HDA Russians - Jul'Arts Mardi 28 mai 2 28 /05 /Mai 10:57 Russians de Sting: 3°1,2 et 4 MMes Chaulet, Dolbeau et Martin Liens avec: La java des bombes atomiques de Boris Vian (1954) Docteur Folamour de Stanley Kubrick (1964) Prokofiev: suite du lieutenant Kije (1933) Massacre en Corée de Picasso (1951) Lien internet: East Side gallery link HDA Russians par Jul'Arts Par Jul'Arts - Publié dans : Histoire Géographie Cold War The Cold War (1947–1991) During the Cold War, the US conducted around 1,054 nuclear tests by official count, between 1945 and 1992. Seen above is the mushroom cloud of Ivy Mike. The fall of the Berlin Wall, 1989 The Cold War was a state of geopolitical tension between the Soviet Union with its satellite states (the Eastern Bloc), and the United States with its allies (the Western Bloc) after World War II. A common historiography of the conflict begins with 1946, the year U.S. diplomat George F. The Cold War split the temporary wartime alliance against Nazi Germany, leaving the Soviet Union and the United States as two superpowers with profound economic and political differences. A neutral bloc arose with the Non-Aligned Movement, which sought good relations with both sides. The Cold War and its events have left a significant legacy. Origins of the term Looking at the world as a whole, the drift for many decades has been not towards anarchy but towards the reimposition of slavery... U.S.
How pop culture helped win the Cold War The Bolshoi Ballet's Galina Ulanova in London in October 1956 receiving a bouquet of flowers from the Director-General of the BBC For many people, as our series shows, the great paradox of the Cold War was that it was at once utterly terrifying and strangely glamorous. One example tells a wider story. From Russia with Love (1963): with Sean Connery as James Bond and Daniela Bianchi as Soviet embassy clerk Tatiana Romanova Today Bond has become such a familiar personification of British style that it is easy to lose sight of his Cold War origins. As one of Bond’s biggest critics, the novelist and former spy John le Carré astutely remarked, the films promoted nothing so much as the "consumer goods ethic" – a central element of the economic miracle that had transformed everyday life in Britain during the 1950s and 1960s. READ: Telegraph writers pick their best Bond films The West’s cultural offensive was not, of course, confined to the cinema. GALLERY: The best Bond girls
Soviet Officer Stanislav Petrov, 'The Man Who Saved The World,' Dies At 77 Stanislav Petrov, a former Soviet military officer, poses at his home in 2015 near Moscow. In 1983, he was on duty when the Soviet Union's early warning satellite indicated the U.S. had fired nuclear weapons at his country. He suspected, correctly, it was a false alarm and did not immediately send the report up the chain of command. toggle caption Pavel Golovkin/AP Stanislav Petrov, a former Soviet military officer, poses at his home in 2015 near Moscow. Stanislav Petrov was a lieutenant colonel in the Soviet Union's Air Defense Forces, and his job was to monitor his country's satellite system, which was looking for any possible nuclear weapons launches by the United States. He was on the overnight shift in the early morning hours of Sept. 26, 1983, when the computers sounded an alarm, indicating that the U.S. had launched five nuclear-armed intercontinental ballistic missiles. It was already a moment of extreme tension in the Cold War. Petrov had to act quickly. He had guessed correctly.
Les objectifs principaux - La Chanson Engagée Nous allons analyser dans une seconde partie les principaux objectifs de la chanson engagée en commençant par le but informatif et dénonciatif, en utilisant Russians de Sting, puis nous étudierons les connotations provocatrices amenant à un appel à l'action dans Aux Armes et Caetera de Gainsbourg, et nous verrons enfin que la chanson engagée peut aussi faire passer un message de soutient et un appel à l'aide, comme dans Les Restos du Coeur des Enfoirés. 1. La chanson engagée pour informer et dénoncer : Russians In Europe and America, there's a growing feeling of hysteriaConditioned to respond to all the threatsIn the rhetorical speeches of the SovietsMr. Krushchev said we will bury youI don't subscribe to this point of viewIt would be such an ignorant thing to doIf the Russians love their children too There is no historical precedentTo put the words in the mouth of the PresidentThere's no such thing as a winnable warIt's a lie that we don't believe anymoreMr. 2. Aux armes et caetera 3.
Evil Empire Speech by Ronald Reagan March 8, 1983 Lieutenant Kijé (Prokofiev) Un article de Wikipédia, l'encyclopédie libre. Lieutenant Kijé, opus 60 est une suite d'orchestre composée par Sergueï Prokofiev en 1933, tirée de la musique qu'il écrivit pour le film homonyme d’Alexandre Feinzimmer, basé sur la nouvelle de Iouri Tynianov. Durée d'exécution : environ vingt minutes. Cette musique a été utilisée pour deux ballets. François-René Tranchefort, Guide de la musique symphonique, Fayard, 1989, p.599 Portail de la musique classique
CONELRAD | ATOMIC PLATTERS: Cold War Music from the Golden Age of Homeland Security Lieutenant Kijé (Prokofiev) From a poster advertising the 1934 film Lieutenant Kijé Prokofiev had been based in Paris for more than a decade when he was asked by the producers to write the Kijé music. In those early days of sound cinema, various distinguished composers were ready to try their hand at film music, among whom Prokofiev was not a natural choice. When the First World War broke out in August of that year, Prokofiev avoided military service, possibly because he was the only son of a widow. The Soviet authorities, rather than treating Prokofiev as a fugitive or exile, chose to consider him as a general ambassador for Soviet culture, and the composer returned the compliment by registering in France as a citizen of the Soviet Union. In the first years of the silent film era, from the 1890s, films were generally accompanied by live music, often improvised, provided by piano or pump organ. The critic Ernest Chapman refers to Prokofiev's "unfailingly witty and melodious score". Bartig, Kevin (2013).
Cold War Music - Music Introduction Contemporary music undeniably received attention during the Cold War—roughly the period between 1945 and 1991, from the end of World War II to the fall of the Soviet Union. Yet it was not until the Cold War’s end that musicologists and historians began investigating in earnest the impact of the worldwide conflict on musical composition, performance, and reception. General Overviews A number of general studies of Cold War culture help begin articulating music’s roles during this period. Boyer, Paul. Textbooks Up through the end of the 20th century, few music history textbooks addressed the Cold War in a substantive manner. Bibliographies Given the relative novelty of the field, few bibliographies specifically devoted to Cold War music exist. Schmelz, Peter J. Collections of Essays Multimedia Resources Geerhart and Sitz 2005 includes a broad range of American popular songs and film clips relating to the Cold War, alternately (and often simultaneously) humorous and terrifying. Jazz
Pop in the age of the atomic bomb On 11 October 1962, the Beatles' first single for EMI, Love Me Do, entered the UK charts. Four days later, the Cuban missile crisis began, when a US reconnaissance plane spotted Soviet missile bases in Cuba. In the days that followed, the world teetered on the brink of nuclear war. As a Soviet general later said, Earth was "minutes" away from "catastrophe". The Beatles' extraordinary breakthrough from that date onwards has been put down to a variety of factors, not the least the quality of their music. But among all that explosive positive energy, it's hard not to sense, somewhere in the background, a reaction to the missile crisis. The Cuban missile crisis was the nearest the world had come to nuclear destruction since 1945, when US atomic bombs fell on Hiroshima and Nagasaki. The relationship between the atomic bomb and postwar popular culture is as intimate as it is complex. In the vacuum of 1945, American youth provided a beacon of hope and the ideal of the teenager took hold.
Sting: “Russians”1985 | The Pop History Dig Cover of 1985 CD single for Sting’s ‘Russians’ song. The Cold War and rock music — not a likely combination, right? But back in 1985, one musician at least thought it an appropriate arena for song — a song with a message and point of view. Ronald Reagan was President of the United States at the time, and Margaret Thatcher was Prime Minister of the U.K. Sting’s song was leveled at both sides, drawing on the Cold War’s nuclear rhetoric, which by the early- and mid-1980s was running quite hot between the U.S. and Russia, with Europe caught in the middle. “Mr. Nikita Khrushchev, 1950s. Sting first points to the famous November 1956 line by Soviet premier Nikita Khrushchev, who said, generally translated, “we will bury you” meaning the capitalist West. Khrushchev on the cover of Time magazine early September 1961 when the Soviets resumed nuclear testing. “Oppenheimer’s Deadly Toy…” J. Oppenheimer explaining the atomic bomb to U.S. military leaders, 1946. “Winnable War” “We Will Protect You…” Hon.
The Red Menace: A Striking Gallery of Anti-Communist Posters, Ads, Comic Books, Magazines & Films By its very nature, propaganda distorts the truth or tells outright lies. It targets our basest impulses—fear and anger, flight or fight. While works of pure propaganda may pretend to make logical arguments, they eliminate nuance and oversimplify complicated issues to the point of caricature. These general tendencies hold true in every case, but nowhere, perhaps, is this gross exaggeration and fear mongering more evident than in times of war. And while we’ve all seen our share of wartime propaganda, we may be less familiar with the decades-long propaganda war the U.S. and Western Europe waged against socialism and Communism, even decades before the Cold War era. It may surprise you to learn that this offensive began even before the start of World War One, as you can see above in a British Conservative Party poster from 1909. As the perceived threat increased, so too did the scale of the monstrous caricatures. Occasionally the racial dimensions of these depictions were explicit.