The term manifesto is also justified by the claim that global phenomenon require a new form of global anthropology. It is pitched against the established philosophical sense of ontology that assumes being always resides in depth, and that things of the surface, such as clothes, are intrinsically superficial, a concept of being that is by no means shared by all peoples (Miller 1995). Our manifesto is a call to make manifest the profound nature of that response. The term manifesto is justified by the evidence presented in this paper that denim is such a grounded analogue to philosophy one that is employed by populations to resolve major contradictions of living within the modern world and associated forms of anxiety. So, an anthropological manifesto will be one that makes manifest what otherwise is implicit in the practice of populations. By contrast, we propose a particularly anthropological field for the manifesto, based on anthropology's belief that philosophical insight can be grounded in the experiences of ordinary people as observed through ethnography. The word manifesto is generally acceptable with respect to either some critical political or social agenda, or alternatively a philosophical or art movement. To claim that denim is an appropriate subject for a manifesto may at first appear frivolous, almost a parody. Keywords: Denim, jeans, clothing, global, anxiety, anthropology Ultimately this can provide the basis for an anthropological engagement with global modernity. As a manifesto, this paper argues for a global academic response that engages with denim from the global commodity chain through to the specificity of local accounts of denim wearing. These suggest the need to understand the relationship between three observations: its global presence, the phenomenon of distressing and its relationship to anxiety in the selection of clothes. Ethnographies of blue jeans in Brazil and England are provided as examples. While there are historical narratives about the origins, history and spread of denim, these leave open the issue of how we make compatible the ethnographic study of specific regional appropriations of denim and its global presence in a manner that is distinctly anthropological. Using the phrase 'blindingly obvious' it considers the problems posed by objects that have become ubiquitous. While it's not impossible, it is improbable that the advanced nature of German aviation would have been using an outmoded Fokker F.VII as a transport in 1942.This paper considers the challenge to anthropology represented by a topic such as global denim. the DC-3 and in Germany Junkers all-metal designs. The F.VII's and their later variants were taken out of service nearly around the world and replaced by all-metal transports i.e. A later larger version called the F.10 also made of wood and fabric crashed in 1931 killing Notre Dame football coach Knute Rockne. The F.VII's, which were made of wood, metal tubing and fabric covering, were upgraded to tri-motor configuration in the mid-20s while single engine variants (as seen in this film) were still in service mainly in Europe. The Nazis had one of the most advanced Air Forces in the late 1930s to early 1940s, when this film takes place, and Strasser would have likely arrived in an all-metal Junkers tri-motor. In opening sequences when Major Strasser arrives in Casablanca by plane, the aircraft depicted is an model of a single engine Fokker F.VII transport, a major Dutch designed airliner famous from the mid 1920s. Max Steiner, in a 1943 interview, admitted that the song "must have had something to attract so much attention". However, because of the coincidental musicians' union recording ban, the 1931 Rudy Vallee version became the smash hit (it contains the rarely-sung introductory verse, not heard in the film). After the film's release, the song stayed on radio's "Hit Parade" for 21 weeks. Later, after visiting a café in south France where a black pianist had entertained a mixed crowd of Nazis, French citizens and foreign refugees, Burnett was inspired to write the melodrama "Everybody Comes to Rick's", which was optioned for production by Martin Gabel and Carly Wharton, and later on Warner Bros. It had been a personal favorite of playwright Murray Burnett, who co-authored the play ('Everybody Comes to Rick's') upon which the film was based, who, seven years later, had visited Vienna just after the Nazis had entered. The film is #2 on the American Film Institute's (AFI) 100 Years. "As Time Goes By" was written by lifelong bachelor Herman Hupfeld and debuted in the 1931 Broadway musical, 'Everybody's Welcome', sung by Frances Williams.
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