Rickert, Jonathan B.Toc.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

Rickert, Jonathan B.Toc.Pdf The Association for Diplomatic Studies and Training Foreign Affairs Oral History Project JONATHAN B. RICKERT Interviewed by: Raymond Ewing Initial interview date: 17th December 2002 Copyright 2009 AD T TABLE OF CONTENTS Background Born and raised in Washington, D.C Princeton University; Harvard University US Army; Russian language study Entered the State Foreign Service in 1963 State Department; Operations Center, Various assignments 1963-196. President /ennedy funeral Operations 0ondon, England; Consular Officer 196.-1966 Environment Operations ,1P visitors 2osco3, Soviet Union; Staff Aide to the Ambassador 1966-1968 0iving arrangements US Ambassadors Duties ,1P visitors Relations Environment Entrapment attempts Arab-1srael Seven Day ar 2arriage State Department; Soviet and East Europe E6changes Staff 1968-1970 Program content Countries covered Security concerns Defections Operations 1 State Department, FS1; Romanian 0anguage study 1970-1971 Bucharest, Romania; Consular/Political Officer 1971-1974 ,isas 2edia translations Ni6on visit Consular problems 0ocal Americans President Ceausescu Relations Tito Diplomatic colleagues Soviet presence Human Rights US Ambassadors Environment Relations 3ith neighbors ,ienna, Austria; US Delegation to 2BFR (2utual and Balanced 1974-1976 Force Reductions), Staff Assistant Agency composition Duties Delegations Hubert Humphrey Environment Harvard University; 0abor studies 1976-1977 Harvard Trade Union Program Study programs Port of Spain, Trinidad; 0abor Reporting Officer 1977-1980 Environment Prime 2inister Eric illiams Personnel US economic interests 1ndians Relations Government 0abor Unions Tobago Jonesto3n refugees 0ocal press Diplomatic corps TDA to Surinam 2 State Department; Desk Officer for Trinidad, Guyana and Surinam 1980-1982 Congressional delegations Trinidad crematorium story Guyana US Ambassadors State Department: Romanian Desk Officer 1982-198. Ambassador David B. Funderburk 2ost Favored Nation (F2N) issue Je3ish emigration Relations Jackson-,anik Amendment Ceausescu Diplomatic pouch incident Environment Sofia, Bulgaria; Deputy Chief of 2ission 198.-1988 Staff Environment Security Government ,1P visitors Dictator, Chivkov Diplomatic Corps Permanently Restricted Areas Chernoble effects 1ndications of political changes State Department; Personnel Bureau; European and 1nternational 1988-1990 OrganiDations Assignments Operations Staff 2ember, Office of Senator Robert Pack3ood 1990-1991 Gulf ar Resolution /ing 2ichael visit El Salvador Operations Bucharest, Romania; Deputy Chief of 2ission 1991-199. ,1P visitors Elections US Ambassadors Environment Security 3 Opposition Political Parties Partnership for Peace Serbia sanctions Sanctions Assistance 2issions (SA2S) Relations 3ith Hungary President Emil Constantinescu Je3ish issues 0ocal contacts Government Communism ,isiting ,1Ps Ceausescu 0ocal staff Securityp0recautions Branch Office Cluj Ethnic Hungarians State Department of State; Director, Office of North 199.-1998 Central European Affairs Countries covered Office organiDation Personnel NATO enlargement Slovenian independence Romanian President 1on 1liescu visit to US Child adoptions Romanian Election observers US Ambassadors President Clinton Retirement 1998 Post Retirement 1998- Contract Employee 3ith the Department of State INTERVIEW ENote: This intervie3 3as not edited by 2r. RickertF ": This is a Foreign Affairs oral history interview with Jonathan B. Ric)ert. My name is Raymond Ewing. It+s the 17th of December, 2002. This interview is being produced under the auspices of the oral history program of the Association for Diplomatic tudies and 4 Training. o, it+s good to have this conversation with you and I+m loo)ing forward to tal)ing with you today. R1C/ERT: So am 1, thank you. ": Jonathan, I see that you entered the Foreign ervice in 19.3 after your undergraduate education at Princeton 1niversity and it loo)s li)e maybe some military service. I+m curious how 2 what 2 got in you interested in the foreign service in the first place and what else did you do before you came into the Foreign ervice3 R1C/ERT: Oh, thank you. 1 3as born shortly before 11 and gre3 up in ashington, DC, so 1 have an early recollection of involvement in international affairs through seeing it in the evening papers for e6ample that 3ould come 3ith the 0iebestrom through Europe 3here the current battle front 3as and those types of things. Also, my parents: my father 3as a high school teacher in the District and my mother 3as a house3ife as 3as common in those years. They had a number of foreign friends 3ho 3ould come to the house, particularly British, but also others 3ho spoke about the 3ar and 3hat 3as going on in other parts of Europe. 1 remember an early fascination 3ith maps 3hich 1 think is common amongst foreign service officers and also foreign stamps and coins. Another thing that 1 recalled and found in many cases is that the people 3ho 3ere attracted to foreign service are people 3ho are 3ith one another, 3ith somebody on the other side of the hill. ThereGs a certain curiosity involved 3ith beyond the horiDon that is common among people 3ho end up in this career. As 1 3as gro3ing up, 1 3as a choirboy at the ashington Cathedral and had the occasion to see various foreign visiting dignitaries. 1 remember the visitors Hueen EliDabeth and Prince Philip in the early I.0s, shortly after she became queen. And the visit of Haile Selassie of Ethiopia 3ho presented a Coptic processional cross that is still in use at the cathedral as far as 1 kno3. One of the most memorable things that happened in the I40s, late I40s, 3as about 1948. 1t 3as a time 3hen as a choirboy 1 3as there in the evening for a special service 3hich 3as to publiciDe and promote the European recovery program. Secretary of State 2arshall and John Foster Dulles 3ere speakers of that service and pictures 3ere being taken of them do3n in the crypt area belo3 the main level of the cathedral of the full service. And 1 had heard of 2arshall of course. 1 had not heard of Dulles. 1 pushed my 3ay for3ard to get a glimpse of the man 3ho 3as our top general during 11. 1 3as grabbed by the photographers and placed in the photograph 3hich 3as sent around the country by AP 3ire. 2y father laughingly called it: Kthree great Americans.L 1 still have a letter that 1 received from Secretary 2arshall. 1 3rote to him after3ards and received a very nice letter in response: a signed photograph and also ... 1 sent him a copy of the ne3spaper photograph as 3ell, 3hich he signed in pencil because pencil of course 3ouldnGt run. 1 have those at home as memorabilia. ": I+ve done 4uite a few interviews, I don+t thin) I+ve ever remember anybody saying they were a choirboy and had an encounter li)e that with the ecretary of tate. R1C/ERT: ell, itGs been do3nhill since then. ElaughF ": 5laugh6 7ell, it+s good to start at the top. R1C/ERT: But ... in high school there 3ere M in ashington M there 3ere several foreign diplomatsG sons as 3ell as FSOGs EForeign Service OfficerF sons 3hom 1 came to kno3. 1 roomed 3ith one in college for three years. 1n fact, t3o of my roommates became foreign service officers as it turned out. 1n college 1 3asnGt really focused on foreign service as a career but 1 3as interested in foreign affairs. 1 majored in American and European history and paid attention to things that 3ere going on in the international arena to the e6tent that 1 could. 1 3rote my thesis on post-3ar German history: my undergraduate thesis. 1 had an opportunity to meet 3ith Dean Acheson 3ho 3as there on a speaking engagement and they set up meetings 3ith people 3ho had thesis topics that 3ere relevant to his particular e6perience. So 1 had a half an hour alone 3ith him 3hich 3as set up by the university 3hich 3as very nice. Also 1 remember attending a session that 3as sort of a career-type of session chaired by 0ivingston 2erchant. 1 donGt kno3 his e6act title but he 3as very high up in the State Department hierarchy. So 1 graduated from college and 1 3orked for about a year and a half in the U.S. for an internationally oriented private military organiDation and 3ent in to the military in a reserveGs program. The program that 1 3as in involved a year of studying Russian at 2onterrey at the old Army language school. T3o of my friends had already passed the foreign service e6am and had been told that they 3ould be 3elcome to join the foreign service but they should do their military obligations first. After talking 3ith them, it just came about eventually that 1 decided to take the e6am 3hich 1 did in San Francisco; it 3ould have been 1961 or 1962. 1 took the 3ritten e6am and passed, 3ent back to San Francisco for Russian, took the oral e6am the first time and 3as intervie3ed by 3hat seemed to be a panel of economics officers 3hich 1 definitely 3as not and 1 did not pass. 1 took the 3ritten again and passed again ... in those days, if you could pass Russian or another language, you got five e6tra points 3hich in the second time 1 took the e6am 1 had enough Russian so 1 got the e6tra points on the 3ritten. And then at the end of my 16 months and 24 days in the Army, 1 returned to ashington 3here my mother 3as living and after a couple of months, took the oral e6am, passed it. So that maybe is a long 3ay of saying ho3 1 came to enter the foreign service. ": 7ell, growing up in 7ashington and the )ind of e8periences that you had, of course also Princeton 1niversity, you probably were heading toward the foreign service before you even reali9ed it, in a way many others of us only have the ha9iest idea of what it was all about in the same point of our career.
Recommended publications
  • 1 Ext. the Empty Street of a City - Day
    DAY OF THE DEAD (The original script) by George A. Romero FADE IN: 1 EXT. THE EMPTY STREET OF A CITY - DAY No people. A FEW CARS AND TRUCKS are parked at odd angles, abandoned. A TITLE FADES IN, one phrase at a time. FIVE YEARS... SINCE THE DEAD FIRST WALKED. 2 EXT. THE CITY - DAY We hear THE SOUND OF A STRONG WIND. DEBRIS flutters through the streets. A LARGE ALLIGATOR slithers into frame, stops and looks around. MONTAGE: as MORE GATORS explore the empty streets, knocking over GARBAGE CANS, upsetting the MANNEQUINS in A DEPARTMENT STORE WINDOW. A GATOR crawls out through the open doors of AN ABANDONED BANK. LOOSE BILLS are dragged along under the animal's tail. They flutter away on the WIND. 3 EXT. THE CITY - DAY GATORS crawl over A '79 CADELLIC. A FEMALE SKELETON sits slumped over the steering wheel. In the back a BABY'S BONES are strapped into AN INFANT'S SAFETY SEAT. One of the gators THUMPS its tail maddeningly against the windshield. ANOTHER TITLE APPEAR: FLORIDA - 1987 4 EXT. THE CITY - DAY CLOSE ON A SECTION OF PAVEMENT as we hear THE SOUND OF SLUGGISH FOOTSTEPS approaching. A SHADOW appears at the bottom of the frame. It gets longer and takes on the shape of a man. TIGHT ON THE AFTERNOON SUN, blinding us. Into the FOREGROUND lurches THE FIGURE which cast the shadow. Glare obscures all facial detail until the head jogs into position directly in front of the fiery ball in the sky. Then we see its hideous, dead eyes, its blue-grey colour, the blackened wound where a large portion of jaw has been ripped away.
    [Show full text]
  • A Creed to Live by Don't Undermine Your Worth by Comparing Yourself
    A Creed To Live By A Hundred Years From Now Don't undermine your worth by comparing yourself A hundred years from now it will not matter what my with others. bank account was, the sort of house I lived in, or the It is because we are different that each of us is kind of car I drove but the world may be different special. because I was important in the life of a child. Don't set your goals by what other people deem A Man important. Only you know what is best for you. A man that made an impression on strangers and friends. Don't take for granted the things closest to your heart. Quiet but firm and even more stern. Cling to them as you would your life, for without Strength and courage I have learned from you, them life is meaningless. but being without you is hard to do. Don't let your life slip through your fingers by living A man with pride in every step he made. in the past or for the future. A man with vigor in every phrase. By living your life one day at a time, you live all the days of your life. The tears I’ve shed cannot surpass the smiles and the laughs we had with you. Don't give up when you still have something to give. To feel your pain I could not do, Nothing is really over until the moment you stop to feel your joy I cannot explain, trying. but being without you is hard to do.
    [Show full text]
  • Shapiro Auctions
    Shapiro Auctions RUSSIAN EUROPEAN AMERICAN FINE ART & ANTIQUES Saturday - September 29, 2012 RUSSIAN EUROPEAN AMERICAN FINE ART & ANTIQUES 1: A MONUMENTAL AND VERY RARE ENGRAVING ILLUSTRATING A USD 10,000 - 15,000 A MONUMENTAL AND VERY RARE ENGRAVING ILLUSTRATING A VIEW OF THE SOLOVETSKII MONASTERY, 1765. Original tool engraving by Dmitry Pastukhov, mid-18th Century copper engraver, printed at the Solovetskii Monastaery, 1320 x 850 mm with margins, printed from seven copper plates, depicting a view of the Monastery in the center, with large figures of SS. Zosima and Savvaty overlooking the Monastery and surrounding buildings, the borders depicting scenes from the lives of SS. Zosima and Savvaty, signed and inscribed with date in Cyrillic in the plate bottom left, 'Shtikhoval na medi Dmitrei Pastukhov 765 pechatan v toy zhe lavry'. Relined on acid-free Japanese paper. Good state, good condition. REFERENCES: N. Sobko, "Slovar Russkikh khudozhnikov," St. Petersburg, 1899, Vol. 3, p. 50; D. Rovinsky, "Podrobnyi slovar' Russkikh graverov XVI-XIX vekov," St. Petersburg, 1895, Vol. 2, p. 759. 2: [XVIII CENTURY RUSSIAN LITERATURE AND HISTORICAL PAM USD 5,000 - 6,000 [XVIII CENTURY RUSSIAN LITERATURE AND HISTORICAL PAMPHLETS, 1771-1790]. A sammelband of nine works, bound in contemporary Russian 1/4 calf. 240 x 180 mm. Untrimmed. PROVENANCE: P.A. Efremov (bookplate); V.I. Klochkov, St. Petersburg Bookdealer (label on back endpaper). Nine very rare limited publications in good condition. Comprising: (a) V. RUBAN, "Nadpis' na vnezapnoe pribytie ego siialte'stva Grafa Alekseiia Grigor'evicha Orlova iz Arkhipelaga v Sanktpeterburg. Marta dnia 1771 goda," Saint Petersburg: Academy of Science, 1771.
    [Show full text]
  • Moving Images in Romanian Critical Art Practice and Recent History
    MOVING IMAGES IN ROMANIAN CRITICAL ART PRACTICE AND RECENT HISTORY Mihaela Brebenel Goldsmiths, University of London PhD Media and Communications, 2016 .1 I hereby declare that the work presented in this thesis is my own. .2 Acknowledgements It is perhaps commonplace to say that a doctoral research is a journey. Nevertheless, I have only come to understand that this research project has been both a personal journey and an academic one in the final stages of writing, when paradoxically, there was little time for reflection. The time that unfolded between the moment when I was writing a tentative research proposal and the moment I am now in has been intense, incredible, invaluable and rewarding. I am convinced that I would have not experienced either of these without the support, attentive consideration and incredibly fruitful conversations with my supervisor, Dr. Pasi Väliaho. I started this journey under the auspices of his encouragements and could not have carried through without his relentless belief in my academic abilities. I would also like to acknowledge the support and inspiring encounters with Dr. Rachel Moore, always surprising and always refreshing. In different stages of this research, she has acted as a mentor and reader of my work, at the same time showing an empowering collegial attentiveness to my ideas. An extended thank you goes to Prof. Sean Cubitt and Prof. Julian Henriques, for their general support within the Media and Communications department, their suggestions made for various versions of the text and their encouragement to experiment across-disciplines and with methods. This research would not have been possible without the funding received from the Arts and Humanities Research Council and the research exhibition in New Delhi, India would not have happened without the AHRC International Placement Scheme and Fellowship at Sarai CSDS.
    [Show full text]
  • 5. the IAŞI SCHOOL of PAINTING – BETWEEN MYTH and REALITY Mirela Ștefănescu 201
    DOI: 10.2478/RAE-2018-0021 Review of Artistic Education no. 16 2018 196-202 5. THE IAŞI SCHOOL OF PAINTING – BETWEEN MYTH AND REALITY Mirela Ștefănescu 201 Abstract: This paper analyzes a phrase which is specific of cultural space from Iași called "The Iași School of Painting", a term which, as art critics say, is distinguished by several features including the harmony of the composition, the chromaticism and refinement of artistic expression. So, we start in this study with the founders of the first institution of artistic education in Iasi, which strongly influenced the local creative style of plastic expression, then, we talk about the period in which was materialized fully the traditional way of the Iasi school of painting. After December 1989 the visual art from Iasi has gone through many changes, being outlined a new approach to the artistic phenomenon in the context of technological development and the globalization, the moment in which the visual artists tried new plastics formulas. Today the expression the Iasi School of Painting is only a metaphor which illustrates the connection with the glorious past of the great masters. Key words: The Iași School, traditional style, harmony of composition, chromaticism 1. Introduction In the art critics’ opinion, among the attributes of the Iaşi School of Painting, we distinguish the composition artistry and harmony, the chromatic material mastery, the refinement and sensibility and, like any current, school, wave, it creates more ambiguities that do not appear at a certain moment and do not suddenly disappear. The Academicism, as an artistic principle, was approached as a “bourgeois realism”, which was based on a set of rules accepted by both artists and art audience.
    [Show full text]
  • Tina Turner Simply the Best Mp3, Flac, Wma
    Tina Turner Simply The Best mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Funk / Soul / Pop Album: Simply The Best Country: Australia Released: 1991 Style: Pop Rock MP3 version RAR size: 1906 mb FLAC version RAR size: 1948 mb WMA version RAR size: 1930 mb Rating: 4.1 Votes: 115 Other Formats: VOX APE AA MIDI MP1 DXD AUD Tracklist Hide Credits The Best Acoustic Guitar – Dan HartmanBacking Vocals – Dan Hartman, Lance EllingtonBass – T.M. StevensBass [Bass Pulse] – Phil AshleyDrums – Art WoodGuitar [Power Theme Guitar] – Pat 1 ThrallKeyboards – Dan Hartman, Phil AshleyKeyboards [Additional Bridge Keyboards] – 4:08 Philippe SaisseKeyboards [Additional Theme Keyboards], Strings – Elliot LewisProducer, Arranged By – Tina TurnerRhythm Guitar – Gene Black, James RalstonSaxophone – Edgar WinterWritten-By – H. Knight*, M. Chapman* What's Love Got To Do With It 2 Drums – Graham JarvisKeyboards – Billy LivseyPercussion – Simon MortonWritten-By – G. 3:48 Lyle*, T. Britten* I Can't Stand The Rain 3 3:42 Drums – Graham BroadWritten-By – Peebles*, Miller*, Bryant* I Don't Wanna Lose You Backing Vocals – Albert Hammond, Graham Lyle, Holly Knight, Tina TurnerBass [Synth 4 Bass] – Greg MathiesonDrums – Geoff DugmoreKeyboards – Casey YoungProducer – Albert 4:18 Hammond, Graham LyleRecorded By – Mike Ging, Tommy VicariShaker – Albert HammondStrings – Nick Glennie-SmithWritten-By – A. Hammond*, G. Lyle* Nutbush City Limits (The 90's Version) Engineer – Robin HancockGuitar – Phil PalmerHorns – Steve HamiltonKeyboards – Richard 5 CottlePercussion –
    [Show full text]
  • THE LIVING THEATRE & SYMBOLIC CAPITAL By
    OVERTURNING MAMMON: THE LIVING THEATRE & SYMBOLIC CAPITAL by Peter Wood BA, Rhode Island College, 2000 MA, University of Maryland, 2004 Submitted to the Graduate Faculty of Te Dietrich School of Arts & Sciences in partial fulfllment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE DIETRICH SCHOOL OF ARTS & SCIENCES Tis dissertation was presented by Peter Wood It was defended on March 3, 2016 and approved by Peter Karsten, Professor, History Lisa Jackson-Schebetta, Assistant Professor, Teatre Arts Dissertation Co-Advisor: Michelle Granshaw, Assistant Professor, Teatre Arts Dissertation Co-Advisor: Bruce McConachie, Professor Emeritus, Teatre Arts ii Copyright © by Peter Wood 2016 iii OVERTURNING MAMMON: THE LIVING THEATRE & SYMBOLIC CAPITAL Peter Wood, PhD University of Pittsburgh, 2016 Abstract: Overturning Mammon: Te Living Teatre and Symbolic Capital focuses on the frst thirteen years of the Living Teatre, founded by Judith Malina and Julian Beck. Pierre Bourdieu’s theories of cultural production provide the theoretical tools to approach the company as a cultural producer and not only as theatre artists. Te Living Teatre has produced largely unpopular avant-garde and political theatre for seventy years. I argue that the company’s early years demonstrate a growing reserve of symbolic capital that helps explain the company’s longevity. Furthermore, the manner in which certain events in the company’s history have been mythologized, by company members, critics, and scholars, has led to some historically inaccurate accounts. In particular, accounts of the closing of the company’s production of Te Brig in 1963 and the subsequent trial of Beck and Malina in 1964 have often been infuenced by an acceptance of company member’s anecdotal, “tall tales” approach to history rather than historical evidence and archival documents.
    [Show full text]
  • Tina Turner One of the Living (Special Club Mix) Mp3, Flac, Wma
    Tina Turner One Of The Living (Special Club Mix) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Pop Album: One Of The Living (Special Club Mix) Country: Europe Released: 1985 Style: Pop Rock MP3 version RAR size: 1430 mb FLAC version RAR size: 1847 mb WMA version RAR size: 1577 mb Rating: 4.9 Votes: 420 Other Formats: AA FLAC RA MP1 ADX TTA AU Tracklist A One Of The Living (Special Club Mix) 7:35 B1 One Of The Living (Dub Version) 4:45 B2 One Of The Living (Instrumental Version) 5:58 Companies, etc. Phonographic Copyright (p) – Capitol Records, Inc. Copyright (c) – Warner Bros. Records Inc. Published By – Media Sound NYC Marketed By – EMI Services Benelux B.V. Manufactured By – EMI Services Benelux B.V. Distributed By – EMI Services Benelux B.V. Distributed By – EMI Pathé Marconi S.A. Credits Co-producer, Mixed By – Steve Thompson & Michael Barbiero Engineer [Assistant] – Alexander Haas* Producer – Mike Chapman Written-By – Holly Knight Notes From The Original Soundtrack Of The Warner Bros. Motion Picture Mad Max - Beyond Thunderdome. 1st Category on labels 2nd Category on back sleeve Marketed, manufactured and distributed by EMI Printed in Holland by EMI Services Benelux B.V., Uden ℗ 1985 Capitol Records, Inc. © 1985 Warner Bros. Inc. Barcode and Other Identifiers Matrix / Runout (Side A runout groove, stamped): 2008426-A1-C Matrix / Runout (Side B runout groove, stamped): 2008426-B1-C Matrix / Runout (Side A label): 1A K060-20 0842 6 A Matrix / Runout (Side B label): 1A K060-20 0842 6 B Rights Society: BIEM / STEMRA Barcode
    [Show full text]
  • GUMBO a Full-Length Musical
    GUMBO A full-length musical For New Orleans "I wonder if Katrina is becoming like one of those fairytales for Americans. It's something we can't get our imaginations around. It's too large for that, and so instead it seems to be fragmenting into a thousand parables, some of them right, some of them very wrong, and most of them defying categorization all together." ―Rivka Galchen, The New Yorker * SETTING - Above, around and inside the bowl of a Crescent City―the City is a mythic representation of the great city of New Orleans. - The Gumbo Pot, an underwater speakeasy of today Note: There should be virtually no set—the people/ The City should embody the ever- shifting worlds. TIME In and around a timeless August 29 to late September 2005 NOTES ON ACCENT/DIALOGUE "Mrs. Reilly called it that accent that occurs south of New Jersey only in New Orleans, that Hoboken near the Gulf of Mexico." ―John Kennedy Toole, A Confederacy of Dunces - Not your “traditional” Southern accent. No Streetcar, please. It’s about attitude more than accent: an easiness on the words that reflects the City’s approach toward life. - Slashes (/) and dashes (--) indicate when a line is cut off and the next person begins speaking. CAST BREAKDOWN (9M, 5W) DR. HOWARD HART: mid thirties, Caucasian, textbook Midwesterner, stoic, works E.R.; loves two things: his work and his wife, Martha (unexpected, Billy Bigelow voice, not necessarily look; Gorgeous, lush Baritone with an Earthy soul to it. Bb2-A4) MARTHA LEDOUX (Hart): mid-thirties, African-American of Creole descent; full of life & love with the voice of an angel.
    [Show full text]
  • Mad Max Beyond Thunderdome Music Credits
    Original Music Score Composed and Conducted by Maurice Jarre Tail Credits: (Cast) A solo saxophone is allegedly performed by Ton Ton Tattoo, played by Andrew Oh. Assistant to Mr. Jarre Christopher Palmer Music recorded by Dick Lewsey Music Performed by Royal Philharmonic Orchestra Conducted by Maurice Jarre "We Don't Need Another Hero (Thunderdome)" Performed by Tina Turner Written by Produced by Terry Britten Terry Britten & Graham Lyle Copyright © L985 Good Single Music Ltd. & My Axe Music Ltd. "One of the Living" Performed by Tina Turner (with Device) Written by Produced by Holly Knight Mike Chapman Copyright © L985 Makiki Publishing Co. Ltd. Tina Turner Management Roger Davies Original Soundtrack on Capitol Records (Australia/New Zealand - Festival Records) Composer Maurice Jarre was a prolific French composer too well known to dwell on here. He had only an intermittent connection with Australian cinema, though his work with Peter Weir - begun on the 1982 The Year of Living Dangerously - was significant for both their careers. Jarre's score is measurably better than the work done by Brian May on the first two Mad Max films, and while some devotees might quibble about the softening represented by the addition of Tina Turner, there's little doubt that her two title tunes enhanced the film's market presence in the United States. Jarre has a relatively detailed wiki here. It's a measure of the impact of the score that the film's music boasts an individual wiki listing here, a rare distinction for an Australian movie. It's worth noting that Terry "The Twilights" Britten, co-composer of the chart hit and end credits song, "We Don't Need Another Hero", has had many connections with the Australian pop music scene, and he has a relatively detailed wiki here.
    [Show full text]
  • Lessonsforpeace. United Nations Security Council Estonian
    2 3 #LessonsForPeace United Nations Security Council Estonian Presidency Arria-Formula Meeting on 8 May 2020 75 Years Since the End of World War II on European Soil – Lessons Learned for Preventing Future Atrocities, Responsibility of the Security Council #LessonsForPeace United Nations Security Council Estonian Presidency Arria-Formula Meeting on 8 May 2020 75 Years Since the End of World War II on European Soil – Lessons Learned for Preventing Future Atrocities, Responsibility of the Security Council Collection of Statements Tallinn 2020 TABLE OF CONTENTS Foreword by Foreign Minister Urmas Reinsalu ......................... 8 1. Josep Borrell Fontelles, European Union ............................ 13 2. Rosemary A. DiCarlo, United Nations .................................. 20 3. Timothy Snyder, Yale University ........................................... 25 4. Germany ......................................................................................... 30 5. Viet Nam ......................................................................................... 33 6. France ............................................................................................... 36 7. Belgium ............................................................................................ 39 8. Dominican Republic .................................................................... 42 9. United Kingdom ........................................................................... 45 10. United States of America ........................................................
    [Show full text]
  • Turning the Tables: Émigré Artists and the West During the Cold War Magda Radu*
    Studies in Visual Arts and Communication - an international journal Vol. 7, No 1 (2020) on-line ISSN 2393-1221 Turning the tables: émigré artists and the West during the Cold War Magda Radu* Abstract This text considers the phenomenon of artists who left Romania during the Cold War, especially in the 1960s and 1970s. It focuses on a few examples through which various issues pertaining to cultural transfers and diasporic subjectivities are brought to the fore. Reactivating the memory of displacement becomes all the more necessary given that we find ourselves at a point in which we are urged to reflect on the change of the political regime in 1989. In regard to the intersection of East-West viewpoints that such a project reveals, an important line bringing together multiple positions is the articulation of a critical, lucid perception of the West, also throwing into relief the issue of the failure to adapt— sometimes compounded by a conscious refusal to do so—to the artistic mechanisms of the “free” world. Keywords: migration, Romanian artists, Cold War, art institutions, Eastern European/Western European art worlds. In this text I intend to discuss the sprung up, sharing a utopian belief in universal experiences of a number of Romanian artists communication and the proliferation of a who made the leap into the unknown and collective creative spirit. And yet, more often crossed to the other side of the Iron Curtain in than not, such examples tend to over-emphasise the late-1960s and the 1970s. Rather than the connectedness inherent to these idealistic highlighting meeting points and encounters, the exchanges: dematerialised artworks traveling as existence of pan-European or wider artistic and written formulations or instructions, mail art institutional networks during the Cold War, my networks overcoming censorship and linking interest lies in uncovering the fractures, cultural Eastern and Western Europe, at times reaching differences and difficulties faced by eastern as far as Latin America.
    [Show full text]