Appearances of ArgentineMarxist revolutionary Che Guevara (1928–1967) in popular culture are common throughout the world. Although during his lifetime he was a highly politicized and controversial figure, in death his stylized image has been transformed into a worldwide emblem for an array of causes, representing a complex mesh of sometimes conflicting narratives. Che Guevara's image is viewed as everything from an inspirational icon of revolution, to a retro and vintage logo. Most commonly he is represented by a facial caricature originally by Irish artist Jim Fitzpatrick and based on Alberto Korda's famous 1960 photograph titled Guerrillero Heroico. The evocative simulacra abbreviation of the photographic portrait allowed for easy reproduction and instant recognizability across various uses. For many around the world, Che has become a generic symbol of the underdog, the idealist, the iconoclast, or the martyr. He has become, as author Michael Casey notes in Che's Afterlife: The Legacy of an Image, "the quintessential postmodern icon signifying anything to anyone and everything to everyone."
Che Guevara's likeness has undergone continual apotheosis while being weaved throughout the public consciousness in a variety of ways. From being viewed as a "Saintly Christ-like" figure by the rural poor in Bolivia where he was executed, to being viewed as an idealistic insignia for youth, longing for a vague sense of rebellion. His likeness can also be seen on millions of posters, hats, key chains, mouse pads, hoodies, beanies, flags, berets, backpacks, bandannas, belt buckles, wallets, watches, wall clocks, Zippo lighters, pocket flasks, bikinis, personal tattoos, and most commonly T-shirts. Meanwhile, his life story can be found in an array of films, documentaries, plays, and songs of tribute. Throughout television, music, books, magazines, and even corporate advertisements, Che's visage is an ever-present political and apolitical emblem that has been endlessly mutated, transformed, and morphed over the last fifty years of visual popular culture. This allows Che to operate as "both a fashionable de-politicized logo, as well as a potent anti-establishment symbol used by a wide spectrum of human rights movements and individuals affirming their own liberation." (Full article...)
Image 9Rebel leaders engaged in extensive propaganda to get the U.S. to intervene, as shown in this cartoon in an American magazine. Columbia (the American people) reaches out to help oppressed Cuba in 1897 while Uncle Sam (the U.S. government) is blind to the crisis and will not use its powerful guns to help. Judge magazine, 6 February 1897. (from History of Cuba)
Image 23A 1736 colonial map by Herman Moll of the West Indies and Mexico, together comprising "New Spain", with Cuba visible in the center. (from History of Cuba)
Image 24The city walls of Havana, 1848 (from History of Cuba)
... that after his movement's victory in the Cuban Revolution, television broadcasts showed Camilo Cienfuegos freeing parrots from birdcages, declaring that the birds had "a right to liberty"?
... that Rudi Kappel, co-founder of the first airline of Suriname, was arrested both on entering and leaving Santiago de Cuba?
In the 1990s, Orioles' owner Peter Angelos lobbied the United States federal government to gain permission to hold this series for three years. Various politicians, including members of the United States House of Representatives, opposed the idea and attempted to block the series. Eventually, Angelos secured the approval in 1999, after a change in United States foreign policy to Cuba under PresidentBill Clinton, which eased travel restrictions and increased cultural exchange. (Full article...)
Bartolomé Maximiliano Moré Gutiérrez (24 August 1919 – 19 February 1963), better known as Benny Moré (also spelled Beny Moré), was a Cuban singer, bandleader and songwriter. Due to his fluid tenor voice and his great expressivity, he was known variously as "El Bárbaro del Ritmo" and "El Sonero Mayor". Moré was a master of the soneo – the art of vocal improvisation in son cubano – and many of his tunes developed this way. He often took part in controversias (vocal duels) with other singers, including Cheo Marquetti and Joseíto Fernández. Apart from son cubano, Moré was a popular singer of guarachas, cha cha cha, mambo, son montuno, and boleros.
Moré started his career with the Trío Matamoros in the 1940s and after a tour in Mexico he decided to stay in the country. Both Moré and dancer Ninón Sevilla made their cinematic debut in 1946's Carita de cielo, but Moré focused on his music career. In the late 1940s, he sang guaracha-mambos with Pérez Prado, achieving great success. Moré returned to Cuba in 1952 and worked with Bebo Valdés and Ernesto Duarte. In 1953, he formed the Banda Gigante, which became one of the leading Cuban big bands of the 1950s. He suffered from alcoholism and died of liver cirrhosis in 1963 at the age of 43. (Full article...)
...that there was, on average, one aircraft hijacking incident every eleven days in 1969 involving flights from United States being forcibly redirected to Cuba?
The colonization of Cuba is necessary and urgently required to give the white population of Cuba a moral and necessary preponderance over its black inhabitants.
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