• Ukraine:*sings a really emotional song how people were exiled and killed in 1944 by the Soviet army*
  • Someone who doesn't know shit about history:Idk....kinda sounds sad...idk ...needs some glitter maybe ? :/
  • Ukraine:*gets emotional when singing because her family and people have suffered a lot during this time*
  • Someone who still doesn't know history:Lmao why is she getting emotional ? This is ruining my sparkle mood.

In all seriousness, I think it’s shite that Ukraine won. Their song was entirely about Russian atrocities in 1944 (hence the name), which was an uncomfortable song to listen to, and completely not in the spirit of Eurovision. The contest was created to put aside politics and come together with music. I personally think that political songs shouldn’t be allowed in the contest at all, from any country. Yes, what happened to Ukraine in 1944 was unforgivable, but that doesn’t mean it deserves to be used in a song contest to win from pity votes to spite Russia.

Think about the many situations throughout history that could have ever been mentioned, but weren’t. Israel never wrote a song about German atrocities. Ireland never wrote a song about British crimes. And Ukraine shouldn’t have written a song about Russia. The contest is corrupt enough without bringing up dark histories into the music to gain votes and spite other countries. It is wrong. Rant over.

Eurovision 2016 in 1 word - POLITICS

I’ve never wanted to touch such uncomfortable theme as politics… But now i just have to.

“It’s not politics. It’s music contest” - they said. 

Yeah, yesterday we saw the truth. Maybe it’ll be rude to say, but it’s fucking unfair to keep the opinion of view unknow people higher than public opinion

I don’t want to say that Jamala was bad in singing….No. She really has a beautiful voice, but we forgot about one rule of eurovision contest - “no politics in songs”.  Jamala told herself that her song is not only about 1944 and also she told that she could be disqualified because of it. But she was not. And WHY? 

Wonderful performances and captivating voices are really important in such contest, but we have no right to forget about  another important things -  honesty and fairness. It’s a pity but they forgot about them. 

We’re all humans. We all have our own opinions. People’ve chosen Russia, politicians - Ukraine. 

But whose opinion is more important? The opinion of thousands of people or the opinion of politicians?

I know the answer. Do you know it too?

P.S. I’m proud of Russia, proud of Sergey, who did his best and showed us real magic!!! It doesn’t matter what they said, he was THE BEST and he is OUR ONLY ONE!!!

P.P.S. Sorry not sorry for such a post, i needed to say it.

Originally posted by andletmekissalittlehigher

The spine Lizard, Spinosaurus (1915)

Phylum : Chordata
Class : Reptilia
Order : Saurischia
Suborder : Theropoda
Family : Spinosauridae
Subfamily : Spinosaurinae
Genus : Spinosaurus
Species : S. aegyptiacus, S. maroccanus

  • Early/late Cretaceous (112,9 - 93,9 Ma)
  • 18 m long and 7 000 kg (size)
  • Bahariya formation, Egypt (map)

The German paleontologist Ernst Stromer von Reichenbach discovered the remains of Spinosaurus in Egypt shortly before World War I–and they wound up in the Deutsches Museum in Munich, where they were destroyed by an Allied bombing raid in 1944. Since then, experts have had to content themselves with plaster casts of the original Spinosaurus fossils. (Read more about the discovery of Spinosaurus.)

Based on the size of its front limbs - much longer than those of a comparable T. Rex–some paleontologists think Spinosaurus may have occasionally walked on all fours. Combined with its piscivorous diet, this would make Spinosaurus a mirror-image of contemporary grizzly bears, which are mostly quadrupedal but occasionally rear up on their hind legs when threatened.

Very tall neural spines growing on the back vertebrae of Spinosaurus formed the basis of what is usually called the animal’s “sail.” The lengths of the neural spines reached over 10 times the diameters of the vertebral bodies from which they extended. The neural spines were slightly longer front to back at the base than higher up, and were unlike the thin rods seen in the pelycosaur finbacks Edaphosaurus and Dimetrodon, contrasting also with the thicker spines in the contemporary iguanodont Ouranosaurus.

Spinosaurus sails were unusual, although other dinosaurs, namely the ornithopod Ouranosaurus, which lived a few million years earlier in the same general region as Spinosaurus, and the South American sauropodAmargasaurus, might have developed similar structural adaptations of their vertebrae. The sail is possibly analogous that is, evolved independently of but due to parallel evolution similar to the sails of the Permian synapsid Dimetrodon, which lived before the dinosaurs even appeared.

Something Good

Okay, so I’ve been hating on Ukraine a lot tonight. I still don’t believe they should have won, but they did. That’s what happened and we all have to deal with it. I’m trying to find the bright side to this, and here’s what I came up with!

Ukraine’s song “1944” features Crimean Tatar, a Turkic language spoken by less than 500,000 people! This is the first time a non-English-only song has won since 2007 when Serbia won! This is a huge accomplishment, and I hope that out of this more countries will choose to sing in non-English languages, and perhaps even choose minority languages to represent them ☺️

If you wish to know more about Crimean Tatar, Wikipedia and Omniglot both have pages on them!


JAMALA - 1944

History repeating itself.

Alfred Soto: This year’s Eurovision winner has a chalky high end reminiscent of ‘80s Aretha, and the rhythm track nods towards Burial. It makes sense: Jamala’s writing and singing about Soviet Russia’s deportation of Crimeans during the Second World War, buried history for the rest of the world, a living reality for Jamala.

Scott Mildenhall: If it wasn’t for her allegations of dubious practice in Ukraine’s 2011 Eurovision selection, Jamala may have already represented her country at the contest with this jaunty yodelathon, and “1944” may never have happened. The difference between “Facebook Song” Monetta and “Crisalide” Monetta is but an illusion, but it’s fortunate that this time the world got the latter. It’s very hard not to be glib when talking about this - maybe impossible - but it doesn’t feel wrong to say that whether on record or live, it is completely compelling. A lot of performances looked curiously empty on the seemingly infinite Stockholm stage, but Jamala made the most of it: she was in the eye of a storm.

Leonel Manzanares: Mugham singing – a cultural staple of the peoples of the Eurasian steppe – is the crux of this track’s colossal resonance. According to tradition, mugham is both mournful prayer and lullaby, as it’s transmitted from mother to baby. It serves as a perfect expression of honor to Nazylkhan, Jamala’s ancestor, and it carries her message. She was a Crimean Tatar who lost a child while being deported to Central Asia by Stalin’s USSR in 1944. Jamala’s devastating take on this subject, accompanied by duduk and a beat that feels close to Burial’s Untrue record, or William Orbit’s Ray of Light ethno-explorations, is a breath of fresh air in Eurovision history; a beam of light in a contest so obscured by both understated hostility and aggressive neutrality. This is not politics, it’s a History lesson. It’s the sound of pain, personal and collective, but also of hope. A message to all displaced peoples, that they’ll too be home soon. And now that Crimea is, once again, an occupied territory, “1944” feels twice as powerful.

Cassy Gress: We’re all going to talk about that bridge and final chorus, right? The part where this turns from an cold and huddled lament into some sort of psychic channeling of the abraded, raw spirit of every displaced people? “I couldn’t spend my youth there,” they wail, “because you took away our peace.” Jamala’s out-of-nowhere perfect whistle register is a cry out of time.

Edward Okulicz: Lost in the furore about this song’s charged political ramifications, I first took to how you could almost body-pop to the beat. That’s an important contributor to how the song moves you, because it rescues it from being just a downer. Though it’s a big downer anyway; nothing says universal sadness like the duduk, even Jamala’s almighty wail. The Tatar chorus, absent of context and my reading of a translation, would have sounded like a lullabye to me, and the triumph of “1944” is how it takes history that’s been slept on, particularly throughout Western Europe and the Anglosphere, and makes us open our eyes. Her howl at the song’s close nearly brought the house down on Saturday night. Kangaroo-toting flag-wavers in the crowd told me that they were disappointed by the last-minute reveal of Dami Im’s defeat, but they were salved because it was to Ukraine.

Thomas Inskeep: I’m kinda shocked that this won the annual cheesefest known as Eurovision: “1944” slinks through the shadows, a quiet shuffle-beat from an early '00s UK garage record joining forces with some trip-hop sonics and some dark, dark lyrics sung by a singer who can really emote. I’ve not read up on the politics referred to herein on purpose, because I wanted to judge this purely on its musical merits, and on those, this is a damned good record.

Will Adams: Jamala’s force-gathering performance of “1944” sent shivers down my spine at each stage of the contest, but in a way the song works just as well in recorded form, without the ball lightning effects and wind. It’s quieter, building atmosphere through windy pads and dusky breakbeats, and Jamala waits until the spellbinding bridge to cry to the heavens. The English lyrics would seem hollow like they so often do in typical Eurovision entries if it were not a lived reality for Jamala and her family. Adding even more weight (and an extra point) is the devastating blow that comes from uncovering the Tatar chorus: “I couldn’t spend my youth there, because you took away my peace.”

Iain Mew: Last year, Måns Zelmerlöw’s “Heroes” got to #11 on the UK charts. Fair to say nothing from this year’s will even match Loïc Nottet’s #69, and it’s not just because of the introduction of streaming to the charts since. We’re an imperfect barometer, but a lack of songs with wider immediate appeal, it makes sense for something at least striking to get through to win. “1994” is really striking. The recorded version can’t match the intensity of performance, staging, or context from the night of course; it doesn’t silence me and have me holding my breath in the same way. It’s still impressive in its own right, as anything which has me thinking of positive comparisons with both La Roux’s “In for the Kill” and Ayumi Hamasaki’s otherworldly epic “Brillante” probably has to be. Jamala powers the small scale sections but keeps enough in reserve to make the grand moments jump out too. And somehow it’s done in three minutes!

Katherine St Asaph: That a major Eurovision contender would have a message of “fuck you, USSR!” was unsurprising, though perhaps not its win. That it would get genuinely, casually operatic? Also not a surprise – it’s Eurovision. That it would sound remarkably like Burial or Maya Jane Coles? The best sort of surprise.

[Read, comment and vote on The Singles Jukebox ]

ok i know it’s just the eurovision but after seeing some negative comments about ukraine’s song i feel that i gotta say something. 

sure, it may not have been the best song of the night, but to have a song about how the soviet government conducted ethnic cleansing against crimean people is fucking bold and brave. not to mention this performance offers millions of russians a break from the usual propaganda about ukraine and the war going on there. they deserve to win just for that.

anonymous asked:

Wasn't putting a political song forward a bit of a low blow? I mean it's Eurovision for gods sake, it really was a bit too dark. The song was very good but it was a bit distasteful to put it into Eurovision where everyone else is singing about love, butterflies and dancing. Congratulations on winning anyway!

Well in truth it was probably one of the most controversial songs in Eurovision history especially because it won but it did not break any rules; there was worry of it being political but it was technically based on the events of 1944 and the thousands of Crimean Tatar people who were deported to Central Asia for decades. Yes, the Russian people have called her out for it being a political jab at Putin’s annexation of Crimea but Jamala has denied such allegations and the ESC jury have agreed with her that the song is purely ‘factual’. Jamala has said in interviews that she just wants to tell her family story, not intending to get all the backlash from Russia or be seen as a heroine in Ukraine. I may be biased but I chose to believe that no harm was intended and that it was a beautiful song but it is quite obvious where the allegations came from and even the fact that the song held political significance but I would argue that it opened many eyes and hearts to the perspective of the Crimean people and even to the events occurring now. Jamala even said in her victory speech something along the lines of “You sang about peace and love but I really want peace and love to everyone”. It was very powerful and moving and truly a strong performance. As to the whole “butterflies and dancing” thing don’t tell me you’ve forgotten about Lordi. #neverforget

Eurovision bullshit :)

Whoever says Eurovision isnt about politics is lying! Yes, its about having fun, dancing, and listening to so many amazing songs. But Ukraines song is about politics. Why? Because she talks about the dificult life her grandma had in 1944, and what Stalin was doing at the time. At the moment Ukraine and Russia arent happy with eachother and whole Europe is on Ukrains side, one of the reasons why they won. If it wasnt for this new voting system Australia or Russia would have won.
Now this is my opinion and its not gonna change no matter who says what. Feel free to hate it :)

Lauren Bacall Filmography


To Have and to Have Not


Confidential Agent


The Big Sleep


Dark Passage


Key Largo


Young Man with a Horn

Bright Leaf


How to Marry a Millionaire


Woman’s World


The Cobweb

Blood Alley


Patterns of Power (uncredited)

Written on the Wind


Designing Woman


The Gift of Love


North West Frontier


Shock Treatment

Sex and the Single Girl


The Moving Target


Murder on the Orient Express


The Shootist




The Fan


Appointment with Death

Mr. North


Tree of Hands




All I Want for Christmas


A Star for Two




The Mirror Has Two Faces

My Fellow Americans


Le jour et la nuit


Madeline: Lost in Paris


The Venice Project

Presence of Mind




Amália Traïda (short)

The Limit

Howl’s Moving Castle  (voice)





These Foolish Things


The Walker


Eve (short)

Scooby-Doo and the Goblin King (video)


Wide Blue Yonder


Carmel (post-production)

facebook europals: 1944 was so political it shouldn’t have won maybe it should have been disqualified eurovision politics contest am I right
facebook europals: i loved apricot stone/ face the shadow/ other songs that are about genocide but neatly packaged into a song that is easier for y'all to ignore the meaning of : )

  • Alan Fitch is born 1936
  • Margaret Fitch nee ? born 1944
  • Sam Milhoan is born 1950. It is unclear if this is his real identity. He had to have been untraceable to both Red and Katarina.
  • Red is born in 1960  (at least according to official records)
  • in 1963 Alan Fitch marries Margaret. We know they have children as he is described as a father, a husband and a patriot
  • Carla is born 1966 (or that identity is)
  • around 1985 the cabal begins according the red that it has controlled many things for 3 decades. At the very least an old organization is put to new use.
  • Masha is born in Moscow to Katarina in 1985. Prior to the birth Katarina was very unhappy about the pregnancy.
  • Christopher is born to Scottie in 1985, location unknown
  • We have no information on Jennifer other than she left in 2007.
  • Liz was taken from Katarina by her “father”. I am guessing when she was between 1 and 2 years old (based on Dom’s desire to have been her grandfather for the last 30 years instead of 32 years). , so I am putting this in 1986-87. She is with her father from then until the fire. This might be the so called “tangent memory” in which Liz is with a woman in Christmas tree lot and Liz sees a man who calls her Lizzie and she runs to him. In the argument the father says is because Katarina would not let him see her.
  • At some point between 1986 and 1989 Katarina “gave up everything to follow him, to follow you:. It is unclear what is that she “gave up”.
  • In March 22, 1987 there is a performance by the Elise LeBlanc School of Ballet of Swan Lake.  Red commissions a yearly performance of Swan Lake from a professional company. He sees, imagines or remembers a girl of 7-9 years old dancing. It is unclear if the program and his mental image are contemporaries.

Keep reading

Today we are all Crimean Tatars.

May 18, 1944 was the day that the deportation of hundreds of thousands of Crimean Tatar individuals began.

72 years have passed since that date, but Crimea’s native people today are suffering oppression in their homeland once again.
The occupying Russians have been responsible for dozens of disappearances, have shut down Crimean Tatar media outlets, and have banned the representative body of the Crimean Tatar people (the Mejlis). It is quite clear that the suffering which first inflicted the Crimean Tatars 72 years ago has not yet ended.

Today is a day to commemorate loss, but it has become more than that. It is about the continued struggle for a homeland free of fear and oppression. Today, everyone who believes in these basic human rights becomes Crimean Tatar.

I stand with the Crimean Tatars. Today, I am Crimean Tatar!

All I can say is that Glenn should have lived, and ‘Chattanooga Choo Choo’ should have died.
—  Artie Shaw on Glenn Miller’s disappearance in 1944