Saturday, May 23, 2020

And Now, the Response by the Honorable Haiku from New York:

by G. Jack Urso 

 politics poli

 tics politics politics

 politics the end 


Saturday, May 9, 2020

Don Felder: Heavy Metal (Takin' a Ride)

by G. Jack Urso

From the 1981 film Heavy Metal, Taarna, last of the Taarakians, takes revenge on the mutants who destroyed a city. Song “Heavy Metal (Takin' a Ride)” by Don Felder. A classic clip from the classic film based on the classic sci-fi/fantasy magazine. 

 From the Aeolus 13 Umbra YouTube channel.

Saturday, April 25, 2020

Abbott and Costello Discuss the World Health Organization

by G. Jack Urso

Abbott: Ok Lou, today we’re going to talk about the World Health

Costello: Who?

Abbott: Exactly.

Costello: What?

Abbott: No, WHO.

Costello: That’s what I said! Who are we talking about?

Abbott: Precisely.

Costello: Look, Bud, I’m confused . . .

Abbott: I’ll say.

Costello: What are we talking about?

Abbott: Not what, WHO. We’re talking about WHO.

Costello: Who?

Abbott: That’s right.


Abbott: Oh, I see your problem. WHO is an abbreviation for the
               World Health Organization. A wonderful group that does
               important work.

Costello: OK, well then, what about WHO?

Abbott: Well, WHO has come under fire recently for its purported
               close ties to China under its current leader Xi Jinping.

Costello: Xi Jingaling?

Abbott: No ding-a-ling, Xi Jinping. Show some respect why don’t

               you? Now, follow along with me . . .

Costello: That train has already left the station.

Abbott: [slaps Costello] Hey, don’t be a wise guy!

Costello: WATCH IT! So, who started all this trouble?

Abbott: No. It was probably Hu.

Costello: WHO?

Abbott: That’s right,

Costello: How can I be right? I DON’T EVEN KNOW WHAT I’M
                TALKING ABOUT!

Abbott: Listen Lou, it’s really quite simple. People think WHO has
               too close ties to China, led by Xi Jinping, but those ties
               were first established under the previous Chinese leader
               Hu Jintao as an effort to get WHO’s help to deal with their
               periodic epidemics.

Costello: Periodic enemas?

Abbott: Well, that won’t help with respiratory diseases, but it's
               probably better than injecting disinfectant.

Costello: What idiot would suggest that?

Abbott: Oh, I don’t know. Some stooge I suppose.

Costello: Who?

Abbott: [slaps Costello] Don’t insult Hu like that!

Costello: HEY!

Abbott: Sorry Lou, you just get on my nerves sometimes.

Costello: So, let me get this straight, you’re saying who is
                 responsible for close ties to who?

Abbott: Boy, you said it.

Costello: And who was replaced by Xi Jingaling?

Abbott: Hey! [raising his hand] You want a fresh one?

[knocking on the door]

Costello: I wonder who's at the door?

Abbott: No, its not Hu. It’s probably the landlord coming to collect

               our back rent.

Costello: You mean, Fred Trump?

Abbott: That’s who.

Costello: Boy, at this point I really wouldn’t be surprised at all. 


Saturday, April 11, 2020

Zimbabwe: The Soul of Mbira

by G. Jack Urso

“The mbira is not just an instrument to us. It is like a Bible; it is the way we pray to God.” — Unnamed Zimbabwe musician.
From the Aeolus 13 Umbra YouTube Channel.
Zimbabwe: The Soul of Mbira, is a 1973 release in Nonesuch Records classic Explorer Series which also includes Africa, Music from the Nonesuch Explorer Series, Ghana: Ancient Ceremonies, Songs & Dance Music, and Kōhachiro Miyata: Shakuhachi — The Japanese Flute, covered elsewhere on Aeolus 13 Umbra. The mbira, also known as a thumb piano, is a traditional African instrument with a delicate, lyrical sound somewhat reminiscent of higher-tuned Jamaican steel drums in the soprano range. The Bantu languages native to the region, in this case Shona, utilize open syllables in an alternating consonant-vowel pattern which complements the mbira and provides both a natural and an ethereal sound — at least to Western ears.

Liner notes are provided below from the album by John Berliner, who recorded the music in the field. The complete album is provided above and the track list with links to individual songs is listed below from the Aeolus 13 Umbra YouTube channel.
Matepe, a type of mbira, in gourd resonator.
All images from Zimbabwe: The Soul of Mbira (1973).
Liner Notes from Zimbabwe: The Soul of Mbria (1973), by John Berliner

The Mbira is an ancient African instrument consisting of reed or metal keys mounted over a bridge on a hardwood soundboard. Typically, an external buzzing mechanism adds complexity to the instrument’s sound. Known by different regional names, numerous varieties of mbira are popular throughout black Africa. The mbira commonly serves as a solo instrument with vocal accompaniment, but it can also be played in small ensembles.

In Zimbabwe, there are several types of mbira, ranging in numbers of keys from eight to fifty-two. Four types represented here are the mbira dzavadzunu, matepe, njari, and ndimba. Musicians play the smallest instruments with two thumbs; the largest, with two thumbs and one or two index fingers. For amplification, musicians stabilize their instruments inside large gourd resonators decorated with shells and more recently bottle tops, which add a vibrating quality to the rich sound mix. Gourd rattles called hosho commonly provide rhythmic accompaniment.

Webster Pasipamire (left) and Erick Muchena with dried gourds
to be fashioned into resonators.
From the earliest times, the mbira has played an integral role in Shona culture. Sixteenth century missionary accounts describe its use in courts, providing music for the praise of kings and for entertainment. To this day, musicians perform the instrument at a traditional religious ceremony called a bira, in which villagers consult their ancestral spirits and make ritual offerings to them. Although mbira players are professional musicians, they commonly supplement their income through their vocations. Hakurowi Mude has earned his living as an upholster and a general store owner; John Kunaka, as a blacksmith and carpenter; Simon Mashoko, as a catechist for the Roman Catholic Church. Hakurowi Mude and Mujuru Muchatera have both served their communities as spirit mediums.

I am greatly indebted to the performers, whose conviction that mbira music holds universal meaning made these recordings possible. With the passing of Mubaywa Bandambira, John Kunaka, and Mukuru Muchatera, the recordings (made in 1972) have become precious documents of Zimbabwe’s cultural heritage. Additional information about the lives of the music’s importance in Shona culture is provided in the author’s companion book, The Soul of Mbira, the University of Chicago Press, 1993).

Track List:

1. Nhemamusada (7:03)

22-key mbira dzavadzunu. MhuriyekwaRwizi ensemble (Justin Magaya, Kuken Pasipamire, mbira; Hakurotwi Mude, voice; Webster Pasipamire, hosho.) Recorded at a bira in Kwaramba Village, Mondoro.

2. Taireva (4:02)

24-key mbira dzavadzunu. Eric and Mondrek Muchena. Recorded in Highfields, Harare.

3. Nyamaropa (6:20)

22-key mbira dzavadzunu. MhuriyekwaRwizi ensemble (Hakurotwi Mude, voice & mbira; Cosmas Magaya, mbira; Ephraim Mutemassango, hosho). Recorded in Highfields, Harare.

4. Kuyadya Hove Kune Mazove (4:25)

26-key matepe. Gibson Utsvoma, mbira; Jospeh Katvayire and Mrs. Fatsika, singers; Garage Nyamudya, hosho. Recorded in the Mkota district, Mtoko.  

Njari, a type of mbira.

5. Mbiriviri (5:54)

35-key njari. Simon Mashoko (Gwenambira), mbira & voice. Recorded at Glen Clova, Masvingo.

6. Nhimutimu (4:02)

24-key mbira dzavadzunu. John Kunaka (Maridzambira), mbira; Cosmos Magaya, hosho. Recorded at Nyamweda, Mondoro

7. Nyamaropa yeVana Vave Mushonga (5:00)

25-key mbira dzavadzunu. Muchatera Mujuro, mbira & voice. Recorded at Dambatstoko, Rusape.

8. Dangurangu (4:23)

23-key mbira dzavadzunu. Mubayiwa Bandambira, mbira. Recorded at Musondza Village, Mondoro.

9. Kumakudo (3:06)

17-key ndimba. Simon Mashoko (Gwenambira), mbira & voice. Recorded at Glen Cova, Masvingo.

Muchatera Mujuru (right) as spirit medium with his attendant, Wafawanaka Mu[fururi.

Sunday, March 22, 2020

The Grey Man: The Lanthorn, Fall 1987

by G. Jack Urso

 The Lanthorn, Fall 1987 issue. Poem by G. Jack Urso. Charcoal drawing, "The Shadow of Friendship," 
by David Caccia. Copyright © 1987 Lanthorn Productions.

Saturday, March 21, 2020

451°: The Lanthorn, Fall 1986

by G. Jack Urso

The Lanthorn, Fall 1986 issue. Poem by G. Jack Urso. Photograph by Amanda Clemens.
Copyright © 1986 Lanthorn Productions.

Sunday, February 16, 2020

The Dying of Jon Spiller

by G. Jack Urso

Obituary: Jon Dayan Spiller, of Mesa, [Ariz.], passed away May 24, 2015. He went peacefully and surrounded by love.
         Image 1: Jon Spiller (Facebook)
I met Jon Spiller once about 1990. I was with a friend visiting his mother, Roz, when he slunked in, told Roz where he had been, where he was going, changed his shirt, and left. I was briefly introduced. I may have said, “Hey, man.” I don’t quite recall. That was my sole interaction with him. Ever. Today, I am writing the story of his dying.

It is easy to write about life. All you have to do is write about what has happened and who it happened with. Death is pretty simple to write about as well because it mainly involves writing about those left behind. In that sense, both are shared experiences. Dying, however, is harder to write about. It’s a journey that exposes the victim right down to their core. Dying is ours alone and belongs to no one else.

Jon was a relatively young man in his 40s when he died. Prior to that moment he slowly accumulated a catalog of chronic conditions, including celiac disease, diabetes, psoriasis, and ulcerative proctitis. Yet, those were not what killed him. It was cancer — cancer that ate away his nose and face.

According to the American Cancer Society, in 2015, the year Jon died, approximately 1,620 people died of the disease every day. The day that Jon died, about 1,619 other families sat forlorn at hospital beds or in small bedrooms at home filled with the detritus of their loved ones’ medical care. Some died alone. Some died forgotten too quickly. The only immortality we can be sure of is in thoughts of those who loved us, and when they go our existence finally fades away, save for a few words preserved in cyberspace that may linger long after even those who loved us have passed on.

He Flies With His Own Wings

Jon Spiller got a rocky start in life at 3.5 pounds at birth. His immune system, which was problematic in his end days, was comprised from the start. From birth, Jon was constantly hungry. As an infant, he was barely strong enough to sit up and eat. Like most boys, he drew on walls with crayons, played baseball, tested his strength, and otherwise often got into mischief. At the young age of 3, Jon figured out how to sneak into the neighbor’s horse paddock to play with their horse, who could have easily trampled him, but he miraculously managed to escape harm.

Roz encouraged Jon’s interest in Little League Baseball, but as the other parents’ arguments over close calls grew more hostile, he asked Roz if she wouldn’t mind if he dropped out. It just wasn’t fun anymore. As a young boy, Jon measured his growing strength by trying to move heavy items, eventually to the point he got a hernia. Roz was unable to stay with Jon overnight in the hospital, but an older boy sharing the room with Jon looked after him.

There was always an angel looking over Jon. He required some extra attention growing up, but, as Roz mused, life sometimes requires a little extra heavy lifting.

Yes, doctor, I do in fact have a hole you can look at . . .

Jon’s final journey first began with persistent nosebleeds. An ENT (ear-nose-throat) doctor saw Jon, but observed only a small wart-like growth. Nothing to worry about the doctor said, according to Jon, not like it was cancer or anything, right? Perhaps it was that infected tooth that needed to be pulled. Jon dutifully followed up, yet the nosebleeds persisted. Upon a second visit to the ENT doctor, the growth had grown so big it had pushed up through his septum and was now inoperable. It could have been removed six weeks before, yet the knee-jerk reaction to avoid an invasive medical procedure resulted in Jon’s death warrant.

The doctor was so startled when he saw the dramatic increase in the size of the growth that he rolled his chair way from Jon as though he had the plague. Yet, despite Jon’s catalog of diseases, there was little coordination among his various specialists. Patients are left to navigate the confusing world of medical treatment and health insurance on their own, and almost always at a time when they are ill-equipped to do so. The stress from being sick, facing one’s mortality, missing work, not having enough money for the drugs you need, and then discovering the drugs you were prescribed not only made things worse, but also reduced the days you have left on the planet. It's no way to live while you're dying.

Jon’s multiple medical conditions resulted in his doctors shifting from one treatment to another. Some of the drugs helped one condition, but aggravated others, and lowered his immune system. Was the cancer the result of drugs for his ulcerative proctitis suppressing his already compromised immune system due to his celiac disease? Should Jon have insisted on having the growth removed as soon as it was noticed? Was that even presented to him as an option from a medical community adverse to invasive procedures unless absolutely necessary? Unfortunately, by the time it was "absolutely necessary" for Jon, it was too late.

A May 19, 2019, article in Forbes, “Doctoring the Doctor Shortage,” reports on the decrease of physicians available to treat an increasing U.S. population. The American Association of Medical Colleges predicts a dearth of 120,000 physicians by 2030. As the shortage grows, the number of patients per doctor increases and less time is available to review medical records and coordinate efforts with other doctors. More importantly, however, less time is spent with the patients and time-consuming operations may be postponed until non-invasive treatments have been exhausted.

Anyone who has endured a journey through the medical system knows that advice, treatment, and recommendations can vary from doctor to doctor. Looking for a cause to Jon’s various medical conditions, and the cancer itself, we are only left with questions. There are countless variables that could have contributed to his death, and it may have not been just one cause. We consume heavily processed foods in mass quantities filled with chemicals. Until 1979, cancer-causing PCBs were used in the electrical transformers on top utility poles in every neighborhood and Jon was of the last generation of children exposed to them. Though the evidence is not conclusive, could it have been radiofrequency radiation from cell phones? How many of us talk with our phones right in front of our faces, exactly where Jon’s cancer developed? Was it an unrelated genetic predisposition that was just somehow triggered?

In another fifty years, quantum computing and artificial intelligence, in combination with more advanced genetic testing, may provide us with the ability to fully analyze our bodies down to the molecular level. There would be no equivocation about whether Jon’s small growth was cancerous or how bad it would get. In that time, medical technology may advance to the point that removing that small growth in Jon’s nose will be considered a minimally invasive outpatient procedure. Those fifty years, however, may as well be 1,000 years away for it all the good it will those of us reading this now and reflecting on how it could have helped a loved one that is no longer with us just intensifies our grief.
Image 2: Jon Spiller, shortly before his death (by permission of his family).
At the end of his life, the cancer ravaged Jon’s face (see image 2) and towards the end left him about 50 pounds lighter, blind, and as helpless as he was when first brought into this world. I was hesitant to include his picture, but that was the reality Jon had to face and to fully appreciate his strength of character we must gaze upon it as well. What do you feel? Fear? Compassion? Look closer and in your reaction you will see your own reflection. It is during these long illnesses that we have to face our own mortality. During those times our character, and all that we learned and loved, is tested. It is not just a picture of Jon Spiller — it is a mirror. In it, we see ourselves.

I attended Jon’s memorial service. Several dozen people slowly filled the room. Old acquaintances greeted each other in hushed tones. One of Jon’s nephews, a talented guitar player, strummed quietly for his cousins, but declined the push to perform. As the speakers shared their memories of Jon’s life, a heart-rendering anxiety hung in the air over all of us, like the Sword of Damocles. I was reminded of the ancient Roman tombstone epitaph: “Where you are now, I once was. Where I am now, you will be.”

Cyber Afterlife

According to Oxford University, by 2070 the number of dead Facebook users is likely to exceed the number of living users. By 2100, approximately 1.4 billion of the current estimated 2.27 billion users will have died. I have known several Facebook users who have passed. One young man I knew, a fellow teacher, died of a heroin overdose. No one knew of his addiction. The last post on his Facebook page is the picture of a solar panel system he installed. People can still post on his page years after his death, though none have. The Facebook page of another friend, who also passed away of cancer, is filled with travel photos, birthday well-wishes, and then farewells from family and friends, even in the months after her death.

While Facebook gets its fair share of criticism, for many of us it will be the sole record of our existence on Earth. Family photos will get lost or destroyed. Government and medical records are buried deep behind layers of security. Nevertheless, even if Facebook closes down, the pages will still be available somewhere in cyberspace. Imagine if we had access to the equivalent of Facebook for the ancient world. Not only could we learn so much of those civilizations, but the individual struggles and dreams of millions of people would not have been lost to time. Every post and comment becomes our legacy to the future.

Jon’s final post on Facebook is an updated profile picture (see image 1) dated September 22, 2014 — ironically, just eight days after my mother’s death and eight months before his own. He looks out into the camera. His full, open, friendly face has a slight smile.

It is full of hope.


Monday, January 20, 2020

Ephemeral Films (1931-1960): A Look Back on an America That Was

by G. Jack Urso

In 1987, The Perlinger Archives released a two-volume collection of short subject films in the public domain. Produced by Richard Prelinger and Robert Stein, Ephemeral Films Vol. 1, “To New Horizons” (1931-1945) and Ephemeral Films Vol. 2 “You Can’t Get There from Here” (1946-1960), include commercials, educational and industrial films, social guidance films, and home films that bracket the pre-war and immediate post-war period. Both collections in their entirety and links to individual segments are available below from the Aeolus 13 Umbra YouTube channel.

Click on the above video to view the complete film.
Ephemeral Films Vol. 1, “To New Horizons” (1931-1945) is dominated by productions sponsored by automobile companies. The period of time covered by this collection represents the glory waning years of the Machine Age, generally considered to have occurred between the years 1880 through 1945. This is the era of skyscrapers like the Empire State Building, large ocean-going palaces like the Titanic, massive infrastructure projects like the Hoover Dam and the Tennessee Valley Authority, electricity, telephone, film, radio, aircraft, and a myriad of weapons of war. Noteworthy segments in this collection include Master Hands (1931), an industrial film with no narration, just visual images, which shows American mass production at the height of the Machine Age. ’Round and ‘Round (1939), is a stop-motion animated educational film explaining how industry and consumerism work and interact with each other.

Ephemeral Films Vol. 2, “You Can’t Get There from Here” (1946-1960) shifts from the industry-heavy segments of Vol. 1 to more socially-oriented topics. There are still some industrial films like A Report to Homebuilders (1946), and Two Ford Freedom (1956), and the surreal Design for Living (1956) is a must-see, but in this era we begin to see what have been termed as “Social Guidance films.” Segments like Shy Guy (1947), Are You Popular? (1947), Dating: Dos and Don’ts (1949), and the The Last Date (1950) are stereotypical of this genre. Flickering against screens in classrooms across Baby Boomer-America, these films formalize social expectations for the youth. In a way, they helped to ease the transition from pre-teen years to adolescence, but from a decidedly white middle-class perspective. Indeed, one will be hard-pressed to find any people of color in these films. While one can assert this is a reflection of the era, the systemic racism of the times, manifested in segregation, infers a concern only with the behavior of those of Northern European decent. For minorities, the message was plain; this was a reality where they did not exist.

Click on the above video to view the complete film.
Some production companies turn up repeatedly. The Jam Handy Organization was founded after World War I by Henry Jamison "Jam" Handy (1886–1983), an Olympic breaststroke swimmer and water polo player. According to Rick Prelinger in "Smoothing the Contours of Didacticism: Jam Handy and His Organization" (Learning With the Lights Off: Educational Film in the United States), the company turned out approximately 7,000 motion pictures and nearly 100,000 slide shows before closing shop in 1983.

The leader in Social Guidance films was Coronet Instructional Films, established in 1934. If somehow you managed to miss the industrial films of Jam Handy, as a Baby Boomer from the late 1940s through the 1970s it was hard to miss a Coronet  production. Known more for quantity than quality, Coronet nonetheless was an early user of Kodachrome film stock. The company ceased production in 1984 after a merger with MTI Films, which in turn was later acquired by Gulf and Western Industries. It probably is no coincidence that both Jam Handy and Coronet came to an end in the early 1980s as the video cassette recorder and inexpensive video production equipment exploded in popularity about the same time.

Aeolus 13 Umbra has previously reviewed post-war mass media in RetroTV Commercials: A Resource for Historical Study.  Indeed, this site’s mission statement is to focus on the influence of society on us. Individually as human beings, and collectively as a civilization, we are the sum of many parts. Some are major historical events. Some are artistic or literary works. Some are musical or poetic. Some are important achievements in science and technology. Some are tragedies. Some are personal stories.

And some, I dare say, are a bit more ephemeral.
Ephemeral Films Vol. 1, “To New Horizons” (1931-1945)
Click on links to view individual segments.

In My Merry Oldsmobile (1931). Animation. Producer Fleischer Studios. Sponsor, Olds Motor Works.

Master Hands  (1931). Producer, Jam Handy Organization. Sponsor, Chevrolet Motor Co. Note: An excellent industrial film production that tells its story with no narration, just visual images, and shows America at the height of the Machine Age. In 1999, Master Hands was selected by the National Film Registry for preservation.

We Drivers (1936). Producer, Jam Handy Organization. Sponsor, General Motors Corp. Note: driver education film.

Chevrolet Leader News  (1936). Producer, Jam Handy Organization. Sponsor, Chevrolet Motor Co. Note: Corporate industrial film.

Relax  (1937). Producer, Jam Handy Organization. Sponsor, Chevrolet Motor Co. Note: People don’t know how to relax, so let high-pressure busy automotive executives tell us how!

Precisely So  (1937). Producer, Jam Handy Organization. Sponsor, Chevrolet Motor Co.

Extra (circa 1938). Sponsor, Esso.

Breakfast Pals  (circa 1938). Producer, Cartoon Films, Hollywood. Sponsor, Kellogg’s. Note: Features the advertising characters Snap, Crackle, and Pop.

Three Smart Daughters (1938). Sponsor, The Singer Company.

Oxydol Goes into High  (1936). Advertisement. Producer, Jam Handy Organization. Sponsor, Proctor and Gamble

’Round and ‘Round  (1939). Producer, Jam Handy Organization. Sponsor, General Motors Public Relations. Note: Stop-motion educational film on how industrial production and consumerism works and interacts.

Back of the Mike  Completed in 1937; released to theaters 1939). Producer, Jam Handy Organization. Sponsor, Chevrolet Motor Co. Note: Educational film on how radio productions are made.

Leave it to Roll-Oh (1940). Producer, Jam Handy Organization. Sponsor, Chevrolet Motor Co. Note: Entertainment short about a robot assisting housekeepers in the future.

To New Horizons (1940). Producer, Jam Handy Organization. Sponsor, General Motors Corp.  Note: Industrial film. Features the NY World’s Fair Futurama exhibit.

Let Yourself Go  (1940). Producer, Jam Handy Organization; Sponsor, Chevrolet Motor Co. Note: Efficient interior design and yet another segment from Chevrolet on how to relax.

Magic in the Air (1941). Producer, Jam Handy Organization. Sponsor, Chevrolet Motor Co. Note: industrial film about the coming of TV.

To Market To Market (1942). Producer, Jam Handy Organization; Sponsor, General Outdoor Advertising industrial film.

New Sketches by Max Fliescher (1944-1945). Producer, Jam Handy Organization. Director, Max Fleischer.
Ephemeral Films Vol. 2, “You Can’t Get There from Here” (1946-1960)
Click on links to view individual segments.

A Report to Homebuilders (1946). Producer, Jam Handy Organization. Sponsor, Stran Steel Division of Great Lakes Steel Corp.

Shy Guy (1947). Producer, Coronet Instructional Films. Note: Features a 19-year old Dick York (Darren Stephens on Bewitched). Also used as a filler segment on Mystery Science Theater 3000. First film by Coronet in its Social/Personal Guidance films.

Are You Popular? (1947). Producer, Coronet Instructional Films.

Technicolor for Industrial Films (circa 1949). Producer, Technicolor Corp.

Meet King Joe (1949). Animation. Producer, John Sutherland Productions. Sponsor Harding College, Arkansas

Dating: Dos and Don’ts (1949). Producer, Coronet Instructional Films.

The Last Date (1950). Producer, Wilding Picture Productions. Sponsor, Lumbermens Mutual Casualty. Note: Dick York returns, this time as a daredevil behind the wheel — Can disaster, death, and horrible facial disfigurement  be far behind?

A Date with Your Family (1950). Producer, Simmel-Meservey.

Treasures for the Making (1951). Producer, General Foods Corp, Certo & Sure-Jell Divisions.

What to Do on a Date (1951). Producer, Coronet Instructional Films.

Young Man’s Fancy (1952). Producer, Edison Electric Institute.

Ike for President (1952). Producer Roy Disney. Sponsor, Citizens for Eisenhower-Nixon Note: This is the full-length version of the classic election commercial often seen in short clips.

Mother Takes a Holiday (1952). Producer, Whirlpool Corp.

Sniffles and Sneezes (1955). Producer, Audio Productions. Distributor, McGraw-Hill Book. Co.

Two Ford Freedom (1956). Producer, Filmways. Sponsor Ford Motor Co.

Design for Living (1956). Producer, MPO Productions. Sponsor, General Motors Corp. Note: This one is bizarrely weird, but an overall outstanding production in its own way. A surreal look at a concept for future consumerism. Interesting set design and model work.

The Relaxed Wife (1957). B. Roerig & Co., Div. Of Chas. Pfizer & Co., Inc. Note: What helps us relax more than a pair of disembodied hands pushing sedatives?

American Look (1958). Producer, Jam Handy Organization, Sponsor, Chevrolet Div. General Motors. Note: The freedom of individual choice is somehow linked to innovative modern kitchen design and appliances.

A Wonderful New World of Fords (1960). Producer, FIlmways. Sponsor, Ford Motor Co.