Showing posts with label Albert Einstein. Show all posts
Showing posts with label Albert Einstein. Show all posts
July 9, 2026
February 28, 2026
February 27, 2021
20,000 vinyl LPs 277: Marian Anderson ~ Sings
~ 
Marian Anderson ~ Sings
10" vinyl LP front cover detail
detail photo by Styrous®
Today is the birthday of Marian Anderson, who was born on February 27, 1897, in Philadelphia, Pennsylvania. She had a rich, vibrant contralto voice that could reach the far depths of any concert hall and Arturo Toscanini described as a voice "heard once in a hundred years."
Anderson was an instrumental force in the civil rights movement
that was to emerge 15 years later. One of the United States' most
successful classical singers at the time, she had been scheduled to
perform at Constitution Hall in Washington, D.C, on Easter Sunday, April 9, in 1939, a celebrated venue operated by the Daughters of the American Revolution (DAR).
However,
the DAR, under a "white performers-only" policy in effect at the time,
refused to allow Anderson, an African-American woman, to perform to an
integrated audience. Led by First Lady Eleanor Roosevel,
thousands of members of the DAR resigned in protest. The venue was
changed and Anderson gave a free open-air concert on the steps of the Lincoln Memorial.
The
moment brought even greater awareness to the issues of racial injustice
during that time period as more than 75,000 people attended as well as a
national radio audience of millions; FAR more then would have been able
to attend at the hall. It always amazes me that small minds tend to do
stupid things that only amplify what they want to suppress.
Anderson was photographed at the end of the day standing in front of the sculpture of Abraham Lincoln at the Lincoln Memorial.
Marian Anderson - Easter Sunday, April 9, 1939
photo:
The event inspired a mural by Mitchell Jamieson in 1943, entitled, An Incident in Contemporary American Life, which was installed at the United States Department of the Interior Building.
Mitchell Jamieson - 1943
An Incident in Contemporary American Life
Two months later, in conjunction with the 30th NAACP conference in Richmond, Virginia, Eleanor Roosevelt gave a speech on national radio (NBC and CBS) and presented Anderson with the 1939 Spingarn Medal for distinguished achievement. In 2001, a documentary film of the event was chosen for the National Film Registry, and NBC radio coverage of the event was selected for the National Recording Registry.
Eleanor Roosevelt & Marian Anderson - 1939
photo: Prints and Photographs Division,
On January 6, 1943, Anderson greeted members of the audience at the ceremony held in
the auditorium of the United States Department of the Interior at the dedication
of the mural painting commemorating the free public concert given by her on
the steps of the Lincoln Memorial on Easter Sunday, 1939.
Marian Anderson - January 6, 1943
photographer unknown
Anderson attended Stanton Grammar School, graduating in 1912. Her family
could not pay for music lessons or high school. Still, she
continued to perform wherever she could and learn from anyone who was
willing to teach her. Throughout her teenage years, she remained active
in her church's musical activities, now heavily involved in the adult
choir. She became a member of the Baptists' Young People's Union and the
Camp Fire Girls, which provided her with some limited musical opportunities.
Eventually, the People's Chorus of Philadelphia and the pastor of her
church, Reverend Wesley Parks, along with other leaders of the black
community, raised the money she needed to get singing lessons with Mary
Saunders Patterson and to attend South Philadelphia High School, from which she graduated in 1921.
After high school, she applied to an all-white music school, the Philadelphia Music Academy
(now University of the Arts), but was turned away because she was
black. The woman working the admissions counter replied, "We don't take
colored" when she tried to apply. Anderson pursued studies privately in
her native city through the continued support of the Philadelphia black
community.
In 1925, Anderson got her first big break at a singing competition sponsored by the New York Philharmonic.
As the winner, she got to perform in concert with the orchestra on
August 26, 1925, a performance that scored immediate success with both
the audience and music critics. Anderson continued her studies with Frank La Forge in New York. During this time, Arthur Judson
became her manager. They met through the New York Philharmonic. Over
the next several years, she made a number of concert appearances in the
United States, but racial prejudice prevented her career from gaining
momentum. Her first performance at Carnegie Hall was in 1928.
Marian Anderson recital
Anderson went to Europe, where she spent a number of months studying with Sara Charles-Cahier, before launching a highly successful European singing tour. In the summer of 1930, she went to Scandinavia, where she met the Finnish pianist Kosti Vehanen, who became her regular accompanist and her vocal coach for many years. She met Jean Sibelius through Vehanen after he had heard her in a concert in Helsinki. The two struck up an immediate friendship, which blossomed into a
professional partnership, and for many years Sibelius altered and
composed songs for Anderson. He created a new arrangement of the song Solitude and dedicated it to Anderson in 1939 (link below). Originally The Jewish Girl's Song from his 1906 incidental music to Belshazzar's Feast, it later became the "Solitude" section of the orchestral suite derived from the incidental music.
In 1933, Anderson made her European debut in a concert at Wigmore Hall
in London, where she was received enthusiastically. In the first years
of the 1930s, she toured Europe, where she did not encounter the
prejudices she had experienced in America.
Accompanied by Vehanen, she continued to tour throughout Europe
during the mid-1930s. Before going back to Scandinavia, where fans had
"Marian fever", she performed in Russia and the major cities of Eastern
Europe. She quickly became a favorite of many conductors and composers
of major European orchestras. During a 1935 tour in Salzburg, the
conductor Arturo Toscanini told her she had a voice "heard once in a hundred years."
In 1934, impresario Sol Hurok became her manager, and he persuaded her to come back and
perform in America. On December 30, 1935, Anderson made her second recital appearance at The Town Hall, New York City (link below), which received highly favorable reviews from music critics.
She spent the next four years touring throughout the United States and
Europe. She was offered opera roles by several European houses, but due
to her lack of acting experience, Anderson declined all of them. She
did, however, record a number of arias in the studio, which became
bestsellers.
Marian Anderson recital - 1943
Anderson's accomplishments as a singer did not make her immune to the Jim Crow laws
in the 1930s. Although she gave approximately seventy recitals a year
in the United States, Anderson was still turned away by some American
hotels and restaurants. Because of this discrimination, Albert Einstein,
a champion of racial tolerance, hosted Anderson on many occasions, the
first being in 1937 when she was denied a hotel room before performing
at Princeton University. She last stayed with him months before he died in 1955.
On June 15, 1953, Anderson headlined The Ford 50th Anniversary Show (link below), which was broadcast live from New York City on both NBC and CBS. Midway through the program, she sang He's Got the Whole World in His Hands. She returned to close the program with her rendition of the Battle Hymn of the Republic. The program attracted an audience of 60 million viewers. Forty years after the broadcast, television critic Tom Shales recalled the broadcast as both "a landmark in television" and "a milestone in the cultural life of the '50s"
photo: Carnegie Hall Archives
On January 7, 1955, Anderson became the first African-American to sing with the Metropolitan Opera in New York. At the invitation of director Rudolf Bing, she sang the part of Ulrica in Un ballo in maschera by Giuseppe Verdi (opposite Zinka Milanov as Amelia).
Anderson later said about the evening, "The curtain rose on the second
scene and I was there on stage, mixing the witch's brew. I trembled, and
when the audience applauded and applauded before I could sing a note, I
felt myself tightening into a knot." Although she never appeared with
the company again, Anderson was named a permanent member of the
Metropolitan Opera company. The following year, her autobiography, My Lord, What a Morning, was published, and became a bestseller.
In 1957, she sang for the inauguration of President Dwight D. Eisenhower, and toured India and the Far East as a goodwill ambassador through the U.S. State Department and the American National Theater and Academy. On January 20, 1961, she sang for the inauguration of President John F. Kennedy, and in 1962 she performed for President Kennedy and other dignitaries in the East Room of the White House.
On Wednesday, August 28, 1963, she sang He's Got the Whole World In His Hands at the March on Washington for Jobs and Freedom.
Marian Anderson - August 28, 1963
photographer unknown
That same year, she received one of the newly reinstituted Presidential Medal of Freedom,
which is awarded for "especially meritorious contributions to the
security or national interest of the United States, World Peace or
cultural or other significant public or private endeavors."
Her achievements were recognized with many honors, including the University of Pennsylvania Glee Club Award of Merit in 1973; the United Nations Peace Prize, the New York City Handel Medallion, and the Congressional Gold Medal, all in 1977; Kennedy Center Honors in 1978; the George Peabody Medal in 1981; the National Medal of Arts in 1986; and a Grammy Award for Lifetime Achievement in 1991. A half-ounce gold commemorative medal was embossed with her portrait by the United States Treasury Department
in 1980. Four years later, she was the first person to be honored with
the Eleanor Roosevelt Human Rights Award of the City of New York. She has been awarded 24 honorary doctoral degrees, from Howard University, Temple University, Smith College and many others.
Although Anderson retired from singing in 1965, she continued to appear publicly. She often narrated the Lincoln Portrait by Aaron Copland, with her nephew James DePriest conducting.
photographer unknown
Marian Anderson died at the home of her nephew, conductor James DePreist, in Portland, Oregon, on April 8, 1993, of congestive heart failure; she was 96 years old.
Tracklist:
Side 1:
Side 1:
A1 - Marian Anderson - Oh Mio Fernando, Part 1
A2 - Marian Anderson - Oh Love From Thy Powers
A4 - Marian Anderson - Air Des Adieux
A2 - Marian Anderson - Oh Love From Thy Powers
A4 - Marian Anderson - Air Des Adieux
Side 2:
B1 - Marian Anderson - Heav'n Heav'n
B2 - Thelma Carpenter & The Harmonaires (12) - Joshua Fit De Battle Of Jerico
B3 - Thelma Carpenter & The Harmonaires (12) - Swing Low Sweet Chariot
B4 - Thelma Carpenter & The Harmonaires (12 - Deep River
Notes:
Track A1: From "La Favorita" (Donizetti) Parts 1& 2
Track A2: From Sampson and Delilah (Saint-Saens)
Track A4: From Jeanne D'Arc (Carafa)
Disc Labels: Made in U.S.A.
Back Cover: A Catalogue of Varsity Records, "Vinyl Filled- Hard Multi-Colored Jackets- Full Fidelity Recordings"
Printed in U.S.A.
Barcode and Other Identifiers
Matrix / Runout (Side 1, Stamped (G On Its Back)): G LP61A
Matrix / Runout (Side 2, Stamped (F On Its Back)): F LP61B
Matrix / Runout (Both Sides, Hand Etched ): V
Marian Anderson / Thelma Carpenter, The Harmonaires (12) – Marian Anderson Sings
Label: Varsity – 6986
Format: Vinyl, LP, 10", Album
Country: US
Released: Genre:
Classical, Folk, World, & Country
Style: Opera, Religious
Label: Varsity – 6986
Format: Vinyl, LP, 10", Album
Country: US
Released: Genre:
Classical, Folk, World, & Country
Style: Opera, Religious
Viewfinder links:
Net links:
Connecticut History ~ Marian Anderson’s Role in the Civil Rights Movement
National Geographic ~ Marian Anderson Performs on the National Mall
The New Yorker ~ When Marian Anderson Defied the Nazis
Philadelphia Tribune ~ 'Once in a Hundred Years' documentary
Smithsonian ~ Newly Digitized Diaries and Letters of Marian Anderson
YouTube links:
Marian Anderson Performs at the Lincoln Memorial (complete) (29 mins, 43 secs.)
August 9, 2020
Nagasaki 75 years ago ~ Pointless Tragedy of the hibakusha
~
As he witnessed the first detonation of a nuclear weapon on July 16, 1945, a piece of Hindu scripture ran through the mind of Robert Oppenheimer: “Now I am become Death, the destroyer of worlds.”
The bomb used on the city of Nagasaki was actually a plutonium implosion bomb, whose code name was "Fat Man". The bomb used on Hiroshima had the code name, "Little Boy".
Even though the two bombs, which fell on Aug. 6 and 9, killed more than 200,000 people in the two cities and injured many others, the United States enforced a ban, in both countries, on photographs (yes, difficult to see but not for that reason) that showed the civilian impact (links below). There are indications that the bombing was unnecessary (link below).
Through much of World War II, Allied bombers would sometimes drop leaflets warning of the impending bombing of a city. The leaflets often told civilians to evacuate, and sometimes encouraged them to push their leaders to surrender. The first round, known as the "LeMay leaflets," were distributed before the bombing of Hiroshima. The historical record is unclear, but it seems as though these leaflets did not make it to Nagasaki until after it, too, had been hit by an atomic bomb (link below).
Located in the northern part of Nagasaki, the Urakami District was the location where hidden Christians resided during the 17th to 19th centuries during the ban on Christianity. Today, it is also known as the location of the Urakami Cathedral where the atomic bomb exploded. According to one theory, approx. 15,000 Christians were living in this area and more than 10,000 of them were killed (link below).
In 1947 an American docudrama film about the development of the atomic bomb in World War II was released entitled, The Beginning or the End; the title was supplied by President Harry S. Truman.
The Beginning or the End was directed by Norman Taurog and starred Brian Donlevy, Robert Walker, and Tom Drake, and released by Metro-Goldwyn-Mayer. The film dramatizes the creation of the atomic bomb in the Manhattan Project and the bombing of Hiroshima.
The film originated in October 1945 as a project of actress Donna Reed and her high school science teacher, Edward R. Tompkins, who was a chemist at the Oak Ridge National Laboratory.
In 1954, when the monster Godzilla, or “Gojira,” (a giant dinosaur depicted in the film as having been aggravated by a hydrogen bomb) appeared before Japanese movie audiences, many left the theaters in tears (link below).
The heavily furrowed skin or scales of the monster were imagined to resemble the keloid scars of survivors of the two atomic bombs that the U.S. dropped on Japan nine years earlier.
At this date the The US Government plans to spend over a trillion dollars on nuclear weapons. This spending is not set in stone and depends on the willingness of Congress to continue to provide funding for each project in successive yearly allocation processes. Moreover, the 2017 report discusses a political reality determined by eight years of the Obama Administration, not Trump Administration priorities, such as possibly restarting nuclear weapons testing and developing low-yield nuclear arms. Ultimately, the decision about investment in nuclear modernization is reached through a complex process involving work of executive branch agencies like the Department of Defense, the President’s yearly budget request, and confirmation or denial by Congress of any particular monetary request. This means that the $1.2 trillion figure captures a moment in time—one possibility of what the true outcome may be. (link below).
Arts & Culture ~ Atomic Bombing in Nagasaki & the Urakami Cathedral
Atomic Heritage Foundation ~
Hiroshima and Nagasaki Bombing Timeline
Warning (LeMay) Leaflets
Time ~ Why We Shouldn't Overlook Nagasaki
Styrous® ~ Sunday, August 9, 2020
atomic bomb cloud
photo by Charles Levy
It was seventy-five years ago today that the United States dropped the plutonium bomb on the city of Nagasaki in Japan; along with the atomic bombing of Hiroshima three days prior, it ushered in the Nuclear Age and the terror and fears that come with it. The mistakes and misunderstandings of the event were documented by John Hersey (links below).
The war had actually been over; President Truman was aware of this but went ahead with the action to test how the new weapon would work (links below)!
Hiroshima has muffled the voices of the Nagasaki hibakusha (“the bombed,” the term for atomic-bombing survivors), who have struggled for more than seven decades to gain equal attention for the trauma and aftermath of their bombing.
The different approaches to atomic commemoration taken by officials in each city has contributed to the rise of “Hiroshima” and impeded the memory work of the Nagasaki hibakusha to distinguish their experience as separate. Authorities in Hiroshima quickly rebuilt the city as a site of atomic trauma and peace activism, while their counterparts in Nagasaki downplayed the atomic bombing to instead promote the city as a site of historical cosmopolitanism.
Early reconstruction plans in Nagasaki explicitly set out to make the bombing a secondary characteristic of the city’s identity, much to the consternation of the hibakusha. Municipal officials (many of whom had also survived the bombing) chose instead to emphasize the city’s earlier historical legacy as a center of international trade and culture.
In reference to the destructive birth of the nuclear age, the focus is usually on Hiroshima. It was first, and firsts get precedence in memory. It was also more devastating an attack than Nagasaki, with nearly twice as many dead and injured and three times as much land area destroyed. (This was in spite of the fact that the Little Boy, dropped by the Enola Gay, was only three-quarters as explosive as the Fat Man.) But if Hiroshima was, from a military perspective, relatively well considered, well planned, and well executed, Nagasaki was almost the opposite. From the very beginning, it was a JANCFU (Joint Army Navy Combined Foul Up (polite form) or SNAFU of major proprtions—a sign that this new era was as likely to be a comedy of errors and near-misses as the product of reason and strategy. Nagasaki was not the original target, Kyoto was (links below).
Conventional wisdom holds that these two atomic explosions - the only use of nuclear bombs in the history of war - brought World War II to an end. Yet an increasing number of historians are critical of this interpretation. International experts say it is a myth and say it glorifies a war crime that killed more than 100 thousand civilians. Historian Tsuyoshi Hasegawa argues that the unexpected declaration of war by the Soviet Union on Japan is what really pushed Tokyo to surrender. He says that Japan had been hoping that Moscow would step in to broker a diplomatic end to the conflict. Research in Russian archives has discovered that the United States knew that, so why did it drop the bombs at all? Especially the second one? There is an excellent documentary on YouTube produced by Deutsche Welle (DW Documentary) as to whether it was even necessary; it is very difficult to watch (link below).
In 1939, physicists Albert Einstein and Leo Szilard drafted a letter to US President Franklin D. Roosevelt, urging him to research atomic bombs before the Germans could build one first. By 1942, the United States had approved the top-secret Manhattan Project to build a nuclear reactor and assemble an atomic bomb.
The war had actually been over; President Truman was aware of this but went ahead with the action to test how the new weapon would work (links below)!
Harry S. Truman - ca 1947
Official portrait
Hiroshima has muffled the voices of the Nagasaki hibakusha (“the bombed,” the term for atomic-bombing survivors), who have struggled for more than seven decades to gain equal attention for the trauma and aftermath of their bombing.
The different approaches to atomic commemoration taken by officials in each city has contributed to the rise of “Hiroshima” and impeded the memory work of the Nagasaki hibakusha to distinguish their experience as separate. Authorities in Hiroshima quickly rebuilt the city as a site of atomic trauma and peace activism, while their counterparts in Nagasaki downplayed the atomic bombing to instead promote the city as a site of historical cosmopolitanism.
Early reconstruction plans in Nagasaki explicitly set out to make the bombing a secondary characteristic of the city’s identity, much to the consternation of the hibakusha. Municipal officials (many of whom had also survived the bombing) chose instead to emphasize the city’s earlier historical legacy as a center of international trade and culture.
長崎
In reference to the destructive birth of the nuclear age, the focus is usually on Hiroshima. It was first, and firsts get precedence in memory. It was also more devastating an attack than Nagasaki, with nearly twice as many dead and injured and three times as much land area destroyed. (This was in spite of the fact that the Little Boy, dropped by the Enola Gay, was only three-quarters as explosive as the Fat Man.) But if Hiroshima was, from a military perspective, relatively well considered, well planned, and well executed, Nagasaki was almost the opposite. From the very beginning, it was a JANCFU (Joint Army Navy Combined Foul Up (polite form) or SNAFU of major proprtions—a sign that this new era was as likely to be a comedy of errors and near-misses as the product of reason and strategy. Nagasaki was not the original target, Kyoto was (links below).
Conventional wisdom holds that these two atomic explosions - the only use of nuclear bombs in the history of war - brought World War II to an end. Yet an increasing number of historians are critical of this interpretation. International experts say it is a myth and say it glorifies a war crime that killed more than 100 thousand civilians. Historian Tsuyoshi Hasegawa argues that the unexpected declaration of war by the Soviet Union on Japan is what really pushed Tokyo to surrender. He says that Japan had been hoping that Moscow would step in to broker a diplomatic end to the conflict. Research in Russian archives has discovered that the United States knew that, so why did it drop the bombs at all? Especially the second one? There is an excellent documentary on YouTube produced by Deutsche Welle (DW Documentary) as to whether it was even necessary; it is very difficult to watch (link below).
In 1939, physicists Albert Einstein and Leo Szilard drafted a letter to US President Franklin D. Roosevelt, urging him to research atomic bombs before the Germans could build one first. By 1942, the United States had approved the top-secret Manhattan Project to build a nuclear reactor and assemble an atomic bomb.
As he witnessed the first detonation of a nuclear weapon on July 16, 1945, a piece of Hindu scripture ran through the mind of Robert Oppenheimer: “Now I am become Death, the destroyer of worlds.”
The bomb used on the city of Nagasaki was actually a plutonium implosion bomb, whose code name was "Fat Man". The bomb used on Hiroshima had the code name, "Little Boy".
"Fat Man" - August, 1945
Tinian Island
photo: US Department of Energy
Even though the two bombs, which fell on Aug. 6 and 9, killed more than 200,000 people in the two cities and injured many others, the United States enforced a ban, in both countries, on photographs (yes, difficult to see but not for that reason) that showed the civilian impact (links below). There are indications that the bombing was unnecessary (link below).
Through much of World War II, Allied bombers would sometimes drop leaflets warning of the impending bombing of a city. The leaflets often told civilians to evacuate, and sometimes encouraged them to push their leaders to surrender. The first round, known as the "LeMay leaflets," were distributed before the bombing of Hiroshima. The historical record is unclear, but it seems as though these leaflets did not make it to Nagasaki until after it, too, had been hit by an atomic bomb (link below).
Located in the northern part of Nagasaki, the Urakami District was the location where hidden Christians resided during the 17th to 19th centuries during the ban on Christianity. Today, it is also known as the location of the Urakami Cathedral where the atomic bomb exploded. According to one theory, approx. 15,000 Christians were living in this area and more than 10,000 of them were killed (link below).
Urakami Cathedral (Before the atomic bombing)
photo: Nagasaki Atomic Bomb Museum
Urakami Cathedral - 1945
Bernard Hoffman/LIFE Picture Collection/Getty Images
In 1947 an American docudrama film about the development of the atomic bomb in World War II was released entitled, The Beginning or the End; the title was supplied by President Harry S. Truman.
The Beginning or the End - 1947
movie poster
The Beginning or the End was directed by Norman Taurog and starred Brian Donlevy, Robert Walker, and Tom Drake, and released by Metro-Goldwyn-Mayer. The film dramatizes the creation of the atomic bomb in the Manhattan Project and the bombing of Hiroshima.
The film originated in October 1945 as a project of actress Donna Reed and her high school science teacher, Edward R. Tompkins, who was a chemist at the Oak Ridge National Laboratory.
MGM camera crew - July 1946
photo by
In 1954, when the monster Godzilla, or “Gojira,” (a giant dinosaur depicted in the film as having been aggravated by a hydrogen bomb) appeared before Japanese movie audiences, many left the theaters in tears (link below).
Godzilla - 1954
The heavily furrowed skin or scales of the monster were imagined to resemble the keloid scars of survivors of the two atomic bombs that the U.S. dropped on Japan nine years earlier.
keloid scar - 2014
photo by Dr. Michael H. Tirgan
At this date the The US Government plans to spend over a trillion dollars on nuclear weapons. This spending is not set in stone and depends on the willingness of Congress to continue to provide funding for each project in successive yearly allocation processes. Moreover, the 2017 report discusses a political reality determined by eight years of the Obama Administration, not Trump Administration priorities, such as possibly restarting nuclear weapons testing and developing low-yield nuclear arms. Ultimately, the decision about investment in nuclear modernization is reached through a complex process involving work of executive branch agencies like the Department of Defense, the President’s yearly budget request, and confirmation or denial by Congress of any particular monetary request. This means that the $1.2 trillion figure captures a moment in time—one possibility of what the true outcome may be. (link below).
Viewfinder links:
Net links:
Arts & Culture ~ Atomic Bombing in Nagasaki & the Urakami Cathedral
Atomic Heritage Foundation ~
Hiroshima and Nagasaki Bombing Timeline
Warning (LeMay) Leaflets
CNN ~ The bombings of Hiroshima and Nagasaki in pictures
Columbia k1project ~
Hiroshima and Nagasaki: The Long Term Health Effects
US Plans to Spend Over a Trillion Dollars on Nuclear Weapons
The Guardian ~ Truman: Hiroshima and Nagasaki nuclear bombs
Columbia k1project ~
Hiroshima and Nagasaki: The Long Term Health Effects
US Plans to Spend Over a Trillion Dollars on Nuclear Weapons
The Guardian ~ Truman: Hiroshima and Nagasaki nuclear bombs
History ~ Hiroshima and Nagasaki, Before and After the Bombs photos
NBC News ~ 'Godzilla' was a metaphor for Hiroshima
The New Yorker ~ Nagasaki: The Last Bomb
NY Times ~ These Photographers Worked Under Mushroom Clouds NBC News ~ 'Godzilla' was a metaphor for Hiroshima
The New Yorker ~ Nagasaki: The Last Bomb
Time ~ Why We Shouldn't Overlook Nagasaki
U.S. Department of Energy (DOE) ~ The Atomic Bombing of Nagasaki
Washington Post ~ Americans insist the atom bomb ended the war in Japan
Wired ~ The story of Oppenheimer's infamous quote
Washington Post ~ Americans insist the atom bomb ended the war in Japan
Wired ~ The story of Oppenheimer's infamous quote
YouTube links:
BBC Studios ~ Atomic bombing of Nagasaki
British Movietone ~ Atomic Bomb dropped on Nagasaki 1945 newsreel
British Movietone ~ Atomic Bomb dropped on Nagasaki 1945 newsreel
DW Documentary ~ Why did the US drop the second bomb? (42:24)
Wired ~ Rare Nuclear Bomb Footage
Trinity test of the Manhattan Project - July 16, 1945
“Now I am become Death,
the destroyer of worlds”
the destroyer of worlds”
~ Robert Oppenheimer
from the Bhagavad-Gita
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