Thousands of people have begun arriving in Rome in advance of the beatification of Pope John Paul II. Pope Benedict put John Paul on the fast-track for possible sainthood when he dispensed with the traditional five-year waiting period. (April 30)
Continue reading …First we had the the professional corporate climate-change deniers snorting at the idea that global warming might have played a role in this week’s devastating tornadoes in the South. Now we have religious-right climate-change deniers claiming that they know what did cause those tornadoes: in fact, the storms were a product of God’s wrath and an expression of his judgment. This time it’s Dr. Calvin Beisner, voicing his views on the radio show of the American Family Association’s Bryan Fischer, via RightWingWatch: BEISNER: What this tells me, Bryan, is that we need to recognize that natural disasters like this are like distant early-warning signals. There is judgment to come. We are all sinners. None of us, none of us is righteous enough to say, ‘Oh, I wouldn’t deserve it if that happened to me.’ I’m sure folks in Alabama and Georgia will be pleased to hear that God singled them out for judgment — especially ahead of such godless places as Hollywood — just to prove that it can happen to good people too. And why are we getting God’s wrath? you ask. Well, Pat Robertson has the answer — it’s because we’ve become a modern-day “Sodom and Gomorrah”: Robertson: And I believe that the anointing of the Lord has been here to fulfill the desire of those early settlers, to take the gospel from America throughout the world, and that’s what we’ve been here to do. But let me tell you, ladies and gentlemen, it doesn’t take a great scholar to tell you the United States has lost its moorings. When you think that courts have denied children the right to pray in schools, that there’s a vendetta against religious belief, that now homosexuality has been made a constitutional right, that abortion has been made a constitutional right, the courts and judges have trampled on the early origins of our nation, they have distorted the meaning of the First Amendment. It’s all been done, and we’ve let it happen. But I was reading today about a place called Sodom and Gomorrah, and a man named Abraham stood before God, and he says, “God, there’re righteous people in that city, would you kill them along with the wicked, must not the judge of all the earth do right?” And God finally promised, “If I can find ten righteous in that city, I will spare it,” just ten. Well the time came he could only find six, so they destroyed Sodom and Gomorra. But there’re many righteous here in America, and we need to band together and pray that God Almighty will spare this great land and reestablish in our hearts the vision of the pioneers. Well, considering that the storms struck hardest in states represented by some of the most hardcore global-warming denialists , maybe they’re onto something with this whole “God’s retribution” bit. Though not for the reasons they presume.
Continue reading …Richard Branson ‘s not the only one eager to explore that other 70 percent of the world. Triton Submarines has designed a three-passenger sub able to dive 36,000 feet, reaching the deepest part of the world’s oceans. And while Sir Richard envisions a spaceship-like craft, Triton’s design evokes old school bathyspheres: it’s a glass globe. Of course, water pressure poses a serious engineering challenge when you descend seven miles below the surface — the last manned sub to reach that depth had only a single, small window made of plexiglass. The current design uses borosilicate glass (like those transparent displays we, um, saw through a while back) that actually grows stronger as depth pressure increases; it took eight months of careful heating and cooling to produce. Assuming the glass holds, it will take about 75 minutes to reach the bottom of the ocean. Anyone considering a test run should check out the PR video after the break, showing Triton’s other submarines in action. Continue reading Triton 36,000 submarine to plumb ocean’s deepest depths, comes in yellow (video) Triton 36,000 submarine to plumb ocean’s deepest depths, comes in yellow (video) originally appeared on Engadget on Sat, 30 Apr 2011 20:19:00 EDT. Please see our terms for use of feeds . Permalink
Continue reading …Cursive handwriting may seem archaic in a time of word processors and text messages, and in schools nationwide, it’s being taught less and less. But the ability to write in cursive has hidden benefits, experts tell the New York Times . When it comes to signatures, for example, “it’s easier to…
Continue reading …nita_alina – My tweets … of Prince William and Catherine being proclaimed a royal man and wife: http://on.msnbc.com/kGYAE1 · Fri, 14:30: BBC News – Watch the royal wedding live online – http://bbc.in/evrl7b · Fri, 14:45: What is Prince William’s last name ? … Nicki_Swayze says: What's Prince William last name ?
Continue reading …The Revenend Of The Legion Of Doom “Juggalos Hacked PSN!” Message For Anonymous From PSN Users Runescape Weird Pk Vid 9 The French Foreign Legion : Camerone Day, Part 2 | What Makes a Man Marche ou creve”; March or Die Unofficial Legion Motto Today is Camerone Day Camerone Day is the most important day in the calendar of the. AIS-AFL Academy v European Legion (1) « SarahCanterbury AIS-AFL Academy v European Legion (1) · CC Azhar Mahmood Batting v Gloucs · Super ‘Keeper · Will Gidman bowling · Cheekily Positioned · CC Adam Ball batting v Gloucs · Chris Taylor bowled · Smiley Hamish Marshall · British Bulldogs v … SUPERMANSUPERWORLD: THE LEGION OF DOOM IN NEXT WEEKS PROPHECY … AWESOME!! fanboys rejoice LEGION OF DOOM! is in next weeks Prophecy, DarkArcher Solomon Grundy BlackMANTA Toyman in (the Middle of the Tv on the table)& CAPTAIN COLD! PUREAWESOMNESS!! Posted by SuperKAL at 1:55 AM … First Citation For Smoking Ban Given Out It was no secret that the legion was going to be smoking. They said as much yesterday in an article in the daily news.. Simpson knew this could happen. “I wasn’t surprised but maybe extremely disappointed. The people who served their … What makes a man enlist in the Foreign Legion ? | World News Today It seems to me that men who have reached rock bottom. Simacx44 says: Legion of the Lost: http://amzn.to/iwFHhm
Continue reading …Me, Myself, And Time (cover) Take Me Home Tonight part 1 of 9 full movie HD Labor Day History. (UPDATE) Police on full alert for Labor Day protest | Home … The Philippine National Police ( PNP) were on the highest alert today before the nation commemorates the Labor Day tomorrow. MMDA finalizing contingency plan on Labor Day | U.S. News Las Vegas 6000 policemen, augmented by 400 personnel from the AFP-NCRcom will be deployed in the metropolis to guarantee a peaceful commemoration of Labor Day in the face of protest actions being planned by labor and militant groups. … PNP-ARMM alerted ahead of Labor Day celebrations | U.S. News Las Vegas The entire Philippine National Police in the Autonomous Region in Muslim Mindanao (PNP-ARMM) has been placed on heightened alert ahead of the Labor Day celebrations in the region. “We are ready,” according to Chief Superintendent … Police on full alert for Labor Day protests | Home > > Other … The Philippine National Police (PNP) today went on full alert nationwide ahead of the country’s commemoration of the Labor Day on Sunday (May1). Labor Day in the Philippines: May 2 a Holiday? | Business Tips … The 109th Labor Day celebration will be held on May 1, 2011 in the Philippines. Will the holiday be moved to May 2 on Monday? Will Filipino workers enjoy a non-working holiday? abam1092 says: Labor Day 2011 Cebu Pacific Promo – 50% OFF International Flights: Let's give honor to all laborers today! The p… http://bit.ly/mMfKZI
Continue reading …Even with billions of eyes tuned to William and Catherine yesterday, they managed to slip a few comments by us. Surely it was a technique to calm the wedding nerves. William was caught chatting to his bride and her father after their nearly 4-minute procession down the center aisle of Westminster Abbey. But what were
Continue reading …The seven ages of man are a thing of the past. We’re never too old to find a new lover, start a business or even have a baby. Now, we’re ready for anything – except death. Welcome to the world of amortality. Plus, are you already an amortal? Take our test and find out My father was well beyond the danger point of a dive when a weight slipped from his jacket and spiralled downwards into the gloom. We had arrived at the quayside to discover our Red Sea pleasure boat laden with US soldiers on leave from peacekeeping duties in the Gulf. The platoon’s NCO proved to be a seasoned diver. His charges were novices. A 19-year-old private from Arkansas, paired with my father, then 70, for the safety check and first dive of the day, failed to secure the weights that are essential in controlling a diver’s surfacing speed. The mishap illustrated one of many rules that the sea subverts: on dry land a healthy teenager will invariably outperform a septuagenarian in any physical exercise. Underneath the waves, age is as fluid as water. Confronted with a problem, the soldier lost control of his buoyancy, flailing like a fish in a net, while the older man, an emeritus professor of theatre history, calmly recalibrated their dive plan, communicating the change in the limited vocabulary of scuba sign language. Only once we were back on board was the natural order restored, as the senior grouched about the teen, who stretched out in the heat, blithely unaware of the animus he had attracted. But the natural order is itself in flux. My father still dives in his 80s, still lectures, researches, writes books. People are living longer, sometimes much longer. Across the developed world the average lifetime has lengthened by 30 years since the beginning of the 20th century. The fastest-growing segment of the world population is the very old, with the number of centenarians up from a few thousand in 1950 to 340,000 in 2010 and projected to reach nearly 6 million by 2050. You might have thought we’d use all that extra time to squeeze in a few additional stages of life – from the seven ages of man observed by Shakespeare, when life expectancy at birth was below 40, to maybe 10, 12, 15 stages now that a man born in Stratford-upon-Avon looks forward to an average span of 76.9 years. Here’s the crazy, counterintuitive thing: the ages of man are actually eliding. Youth used to be our last hurrah before the onset of maturity and dotage, each milestone benchmarked against culturally determined expectations. Those expectations are now swirling and re-forming like glassfish in a current. What that means is that the premises on which our governments legislate are outdated. Our economies are based on data that no longer applies. There is a profound disconnect between how we imagine life and how it actually unfolds. The meanings of age have become elusive; visual clues untrustworthy. Children dress like louche adults. Their parents slouch around in hoodies and trainers. Rising phalanxes of Dorian Grays rely on exercise, diet and cosmetic procedures to remain transcendentally youthful. Glowing teens and twentysomethings are propelled by some of those same procedures into a semblance of premature ageing, their sculpted, frozen faces timeless rather than fresh. Female celebrities don’t grow old; they vanish. And there’s another reason our perceptions of age have come adrift: the disappearance of death in the developed world. If we’re lucky we may be in the middle of our lives before we see death up close and then it’s usually medicalised. Polite societies don’t dwell on death; we’re expected to dab our eyes and get on with the business of living. In the absence of legitimised outlets, our orphan emotions attach to public bereavements, depositing flowers at the gates of Kensington Palace and composing Facebook tributes for total strangers. But there’s also a growing trend to believe we can control death. Assisted suicide is becoming just another lifestyle choice, at least in the abstract. Moreover, science has already added decades to our lives and must surely be on the verge of adding many more. Barely a day goes by without a media report of a breakthrough that seems to promise another lifestyle choice: to defer death altogether. Things change. Amortals don’t, not at the core. These are the swelling ranks of people – and I am one – who live agelessly, doing and consuming many of the same things from teens into old age. For us, the concept of age-appropriate behaviour has little meaning. We don’t structure our lives around the inevitability of decline and death because we prefer to ignore it. Perpetual motion is a hallmark of the condition; we are prone to overwork, to adventuring. Nothing banishes those pesky intimations of mortality more effectively than illicit sex or emotional drama or some high-octane combination of the two. Unwitting revolutionaries, we assume all options remain open, from youth into old age, and may be startled if we get round to having children at all to find ourselves reliant on fertility treatments or adoption agencies or surrogates to help us to do so (as a result having fewer kids than non-amortals, but sometimes in batches of two or more). We never consider ourselves too young to pair up, break up, launch businesses, take on the world or too old for fresh commitments, old habits, the latest technologies or new diversions. David Battiscombe is a 59-year-old English bass-player-turned-property lawyer: “If somebody said tomorrow I had to stop practising law and do something else it wouldn’t faze me in the least. And I think whenever I stop doing this I would expect to do something else, probably something completely different. It’s the old Woody Allen dead shark thing, you can’t stay still. That’s just the kiss of death. A shark, if it stops moving, dies.” Battiscombe took up running in 2009 and last month completed the London marathon, a few months shy of his 60th birthday. Other amortals might mark that milestone with a different kind of marathon, a celebratory bender that leaves them mewling and puking like infants. The world is used to the spectacle of baby boomers, who never imagined they would one day wake up to find themselves in danger of being marginalised by the youth-oriented culture they helped to create, challenging shibboleths about age. Yet amortal impulses are by no means confined to boomers. Amortality has reached a tipping point and is spreading through all the generations. For a dystopian vision of the ageless world we now inhabit you have only to watch hypersexualised teens competing with hypersexualised sexagenarians on any of the talent shows that have become Saturday night TV staples. The svengali behind many of the shows is Simon Cowell, who is on the evidence of his own utterances one kind of amortal archetype. “All the things I used to like as a kid I still like,” he told Piers Morgan in an intimate chat in front of 6 million viewers. “Genuinely, my tastes haven’t changed at all.” The evergreen Cowell – Botox, he once said, is a routine, “like cleaning my teeth” – has more than a touch of the Peter Pan about him. He has fathered no children. His plans to marry, after his first-time engagement aged 50, show no signs of reaching a speedy fruition. Death is unconscionable to him. “I can’t go to funerals and stuff like that. I find it very difficult to deal with that kind of reality. I shut myself off totally because it affects me so badly,” he confided in the same interview. “The big surprise for me is that age is just a number. It’s a number without meaning,” mused Hugh Hefner. Aged 85, he’s preparing to marry a woman 60 years his junior. Amortals such as Cowell and Hefner may appear marooned in Neverland but they are only part of the story. The actor Richard Wilson became the personification of grumpy old age as Victor Meldrew in the sitcom One Foot in the Grave . In real life he’s as ageless as Mick Jagger or Meryl Streep. “I find myself looking at people and thinking, ‘Oh, look at that poor old man,’ and I realise that they’re probably younger than me,” says Wilson, 74. “Because my image of myself is not of an old man, I get quite shocked when people call me an old man.” When he was first offered the part of Meldrew, he turned it down, he tells me. “I didn’t see myself playing older people yet.” “[When] I’m 70, and I pick up the phone and I’m talking to some young spark of 30 who’s at the top of his game, will he pay any attention to me?” asks Bob Geldof, rhetorically. “No, but if I was still, say, having hit TV shows or hit records or still politically active in the proper sense, still arguing and being listened to, then they probably would. So age disappears in direct proportion to the vitality of your ideas.” Retirement isn’t a proposition that appeals to amortals unless life after work promises to be busier and better than the life before. And the impulse to keep working isn’t such a bad thing, given the changing profile of the world’s population. In Europe, the 60-pluses are projected to make up 37% of the population by the middle of this century. In some countries, two-fifths of citizens will be in their seventh decade or beyond. One of those countries will be Greece. Among the austerity measures its government proposed as it struggled to manage the country’s debt crisis was to raise the retirement age – from 53 to 67. Angry Greeks immediately flooded the streets to protest an outrage that threatened their right to be paid to do nothing for an average of 27 years. (Despite having the highest smoking rate in the world, the average Greek life span hovers around 80 years.) Amortals are more inclined to celebrate the lifting of compulsory retirement ages and to deplore the ageism that seriously disadvantages older job seekers. Here’s someone who reluctantly left her job at the Royal Court Theatre only when her employers discovered she was beyond pensionable age, and went on to establish a freelance public relations consultancy: “The other day I was washing my hair in the shower and they were blabbing on the Today programme about the problems with being able to afford to take care of the old. And I was half-listening, and I suddenly thought, I’m an elderly person – I’m 77 – and this is about me, but I don’t feel any connection to it at all. And it isn’t a money thing because financially I’m the least secure I’ve ever been in my adult life. It’s really that I don’t feel like an elderly person. I used to worry quite a lot about what people would think when I turned up to do jobs, because you know, the expectation, but I’ve completely got over that. I just think well, I am who I am and it doesn’t seem to bother anyone. Nobody has ever said: ‘Gosh, do you think you’re up to this?’ Never, never, never.” The speaker is my mother. She is amortal, like my father (her ex-husband; both parents are long remarried to younger partners) and many in our wider family. It’s no coincidence that quite a few relatives work in entertainment. It’s an industry that commodifies the desire for distraction, and it’s rammed with people whose greatest talent is to distract themselves. But genes don’t make us amortal; our socialisation does that, and the elements of that socialisation have changed dramatically as the culture of deference died, and traditional forms of authority ceded dominance to a makeshift cast of celebrities and scientists and a globalised, digitised range of cultural influences. Family, too, has lost traction as a vehicle for cultural transmission. As generational differences erode, relationships between adults and children change, often becoming closer. But if there is a weakness to amortal parenting, it is that amortal parents may be better friends to their kids than they are parents. In the vanguard of the amortally driven transformation of family life, you’ll find celebrities endorsing these changes through their own adventures in family-building. “I feel just as hungry today as the day I left home,” remarked Madonna. Her appetite for adding to her family extended beyond her 50th birthday. Elton John unburdened to OK! magazine about his decision to start a family with his partner David Furnish. “David said: ‘Well what about surrogacy?’ I said: ‘You know what? Why not?’ I’m 62 at this point, but I feel 40.” Celebrities are the most effective sales force of our age, popularising ideas and behaviours. They’re committed to the institution of marriage, for example. It’s the institution of being married that’s palled. And they increasingly use their celebrity power to shift products, too. Avatars of extended youth are often hired as the public faces of the multibillion-pound, multi-faceted global industry that is devoted to combating ageing and death or exploiting our passionate desire to do so. When we see famous actresses apparently defying age thanks to patented nostrums and programmes and potions, we react like envious customers watching Meg Ryan’s phoney orgasm: “I’ll have what she’s having.” The problem is that not even scientists can agree on the causes of ageing or the possibilities of an antidote. A majority of mainstream scientists are pessimistic about the possibilities for unabated life extension. The world’s verifiably longest-lived person, Jeanne Calment, died at 122 in 1997, and that may be close to the edge of the possible human span. But there have been flurries of excitement around discoveries that seem to hold out the promise of slowing ageing. Last November, Nature magazine published a study showing that mice with suppressed production of an enzyme called telomerase aged swiftly but could be rejuvenated if the telomerase supply was restored. And there is a chorus of dissenting voices promising that if we work out ways to live long enough, we’ll be able to live for ever. Ray Kurzweil, for example, puts his faith in nanotechnology, the development of machines tinier than atoms that could be deployed in the human body to repair the ravages of time. Kurzweil’s impressive record as an inventor (he developed the first flatbed scanners, optical character-recognition software, print-to-speech and speech-recognition technologies, as well as making fine keyboards found in many music studios), together with his unnerving habit of issuing outlandish predictions that later prove true, mean only the foolhardy would dismiss his forecasts out of hand. He has signed up to have his head cryonically frozen after death, envisaging resuscitation in a more technologically advanced future, but he’s not “super-enthusiastic” about refrigeration; it is, he says, a back-up plan. He is perched on a sofa in his office in Wellesley, near Boston, surrounded by awards, posters for two films centred on his transhumanist ideas, photos with people even more successful than he. “I have enough trouble pursuing my interests while I’m alive and kicking,” he says. “It’s hard to imagine doing that when you’re frozen, but proponents of it say it’s better than the alternative. Really, my plan is to avoid dying, I think that’s the best approach.” For Kurzweil – 62 at the time of the interview last year, “biologically more like 41″ – that effort involves a Spartan diet, exercise and handfuls of vitamins and around 150 supplements daily. Many amortals can’t be bothered to put the work into staying vibrant, trusting instead to boffins like Kurzweil to deliver us from the clutches of our own biology. Unfortunately there’s no firm evidence that they will do so, even in our longer lifetimes. Amortals may be assailed by depression or left unprepared when the gap between our ageless sense of self and the reality of ageing yawns. I would urge my family and friends to drink elixirs or open their veins to restorative swarms of nanobots if I thought that would grant them even a few additional years. Instead I cling to the hope that by eating well and taking exercise, engaging and being engaged, they will at the very least challenge Jeanne Calment’s record for longevity. Stretching the health span to match the life span is a goal to which any healthy human can aspire, assuming he or she has access to the fundamentals of life and the modern health and sanitation systems that have already extended our lives. The blind watchmaker has saddled some of us with defects likely to thwart that ambition; accidents will happen; we inhabit a fractious planet in which violence is distributed as blindly as genes. Those eventualities are largely unpredictable and unavoidable, but the rest is down to us. And amortality promises benefits as well as perils. Amortals will not step aside for younger talent, but our compulsion to keep working may provide at least partial relief from the economic strains of a greying population. Moreover, research has shown that attitude does play a significant role in determining how we age. How you feel often becomes who you are. Boredom and its ugly sisters – detachment, isolation, rigidity – can drain life of joy, as surely as sickness and poverty. When I asked my father about the regimen that keeps him fit enough for diving, he quoted an American folk song: “Oh, it’s beefsteak when I’m hungry/Rye whiskey when I’m dry/If a tree don’t fall on me/I’ll live till I die.” In fact, like many amortals, he doesn’t easily or entirely accept his mortality. His impulse to outrun death is one of the reasons he’s ageing pretty well. Catherine Mayer’s Amortality: The Pleasures and Perils of Living Agelessly is published on 12 May by Vermilion, priced £12.99 Are you amortal? Answer the following 10 questions and find out Tick the answer that most closely matches your immediate response. 1. The difference between the age you are and the age you feel is: a) More than 10 years b) Up to 10 years c) I feel the age I am d) No idea. Age is an irrelevance 2. Describe your typical Sunday: a) I often have to catch up on work but I also find time for friends b) I usually have a lazy day and watch TV c) Church, household chores and family pursuits d) Hard to say, but as busy as the rest of the week 3. The late thirties and forties are the best ages to have babies: a) I agree, and I/my friends have done just that/are planning to do that b) I’m not sure that’s true. It’s probably better to have kids when you have more energy c) I disagree. It’s unfair on the kids who have older parents d) I haven’t got round to thinking about babies 4. Your friend’s new lover is 25 years younger than your friend. You: a) Don’t think the age difference matters. They’re soul mates b) Understand the attraction but the age gap means the relationship is unlikely to last c) Think “there’s no fool like an old fool” d) Hadn’t noticed 5. You are permanently stressed and worried. You turn to: a) Therapy. I start by fixing myself b) Retail therapy. It always makes me feel better c) Prayer. It always makes me feel better d) Stress? The only thing that makes me stressed is having nothing to do 6. Your ideal holiday would be: a) Action-packed. An adventure b) A mixture of relaxation and sight-seeing c) I like to spend quiet time at home d) I prefer work trips. They’re a better way to get under the skin of a country 7. Your fitness routine involves: a) Guilt. I belong to a gym but I rarely go b) I exercise/play a sport but I’m not as fit as I used to be c) At school/college I played a vigorous sport d) I don’t really need to exercise because I am always running to the next appointment 8. When you think about retirement you: a) Shudder. I never want to stop working b) Wonder if I’ll ever be able to afford to retire c) I am looking forward to my golden years d) I haven’t really thought that far ahead yet 9. The following statement best describes your attitude towards getting old: a) I don’t intend to get old the way people used to. b) It comes to us all, I suppose… c) I look forward to the dignity and wisdom of age d) I haven’t really thought that far ahead yet 10. Every life ends in death. Discuss: a) Maybe, but science is on the point of finding ways to make us live longer b) That’s true but I’d really rather not think about it c) And death is the beginning of eternal life d) I haven’t really thought that far ahead yet ANSWERS Mostly As Bona fide amortal: You have strong amortal inclinations and are already living agelessly, at least in some respects. Mostly Bs On the way to amortality: You have latent amortal tendencies that may well develop in future. Mostly Cs Mortal soul: You have significant immunity to amortality and are unimpressed by many of its manifestations. Mostly Ds Amortal to the max: You’re so detached from external concepts of age that you probably don’t even realise how agelessly you live. Health & wellbeing Ageing Biology Nanotechnology guardian.co.uk
Continue reading …When the 64th Cannes film festival opens on 11 May, no one will get closer to the stars than Gilles Traverso – a photographer for the local papers, whose family have had unique access to the world’s greatest actors for 70 years From the first, the Cannes film festival was a media event. The films in competition had to be seen indoors, in a sacrosanct darkness from which photographers were excluded. By way of compensation, festivities in the open air gave the paparazzi a diversion. Convoys of horse-drawn carriages or open-topped cars crawled through town displaying the stars, with flower petals fluttering from on high. Photo ops cannily accentuated national stereotypes: Yves Montand stationed himself on a bench poring over Le Monde , Glenn Ford more energetically bounced on a trampoline or rode in a go-cart, and Ugo Tognazzi gave a cooking demonstration in the surf, ladling spaghetti out of a vat. The stars were offered to the cameras, and encouraged to titillate fans by shedding their clothes. At the same time, they were lifted out of reach, unreachable objects of fantasy. The festival had two opposing imperatives: exposure on the one hand, mystification on the other. Visiting Cannes, you immediately understand the contradiction, summed up by the odd proximity of a beach and a so-called palace. On the level sand everyone is equal, reduced to tanned flesh. But the red-carpeted staircase outside the Palais des Festivals et des Congrès establishes a hierarchy, as the stars wave from its heights to their lowly admirers. Last weekend those stairs were inaccessible, behind barricades. Tourists who had been lolling on the beach paused to take photographs in front of the barrier, like candidates queuing for The X Factor auditions. In a society where everyone longs to star in his or her personal biopic, it counts as a sacred spot, the equivalent to being photographed outside the Vatican. Around the corner is a walk of fame like the one on Hollywood Boulevard, with palm prints of New Wave directors and sacred monsters such as Gérard Depardieu underfoot. This being France, the path is littered with cigarette butts, a reminder that stars are consumer items, to be used and discarded. Waiting for me beside the stairs was Gilles Traverso, whose grandfather founded a photographic firm in Cannes in 1919. Three generations of Traversos – Italian immigrants who crossed the border in the late 19th century – have documented the festival, with its officious ceremonies and its unofficial orgies, its parades and its parties. The founder, Auguste Traverso, was there at the railway station when Louis Lumière, the inventor of the film camera, arrived in September 1939 at the start of the first festival. Two days later the proceedings were abruptly curtailed when the war began. When the festival resumed in 1946, Auguste’s son Henri took over, and now the business is in the hands of Henri’s son Gilles, a jobbing photojournalist fuelled by Gitanes, who spent last Sunday racing on his motorbike between a fête du miel (honey fair) staged by beekeepers in the nearby town of Grasse and a traffic accident at La Bocca, with a stop in town to show me the family’s archive. I wondered whether the traffic accident shouldn’t take priority. “No fatalities,” he shrugged, with true gallic nonchalance; the totalled car that a newspaper in Nice wanted him to photograph wasn’t going anywhere. As we fought our way through the tourists immortalising one another on their mobile phones, Gilles scoffed at the scrum of non-professionals. “It was different in my father’s time. Elizabeth Taylor used to walk on her own, and was happy to be photographed with American visitors. Before she became the princess, Grace Kelly posed in the port, then invited my father to take an aperitif with her. In 1955 he asked Brigitte Bardot to run on the beach so he could show how her body was in motion; you can see in the photograph that a few others followed, but they kept their distance.” By 1967, when Henri photographed Bardot encircled by gendarmes and bombarded by flashes, the star herself had literally been eclipsed by those who were gazing at her through their incendiary lenses: you can identify her only by fixing on a cascade of blond hair at the point where the sight lines of all those competing cameras converge. “Recently I was photographing Milla Jovovich in one of the hotels over there,” said Gilles. “I wanted to make a shot on the beach, but we couldn’t cross the road. The moment people recognised her, it was madness. They have no respect, they want to touch; so finally we ran for cover. And even with the professionals, it is exhausting: they overdo it because digital photography is so easy – you take a thousand pictures and hope one will be OK. I began with a Rolleiflex camera, and after I clicked 12 times I had to change the film. That made me economise, and plan what I was doing.” Encouraged by the annual canonisation of a director at Cannes, the cinema tries hard to remember that it’s supposed to be an art form. But Hollywood has turned it into an industry, catering to a mass market that gobbles up snaps of stars and gossip about them. Traverso, however, is proud to be a pre-industrial craftsman, the master of a specialised trade, and would rather be an artisan than a self-glorifying artist. He works on his own, mainly for local papers, and instead of a studio has a tiny office in a back street where he keeps his negatives in yellowing envelopes with hand-inked labels, fastened with rubber bands and stored in wooden boxes. ” Tout fait à la main ,” he told me. ” Très artisanal . I continue a history.” The Traversos resemble the modest French dynasties that produce wine or cheese, conserving regional quirks and resisting standardisation. They have never thought of themselves as anything but journalists, capturing mementos of a day at a time. All the same, the passage of time has turned them into historians – of Cannes, the cinema, and the symbiotic connection between the art form and what was once a Provençal fishing village. Auguste Traverso started out as a radiographer, and after returning from the trenches in 1918 he put his knowledge of X-rays to use by setting up a photography studio; the art began as an adjunct to chemistry, which is why we used to take our rolls of film to a chemist’s to be developed. “My grandfather collected corpses from the battlefield during the war,” said Gilles. “It was terrible for him, he never spoke of it. He had seen too much, and afterwards what he wanted was to photograph glamour – women in furs who rode in limousines, the launching of steamships, gala soirees at the casino.” Auguste’s first studio was in the Embassy hotel, one of the establishments with Anglo-Saxon names – Carlton, Majestic, Gray d’Albion – that line the Croisette like an armada of meringues, monuments to a period when Cannes was a winter destination for Edwardian grandees. The beach back then still belonged to the fishermen, who reel in their nets in Auguste’s photographs; the visiting milords and their matrons would have blushed at the thought of venturing out into the sun. In the 1950s, Cannes began to market itself as a summer resort, with the festival as its preliminary rite of spring. Now the beach became a form of theatre, a stage for the scantily clad wannabes who hoped to attract the eye of a producer or patron. Further inland, young women like the one at the party for La Dolce Vita hurled themselves into swimming pools with an ecstatic shriek. As well as awarding prizes for excellence to directors, the festival rewarded physical flagrancy: each year, additional expanses of flesh were placed on public view. In 1967, a model whipped off the evening dress that was still compulsory and displayed the first miniskirt to grace the resort. In 1971, Yoko Ono wriggled into leatherette hot pants, and in 1974 Sylvie Matton, promoting a film called La Bonzesse , in which she played a happy hooker who becomes a blissed-out Buddhist nun, appeared with one bared breast and a shaved head. In 1977, Arnold Schwarzenegger broke a further taboo by exhibiting the pumped-up male physique, with an entourage of women chastely costumed as Victorian bridesmaids gripping his thighs: a man has redefined himself as meat, ready to be eaten. The pagan carnival at the water’s edge grew ever sleazier. I asked Traverso what had happened to the beauty contests of the 1950s, which were never more than excuses for getting young women to undress. “Le porno,” he succinctly replied. Cannes acclaims auteurs during the festival, but the town has its own output of sordid X-rated flicks with no aesthetic pretensions. Hence the need to uphold standards, to keep the ladder to the sky standing upright. The stars used to deplane ceremonially at Nice airport, pausing to be photographed at the top of the steps that led down to the tarmac; now they vanish into a closed-off bridge and disappear into the terminal. Once in Cannes, they took refuge in elevated retreats. Anthony Perkins or Claudia Cardinale perched on the balconies of their hotels for Henri Traverso, and in 1976 Roman Polanski and Isabelle Adjani clambered onto a rooftop high above the stunted palm trees, with Polanski – as usual, perversely infantile – using the rails as a jungle gym. The gradient of the stairs leading up to the Palais could always be relied on to impart a sense of occasion and choreograph a stately ascent. In 1954 Jean Cocteau greeted Gina Lollobrigida at the base of the steps leading up to the Palais and kissed his way up her bare arm, his eyes on her jewel-encrusted bosom: even a homosexual dandy had to perform an act of obeisance to the cinema’s current love goddess. Initially, an honour guard of policemen – in pith helmets, with white gloves up to their elbows – stood to attention on either side of the stairs. Soon the gendarmes were shouldered aside by the tuxedoed photographers, arranged in an unruly gauntlet of popping bulbs. Jeanne Moreau, arriving to promote Louis Malle’s thriller Lift to the Scaffold in 1958, looked up with trepidation as if she were mounting the gallows to her own execution: “I climbed the steps and stumbled on a few,” she recalled. Later, the pandemonium provoked by Bardot – who said that she remembered to smile while being “jolted, squashed, manhandled and suffocated” by the photographers – meant that the walk upstairs was replaced by a surge, as relentless as a tidal wave. “We climbed the steps as best we could,” Henri remembered, “our feet not even touching the ground.” He obtained his image of the mauled Bardot by default, holding his camera upside down above his head and hoping for the best. “For people like Bardot,” said Gilles, “the promotion was also a performance. My father once went to St Tropez to photograph her wedding to Roger Vadim,” Gilles told me. “But he got the date wrong and arrived the day after. Vadim wasn’t there, and Bardot told him he could photograph her instead. He said he needed both of them, so she gave him a drink and let him wait until Vadim returned. Merveilleuse! For me, Jane Fonda did the same when she returned to the festival after many years of absence. I shot her arrival, but I wasn’t pleased. I asked her if we could repeat it, and she staged it all over again, just as spontaneous as before. But then she was almost French: she, too, married Vadim!” Gilles depends for his livelihood on that primal scene on the stairs. “It starts when they get down from the car,” he said, “and when they go inside for the screening it is already over. The best of them know what we need, they make a little show. They stop, they pose, they smile, they wave.” Gilles had some extra luck in 2002 with the Finnish director Aki Kaurismäki. Nimbly Astairean, despite his lack of a top hat and cane, Kaurismäki used the steps to twist and tap through a victory dance after winning the Grand Prix for The Man Without a Past . The new Palais des Festivals et des Congrès, which opened in 1983, discourages such exuberant showing-off: it is a grim, windowless bunker, the symbol of an era in the cinema’s history when those who manage public relations keep the public far away. The stars, too, prefer to remain invisible, protected by private security squads and the tinted glass of their cars. “Some of them,” said Gilles, with an exasperated snort that suffused the air with the odour of Gitanes, “behave as if they were punished when they come to Cannes! Monica Bellucci is beautiful, but she will not move or respond. The stylists get her ready, then she just stands there. There is no relationship with the camera.” The Traverso archive documents the cinema’s history and touchingly preserves the youth of its performers. Henri photographed an almost cherubic Robert De Niro promoting Taxi Driver in 1976; on his desk, Gilles has his own – more recent-coloured – portrait of the actor, now grey-haired and as jowly as a mastiff. De Niro returns this year as president of the jury, so there will be more photographs. But the future of the family firm seems doubtful. Gilles has only one child, a daughter called Alice, now 14. He is not sure whether she will want to inherit the business, or
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