Category Archives: Posters

Marilyn Monroe

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Behind the camera: The many press photographers and bystanders that took pictures of the movie shoot for, The Seven Year Itch
Where: The pictures were shot at Manhattan’s Lexington Avenue at 52nd Street close to the Trans-Lux theatre.
Photo Summary: Marilyn Monroe
Picture Taken: Late Sept 8, early morning of Sept 9, 1954

Before her death, Marilyn Monroe was an iconic Movie star who’s movies thrilled millions. This famous scene was shot for the movie, The Seven Year Itch . The picture has been turned into posters, t-shirts, mugs and is probably her most famous image. Filmed on location on Lexington Ave, New York, the New Yorkers who turned up to watch the filming got so out of control that the director couldn’t use any of the footage taken because of the crowd noise. The scene had to be recreated in Studio but then was cut by the censors for being too steamy. In the actual movie, her skirt never rises above her knees.

Marilyn Monroe

Marilyn Monroe (June 1, 1926 – August 4, 1962) was an American actress, singer, and model. After acting in small roles for several years, she gradually became known for her comedic skills, sex appeal, and screen presence, going on to become one of the most popular movie stars of the 1950s. She was and is idolized throughout the world as a sex goddess. Later in her career, she worked towards serious roles with a measure of success but was always restrained by several prescription drug addictions. On August 4, 1962, Marilyn Monroe died between 8:30 p.m. and 10:30 p.m. at her home at 12305 Fifth Helena Drive in Brentwood, Los Angeles, California. She was 36 years old. The cause of death based on the toxicology report was acute barbiturate poisoning.

Marilyn and Joe Dimaggio

We haven’t lost a star; we’ve gained a center fielder
-Fox execs on the Dimaggio marriage

Marilyn was married three times in her short life. Her third and last was to Arthur Miller the famous playwright on June 29, 1956. Author of the play Death of a Salesman and a movie Marilyn stared in, The Misfits; their marriage lasted four years and seven months with the two divorcing in 1961. Her first marriage was when she was just 16 to James Dougherty on June 19, 1942. She filed for divorce in Las Vegas, Nevada and it was finalized on September 13, 1946.

Her second was in 1951 she eloped with, famous baseball player, Joe DiMaggio on January 14, 1954. Fox loved the idea of marriage with executives boasting that “we haven’t lost a star; we’ve gained a center fielder”. The marriage was rocky from the start with Joe pressuring Marilyn to become a quiet wife while Marilyn tried to keep her star rising. Even on their honeymoon, Marilyn left to do a tour for the troops in Korea. A busy schedule of movies saw Marilyn go directly from the movie set of Show Business to the set of The Seven Year Itch. This was a move that made Dimaggio furious as he wanted to spend some time with his new wife. An abusive man, friends, and makeup people would often see bruises on her arms and backs from her fights with Joe. When Marilyn visited Marlon Brando on the set of Desirée he noticed that her arm was black and blue. Yet the stoic Marilyn, while their marriage was crumbling she, had to shoot, The Seven Year Itch.

The scene from The Seven Year Itch

The Seven Year Itch was a play turned into a movie about a man who sent his family away upstate to escape the hot and humid New York summer. While alone he meets his new neighbor, the blonde and beautiful Marilyn Monroe, known in the movie as “the girl”. The two get to know each other and he is torn between his lust for the girl and being faithful to his wife.

The scene in which the skirt was to blow up was a part of the movie were Marilyn’s character, known as the girl, was on a date with the main character, Richard Sherman played by Tom Ewell. They are walking out of the Trans-Lux theatre where they just watched Creature from the Black Lagoon. As they walk down the street Marilyn sees the breeze wafting up from the sidewalk grates as a subway car passes underneath. Even though it is night, New York is still hot and humid and she runs over to catch the breeze. As subways run back and forth and her skirt is lifted up, she says her lines from which we get some famous quotes such as, “Don’t you feel the breeze from the subway? Isn’t it delicious?” and “Ooohhh! This feels just elegant!”

This particular scene is where Richard Sherman is overtaken by the moment and kisses Marilyn. However, while the play had Sherman eventually sleeping with Marilyn’s character the movie ends with Sherman being faithful and running to upstate New York to join his wife and son.

Behind the Scenes


Crowd around Marilyn while filming the famous scene picture by Sam Shaw

Crowd around Marilyn while filming the famous scene, picture by Sam Shaw


Directed by Billy Wilder the film required the subway skirt scene to be shot at a location on Lexington Avenue at 52nd Street in New York. Fox Studio publicity men put the word out on the street that Marilyn would be on location wearing an outfit that would, “stop traffic”. Marilyn who by this time was taking multiple pills for various ailments both real and imagined struggled with her lines. While Marilyn did a take after take a crowd began to develop around the many photographers who showed up to get pictures. Rather than being quiet and constrained, the mob of New Yorkers yelled and whooped whenever the skirt was blown up over her waist which the bright movie lights, despite wearing two sets of underwear, revealed “all” of Marilyn.

The Split

Joe Dimaggio hated publicity and Hollywood, he usually stayed away from the set but since Marilyn was filming in New York he hovered nearby drinking at a bar. He ran into a friend, Walter Winchell who convinced him to go to the set and watch Marilyn.

The scene when he arrived was of thousands of fans screaming every time they could see her underwear. Conservative Joe Dimaggio while listening to the roar of the mob in time with the skirt lifting over her waist became infuriated and stormed off the set. At the hotel, that night crewmen heard screaming from their room and the next day Marilyn’s hairdresser, Gladys Whitten had to cover up bruises on her shoulders with make-up.

After filming, the couple flew back to California were friends saw more fights and neighbors saw Marilyn wandering the streets crying. 274 days after getting married the two staged an elaborate press conference where they announced that they were getting a divorce due to, “conflict of careers” and, “the usual mental cruelty”.
The skirt scene that helped kill the marriage was thrown out by the director as the crowd noise made it unusable. The whole street was recreated in a studio so that Marilyn could do it again in privacy. Even then most of the skirt shots were cut from the picture when the Hollywood censorship board, the Hays Code or Production code, killed any shot where the skirt went over the knee.

The Dress

Over the years actress, Debbie Reynolds amassed a huge collection of Hollywood memorabilia including the infamous dress used in this image. In 2011 her collection was put on the auction block and a lucky and very rich bidder bought the dress for $4.6 million ( $5.52 million after taxes and fees were included ) This smashed the record for the most-payed-for dress which was held by Audrey Hepburn’s iconic black dress from the 1961 film Breakfast at Tiffany‘s, which sold for $923,187.

Copyright images

AP Images handles the listening for some of the September 8, 1954, Seven Year Itch photos.

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Tennis Girl

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Behind the camera: Martin Elliot
Where: Birmingham University’s tennis courts in Edgbaston, United Kingdom
Photo Summary: Then 18-year-old Fiona Butler (Married and now Fiona Walker)
Picture Taken: September of 1976

In September of 1976 aspiring photographer, Martin Elliot convinced, his then-girlfriend, Fiona Butler to pose for a series of cheeky pictures in hopes of creating the next big pinup poster. He took a couple of shots and sold this image to publishing giant Athena. The poster went on to sell 2 million copies. In response to famous British film and television critic George Melly calling the poster a “schoolboy joke” Martin Elliot replied, “that’s just what it was.”

Taking the photo

In 2011 Fiona Butler finally agreed to show her face


In 1976 Martin Elliot was dating 18-year-old Fiona Butler. Anxious to help out her photographer boyfriend she agreed to pose for some photos at the Birmingham University’s tennis courts in Edgbaston, central England. Fiona didn’t actually play tennis and had to borrow the tennis racket and Eliot had their tailor friend, Carol Knotts, design and create a sexy tennis dress. In a 2007 interview, Fiona recalled that she:

can remember the day quite clearly … When the picture got so popular I was quite amused that something taken that afternoon could get so big. It became one of those pictures that everyone knows and everyone’s seen. It gave me quite a buzz because I could secretly smile and say ‘no you’re wrong’, every time someone guessed.

I remember going to a party with my husband and people were saying ‘is that the girl in the photograph?’. They looked me up and down and said ‘I don’t think so’ I’ve got no objections to it whatsoever. My children have never been upset about it. It’s really nothing that anyone could be offended by. It’s just a bit of fun. I think it was banned in a couple of countries but really I don’t think there was anything to get upset about.

The poster has become such a cultural icon that when Fiona went on to marry, millionaire Ian Walker, and have kids her son’s headmaster confided in her that he had the poster on his wall while in University.

The poster

Publishing giant Athena bought the rights for the poster and released the first print in a calendar for the Queen’s Silver Jubilee in 1977. The calendar was released the same year Virginia Wade won the Wimbledon singles title. Due to the popularity of the calendar, Athena published a poster and these combined factors pushed the poster into mass production and it eventually went on to sell over 2 million copies.

To mark the 30th anniversary of the photo the tennis outfit and racket were sold on Internet auction site eBay on June 16, 2006. Some of the proceeds of the sale went to the Dan Maskell Tennis Trust, a disabled children charity. The remaining went to the dress designer Carol Knotts’ attempt to take part in the Global Challenge round-the-world yacht race in 2008.

Imitators

For British male comedians, it’s almost like a right of passage to imitate this image with celebs like Alan Carr, Frank Skinner, and Ricky Gervais exposing their backsides. I’ll spare you their pictures but I’ll include this one of singer, and all-around superstar, Kylie Minogue.

The Photographer

Originally from Oldbury, Martin Elliot was in the Birmingham School of Photography program and after graduating had a successful career with a studio in Birmingham’s Jewelry Quarter; living in Stourbridge and Portishead. In later life when doing interviews he would remember that he took the shot during “an afternoon in September at the end of the long hot summer. It was over very quickly. I only took one roll of film, which is pretty feeble for a photographer and I just hoped I’d got the shot.”

In 1999 he retired and lived in Cornwall before losing a 10-year battle to cancer in April 2010.

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Betty Grable

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Behind the camera: Frank Powolny
Where: Studio
Photo Summary: Betty Grable in a promotional shot for the movie Sweet Rosie O’Grady
Picture Taken:1943

While American soldiers were overseas fighting World War II, they longed for something that reminded them of home. They chose this picture of Betty Grable. Some liked her sexy figure; others thought she reminded them of that ideal “girl back home.” Whatever the reason, she was by far the number-one pin-up girl during that time.

Taking the picture

Grable had just finished the movie Sweet Rosie O’Grady, and the studio needed some bathing suit shots. Grable herself remembers that “the session wasn’t going too well; Frank was trying to achieve something different. After about a dozen shots, he told me to turn my back to the camera and he would catch my face in profile. I obliged, turned my face toward the camera, and asked, ‘How about this?'” which was when Powolny snapped his photo. Powolny remembers that:

I asked Betty if she’d like to have a back shot, just to be different, She said, ‘Yes,’ and began to clown around. ‘You want it like this?’ she asked, posing. And I said, ‘Yeah.’ I made only two shots of that pose. It was the second shot that became famous.

There are some who claim that Grable was pregnant at the time when this shoot happened but both her kids Victoria and Jessica’s birth dates wouldn’t match up. Victoria was born on March 4, 1944, and Jessica was born on May 20, 1947. It was doubtful that the pregnancy would have been showing in early 1943 if she conceived as late as June 1943. Also, Powolny took other photos of her facing the camera and it doesn’t appear to show a baby bump. When the studio released the photo it became the most requested picture in movie history.
FOX studios saw its potential and persuaded the US military to allow it to distribute 5 million postcards of this picture to American GIs fighting in the war. Soldiers soon had painted the picture on planes, bomber jackets, and barrack walls making it the most popular pin-up during the war.
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Betty Grable

She was born Elizabeth Ruth Grable in St. Louis, Missouri, on December 18, 1916. The third child of John Conn Grable (June 28, 1883-January 25, 1954) and Lillian Rose Hofmann (May 29, 1889-December 24, 1964). Her sister was Marjorie L. Grable (April 17, 1909-November 25, 1980) and her brother was John Carl Grable (who died in infancy). She was propelled into acting by her mother, who insisted that one of her daughters become a star. For her first role, as a chorus girl in the movie Happy Days (1929), Grable was only 13 years old (legally underage for acting), but, because the chorus line performed in blackface, it was impossible to tell how old she was.

She got a number of small-time roles in various movies before obtaining a contract with 20th Century Fox, becoming their top star throughout the 40s. It was during her reign as box-office champ (in 1943) that Grable posed for her iconic pin-up photo, which (along with her movies) soon became escapist fare among GIs fighting overseas in World War II. Despite solid competition from Rita Hayworth, Dorothy Lamour, Veronica Lake, and Lana Turner, Grable was indisputably the number-one pin-up girl for American soldiers. She was wildly popular at home as well, placing in the top ten box-office draws each year for ten years. By the end of the 1940s, Grable was the highest-paid female star in Hollywood.

Also, in 1943, she married jazz trumpeter and big band leader Harry James, by whom she had two children; they divorced in 1965. Grable’s later career was marked by feuds with studio heads, who worked her to exhaustion. At one point, in the middle of a fight with Darryl F. Zanuck, she tore up her contract with him and stormed out of his office. Gradually leaving movies entirely, she made the transition to television and starred in Las Vegas.

I little tragic irony involved a nuclear weapon named after Betty. On May 25, 1953, the largest atomic weapon fired by artillery was exploded over the Las Vegas desert in the test series named Operation Upshot-Knothole. The cannon was named Atomic Annie while the shell and the blast were named Grable. Thousands of military personnel were present at the Grable blast to test exposure to radiation. Operation Upshot-Knothole was responsible for the release of a large portion of the radioactive iodine produced as a result of continental nuclear tests. This fallout resulted in thousands of cases of cancer. Grable herself died of lung cancer at age 56 in Santa Monica, California. Her funeral was held July 5, 1973, 30 years to the day after her marriage to Harry James. She is interred at Inglewood Park Cemetery, Inglewood, California.

Frank Powolny

Frank Powolny was an immigrant moving to the United States when he was 13, growing up in Clarkson, Nebraska. As the chief portrait and still photographer at 20th Century Fox from 1923 to 1966 he captured thousands of stars including taking the last known photographs of Marilyn Monroe. On January 5th, 1986 he died of a heart attack in Valencia.

Picture copyright


The Wikipedia Commons website claims this image is in the public domain.

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Fairey Obama Poster

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Behind the camera: Mannie Garcia took the photo Fairey made the poster
Where: Obama at the National Press Club in Washington
Photo Summary: Obama
Picture Taken: On April 27, 2006 Mannie Garcia took the photo on left. In early 2008 Shepard Fairey made his poster.

As the Obama presidential campaign started to build up steam one image quickly became the unofficial symbol, that of the Obama hope poster. Designed by graffiti artist Shepard Fairey the image quickly went viral and became the iconic image of the campaign. After the election, it emerged that Fairey used an AP image as the basis and since then he has become embroiled in a legal case over who owns the copyright.
History

When Obama was just starting his presidential campaign Fairey became inspired to create an image that would help the Obama’s presidential run. Mindful of the damage a “street” artist could do supporting a mainstream candidate Fairey asked advice from his associate, Yosi Sergant, a marketing/publicity guru who had ties to the Obama campaign. Yosi was able to get the go-ahead from Obama’s people and after an Internet image search found one that he thought would be perfect. He made the poster in one day and sent it to Yosi who gave it a green light. This original poster had the word PROGRESS on the bottom. Immediately he did a run of 700 posters which he split giving 350 away and selling the other 350 to make money to do another run. The first run quickly sold out paying for the second edition of 4,000 posters that were given away at Obama rallies. The second run had the word PROGRESS changed to HOPE at the behest of the Obama campaign. In an interview with blogger Ben Arnon from the Huffington Post Fairey and Sergant recall what happened next:

1) After an google image search Fairey picks the infamous AP image. 2)Simple is best, by making the image simpler its easier to reproduce and according to Fairey, "I want strong," 3)Knowing that its a presidential campaign he uses a patriotic red, white and blue color scheme. 4)Asked about the socialist red Fairey says "... don't let the Soviets steal our red. Red is a good primary color," 5)The first 700 posters used the word "PROGRESS". Later runs were asked by the Obama campaign to use HOPE and CHANGE 6)Instead of a flag pin Fairey uses his logo so that Fairey collectors will buy it

SF: As soon as I posted it on my web site a lot of people that go to my web site saw it. Yosi also blasted it out to a lot of his contacts. It became very clear quickly that the demand for an image like that had not been supplied and that the Obama supporters were very hungry for it and also very motivated to spread it…
I think a perfect pop culture example of something like that is the Rolling Stones tongue logo. The tongue was a secondary logo on the back of the Sticky Fingers album, but it was iconic and simple. Now it’s sort of undisputed as the Rolling Stones logo even though it was never created intentionally to be that. It found an audience and it manifested…
BA: Tell me more about that initial run of 350 posters.
SF: Well, the way I’m used to doing things when I print up posters is I print some to sell and I print some to put up on the street. I fund the ones I put up on the street with the ones I sell. … I actually lowered the price on the print thinking that a lot of people might be pessimistic about Obama’s chances and it might not sell well. And I included my Obey star embedded in the Obama logo, not to try to highjack Obama’s credibility as some people have said. But rather, because I know that my hard-core collectors would feel that they had to buy the poster just because it had an Obey logo. Therefore, I was more or less forcing my audience to fund further perpetuation of the image.
BA: Was the majority of your audience that bought the original print Los Angeles-based or nationwide?
SF: Definitely nationwide. I had no idea that it would happen but immediately after those prints were sold out they were selling for $2,000-$6,000 on the Internet. …
SF: I had already read rumors that I was profiting big-time off of the Obama image. Even though that wasn’t valid, I was very cautious not to do anything that would even vaguely validate that argument. So I actually ended up selling a lot of fine art commissions of the Obama image to private collectors and using that money to print more posters rather than continuing to sell the posters. We’ve sold less than 2,000 posters and have printed over 200,000 of them. And we’ve printed 500,000 stickers.

Copyright claim

Following the adage that the best defence is a good offence Fairey filed a lawsuit on February 9, 2009, against The Associated Press (AP) to declare that his Obama poster is protected from AP copyright infringement claims because the poster falls under “Fair Use Laws”. On NPR’s Fresh Air radio program Fairey had this to say:

Well, the AP was threatening to sue me, and they first contacted me and said, you know, let’s figure out how to work this out amicably, which I was [very] open to and said, you know, I’m glad to pay the original license fee for the image. For all the reasons I’ve already given you, I didn’t think that I needed to, but I’m glad to do it because, you know, I’d rather just make this easy for everyone.
And then they said no, we want damages. And then they ran a piece in the National Press basically saying I stole the photo, which as an artist that works from references frequently, you know, I feel that they’re calling into question the validity of my method of working … I felt that I needed to fight the AP not for myself only, but for a whole group of artists that would be self-censored, probably, because they can’t afford the photos and they don’t want to be in a legal entanglement over using those types of images to communicate a message.

On October 16, 2009, Fairey admitted that yes he had knowingly used the AP photo and had destroyed evidence to cloud that fact. In the ongoing lawsuit in April of 2010, a Judge ordered Fairey to say who if anyone helped destroy evidence that the AP photo was the one Fairey based the Obama poster on. U.S. District Judge Alvin K. Hellerstein ordered Fairey’s lawyers to “disclose relevant documents that were deleted or destroyed from Fairey’s files and when the deletions or destruction occurred.”

Shepard Fairey's United States Marshals Service mug shot taken in February 2012


Further complicating the issue is that Mannie Garcia claims that it’s not AP that has copyright but him. He claims that his contract with the AP gave him copyright over all his photos. However, when asked how he felt about the image he said that “so proud of the photograph and that Fairey did what he did artistically with it, and the effect it’s had,” but that he did not “condone people taking things, just because they can, off the Internet.”
In January of 2011 “The Associated Press, Shepard Fairey and Mr. Fairey’s companies Obey Giant Art, Inc., Obey Giant LLC, and Studio Number One, Inc., have agreed in principle to settle their pending copyright infringement lawsuit over rights in the Obama Hope poster and related merchandise… In settling the lawsuit, the AP and Mr. Fairey have agreed that neither side surrenders its view of the law.” Also included in the settlement was a confidential financial payment.
In February of 2012 Fairey “pleaded guilty in Manhattan Federal Court on Friday to one count of criminal contempt for destroying documents, manufacturing evidence and other misconduct.” In September of 2012, he was sentenced in a Manhattan federal court, for tampering with evidence, to two years of probation and a $25,000 fine.

Shepard Fairey

Frank Shepard Fairey is an American graphic artist whose work is similar to the Warhol pop art scene. His art, brand and logo based on the “André the Giant” emerged from the skateboarding scene and now his brand and slogan OBEY has a clothing line and print collection. He is seen as a sort of expert on graphic art and was interviewed in the Chevolution movie about the Che Guevara image. His Obama poster was included in The Smithsonian and he has also works in the Los Angeles County Museum of Art, the Museum of Modern Art in New York, and the Victoria and Albert Museum in London.
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I Have a Dream

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Behind the camera: AP Images
Where: Steps of the Lincoln Memorial during the March on Washington for Jobs and Freedom
Photo Summary: Dr. Martin Luther King, Jr.
Picture Taken: August 28, 1963

I have a dream!
Dr. Martin Luther King, Jr.

“I Have a Dream” is the name given to the August 28, 1963, historic public speech by Dr. Martin Luther King, Jr., when he spoke of his desire for a future where blacks and whites would coexist harmoniously as equals (I Have a Dream). The speech is seen as his crowning moment and one of the most Iconic moments of that time. The speech is often ranked as one of the greatest 20th-century speeches in America. Footage and pictures of the speech are still famous and the clip is used in movies and on TV to represent the civil rights movement in the ’60s.

Taking the photo





G.Marshall Wilson started the day with 6:00 AM walking through the crowds with four 35mm cameras. The cameras, film and other equipment weighed 38 lbs but that didn’t slow down Wilson. Around noon he had wandered over to the speaker’s platform in front of the Lincoln Memorial and climbed to the top of the elevated cameramen’s stand. Seeing the crowd spread out he had an idea for a photo. Walking back down he talked with King and his entourage and King always on the lookout for iconic photos jumped at the chance for a front page photo. Climbing to the top of the cameramen’s stand Wilson took a number of shots of King waving to the crowd. Space was limited so Wilson used a 24mm wide-angle lens on his 35mm camera.

March on Washington for Jobs and Freedom

The federal government had for years tried half-heartedly to pass some kind of civil rights bill that would grant equality to all Americans. It wasn’t until President John F. Kennedy tried to pass his bill on June 11, 1963, that a real attempt to give Blacks civil rights was undertaken. The bill was quickly blocked by southern representatives in Congress.
It was under this atmosphere that leaders from the civil rights movement planned a march to Washington to build political momentum behind the measure. Proposed by A. Philip Randolph and organized by him, Bayard Rustin and Martin Luther King Jr. the march saw a joining of multiple parties who often were in disagreement. At first, the Kennedy Whitehouse was against the march as it might turn violent and hurt the passage of the bill. The organizers agreed to tone down the rhetoric and keep the more militant organizations in check but refused to cancel the march. Once he saw that he couldn’t stop it Kennedy supported the march but because of the concessions organizers gave Kennedy many prominent Black leaders were against it. Malcolm X called it the “Farce on Washington” and the Nation of Islam punished any members who attended.

Stay home. This will not be safe
Southern congressmen

Before the march there was an atmosphere and fear of potential violence, on one side Southern congressmen told their white female employees, “Stay home. This will not be safe.” and on the other, there was a fear that not enough people would show to show how much the public supported the goals of the march. These fears proved unfounded as almost a quarter of million people came to hear the speeches given that day, the largest demonstration in America at that point in time. Amongst the speakers were Martin Luther King Jr and many others who each got 15min to speak or perform. The speakers included SNCC leader John Lewis, civil rights figures such as Gordon Parks and Roy Wilkins, labor leaders such as Walter Reuther, clergy including Patrick Cardinal O’Boyle (the Archbishop of Washington, who made the invocation), Rabbi Uri Miller (President of the Synagogue Council of America) who gave the prayer, remarks by Rabbi Joachim Prinz (President of the American Jewish Congress), Archbishop Iakovos primate of the Greek Orthodox Archdiocese of North and South America, author James Baldwin, film stars such as Charlton Heston, Sidney Poitier, Harry Belafonte, and Marlon Brando, nightclub stars Josephine Baker and Eartha Kitt, and singers such as Mahalia Jackson, Marian Anderson, Joan Baez, Peter, Paul and Mary and Bob Dylan (who performed after King’s “I Have a Dream” speech, as seen in the film No Direction Home)

Prepared Speech

Legend holds that King departed from his prepared text and began preaching on the fly, but he had delivered a similar speech incorporating some of the same sections in Detroit in June 1963, when he marched on Woodward Avenue with Walter Reuther and the Rev. C.L. Franklin. He had rehearsed other parts before the march.

Liscening

  • Text and Audio of Speech Accessed Dec, 2006
  • AP IMAGES handles the copyright for the several images that day: AP “I Have a Dream” picture from behind and the AP “I Have a Dream” picture from the front

    Copyright of the Speech

    Because King distributed copies of the speech at its performance, there was controversy regarding the speech’s copyright status for some time. This led to a lawsuit, Estate of Martin Luther King, Jr., Inc. v. CBS, Inc., which established that the King estate does hold copyright over the speech and had the standing to sue; the parties then settled. Unlicensed use of the speech or a part of it can still be lawful in some circumstances under the doctrine of fair use.

    While the recording King gave that day is considered a national treasure it is still copyrighted, like a song would be. This is why you can’t find a full copy on YouTube or even a government site. This is due to the British music publishing EMI Publishing house (In 2011 Sony Corp bought out EMI) and the King estate own the rights to the recording. If movies, documentaries want to use the speech they have pay. If you want a copy for yourself you have to buy the Martin Luther King Jr. – I Have a Dream DVD.

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    • Killer Man

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    Behind the camera: CW4 Ruben Dominguez
    Where: 75th Ranger Regiment
    Photo Summary: Military poster
    Picture Taken: 1985
    This image is in the public domain because it was taken by a federal employee

    I’m not the killer man…

    This image although not world renowned in any sort of way is in fact iconic within a particular class. The United States Special Forces. Particularly the U.S. Army’s 75th Ranger Regiment. The 75th Ranger Regiment is now a special operations combat formation within the U.S. Army Special Operation Command (USASOC). The Ranger Regiment traces its lineage to three of six battalions raised in WWII, and to the 5307th Composite Unit (Provisional)—known as “Merrill’s Marauders,” and then redesignated as the 475th Infantry, then later as the 75th Infantry. The 61 day Ranger school/leadership course, located at Fort Benning Georgia, is notoriously difficult often boasting a 70-80% attrition rate. The course emphasizes leadership and small unit tactics.

    The Poster

    The Poster of “I’m not the Killer man…” was commissioned in 1985 by the then Regimental Commander, Colonel Joseph “Smoking Joe” Stringham. It was originally thought of as an incentive or bonus that a soldier would get upon joining the Ranger unit. Each poster would be signed by the Regimental Commander, the Deputy Commander and the Regimental Sergeant Major.
    Colonel Stringham then went to the Fort Benning TASC (Training and Audio Visual Support Center) office to place an order to have the poster printed. However, TASC, for whatever reason, told him that they couldn’t print the poster. Colonel Stringham then flew TDY (Temporary Duty) to Fort Bragg, North Carolina, and spoke to the 4th Psychological Operations (4th PSYOPS) mobile printing press who ended up printing 3000 copies of the poster for the Colonel.
    The posters remained on display within Ranger offices and in the barracks, with the original poster, drawn on butcher block paper, in the Regimental Ranger Headquarters until the next Regimental Commander, Colonel Taylor, took command. He thought the poster displayed a negative image of the U.S. Army Rangers and all Regimental Rangers were then required to take down the posters.

    The Poster’s Concept and Inception

    The “Killer Man” Poster as it has come to be called was designed and drawn by now retired CW4 Ruben Dominguez. Dominguez had spent four years in the United States Marine Corps in the infantry (0311) and as a small arms repair man (2111). He had left the USMC in 1984 and joined the Army principally because he wanted to be a paratrooper, and was picked up by the Ranger Regiment as an Infantryman (11B)/Draftsman due to his architectural background.
    According to his recount of the genesis of the “Killer Man” Poster: “It was a weekend and I was frustrated. Drawing being one of my past times, I commenced to take out my frustration on paper. I began drawing the Ranger in a Captain America stance and modified it to reflect the Ranger holding the Ranger Crest Shield. It was my concept of what a Ranger is…an individual that takes up more of the share than others do, i.e. the large ruck sack with all the tools a warrior lives by…..armed to the hilt. Instead of the M-16, he holds the M-60 Machinegun. Being an avid admirer of the Ghurkas of Nepal and their honorable history, I drew him holding a “Kukri” knife. And considering that I personally believe that the United States flag is by far the most beautiful flag on this earth, I expressed my patriotism by drawing the American flags behind the Ranger as he charges forward into battle.”
    While Dominguez was in his office sketchy the image out, Command Sergeant Major Cobb came in and made it clear that “That’s it! That’s what the old man wants!” He was referring to Colonel Stringham and his desire for a motivating and aggressive poster depicting his ideal Ranger Warrior.
    A brief discussion then ensued in which CSM Cobb decide the poster needed a slogan. The following words would be printed across the top and bottom of the poster, and would come to be something of a mantra in the Ranger community.
    “I’m not the Killer man, I’m the Killer man’s son, But I’ll do the Killing till the Killer man comes.”
    This was a direct quote from then President of the United States, Ronald Reagan.

    CW4 Dominguez

    As the Rangers Regimental Draftsman, Dominguez had been responsible for streamlining the Ranger scroll design to ensure uniformity across the Ranger Regiment and Ranger Battalions. All uniformity guidelines i.e. diagrams of how the Ranger beret should be worn etc, were all his responsibility. In 1987 Dominguez left the Ranger Regiment and the Infantry and joined Counterintelligence. He retired in 2010 and currently works as a civilian/military contractor.

    Pictures from other Wars

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    VJday Times Square Kiss

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    Behind the camera: Alfred Eisenstaedt although Lt Victor Jorgensen took a similar image
    Where: Times Square, New York City, USA
    Photo Summary: Many claims to be the Nurse and Sailor shown in the picture. Former nurses Edith Cullen Shain and Greta Friedman are the most likely Nurses and George Mendonça and Carl Muscarello are the most likely Sailors.
    Picture Taken: August 14, 1945. Victory in Japan day is actually Aug 15, 1945, but news broke out at Times Square on August 14 because of the International date-line and time zone changes.

    America had been at war for almost 4 years, Germany had finally been knocked out of the conflict three months earlier but Japan still fought on. Finally, after nightly bombing raids and two cities wiped out by Atomic explosions, Imperial Japan surrendered. News travelled like wild fire and on August 14, 1945, America celebrated! One of the most famous pictures of World War II, Alfred Eisenstaedt captured this image in the revelry at New York’s Time Square.

    Taking the picture

    Actual photo taken by Alfred Eisenstaedt

    When news broke out of Japan’s surrender Alfred Eisenstaedt ran to Times Square taking pictures as he went. Suddenly he saw a sailor who was “‘running along the street grabbing any and every girl in sight. Whether she was a grandmother, stout, thin, old, didn’t make any difference. None of the pictures that were possible pleased me. Then, suddenly in a flash, I saw something white being grabbed. I turned around and clicked the moment the sailor kissed the nurse … Although I am 92, my brain is 30 years old.’ To prove it he recalled that to shoot that victory kiss he used 1/125 second exposure, aperture between 5.6 and 8 on Kodak Super Double X film.” Eisenstaedt snapped four shots of the kissing couple before moving on to get other pictures. A navy photographer, Lt Victor Jorgensen, was standing very close to Eisenstaedt and took a similar image. As Jorgensen was a federal employee his images are in the public domain while Eisenstaedt’s are copyrighted.

    Who is in the Picture?

    Original letter to Eisenstaedt

    On that crazy August day, Alfred Eisenstaedt got so caught up in the excitement that was going on in Times Square that he didn’t write down who the sailor and nurse were. Since that day many have stepped forward claiming to be the two in the picture.

    Edith Cullen Shain

    Edith Cullen Shain was a Nurse that was taking part in the celebration when she was kissed by a sailor. She said she wasn’t surprised as “at that time in my life everyone was kissing me.” Even though she knew it was herself in the image she didn’t step forward until the late 70s when she saw an article in the LA Times with Eisenstaedt. He was talking about the photo and after reading it she decided to come forward. In the 40s Edith ” didn’t think it was dignified [to be photographed kissing] but times have changed” so she wrote this letter to Eisenstaedt:

    Dear Mr, Eisenstaedt:
    Now that I’m 60 – it’s fun to admit that I’m the nurse in your famous shot “of the amorous sailor celebrating V.E. Day by kissing a nurse on New York’s Broadway.”
    The article in the Los Angles Times, which described your talents, stimiulated the recall of the scene on Broadway. I had left Doctors’ Hospitial and wanted to be part of the celebration but the amorous sailor and a subsequent soldier motivated [me] into the next opening of the subway.
    I wish I could have stored that jubulation and amour for use P.R.N. [“P.R.N.” is a medical term meaning “as needed”]
    Mr Eisenstaedt, is it possible for me to obtain a print of that picture? I would be most apprecitive. I regret not having meet you on your last trip to Beverly Hills.
    Perhaps next time. If not – will understand because “it’s not only hard to catch him … its hard to keep up with him”
    Have fun, Fondly,
    Edith Shain

    New York City celebrating the surrender of Japan. They threw anything and kissed anybody in Times Square.

    Lt. Victor Jorgensen’s version of the photo

    Of all the nurses claiming to be “the one” Eisenstaedt has backed Shain describing her as a “vivacious, lovely woman.”. Shain died at her home on June 20, 2010. She was 91 years old.

    Greta Friedman

    Greta Friedman claims the photo is of her but concedes that Shain was probably there, “There’s no doubt that Mrs. Shain was there and got kissed … because every female was grabbed and kissed by men in uniform.” But, says Greta of Frederick, Md., “it definitely is my shape. I used a comb in my hair. I had a purse like the one in the nurse’s hand. I remember being kissed by a sailor, right on Broadway.” Of the women, only Greta is high enough to be the Nurse to Mendonsa’s sailor. She died in 2016 at the age of 92.

    Barbara Sokol

    In the kissing frenzy in Times Square, Barbara Sokol recalls, she got “an ucky, sloppy kiss” and was wiping her mouth with a handkerchief when up walked another guy who yelled, “‘Gotcha’ I said, ‘No! No! No!’ and when he bent me back I thought, ‘My God, I’m gonna fall'” Barbara a nurse in Derby, Conn. She has always claimed that the Nurse was her and has kept a cut out of the picture framed, “my one claim to fame.”

    George Mendonsa

    Rita Mendonsa future wife of George Mendonsa behind the kissing couple

    George Mendonsa or George Mendonça, a native of Newport, Rhode Island, was named by the Naval War College in August 2005 as the Sailor in the picture due to some compelling evidence including picture analysis by the Mitsubishi Electric Research Lab (MERL) in Cambridge, MA, matching scars and tattoo spotted by photo experts and the testimony of one Richard M Benson a photo analysis expert and professor of photographic studies plus the former Dean of the School of Arts at Yale University. Mr. Benson has stated that “It is therefore my opinion, based upon a reasonable degree of certainty, that George Mendonsa is the sailor in Mr. Eisenstaedt’s famous photograph.” George, on leave from the USS THE SULLIVANS (DD-537), was watching a movie with his date, future wife Rita Mendonsa, at Radio City Music Hall when the doors opened and people started screaming the war was over. George and Rita took part in the partying on the street but when they couldn’t get into the packed bars decided to walk down the street. It then that George saw a nurse walk by and took her into his arms and kissed her, “I had quite a few drinks that day and I considered her one of the troops–she was a nurse.” In one of the four pictures that Eisenstaedt took you can actually see Rita in the background.

    Mr. Mendonsa’s daughter, Sharon Molleur, reported that her father suffered a seizure and died on Sunday, February 17, 2019, after a fall at a care home in Middletown, Rhode Island. He was 95 years old.

    Mygrapefruit aka Sanna Dullaway VJ Kiss

    Colourized by Mygrapefruit aka Sanna Dullaway

    Other Sailors

    Bill Swicegood, Clarence “Bud” Harding, Wallace C. Fowler and others have claimed to be the sailor but none have the evidence that supports Mendonsa’s claim. Even with all the evidence supporting Mendonsa as the sailor ex-NYPD officer, Carl Muscarello still insists that he is the kisser, “I am 100 percent sure. There is no doubt in my mind.” While Muscarello doesn’t have scientific proof behind the claim he does have the backing of the Edith Shain who the photographer, Alfred Eisenstaedt, backed before he passed away. Another supporter of Muscarello was his mother, “When the magazine came out, my mother called me and said I was in LIFE magazine. You couldn’t see my face, but she knew the birthmark on the back of my right hand. She said, ‘Don’t you know you shouldn’t be kissing strange women? You’ll get a disease.’ I said, ‘Mom, the lady’s a nurse.’ She said, ‘They’re the worst kind, always around sick people.’ “. Muscarello who lives down in Florida was recently in the news when he and his son tackled a golf club-wielding home invader who surprised the family while eating breakfast.

    As of 1995 LIFE magazine has never identified who was in the picture.

    Alfred Eisenstaedt

    Alfred Eisenstaedt (December 6, 1898, Dirschau, West Prussia (now Tczew, Poland) – August 24, 1995, Jackson Heights, Queens, New York) was a photographer and photojournalist, best remembered for his photograph capturing the celebration of V-J Day. Eisenstaedt immigrated to the United States in 1935, where he lived the rest of his life. Eisenstaedt worked as a photographer for Life magazine from 1936 to 1972. His photos of news events and celebrities, such as Sophia Loren and Ernest Hemingway, were featured on more than 90 Life covers.

    #MeToo

    The advent of the #MeToo movement caused society to reevaluate this iconic kiss. After the “Kisser” Mendonsa died a statue of the kiss was vandalized, with someone spraying #MeToo on the nurse’s leg. Several of nurses recall being kissed against their will that day but write it off as being caught up in the moment. BBC reported that “After Ms Zimmer’s death in 2016, her son told the New York Times his mother did not view the kiss negatively.”

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    We Can Do It!

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    Behind the camera: J. Howard Miller
    Where: Miller’s Studio
    Photo Summary: A poster put out by the US government to encourage women to head out into the workforce
    Picture Taken: 1943
    This image is in the public domain because it was taken by a federal employee, J. Howard Miller

    While other girls attend their fav’rite cocktail bar
    Sippin’ dry martinis, munchin’ caviar
    There’s a girl who’s really puttin’ them to shame
    Rosie – is her name
    All the day long, whether rain or shine
    She’s a part of the Assembly Line
    She’s makin’ history, workin’ for Victory
    Rosie! The Riveter

    -Rosie The Riveter was written by Redd Evans and John Jacob Loeb

    After the bombing of Pearl Harbor by the Japanese, America entered the war. Companies who had been already producing some war material for the Allies switched to full wartime mobilization. As factories stepped up production, they faced an immediate problem, manpower shortages. Men working in the American labor force left by the millions to serve their country in the military. Companies who had just signed lucrative contracts with the government desperately needed workers and they turned to as yet untapped resource, American Women.

    Women in the Workforce

    Women in the workforce were not a new thing, especially for minorities and the poor. These working women though were mostly restricted to the traditional female professions. The attitudes of the time placed the ideal role of a woman as a homemaker raising the kids. Compounding this way of thinking was the high unemployment during the Depression. Most saw women in the workforce as taking jobs from unemployed men. The American government seeing that it would have to smash these mind-sets launched a media campaign to get women into the labor force.

    [bigquote quote=”Do the job he left behind” author=” American government slogan”]
    With slogans like, “Do the job he left behind” or “The more women at work, the sooner we will win”, the government launched a media blitz intended to get more ladies into the factories. The “US Office of War information” even put out a “Magazine war guide” for publishers. It had ideas, slogans, and information on how to recruit women workers. Publishers were told to write articles depicting work as glamorous, with high pay but most of all emphasizing patriotism, doing all you can do. Articles soon appeared talking about how because of the war it would not reflect poorly on the man that he was not the sole moneymaker, that a family with a working wife was a patriotic family. Posters and ads of the time also stressed that the female in the factories scenario was temporary, to allay the fear that women were taking Men’s jobs. While making more money was also pressed as a plus, the government warned that the more money coming in shouldn’t be overemphasized or else women might go crazy with spending and cause inflation.

    The Empowerment Posters

    Part of the campaign was a series of propaganda posters encouraging all Americans to buckle down and do their part. An example of this was a poster created by Westinghouse War Production Co-Ordinating Committee artist J. Howard Miller. It was simply entitled “We Can Do it”. He based the poster on a United Press International (UPI) picture taken of Geraldine Doyle working at a factory. At the time of the poster’s release, the woman pictured wasn’t named Rosie. The Rosie name came later when a popular patriotic song called “Rosie the Riveter” was released. The song was written by Redd Evans and John Jacob Loeb and recorded by big band leader Kay Kyser. The name Rosie still wasn’t cemented as a household name until the Norman Rockwell Cover on the Saturday Evening Post came out.

    Feminist Icon?

    Recent research has been done on the purpose behind the “We Can Do it” poster. While modern culture has assigned the poster a symbol of women’s rights the original purpose may have been much different. Analysis by Gwen Sharp and Lisa Wade have put forward the theory that the poster wasn’t created to be a feminist symbol rather it was a short run poster hoping to promote management and prevent strike action. They note that the poster has instructions in the bottom left corner telling to hang the poster from Feb 15 to Feb 28 [1943]. Also, a small company badge on her shirt collar is noticeable, so rather than being a poster for the general public Sharp and Wade claim that it was an internal poster for employees that already worked for the company not a call-up for more women from the general public.

    the message wasn’t designed to empower workers, female or otherwise; it was meant, as were the other posters in the series, to control Westinghouse’s workforce … Images of happy workers expressing support for the war effort and praising workers’ abilities served as propaganda meant to persuade workers to identify themselves, management, and Westinghouse itself as a unified team with similar interests and goals … Kimble and Olson write: “…by addressing workers as ‘we,’ the pronoun obfuscated sharp controversies within labor over communism, red-baiting, discrimination, and other heartfelt sources of divisiveness.” Indeed, the authors note that such measures were effective, since “patriotism could be invoked to circumvent strikes and characterize workers’ unrest as unAmerican.” Today, we see the poster through a lens shaped by what came later, particularly Second Wave feminism.
    –Gwen Sharp and Lisa Wade

    Rockwell’s Rossie





    The May 29, 1943, edition featured Rockwell’s take on women doing their part for the war effort. Rockwell painted a statuesque factory worker named Rosie who contemplating the greater things in life while eating lunch is crushing a copy of Mein Kempf under her feet. Rockwell based the image on Michelangelo’s depiction of the prophet Isaiah in the Sistine Chapel. Like many of his painting, he used a model from Arlington, Vermont the small town where he spent most of his time. The 19-year-old telephone operator, Mary Doyle (later Married as Mary Keefe) posed for the picture and was quite surprised when Rockwell turned her small frame into the muscled Rosie seen on the cover.

    Real life Rosies

    The popular Rockwell cover and hit song prompted the government to launch a campaign promoting the fictional character of “Rosie the Riveter”. Rosie was seen as the ideal woman worker: loyal, efficient, patriotic, and pretty. Media were encouraged to go along and soon they started to find their own real-life Roses. One such Rosie was Rose Hicker, who with her rivet partner was reported to have broken a record for driving rivets into a Grumman “Avenger” Bomber at the Eastern Aircraft Company in Tarrytown, New York. Hollywood star Walter Pidgeon discovered his own Rosie when touring the FORD Willow Run Aircraft Factory in Michigan. He found a Rose Monroe riveting plane parts together, he quickly had her moved from the factory floor to the film stage, playing herself riveting in war bond films.

    The similarities between the “We can do it!” poster and the Rockwell cover ensured that both women were labelled as Rosie. Soon every woman in the workforce was referred to as Rosie. Women who worked in the factories during World War II are still called Rosies. The Miller poster and Rockwell’s cover were seen as the ideal Rosie and each had a huge demand. Yet, Rockwell’s cover was copyrighted which slowed reproduction. Miller’s poster had no restrictions and it was soon on everything, as everybody wanted to show their support for Rosie. The Rockwell cover, while it had helped create the Rosie legend, slowly faded from view and Miller’s “We can do it” poster, rechristened Rosie the Riveter became the image everyone remembers.

    Millions of women took up the call to fill the factory the floor’s vacated by the men during World War II. It became so hard to find women to do traditional jobs that many companies had to shut down, for example, some 600 hundred laundries were forced to close due to lack of workers. While women enjoyed the independence and money their jobs brought, after the war as the men started to return home most left or were forced from their jobs. They went either back into the home or into traditional female employment roles but not all left, as after World War II women in the workforce would never dip below pre-war levels.

    Geraldine Doyle

    For decades Geraldine Doyle, born July 31, 1924, was thought of a woman who inspired Miller’s poster. She has toured the country signing Rosie the Riveter posters. She didn’t make the claim she was Rosie until the 1980s when she found the picture in a 1942 Modern Maturity Magazine. Only 17 when she took the job at a metal pressing plant near Ann Arbor, Michigan she quit after only two weeks upon finding out that another woman had badly injured her hand doing the same job. Doyle loved to play the cello and was worried that the job might cripple her. In 1992 the U.S. Postal service created a stamp with Rosie’s Image. Geraldine Doyle died on December 26, 2010, from complications of her arthritis. Her daughter Stephanie Gregg said that Doyle was quick to correct people who thought she was the original women worker. “She would say that she was the ‘We Can Do It!” girl,” Gregg said. “She never wanted to take anything away from all the Rosie the Riveters who were doing the riveting.”

    Naomi Parker Fraley, the real Rosie the Riveter


    Naomi Parker Fraley

    The image that started it all

    When Doyle died in 2010 associate professor of communication at Seton Hall University in New Jersey James Kimble began to see holes in her claim to be the woman who inspired the poster. Central to the identity of Rossie is an uncaptioned photo that is claimed to have inspired J. Howard Miller. After years of research, in 2015, he made a breakthrough when he found a series of photos with the caption that listed the woman in the photo as Naomi Parker Fraley.

    Pretty Naomi Parker looks like she might catch her nose in the turret lathe she is operating, [The women wore] safety clothes instead of feminine frills … And the girls don’t mind – they’re doing their part. Glamour is secondary these days.

    Naomi Parker Fraley was born in Tulsa, Oklahoma in August 1921 to mining engineer Joseph Parker and his wife Esther. Eventually, they had eight children and moved throughout the country following mine work. After America joined WWII 20-year-old Naomi got a job at the Naval Air Station in Alameda with her sister Ada. It was there that a photographer took her picture. She didn’t make the connection until 2011 when she saw learned that the picture was the inspiration of the poster. No one would listen to her claims until Professor Kimble tracked her down to her home in California. When they went public the Omaha World-Herald asked how it felt to finally be known as the real Rosie she shouted through the phone “Victory! Victory! Victory!”

    Mrs. Fraley’s first marriage, to Joseph Blankenship, resulted in a son Joseph Blankenship but the marriage ended in divorce. She got married again but her second husband, John Muhlig, died in 1971. Her third husband, Charles Fraley, died in 1998 after 19 years of marriage. On January 20, 2018, Naomi Parker Fraley herself died while living with her sister.

    In 2016 in an interview with People Magazine she said: “The women of this country these days need some icons, If they think I’m one, I’m happy.”

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    Farrah Fawcett – Swimsuit Poster

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    Behind the camera: Bruce McBroom
    Where: Farrah Fawcett’s home in Bel Air, California
    Photo Summary: Farrah Fawcett in a red swimsuit
    Picture Taken: Summer of 1976 poster released in Sept of same year

    During World War II Betty Grable was the pin-up queen. After the war, the title was passed from various Hollywood bombshell to Hollywood bombshell but Farrah Fawcett ruled the 70’s. This poster which was released the same year as when she played Jill Munroe on the TV show Charlie’s Angels went on to sell a record 12 million copies making it one of the most famous pin-ups ever.

    Pro Arts Inc.

    Mike and Ted Trikilis dropped out of Kent State in 1967 to open an art gallery that sold posters. A shipment of anti-war posters soon became their number one breadwinner and so they sold the store and became the Pro Arts Inc. Ohio’s number one and only Distributor of Youth-Oriented Posters. They struggled for a few years but then a poster of the Fonz sold more than a quarter-million copies which bumped Pro Arts in the big leagues.
    In April of 1976, Ted was working on his farm with the neighbor’s son Pat Partridge when Pat mentioned that if he running Pro Arts he would make a poster of Farrah Fawcett. He admitted that he and his friends had been buying women’s magazines just to get pictures of her from the Wella Balsam shampoo ads. Ted had never heard of Farrah but knew that if students were using ads of her then a poster would be a big seller. He soon got in touch with Fawcett’s agent Rick Hersh and tried to get a deal. After Ted finished talking Hersh was puzzled and asked, “What type of product is Farrah to be selling on the poster?” “We want to sell Farrah on the Farrah poster,” Ted explained.
    Hersh passed the idea on to Farrah who thought it was “cute” and said she had a photographer she likes to work with.

    Taking the picture



    When the photo was taken Farrah Fawcett was still an unknown actress wanting to make it big. She hadn’t yet signed on for her hit show Charlie’s Angels but got some work doing commercials. Bruce McBroom a freelance photographer had worked with Farrah before and so Pro Arts agreed to hire him for the shoot. They wanted a bikini shot of the blond beauty.
    The shoot was at Farrah’s Bel Air, Calif., home of her and then-husband, actor Lee Majors. She did her own hair and they took the photos behind the home by their pool. She modelled several different swimsuits but McBroom didn’t get excited about any of the pictures he shot. When she came down in the now famous red one-piece swimsuit to cover a childhood scar on her stomach McBroom knew he had something. For the backdrop McBroom grabbed the old Indian Blanket covering his car seat and hung it up, “I should have told people I styled this,” McBroom says, “but the truth is it came off the front seat of my ’37 Chevy.”
    He took a number of shots, using his Nikon, including a sultry Farrah eating a cookie but Farrah chose the final frame that would make her one of the most famous people of the ’70s. In the early summer of ’76 McBroom sent a package of 25 shots of Farrah indicating which one Farrah wanted to use.

    I’ve since heard that when the guy in Cleveland got the pictures, he went, “First of all, where’s the bikini?” He told me he wasn’t ever gonna pay me, because he hated the pictures. But I guess he showed them around to people in his business and they changed his mind. It was Farrah’s pose, Farrah’s suit, Farrah’s idea. She picked that shot. She made a lot of money for him and for herself, and made me semifamous.
    –McBroom

    McBroom was paid $1000 for the assignment but is happy to be associated with such a cultural icon. In 2006 on the 30th anniversary of the image, Fawcett said: “I was a little self-conscious [of the image], probably because my smile is so big, but it always more ‘me’ than any other photograph out there.”
    Ice Used?

    It was all Farrah
    – McBroom

    Legend has grown around Farrah’s prominent features and that she used ice but the photographer, McBroom has always dispelled the rumour saying, “It was all Farrah,”.

    Farrah Fawcett

    Farrah Fawcett (born Ferrah Leni Fawcett on February 2, 1947) in Corpus Christi, Texas to James William Fawcett and Pauline Alice Evans. She is the second of 2 daughters. Her older sister, Diane, passed away from lung cancer in 1998. As a child, Farrah displayed a natural athletic ability which her father encouraged. She was raised Roman Catholic. She attended the University of Texas at Austin and was a member of the Delta Delta Delta sorority.

    In 1976, Fawcett played the character of Jill Munroe for one year in the successful TV series Charlie’s Angels. She was paid $5,000 an episode but with the popularity of the poster earned $400,000 in royalties. She broke her contract and left the show after one season. As settlement to a lawsuit stemming from her early departure, Fawcett appeared six more times as a guest star in seasons three and four.

    Fawcett went on to receive achieve critical praise and her first of three Emmy Award nominations as a serious actress for her role as a battered wife in the 1984 television movie The Burning Bed. She also won acclaim in the stage and movie version of Extremities, in which she played a rape victim who turns the tables on her attacker. She then played a predatory role in another miniseries, Small Sacrifices, receiving a second Emmy nomination. Her third Emmy nomination came in 2004 for her work in The Guardian. Fawcett has been nominated for several other awards as well including the Golden Globe Award and ACE awards.

    Fawcett posed in the December 1995 issue of Playboy, which became the best-selling issue of the 1990s, with over 4 million copies sold worldwide. She later posed for the July 1997 issue, which also became a top seller.
    Farrah Fawcett was diagnosed with cancer in 2006. At approximately 9:28 a.m., PDT on June 25, 2009, in the intensive care unit of Saint John’s Health Center in Santa Monica, California Farrah Fawcett lost her battle with cancer.

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    Vietnam Execution

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    Behind the camera: Eddie Adams
    Where: In Cholon, the Chinese section of Saigon, Vietnam
    Photo Summary: General Nguyen Ngoc Loan killing Vietcong operative Nguyen Van Lem
    Picture Taken: Feb 1, 1968

    After Nguyen Ngoc Loan raised his sidearm and shot Vietcong operative Nguyen Van Lem in the head he walked over to the reporters and told them that, “These guys kill a lot of our people, and I think Buddha will forgive me.” Captured on NBC TV cameras and by AP photographer Eddie Adams, the picture and film footage flashed around the world and quickly became a symbol of the Vietnam War’s brutality. Eddie Adams’ picture was especially striking, as the moment frozen is one almost at the instant of death. Taken a split second after the trigger was pulled, Lem’s final expression is one of pain as the bullet rips through his head. A closer look of the photo actually reveals the bullet exiting his skull.

    Eddie Adams: The Execution of a Viet Cong Guerilla, 1968

    With Color


    Nguyen Ngoc Loan

    “Two people died in that photograph: the recipient of the bullet and General Nguyen Ngoc Loan” – Eddie Adams. Nguyen Ngoc Loan was one of 11 children born to an affluent family in the ancient city of Hue. He finished university at the top of his class and trained as a jet pilot in the South Vietnamese Air Force. It was in the air force that he meets, Nguyen Cao Ky, the flamboyant pilot who once flew a helicopter into the courtyard of his girlfriend’s house to impress her. Ky would later become Prime Minister of South Vietnam from 1965 to 1967, and then Vice President until his retirement from politics in 1971. When in power Ky Surrounded himself with trusted men including his friend, Nguyen Ngoc Loan who he put in charge of the national police. As police chief Loan immediately gained a reputation among reporters for his anger and hair-trigger temper when the Vietcong struck civilian targets.　

    Nguyen Van Lem

    The guy killed one of … Loan’s officers and wiped out his whole family
    -Eddie Adams

    The prisoner whose last instant is captured in Adam’s shot was Nguyen Van Lem. A Viet Cong operative, who like other Viet Cong agents went by the secret name of Captain Bay Lop (Lop was his wife’s first name). His wife, who still lives in Saigon (Now Ho Chi Minh City), confirms that Lem was a member of the Vietcong and that he disappeared shortly before the Tet Offensive never to return. Lem’s role in the Viet Cong is murky. Most reports give him the role of a Captain in a Viet Cong assassination and revenge platoon responsible for the killing of South Vietnamese policemen and their families. Eddie Adams was told by Loan that Lem had killed one of Loan’s friends and his family, “They found out that [Lem] was the same guy who killed one of his —uh—Loan’s officers and wiped out his whole family.” Yet facing international pressure when the picture and footage aired Vice President Ky, said the prisoner had not been in the Viet Cong but was “a very high ranking” communist political official. History hasn’t clarified Lem’s role in the Vietcong and the Vietnamese government has never acknowledged his role in the war. Lem’s widow and children lived in poverty for years before being discovered by a Japanese TV crew living in a field. It was only then that the Vietnamese government provided her shelter.　

    Taking the picture

    He was a hero … very well loved by the Vietnamese
    -Eddie Adams on General Loan

    Adams, the man who captured Lem’s final instant was a former Marine photographer in the Korean War. Working for AP, he had arrived in Vietnam a few weeks before the Tet Offensive. This was his third tour; the first was when marines initially touched down in Vietnam in 1965. On the second day of the Tet Offensive Eddie heard reports of fighting near the Cholon, the Chinese section of the capital. The AP and NBC were office neighbors and often pooled resources when reporting the war. So Eddie teamed up with one of NBC’s cameramen, Vo Su, and went to check out the location where the fighting was reported.　
    The two shared a vehicle but as they got closer started to proceed on foot. Hal Buell, Eddie’s boss, tells what happened next:　

    Adams watched as two Vietnamese soldiers pulled a prisoner out of a doorway at the end of the street. The soldiers then pushed and pulled what appeared to be a Viet Cong in a plaid shirt, his arms tied behind his back. They escorted the man toward the spot where Adams and Vo Su were located.
    “Eddie Adams said, ‘I just followed the three of them as they walked towards us, making an occasional picture. When they were close – maybe five feet away – the soldiers stopped and backed away. I saw a man walk into my camera viewfinder from the left. He took a pistol out of his holster and raised it. I had no idea he would shoot. It was common to hold a pistol to the head of prisoners during questioning. So I prepared to make that picture – the threat, the interrogation. But it didn’t happen. The man just pulled a pistol out of his holster, raised it to the VC’s head and shot him in the temple. I made a picture at the same time.’ “The prisoner fell to the pavement, blood gushing,” Buell, quoting Eddie. “After a few more pictures of the dead man, Adams left.

    　

    Video Footage





    NBC also acquired film footage of the incident, thanks to the South Vietnamese journalist with Adams, Vo Suu, a cameraman for NBC correspondent Howard Tuckner. The color footage of the execution filmed by Vo Suu was shown to a stunned America already shocked by images of a supposed “defeated” on the offensive during the Tet attack.
    After the picture and footage flashed across the world there were cries for Loan to be charged with War Crimes for his summary execution of Lem. Loan’s execution would have violated the Geneva Conventions for captured soldiers or Prisoners of War (POWs) if Lem had been wearing a military uniform. Since Lem was caught wearing civilian clothes, a plaid shirt and black shorts, Loan was only restricted by the laws of the South Vietnamese government, which allowed the use of such harsh measures.

    After the War

    　

    His Vietnam execution shot won Eddie Adams the Pulitzer Prize for the Associated Press in 1969. He has always felt guilty over his role in demonizing Loan. After the picture was released in 1969 the AP assigned Adams to follow Loan around Vietnam. In this time Adams remembers, “I . . . found out the guy was very well loved by the Vietnamese, you know. He was a hero to them . . . and it just saddens me that none of this has really come out.”
    Adams would later do a series of shots of 48 Vietnamese boat　people who had managed to get to Thailand in a small 30ft boat, only to be towed back out to sea by Thai military officials. His reports and picture convinced President Jimmy Carter to grant asylum to over 200,000 Vietnamese boat people. “I would have rather won the Pulitzer for something like that. It did some good and nobody got hurt.”　

    General Loan Taken out of Action

    The guy was a hero. America should be crying
    -Eddie Adams on hearing of Loan’s death

    In May 1968 only a few months after the execution picture, now, Brigadier General Loan was seriously wounded. While leading the charge against a Viet Cong strong point a machine gun burst had ripped off his leg. Once again a photograph captured Loan. This time the general was bleeding profusely while the broad-shouldered Australian war correspondent, Pat Burgess, carried him back to his lines.　
    Loan was taken to Australia for treatment but when it was discovered who he was there was such an outcry from the Australian public he was moved to the Walter Reed Army Medical Center in Washington. After recovering from his injuries the one-legged Loan returned to Saigon where because he had been relieved of his command due to his injuries devoted his time to set up hospitals and the helping Vietnamese war orphans.　

    General to Pizza Cook

    When South Vietnam fell to the north in 1975, Loan at almost the last moment made it out of the country on a South Vietnamese plane after being denied help by the fleeing Americans. He settled in the United States eventually opening a pizzeria in northern Virginia. He lived a quiet life until he was forced to close his restaurant in 1991 when his identity was discovered. In 1998, at 67, he died of cancer but is survived by his four children his wife, Chinh Mai; and nine grandchildren. “The guy was a hero. America should be crying,” Eddie Adams response when he learned of Loan’s death.　

    Eulogy

    I won a Pulitzer Prize in 1969 for a photograph of one man shooting another … The general killed the Viet Cong; I killed the general with my camera. Still, photographs are the most powerful weapon in the world. People believe them, but photographs do lie, even without manipulation. They are only half-truths. What the photograph didn’t say was, “What would you do if you were the general at that time and place on that hot day, and you caught the so-called bad guy after he blew away one, two or three American soldiers?” General Loan was what you would call a real warrior, admired by his troops. I’m not saying what he did was right, but you have to put yourself in his position. 　

    …This picture really messed up his life. He never blamed me. He told me if I hadn’t taken the picture, someone else would have, but I’ve felt bad for him and his family for a long time. I had kept in contact with him; the last time we spoke was about six months ago when he was very ill.
    I sent flowers when I heard that he had died and wrote, “I’m sorry. There are tears in my eyes.”
    –Eddie Adams

    Life After the Picture

    Eddie Adams born on June 12, 1933, in New Kensington, Pennsylvania has covered 13 wars but has also become famous as a magazine cover photographer. His pictures have been seen on magazines and newspaper covers around the world including Time, Newsweek, Life, Paris Match, Parade, Penthouse, Vogue, The London Sunday Times Magazine, The New York Times, Stern and Vanity Fair. (Yes Penthouse! He shot a number of “Pets” in the 70s) He has shot cover shots for some of the most famous people in the world, presidents Richard Nixon to President Bush, Mikhail Gorbachev, Anwar Sadat, Deng Xiaoping, Fidel Castro and Pope John Paul II. In 1988 he started an annual photo event, Barnstorm: The Eddie Adams Photojournalism Workshop. For four days the workshop brings together newbies and seasoned pros in the Photojournalism field for photography, editing tips and networking.　
    Eddie Adams himself lived to 71 when on September 18, 2004, he died from complications of amyotrophic lateral sclerosis, or Lou Gehrig’s disease. The Vietnam war correspondent who carried the wounded Loan to safety, Pat Burgess, also died from painful sclerosis of the nervous system, similar to the type Eddie Adams had.
    The North Vietnamese failed to achieve any of their goals with the Tet Offensive. The attack was a military disaster for the Vietnamese and Vietcong forces where never able to return to the pre-Tet strength. However, in the eyes of the American pubic, it seemed like America had been the one that had been dealt a serious blow. The Offensive contradicted the message from the White House that the USA was winning. The execution photograph was a part of the media presentation of the Tet Offensive and seemed to present a battle that had been reduced to desperation and savagery. Yet for all the emotional impact that the film and picture had, the event had little effect on the presence of American soldiers in Vietnam. American G.I.s stayed for another five years. The American government still continued funding the South Vietnamese for another seven years, until 1975; the same year South Vietnam fell.　

    Copyright info

    The copyright for this image is handled by AP Images.

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