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Anti che t shirts - Obama victory t shirts.

Anti Che T Shirts

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  • (T Shirt (album)) T Shirt is a 1976 album by Loudon Wainwright III. Unlike his earlier records, this (and the subsequent 'Final Exam') saw Wainwright adopt a full blown rock band (Slowtrain) - though there are acoustic songs on T-Shirt, including a talking blues.

  • A short-sleeved casual top, generally made of cotton, having the shape of a T when spread out flat

  • (t-shirt) jersey: a close-fitting pullover shirt

  • A T-shirt (T shirt or tee) is a shirt which is pulled on over the head to cover most of a person's torso. A T-shirt is usually buttonless and collarless, with a round neck and short sleeves.

  • Ernesto "Che" Guevara (; June 14,The date of birth recorded on was June 14, 1928, although one tertiary source, (Julia Constenla, quoted by Jon Lee Anderson), asserts that he was actually born on May 14 of that year.

  • Che! (1969) is an American Biographical film starring Omar Sharif as Marxist revolutionary Ernesto "Che" Guevara.

  • Che is a Vietnamese term that refers to any traditional Vietnamese sweet dessert soup or pudding.

anti che t shirts - Che (The

Che (The Criterion Collection) [Blu-ray]

Che (The Criterion Collection) [Blu-ray]

Far from a conventional biopic, Steven Soderberghs film about Che Guevara is a fascinating exploration of the revolutionary as icon. Daring in its refusal to make the socialist leader into an easy martyr or hero, Che paints a vivid, naturalistic portrait of the man himself (with a stunning, Cannes-award-winning performance by Benicio del Toro), from his overthrow of the Batista dictatorship, to his 1964 United Nations trip, to the end of his short life. Originally released in two parts, the first a kaleido-scopic view of the Cuban revolution and the second an all-action dramatization of Che's failed campaign in Bolivia, Che is presented here in its complete form.

Stills from Che (Click for larger image)

Lauded for its documentary approach yet also experimental in nature, Steven Soderbergh's Che spends over four hours chronicling different phases in the revolutionary career of Che Guevara (Benicio Del Toro). In Che: Part One, the successful Cuban campaign is covered, interspersed with glimpses of Guevara's camera-ready visit to New York in the Castro Revolution's aftermath. This section can't help but approximate the outline of a battle epic, despite Soderbergh's anti-romantic approach, and ends up being a stirring account of guerrilla action (it also has the bonus of Demian Bechir's uncanny impersonation of Fidel Castro). Che: Part Two jumps ahead to Che's grueling later experiences in Bolivia, where he traveled to aid the homegrown insurgents but found much less fertile ground than in Cuba. Here Guevara is--figuratively and visually--lost in the jungle, as Soderbergh reduces the characters and story to a series of factual sequences laid end-to-end. It's not Dr. Zhivago, that's for sure, although it does last longer. By spotlighting two specific sections of Che's life, Soderbergh sidesteps the less heroic aspects of his struggle, including the executions that followed the Cuban Revolution (omissions that brought criticism from anti-Castro Cubans). But the film's approach is so intentionally flat that such criticisms are almost not worth the trouble. And while Benicio Del Toro sinks into the role of the asthmatic jungle fighter with total commitment, his Guevara is an elusive protagonist, seen from a distance except for the scenes in which he's being turned into a celebrity during his NYC interlude. In short, Che is a very intriguing idea for a movie, and not a terribly engaging film. --Robert Horton

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Diarios de motocicleta aka the motorcycle diaries

Diarios de motocicleta aka the motorcycle diaries

In the spring of 1952, two young men set out by motorcycle on an ambitious, footloose journey that they hoped would carry them from Buenos Aires up the spine of Chile, across the Andes and into the Peruvian Amazon. (They made it, a little behind schedule, though the unfortunate motorcycle did not.) Their road trip, however inspired and audacious it might have been, could have faded into personal memory and family lore, even though both travelers produced written accounts of their adventures. The older, a 29-year-old biochemist named Alberto Granado, is still alive and appears at the very end of "The Motorcycle Diaries," Walter Salles's stirring and warm-hearted reconstruction of that long-ago voyage. Granado's companion was a 23-year-old medical student named Ernesto Guevara de la Serna, whose subsequent career as a political idol, revolutionary martyr and T-shirt icon — Che! — reflects a charismatic, mysterious glow onto his early life.

"Is it possible to be nostalgic for a world you never knew?" Ernesto wonders as he contemplates Inca ruins in the Peruvian highlands. Mr. Salles's film, as ardent and serious a quest as Ernesto's turned out to be, poses a similar question. In making their movie, the cast and crew retraced the route of Granado and Guevara three times, trying to connect not only with the varied, rugged landscape of South America but also with the hopes and confusions of an earlier time: an era before the Cuban revolution, before the military coups and dirty wars of the 1960's and 70's, before the democratic resurgence and economic catastrophes that followed.

The filmmakers are not so naive as to suppose that the old days were simpler or more innocent than the present. The movie's feeling of freshness and possibility comes from the wide-eyed intelligence of its heroes. But one reason to explore the past is to try to rediscover an elusive sense of forgotten possibility, and in Mr. Salles's hands what might have been a schematic story of political awakening becomes a lyrical exploration of the sensations and perceptions from which a political understanding of the world emerges. What "The Motorcycle Diaries" captures, with startling clarity and delicacy, is the quickening of Ernesto's youthful idealism, and the gradual turning of his passionate, literary nature toward an as yet unspecified form of radical commitment.

In declining to follow the subsequent course of that passion — into the Sierra Maestre, the Congo and the mountains of Bolivia, where Guevara met his bloody end — Mr. Salles risks being accused of idealizing his subject. It's a fair charge, but one that misses the director's fidelity to his literary sources. Guevara's diaries, discovered in a knapsack long after his death, were published in 1993, and much of their appeal lies in the sense of immediacy they convey. Their author did not know who he would become, even as the notebooks themselves dramatize a crucial stage in his development.

At the beginning, at home with his bourgeois Buenos Aires family, Ernesto (Gael Garcia Bernal) is not Che, but "Fuser" — sensitive, asthmatic and perhaps a bit of a dilettante. Alberto (Rodrigo de la Serna), lecherous, plump and gregarious, full of good-natured, blustery trash talk, is Falstaff to Fuser's Prince Hal. While there is a worthy goal at the end of their journey — they intend to work in a leper colony in Peru — the main purpose is tourism, both high minded and low. They want to see as much of Latin America as they can — more than 8,000 kilometers (about 5,000 miles) in just a few months — and also bed as many Latin American beauties as will fall for their ridiculous pick-up lines.

Alberto may be the self-declared ladies' man, but Mr. Bernal, with his smoldering eyes and equine features, is the movie's heartthrob. Though the film does, by the end, view Ernesto as a quasi-holy figure, turning away from the corruptions of the world toward a higher purpose, he is also portrayed as a mischievous, eager boy. Early in the film, the travelers stop in the seaside town of Miramar to visit Ernesto's girlfriend, Chichina (Mia Maestro), whose wealthy parents clearly disapprove of him, to say nothing of the uncouth Alberto (who promptly seduces the family's maid). The scenes between Ernesto and Chichina have the delicious ache of late-adolescent longing, a feeling that suffuses the film even as it turns its attention to graver matters.

At times, "The Motorcycle Diaries," which opens today in New York and Los Angeles, bounces along like a conventional buddy picture, animated by Ernesto and Alberto's mechanical mishaps and good-natured squabbles. But the film, written by Jose Rivera, is really a love story in the form of a travelogue. The love it chronicles is no less profound — and no less stirring to the senses — for taking place not between two people but between a person and a continent. Mr. Bernal's soulful, magnetic performance notwithstandin




(Salerno - Roma - Milano - NewYork)
Un Collettivo di creativi. Dal 2006 coinvolge architetti, designers, graphic designers, illustratori e writers, con l’intento di sperimentare nuovi mezzi di comunicazione e testarli in ambiente urbano e web, miscelando le varie espressioni della street-art, fino a simulare il guerrilla marketing e adv convenzionale.

"Il collettivo", i cui progetti sono stati pubblicati nelle principali testate giornalistiche e web magazines settoriali e non (Wooster Collective, Smashing Magazine, Ninja Marketing, La Repubblica, Subvertising, Nstreet.it etc.), nel solo corso del 2008 ha prodotto la campagna internazionale Anti Olimpic Graffiti, la mostra “Recycle” di Salerno, ha partecipato all’“Expo Stickers ‘08” di Curitiba e di San Paolo (Brasile), a “Sweet & Seldom Seen” di New York, ha affiancato Omino71 nella promozione di “Stick My Surfboard". Membro fondatore dell’progetto itinerante Stick My World con il quale e stato media partner dei piu importanti eventi street-art italiani ed europei (possiamo citare il prossimo Mad 2009 con base a Madrid), ha ideato e prodotto il graphic design per le t-shirts di Uniqlo (Giappone) per la stagione primavera/estate 2009/2010 e conquistato il guerrilla marketing per Tim (Telecom Italia Mobile).
Per il 2009 sara impegnato in campagne sociali, partecipazioni ed organizzazioni di eventi sia nazionali che europei.

anti che t shirts

anti che t shirts

Che Guevara: A Revolutionary Life

Jon Lee Anderson's definitive and acclaimed biography of Che Guevara manages to transcend the myth of Che and portray in unrivaled detail a complicated human being. In his quest to discover who the real Che was, Anderson moved to Havana and gained unprecedented access to the personal archives maintained by Che's widow. He spent months with Che's old friends in Argentina, where Che was born into an aristocratic family and went to medical school. He interviewed Che's comrades from battles fought in Cuba and the Congo and Bolivia, and he talked to figures on both sides of the Cold War, in Moscow and in the CIA.
The book completes the epic saga of an extraordinary life. In 1995, Anderson broke the story of how Che's body had been secretly hidden after his assassination in Bolivia in 1967. He recounts how the body was finally recovered, thirty years after the murder, brought back to Cuba, and interred in the place Che had won his most famous battle in the Cuban revolution. Meticulously researched, Anderson's book reveals many details of Che's life that were long cloaked in secrecy and intrigue. This edition, which has been carefully revised and updated, has a new introduction and epilogue, new maps, and a new chronology of Che's life.

Even to those without Marxist sympathies, Che Guevara (1928-67) was a dashing, charismatic figure: the asthmatic son of an aristocratic Argentine family whose sympathy for the world's oppressed turned him into a socialist revolutionary, the valued comrade-in-arms of Cuba's Fidel Castro and a leader of guerilla warfare in Latin America and Africa. Journalist Jon Lee Anderson's lengthy and absorbing portrait captures the complexities of international politics (revolutionary and counter); his painstaking research has unearthed a remarkable amount of new material, including information about Guevara's death at the hands of the Bolivian military.

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