerama, The Greatest Show on Earth, Rear Window, South Pacific, The Robe, Giant, Seven Wonders of the World, White Christmas, Twenty Thousand Leagues Under the Sea, Sayonara, Demetrius and the Gladiator, Peyton Place, Some Like It Hot, Quo Vadis, and Auntie Mame.

Film Debuts By Rising Stars During The 1950s :
The decade of the ‘50s saw a number of famous film stars making
their first appearance.
There was Peter Sellers in ‘The Black Rose’, Marlon Brando in
‘The Men’, and actress Sophia Loren in ‘Toto Tarzan’.
Following year saw Charles Bronson in ‘You Are in the Navy Now’,
Audrey Hepburn in ‘Our Wild Oats’, and Grace Kelly, the future
Princess of Monaco, in her first film ‘Fourteen Hours’. (1951)
While **** Brigitte Bardot appeared in 1952 movie ‘Crazy for Love’; and 1953 saw Steve Mc Queen in ‘******* The Run’.
Jack Lemon, Paul Newman, and Omar Sharif featured in films
during 1954.
The following year saw Clint Eastwood, Shirley Mc Lean, Walter
Matthau, and Jane Mansfield, all of whom the audience adored.
The British actor Michael Cain appeared in 1956; also Elvis Presley
the youth icon in ‘Love Me Tender’ and as the future Rock and Roll
King!
In 1957 came Sean Connery, followed by Jack Nicholson, Christopher Plummer, and Vanessa Redgrave.
While the closing decade of the ‘50s saw James Coburn, along with
director, script writer, and producer Steven Spielberg, make their
debut appearance.

Deaths During The 1950s: This decade also saw the death of actors
like Humphrey Bogart, Tyron Power and Errol Flynn.
Including the death of producer and director of epic movies the
renowned Cecil B. De Mille!
Though I have conclude the Golden Age of Hollywood with the 50’s Decade,
The glitz and glamour of its Oscar Awards continue even to this day.
With its red carpet and lighted marquee appeal and fashion display!

CONTINUING THE HOLLYWOOD STORY WITH FEW TITBITS :
From Fort Lee of New Jersey we have travelled west to Hollywood,
California.
From the silent movie days to the first ‘talking picture’ with Warren
Bros’ film ‘The Jazz Singer’.  (06 Oct 1927)
On 31st July 1928 for the first time the audience heard the MGM’s
mascot Leo’s mighty roar!
While in July 1929 Warren Bros’ first all-talking and all- Technicolor
Film appeared titled - ‘On With The Show’.
Austrian born Hedy Lamarr shocked the audience appearing **** in a Czechoslovak film ‘Ecstasy’!  (1933)
She fled from her husband to join MGM, becoming a star of the
‘40s and the ‘50s.
The ‘Private Life of Henry VII’ became the first British film to win the  American Academy Award.  (1933)
On 11Dec 1934, FOX released ‘Bright Eyes’ with Shirley Temple,
who became the first Child artist to win this Award!
While in 1937 Walt Disney released the first full animated feature
film titled - ‘Snow White and the Seven Dwarf ‘.
The British film director Alfred Hitchcock who came to
Hollywood later;
Between 1940 and 1947, made great thrillers like 'Rebecca', ‘Notorious’, ‘Rear Window’, and ‘Dial M for ******’.
But he never won an Oscar as a Director!

THE GOLDEN GLOBE AWARD:
This award began in 1944 by the Foreign Correspondence Association at
the 20th Century Fox Studio.
To award critically acclaimed films and television shows, by awarding a
Scroll initially.
Later a Golden Globe was made on a pedestal, with a film strip around it.
In 1955 the Cecil B. De Mille Award was created, with De Mille as its first
recipient.

THE GRAMMY AWARD:
In 1959 The National Academy of Recording and Sciences sponsored the
First Grammy Award for music recorded during 1958.
When Frank Sinatra won for his album cover ‘Only The Lonely’, but he
did not sing.
Among the 28 other categories there was Ella Fitzgerald, and Count Basie
for his musical Dance Band Performance.
There was Kingston Trio’s song ‘Tom Dooly’, and the ‘Chipmunk Song’,
which brings back nostalgic memories of my school days!

CONCLUDING HOLLYWOOD STORY  WITH STUDIOS OF THE 1950s

Challenge Faced by the Movie Industry:
Now the challenge before the Movie Industry was how to adjust to the
rapidly changing conditions created by the growing TV Industry.
Resulting in loss of revenue, with viewers getting addicted to
their Domestic TV screen most conveniently!

The late 1950s saw two studios REPUBLIC and the RKO go out of business!
REPUBLIC from 1935- ‘59 based in Los Angeles, developed the careers of
John Wayne and Roy Rogers, and specializing in the Westerns.
RKO was one of the Big Five Studios of Hollywood along with Paramount,
MGM, 20th Century Fox, and Warner Brothers in those days.

RKO Studio which begun with Fred Astaire and Ginger Rogers in the ‘30s,
included actress Katherine Hepburn who holds the record for four Oscars
even to this day;
And later had Robert Mitchum and Carry Grant under an agreement.
But in 1948, RKO Studio came under the control Howard Hughes the
temperamental Industrialist.
Soon the scandal drive and litigation prone RKO Studio closed, while
other Big Four Studios had managed to remain afloat!


PARAMOUNT STUDIO:
Paramount Studio split into two separate companies in 1950.
Its Theatre chain later merged with ABC Radio & Television Network;
And they created an independent Production/Distribution Network.
Bing Crosby and Bob Hope had been Paramount’s two biggest stars.
Followed by actors like Alan Ladd, William Holden, Jerry Lewis, Dean
Martin, Charlton Heston, and Dorothy Lamour.
They also had the producer/director Cecil B. De Mille producing high-
grossing Epics like ‘Samson & Delilah’ and ‘The Ten Commandments’.
Also the movie maker Hal Wallis, who discovered Burt Lancaster and
Elvis Presley - two great talents!

20th CENTURY FOX:
Cinema Scope became FOX’s most successful technological innovation
with its hit film ‘The Robe’. (1953)
Its Darryl Zanuck had observed during the early ‘50s, that audience  
were more interested in escapist entertainments mainly.
So he turned to FOX to musicals, comedies, and adventure stories.
Biggest stars of FOX were Gregory Peck & Susan Hayward; also
stars like Victor Mature, Anne Baxter, and Richard Wind Mark.
Not forgetting Marilyn Monroe in her Cinema Scope Box Office hit
movie - ‘How to Marry a Millionaire’, which was also shown on
prime time TV, as a romantic comedy film of 1953.

WARREN BROTHERS:
During 1950 the studio was mainly a family managed company with
three brothers Harry, Albert, and Jack Warren.
To meet the challenges of that period, Warren Bros. released most of
its actors like James Cagney, Humphrey Bogart, Oliver de Havilland, -
Along with few others from their long-term contractual commitments;
Retaining only Errol Flynn, and Ronald Regan who went on to become
the future President.
Like 20th Century Fox, Warren Bros switched to musicals, comedies,
and adventure movies, with Doris Day as its biggest musical star.
The studio also entered into short term agreements with Gary Copper,
John Wayne, Gregory Peck, Patricia Neal, and Random Scott.
Warren Bros also became the first major studio to invest in 3-D
production of films, scoring a big hit with its 3-D  suspense thriller
‘House of Wax’ in 1953.

MINOR STUDIOS were mainly three, - United Artists, Columbia, and
The Universal.
They did not own any theatre chain, and specialized in low-budgeted
‘B’ Movies those days.
Now to cut a long story short it must be said, that Hollywood finally
did participate in the evolution of Television industry, which led to
their integration eventually.
Though strategies involving hardware development and ownership of
broadcast outlets remained unsuccessful unfortunately.
However, Hollywood did succeed through program supply like prime-
time series, and made-for-TV films for the growing TV market making
things more colorful!
Thus it could be said that the TV industry provided the film industry
with new opportunities,  laying the groundwork for its diversification
and concentration;
That characterized the entertainment industry during the latter half  
of our previous century.
I must now confess that I have not visited the movie theatre over the last
two decades!
I watch movies on my big screen TV and my Computer screen these days.
Old classical movies are all available on ‘You Tube’ for me, and I can watch
them any time whenever I am free!
Thanks for reading patiently, - Raj Nandy.
**ALL COPYRIGHTS ARE WITH THE AUTHOR RAJ NANDY OF NEW DELHI
preservationman Dec 2014
Various Muscle groups with a name
A young aspiring bodybuilder died while achieving his own fame
The Human Muscle Hospitality of Shawn Robinson
He was the voice of encouragement
He was the concept of going the effort
Being honest with truth
All this while still in his youth
Shawn’s smile being his style
The weights game came in for a while
Yet remembering him on his buddy to buddy approach
When it came to Bodybuilding his passion was no joke
Don’t even try a Bodybuilding poke
His true words in what he spoke
Your life cut way too short
In everyone’s mind a comfort of sort
The weights are saddened
The muscles can’t flex
There is a feeling in the air of feeling perplexed
That was then, but this is now
Shawn’s spirit said “Keep training and continue to expose to the world in how”
My departure is not an end
But it is for your inspiration in continuing to begin
Bodybuilding is about achieving and conquering the odds
If the chain doesn’t break, there is no strength
Seeing your own efforts at every length
If you lose the concept and technique, there is no vision
If the effort isn’t seriously made, there is no reason
Remember me in all seasons
Think on my coaching words in wait and see
You will become in your training efforts the way you were might too be
All I ask is to have patience, but wait and see
Heaven knows the reason I was called up
My spirit will always sit high and look down
Help each other, but don’t become muscle bound
Remember the numerous conversations we had
Perhaps to some you got mad
My life was bodybuilding
My dream was to achieve
My challenges in overcoming the struggles
Bodybuilding is about being stuff, but I want you to be stuffer
Strength is in the mind then pulsates throughout the body
Mind over matter
My life has been lived to the fullest
Make yourself proud in my honor
Again just wait and see
I am in the arms of the almighty and that’s thee
Together we are one
But keep living as your life as only begun
Yesterday was only tomorrow passing by
Don’t cry
I want to see you achieve with every try.
JA Doetsch Apr 2012
Let me tell you 'bout a man called Chicago Robinson
with eyes like jade and breath smell like Jameson
He dances with girls who have skin taste like Cinnamon
He don't think about life, 'cause he too busy livin' it

He came out of his momma croonin' smooth as Sinatra
His voice makes the noises that'll sure hypnotize ya
The girls they all dance to the beat cause they wanna
they slide up and down like they coated in butter

He don't got many clothes, but he's got his own style
His eyes pierce on through you, he got steel in his smile
When you meet him you might not know how to feel
He'll fix you up quick, and you'll be soarin' with eagles

Chicago does what he does when he do what he do
while he's tellin' his stories in the language of Blues
He don't care where he goes, don't have much to lose
So long as he has women, music, and *****

You like hearin' stories? he gotsa lots of 'em
You want a fight? Best be movin' on, son
He's the best and the worst inside of all of us
There just ain't no one else like Chicago Robinson
No idea where this came from.  Don't like the last stanza
IN SEARCH OF THE PRESENT

I begin with two words that all men have uttered since the dawn of humanity: thank you. The word gratitude has equivalents in every language and in each tongue the range of meanings is abundant. In the Romance languages this breadth spans the spiritual and the physical, from the divine grace conceded to men to save them from error and death, to the ****** grace of the dancing girl or the feline leaping through the undergrowth. Grace means pardon, forgiveness, favour, benefice, inspiration; it is a form of address, a pleasing style of speaking or painting, a gesture expressing politeness, and, in short, an act that reveals spiritual goodness. Grace is gratuitous; it is a gift. The person who receives it, the favoured one, is grateful for it; if he is not base, he expresses gratitude. That is what I am doing at this very moment with these weightless words. I hope my emotion compensates their weightlessness. If each of my words were a drop of water, you would see through them and glimpse what I feel: gratitude, acknowledgement. And also an indefinable mixture of fear, respect and surprise at finding myself here before you, in this place which is the home of both Swedish learning and world literature.

Languages are vast realities that transcend those political and historical entities we call nations. The European languages we speak in the Americas illustrate this. The special position of our literatures when compared to those of England, Spain, Portugal and France depends precisely on this fundamental fact: they are literatures written in transplanted tongues. Languages are born and grow from the native soil, nourished by a common history. The European languages were rooted out from their native soil and their own tradition, and then planted in an unknown and unnamed world: they took root in the new lands and, as they grew within the societies of America, they were transformed. They are the same plant yet also a different plant. Our literatures did not passively accept the changing fortunes of the transplanted languages: they participated in the process and even accelerated it. They very soon ceased to be mere transatlantic reflections: at times they have been the negation of the literatures of Europe; more often, they have been a reply.

In spite of these oscillations the link has never been broken. My classics are those of my language and I consider myself to be a descendant of Lope and Quevedo, as any Spanish writer would ... yet I am not a Spaniard. I think that most writers of Spanish America, as well as those from the United States, Brazil and Canada, would say the same as regards the English, Portuguese and French traditions. To understand more clearly the special position of writers in the Americas, we should think of the dialogue maintained by Japanese, Chinese or Arabic writers with the different literatures of Europe. It is a dialogue that cuts across multiple languages and civilizations. Our dialogue, on the other hand, takes place within the same language. We are Europeans yet we are not Europeans. What are we then? It is difficult to define what we are, but our works speak for us.

In the field of literature, the great novelty of the present century has been the appearance of the American literatures. The first to appear was that of the English-speaking part and then, in the second half of the 20th Century, that of Latin America in its two great branches: Spanish America and Brazil. Although they are very different, these three literatures have one common feature: the conflict, which is more ideological than literary, between the cosmopolitan and nativist tendencies, between Europeanism and Americanism. What is the legacy of this dispute? The polemics have disappeared; what remain are the works. Apart from this general resemblance, the differences between the three literatures are multiple and profound. One of them belongs more to history than to literature: the development of Anglo-American literature coincides with the rise of the United States as a world power whereas the rise of our literature coincides with the political and social misfortunes and upheavals of our nations. This proves once more the limitations of social and historical determinism: the decline of empires and social disturbances sometimes coincide with moments of artistic and literary splendour. Li-Po and Tu Fu witnessed the fall of the Tang dynasty; Velázquez painted for Felipe IV; Seneca and Lucan were contemporaries and also victims of Nero. Other differences are of a literary nature and apply more to particular works than to the character of each literature. But can we say that literatures have a character? Do they possess a set of shared features that distinguish them from other literatures? I doubt it. A literature is not defined by some fanciful, intangible character; it is a society of unique works united by relations of opposition and affinity.

The first basic difference between Latin-American and Anglo-American literature lies in the diversity of their origins. Both begin as projections of Europe. The projection of an island in the case of North America; that of a peninsula in our case. Two regions that are geographically, historically and culturally eccentric. The origins of North America are in England and the Reformation; ours are in Spain, Portugal and the Counter-Reformation. For the case of Spanish America I should briefly mention what distinguishes Spain from other European countries, giving it a particularly original historical identity. Spain is no less eccentric than England but its eccentricity is of a different kind. The eccentricity of the English is insular and is characterized by isolation: an eccentricity that excludes. Hispanic eccentricity is peninsular and consists of the coexistence of different civilizations and different pasts: an inclusive eccentricity. In what would later be Catholic Spain, the Visigoths professed the heresy of Arianism, and we could also speak about the centuries of ******* by Arabic civilization, the influence of Jewish thought, the Reconquest, and other characteristic features.

Hispanic eccentricity is reproduced and multiplied in America, especially in those countries such as Mexico and Peru, where ancient and splendid civilizations had existed. In Mexico, the Spaniards encountered history as well as geography. That history is still alive: it is a present rather than a past. The temples and gods of pre-Columbian Mexico are a pile of ruins, but the spirit that breathed life into that world has not disappeared; it speaks to us in the hermetic language of myth, legend, forms of social coexistence, popular art, customs. Being a Mexican writer means listening to the voice of that present, that presence. Listening to it, speaking with it, deciphering it: expressing it ... After this brief digression we may be able to perceive the peculiar relation that simultaneously binds us to and separates us from the European tradition.

This consciousness of being separate is a constant feature of our spiritual history. Separation is sometimes experienced as a wound that marks an internal division, an anguished awareness that invites self-examination; at other times it appears as a challenge, a spur that incites us to action, to go forth and encounter others and the outside world. It is true that the feeling of separation is universal and not peculiar to Spanish Americans. It is born at the very moment of our birth: as we are wrenched from the Whole we fall into an alien land. This experience becomes a wound that never heals. It is the unfathomable depth of every man; all our ventures and exploits, all our acts and dreams, are bridges designed to overcome the separation and reunite us with the world and our fellow-beings. Each man's life and the collective history of mankind can thus be seen as attempts to reconstruct the original situation. An unfinished and endless cure for our divided condition. But it is not my intention to provide yet another description of this feeling. I am simply stressing the fact that for us this existential condition expresses itself in historical terms. It thus becomes an awareness of our history. How and when does this feeling appear and how is it transformed into consciousness? The reply to this double-edged question can be given in the form of a theory or a personal testimony. I prefer the latter: there are many theories and none is entirely convincing.

The feeling of separation is bound up with the oldest and vaguest of my memories: the first cry, the first scare. Like every child I built emotional bridges in the imagination to link me to the world and to other people. I lived in a town on the outskirts of Mexico City, in an old dilapidated house that had a jungle-like garden and a great room full of books. First games and first lessons. The garden soon became the centre of my world; the library, an enchanted cave. I used to read and play with my cousins and schoolmates. There was a fig tree, temple of vegetation, four pine trees, three ash trees, a nightshade, a pomegranate tree, wild grass and prickly plants that produced purple grazes. Adobe walls. Time was elastic; space was a spinning wheel. All time, past or future, real or imaginary, was pure presence. Space transformed itself ceaselessly. The beyond was here, all was here: a valley, a mountain, a distant country, the neighbours' patio. Books with pictures, especially history books, eagerly leafed through, supplied images of deserts and jungles, palaces and hovels, warriors and princesses, beggars and kings. We were shipwrecked with Sinbad and with Robinson, we fought with d'Artagnan, we took Valencia with the Cid. How I would have liked to stay forever on the Isle of Calypso! In summer the green branches of the fig tree would sway like the sails of a caravel or a pirate ship. High up on the mast, swept by the wind, I could make out islands and continents, lands that vanished as soon as they became tangible. The world was limitless yet it was always within reach; time was a pliable substance that weaved an unbroken present.

When was the spell broken? Gradually rather than suddenly. It is hard to accept being betrayed by a friend, deceived by the woman we love, or that the idea of freedom is the mask of a tyrant. What we call "finding out" is a slow and tricky process because we ourselves are the accomplices of our errors and deceptions. Nevertheless, I can remember fairly clearly an incident that was the first sign, although it was quickly forgotten. I must have been about six when one of my cousins who was a little older showed me a North American magazine with a photograph of soldiers marching along a huge avenue, probably in New York. "They've returned from the war" she said. This handful of words disturbed me, as if they foreshadowed the end of the world or the Second Coming of Christ. I vaguely knew that somewhere far away a war had ended a few years earlier and that the soldiers were marching to celebrate their victory. For me, that war had taken place in another time, not here and now. The photo refuted me. I felt literally dislodged from the present.

From that moment time began to fracture more and more. And there was a plurality of spaces. The experience repeated itself more and more frequently. Any piece of news, a harmless phrase, the headline in a newspaper: everything proved the outside world's existence and my own unreality. I felt that the world was splitting and that I did not inhabit the present. My present was disintegrating: real time was somewhere else. My time, the time of the garden, the fig tree, the games with friends, the drowsiness among the plants at three in the afternoon under the sun, a fig torn open (black and red like a live coal but one that is sweet and fresh): this was a fictitious time. In spite of what my senses told me, the time from over there, belonging to the others, was the real one, the time of the real present. I accepted the inevitable: I became an adult. That was how my expulsion from the present began.

It may seem paradoxical to say that we have been expelled from the present, but it is a feeling we have all had at some moment. Some of us experienced it first as a condemnation, later transformed into consciousness and action. The search for the present is neither the pursuit of an earthly paradise nor that of a timeless eternity: it is the search for a real reality. For us, as Spanish Americans, the real present was not in our own countries: it was the time lived by others, by the English, the French and the Germans. It was the time of New York, Paris, London. We had to go and look for it and bring it back home. These years were also the years of my discovery of literature. I began writing poems. I did not know what made me write them: I was moved by an inner need that is difficult to define. Only now have I understood that there was a secret relationship between what I have called my expulsion from the present and the writing of poetry. Poetry is in love with the instant and seeks to relive it in the poem, thus separating it from sequential time and turning it into a fixed present. But at that time I wrote without wondering why I was doing it. I was searching for the gateway to the present: I wanted to belong to my time and to my century. A little later this obsession became a fixed idea: I wanted to be a modern poet. My search for modernity had begun.

What is modernity? First of all it is an ambiguous term: there are as many types of modernity as there are societies. Each has its own. The word's meaning is uncertain and arbitrary, like the name of the period that precedes it, the Middle Ages. If we are modern when compared to medieval times, are we perhaps the Middle Ages of a future modernity? Is a name that changes with time a real name? Modernity is a word in search of its meaning. Is it an idea, a mirage or a moment of history? Are we the children of modernity or its creators? Nobody knows for sure. It doesn't matter much: we follow it, we pursue it. For me at that time modernity was fused with the present or rather produced it: the present was its last supreme flower. My case is neither unique nor exceptional: from the Symbolist period, all modern poets have chased after that magnetic and elusive figure that fascinates them. Baudelaire was the first. He was also the first to touch her and discover that she is nothing but time that crumbles in one's hands. I am not going to relate my adventures in pursuit of modernity: they are not very different from those of other 20th-Century poets. Modernity has been a universal passion. Since 1850 she has been our goddess and our demoness. In recent years, there has been an attempt to exorcise her and there has been much talk of "postmodernism". But what is postmodernism if not an even more modern modernity?

For us, as Latin Americans, the search for poetic modernity runs historically parallel to the repeated attempts to modernize our countries. This tendency begins at the end of the 18th Century and includes Spain herself. The United States was born into modernity and by 1830 was already, as de Tocqueville observed, the womb of the future; we were born at a moment when Spain and Portugal were moving away from modernity. This is why there was frequent talk of "Europeanizing" our countries: the modern was outside and had to be imported. In Mexican history this process begins just before the War of Independence. Later it became a great ideological and political debate that passionately divided Mexican society during the 19th Century. One event was to call into question not the legitimacy of the reform movement but the way in which it had been implemented: the Mexican Revolution. Unlike its 20th-Century counterparts, the Mexican Revolution was not really the expression of a vaguely utopian ideology but rather the explosion of a reality that had been historically and psychologically repressed. It was not the work of a group of ideologists intent on introducing principles derived from a political theory; it was a popular uprising that unmasked what was hidden. For this very reason it was more of a revelation than a revolution. Mexico was searching for the present outside only to find it within, buried but alive. The search for modernity led
nivek Aug 2014
Tarzan, I really liked the African animals,
and sure the freedom of the jungle

I guess looking around,
I chose the desert island

Robinson Crusoe
always took me somewhere else

the sedate living of it all
yes, without the strenuous swinging
Lawrence Hall Apr 2018
Before you can say “Jack Robinson”
You’ll want to pause and take another breath
Your heart will beat tum-tum-tiddly-tum times
The earth will rotate on its axis some

Before you can say “Jack Robinson”
You’ll wonder if you brushed your teeth after lunch
The clock will go on strike for four o’clock
The moon will hold her mirror to the sun

Before you can say “Jack Robinson”
You will forget why you meant to say that
Don Bouchard Aug 2014
(This poem posted in tribute to the life &memory; of Robin Williams...Rest in Peace)

Whenever Richard Cory went down town,
We people on the pavement looked at him:
He was a gentleman from sole to crown,
Clean favored, and imperially slim.

And he was always quietly arrayed,
And he was always human when he talked;
But still he fluttered pulses when he said,
'Good-morning,' and he glittered when he walked.

And he was rich - yes, richer than a king -
And admirably schooled in every grace:
In fine, we thought that he was everything
To make us wish that we were in his place.

So on we worked, and waited for the light,
And went without the meat, and cursed the bread;
And Richard Cory, one calm summer night,
Went home and put a bullet through his head.
(Edwin Arlington Robinson)
RobinWilliams RIP...sad this morning....

— The End —