Female Icons - Fawcett and Bourke-White on film

With the passing of Farrah Fawcett, known for her iconic role in 'Charlie's Angels' and to some known for her starring role in the Schiller movie "Bourke-White", it's important to reflect how female icons are nested in our culture. For those who are not aware, Fawcett, who was 62 and a common staple for boys to men looking for a poster pin up in the 70s, became an icon for mostly the sexy and stunning persona she displayed in front of the camera. She was the blonde bombshell that was incredibly sexy, tall and shapely.

Of course, the persona that she gained from Charlie's Angels made it difficult for the audience to see her in other roles. After she left the series, she starred on Broadway, other made-for-TV productions, and Hollywood films including the biography of photographer, Margaret Bourke-White, who was the first photographer for FORTUNE Magazine and one of the first four photographers of LIFE Magazine.

While the film was less than a blockbuster, it is one of the few that attempted to do two leading ladies justice related to their careers. By casting Fawcett as the "Mother of Modern Photojournalism", the actress was effectively finding a way out of her stereotypical style that the 70s had cast her to. One scene from the movie actually featured Bourke-White (Fawcett) shooting the historic photographs of Gandhi as he protested British power in India and the cast system. While educational and mildly entertaining, the film ultimately did not break the grip that culture had for Fawcett.

Fortunately so. Fawcett became the "mother" of pop-culture inspiration that change flat hair into big, put Texas women on the map and left an indelible mark in trades like Playboy. No she was not the first female to pose twice for career changing publications but she was the strength out of political malaise and daze found in the 70s and 80s. Fawcett became your locker inspiration or the inspiration for the girl standing next to you in school to use a blow dryer. Fawcett became the style consultant for most big hair photographs found in the 70s. Farrah Fawcett, while not accepted as an intelligent actress (similar to Anna Nicole, Marilyn, Pam and others), gave most women a subtle kick to be amazing in their own right. Bourke-White would have enjoyed shooting Fawcett.

She is survived by her son, Redmond, born in 1985; her long-time
companion, Ryan O'Neal.

Green with Envy - The old becomes new again for autos and politicians

The finest in art influences various aspects of culture. Fashion requires illustrators, auto makers go to the digital drawing boards initially for concepts, and politicians need the perfect photo framed with flags, patriotism and power. This cycle is not new - rather the tools used to achieve great designs, photographs or branding messages have advanced as "the human element" advances.

In 1935, the race car and it's driver gleamed with envy. Margaret Bourke-White so daringly, as a woman, captured the Indy 500 cars of the time using her advanced tool - "the camera." The fact that Ford's Model T years earlier modernized manufacturing and automation to advance first American and ultimately global culture to a new age is a grade school lesson. At that time though Ethanol, while plentiful, was swapped for "black gold" - oil and gas. Even then, The Model T was able to obtain 25 miles to the gallon! Design changes, style requirements and ultimately the gleam for speed changed automotive requirements to the point that the consumer has always waited for what design would inspire them to their next purposeful toy.

In a week where bankers made difficult choices and politicians acquiesced to tax payor limits, the great automotive companies landed in New York City with one message mostly: "we are green."

But you probably knew this from banner ads, commercials with kids and ideas that claim a start to a plausible solution. Big oil claims to be at a start with at least one firm investing over $8 billion over 10 years to advance alternative fuel technology. (Actually this would be $500 million or so more per year than J P Morgan Chases' buyout of Bear Stearns for $236 million or the $250 million earned by New York Yankee A Rod).

Artists, like Robert Heindel, made an early career in Detroit illustrating the American ideals of consumerism including the automakers. Today's artists mesh with industry consistently and dependently. Without a great photograph, drawing or painting the engineer's dream can not turn into a consumer want and need.

Margaret Bourke-White's privilege at being the first woman recognized as the "mother of modern photojournlism" came because she documented the change at hand in culture for business and government. The New York Auto Show exhibitors today employ every aspect of messaging perfected by artists and their marketing infrastructure. The trouble remains that "big hat, no cattle" marketing let's the consumer have options which are less than earth shattering.

Small cars that are Smart, Progressive races across the country for a better fuel, and monster "mamma" trucks which weigh more than the usefulness of their hybrid inners or price are the current rage. The electric car, which “officially” died in 2003 for Toyota, remains a Japanese experiment so much so that Mitsubishi continued to introduce their plug in from the Tokyo 07 show at New York (their solution is a Volkswagen “bug” inspired vehicle called the iMiEV Sport). As a high end consumer, this will probably be a great option for your teenager’s first car – as long as it is produced and offered in the US of A.