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2622
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dbpedia
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2
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|
https://upstreamreviews.substack.com/p/review-league-of-angels-by-thomas-tan
|
en
|
Review: League of Angels by Thomas Tan
|
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[
""
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[
"Caroline Furlong"
] |
2024-06-20T12:55:00+00:00
|
When demons roam, priests must rise and fight!
|
en
|
https://substackcdn.com/image/fetch/f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fbucketeer-e05bbc84-baa3-437e-9518-adb32be77984.s3.amazonaws.com%2Fpublic%2Fimages%2Fc6b5021b-b263-4a96-8df3-84f2e2ba70d2%2Ffavicon.ico
|
https://upstreamreviews.substack.com/p/review-league-of-angels-by-thomas-tan
|
Buy from Amazon
God is dead, they said, and religion is a superstition which man has outgrown. All those who do not bow to the Lumen Corporation are enemies that must be hunted down and exterminated.
Forced to hide and run, the truly religious strike back from the shadows. Forming underground churches, passing refugees from safe house to safe house, they find ways to fight as the Lumen Corporation brings real demons into the fray. Amidst the prayers and the tears, the faithful whisper tales of the three men who fight the demons head-on: the Archangels.
The story
Governments the world over have fallen under the sway of the demonic Lumen Corporation, which preaches an end to religion and a new dawn for man. Vatican City is intact, but barely; throngs of angry people fill the square outside St. Peter’s Basilica. Rather than greet the pope and call for his blessing they chant hate-filled statements while demanding his downfall – and the destruction of the Church. Hope remains, but as the pontiff himself says, they cannot rely on God and do nothing. They have to take action. They have to fight back.
Enter Chelsea Shields, a pop star sitting at her dying rock star brother’s bedside. She’s desperate to save him and has called for a doctor, but there is nothing that can preserve her brother now. He’s dying, and if they want him not to suffer for eternity, it’s his soul that needs rescuing.
Chelsea does not take the arrival of Father Raphael well, but she likes what his prayers and sacramentals reveal about the state of her brother’s soul even less. Pursued by the Lumen Corporation, Chelsea and Fr. Raphael are only saved by the timely intervention of Father Michael, who brings blessed bullets and bombs to kill the Hell Hounds chasing the two. From there they take Chelsea to meet Father Gabriel to exorcise the devils in her soul.
Pursued by the very powers of Hell itself, Chelsea has to make a decision: rejoin the people hunting her down or stay with the priests. Meanwhile, the Archangels’ faith is tested as they are hemmed in on every side. In the process, they struggle to understand what fighting for and saving on God’s behalf actually means in a world ravaged by the devil “devouring souls” all around them.
The characters
By far, the Archangels are the best characters in the book. Father Raphael is calm, quiet, and the least combative member of the trio. A doctor by training he mediates disputes between his compatriots and sees to the wounds of others, whether they’re physical or spiritual.
A Dominican, Father Gabriel is the youngest Archangel and the most cheerful. Descended from a samurai who converted following the martyrdom of St. Paul Miki, he literally carries his ancestor’s blessed blade into battle. An exorcist, he is relied upon for his knowledge, but the inexperience and idealism of youth means he is better at personal combat than planning and executing a mission.
Finally, there is Father Michael. An ex-soldier, Father Michael is haunted by memories of a crime he committed on behalf of the Lumen Corporation before he converted and became a priest. The Archangel most adept with weapons and therefore the default leader of the group, his combat practicality occasionally clashes with Father Gabriel’s idealism. The story is as much about his search for redemption as it is about rescuing Chelsea Shields.
The world
The world looks like ours, but worse. Governments persecute and hunt down the faithful, and while some nations resist, the Lumen Corporation has operatives all over the world. Where the local government won’t cooperate, they simple send their own operatives to do the job. Things are looking darker by the minute, and what hope there is remains firmly rooted in God, as trusting in man is what put everyone in this position in the first place.
The politics
Satan’s on the prowl and the only way to escape him is to hold fast to God. That is the extent of the politics in this novel.
Content warning
Lumen Corporation’s president shows Chelsea just what the corporation has in mind for humanity, and it isn’t pretty. There is also a description of rape, an abortion clinic haunted by the bodies of the slain, and a few similar items meant for adult eyes only. This is not a book intended for children. Oh, and it ends on a cliffhanger. As yet, Tan hasn’t written the sequel hinted at in the final pages of the novel.
Who is it for?
Thriller fans, horror aficionados, and readers who like an apocalyptic setting. No, this book isn’t apocalyptic in the strict sense, but events make it clear things speeding toward the Second Coming. If you like any of that, then this book is for you.
Why read it?
For all the darkness in this novel, hope shines brightly from the pages. The devil may have his hour, but God will have His day. Even with a cliffhanger ending the Archangels are worth cheering on and make for excellent traveling companions. If you want something that reminds you God is with those who are with Him, then League of Angels is for you.
Buy from Amazon
Share
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2622
|
dbpedia
|
0
| 6
|
https://rcspirituality.org/weekly_email/on-the-side-of-the-angels-weekly-message-for-9-26-17/
|
en
|
On the Side of the Angels
|
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[
""
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2017-09-26T03:00:40+00:00
|
In a speech in 1864 by Benjamin Disraeli on Darwin’s theory that man was descended from apes, Disraeli said, “The question is this: Is man an ape or an angel? Now I am on the side of the angels.” Being “on the side of the angels” now refers in popular culture to being good, perhaps too good, a naïve boy scout or goody-two- shoes, and it is usually wielded by people who are not on their side to ridicule those who are. The fact is we have angels on our side, whether we appreciate them or not, and we also have fallen angels who are anything but on our side. You can’t truly be on the side of a fallen angel; as Our Lord says, those who are against him scatter (see Matthew 12:30 and Luke 11:23).
|
en
|
https://rcspiritual.wpenginepowered.com/wp-content/themes/Generations/assets/images/favicon.ico
|
RC Spirituality
|
https://rcspirituality.org/weekly_email/on-the-side-of-the-angels-weekly-message-for-9-26-17/
|
Dear Friends in Christ,
In a speech in 1864 by Benjamin Disraeli on Darwin’s theory that man was descended from apes, Disraeli said, “The question is this: Is man an ape or an angel? Now I am on the side of the angels.” Being “on the side of the angels” now refers in popular culture to being good, perhaps too good, a naïve boy scout or goody-two- shoes, and it is usually wielded by people who are not on their side to ridicule those who are. The fact is we have
angels on our side, whether we appreciate them or not, and we also have fallen angels who are anything but on our side.
You can’t truly be on the side of a fallen angel; as Our Lord says, those who are against him scatter (see Matthew 12:30 and Luke 11:23). People who aren’t “on the side of the angels” aren‘t really on anyone’s side; as Mary sings in the Magnificat, the Lord “has scattered the proud in the imagination of their hearts” (Luke 1:51). Their interests may align from time to time, but when their interests conflict they’re on nobody’s side but their own.
Fallen angels aside, we should not only be glad to be on the side of the angels, but that the angels are on our side too. This week we celebrate Saints Michael, Gabriel, and Raphael, as well as the guardian angels who watch over us. We each have a guardian angel, and so do parishes, groups, countries, and any grouping of human beings who need spiritual aid.
I was once asked by some cousins at a family dinner whether I believed in angels:
“Of course,” I replied, “I believe everyone has a guardian angel.”
“Do you believe they’re here right now?”
“Of course.”
“And what are they doing?”
“Well…guarding.” It seemed pretty obvious to me what they were doing.
Have you ever spoken with your guardian angel? Your angel is with you 24/7. Many people are oblivious to the fact that they have one at all. This week is the perfect opportunity to pray the prayer to your guardian angel, “Angel sent by God to guide me, be my light and walk beside me, be my guardian and protect me, on the paths of life direct me. Amen.” Don’t forget to thank your guardian angel too. You’re a full time job.
May God bless you with an angelic week.
Father Nikola Derpich, L.C.
|
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2622
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dbpedia
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0
| 95
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https://marysoutherland.com/angels-unaware/
|
en
|
marysoutherland.com
|
[
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] |
[] |
[] |
[
""
] | null |
[
"Mary Southerland"
] | null |
en
|
https://marysoutherland.com/angels-unaware/
|
Diane was visiting in the home of some friends. Time passed quickly as each shared their various experiences of the past year. She ended up staying longer than she had planned and had to walk home alone. But she wasn’t afraid because it was a small town and she lived only a few blocks away. As she walked along under the tall elm trees, Diane whispered a prayer asking God to keep her safe from harm and danger.
When she reached the alley, which was a shortcut to her house, she decided to take it. However, halfway down the alley, she noticed a man standing at the end, as though he were waiting for her. She became uneasy and began to pray again, asking for God’s protection. Instantly a comforting sense of quietness and security wrapped around her; she felt as though someone was walking with her. When Diane reached the end of the alley, she walked right past the man and arrived home safely.
The following day, Diane read in the paper that a young girl had been attacked in that same alley, just twenty minutes after she had been there. Overwhelmed by this tragedy and the fact that it could have been her, she began to weep.
Thanking the Lord for her safety and wanting to help the young woman who had been attacked, she decided to go to the police station. She told them her story and offered to help identify the assailant. The police asked if she would be willing to view a lineup, she agreed and immediately pointed out the man she had seen in the alley the night before.
When the man was told he had been identified, he immediately broke down and confessed. The officer thanked Diane for her bravery and asked if there was anything they could do for her.
Diane was curious as to why the assailant had not attacked her. When the policeman asked him, his answer stunned them all, “Because she wasn’t alone. She had two tall men walking on either side of her.”
Do you believe in angels? I do. I believe that angels are real and are at work in our ordinary, everyday lives. I have personally sensed the presence of angels in my own life and have talked with many believers who share the same experience and belief. However, the most powerful evidence that angels exist is found in Scripture.
Thirty-four of the Bible’s sixty-six books talk about angels in detail.
Every New Testament writer confirms the existence of angels.
The word “angel” or “angels” occurs more than 300 times in Scripture.
From beginning to end, the Bible validates the existence of angels:
Genesis 3:24 “After God forced the man out of the garden, he placed angels and a sword of fire that flashed around in every direction on its eastern border. This kept people from getting to the tree of life.”
Revelation 7:11 “All the angels were standing around the throne and the elders and the four living creatures. They all bowed down on their faces before the throne and worshipped God.”
When we come to Jesus Christ in a personal relationship, He takes full responsibility for us. That means He takes care of us. And one of the ways that God cares for us is through the ministry of His angels.
Hebrews 1:14 “All the angels are spirits who serve God and are sent to help those who will receive salvation.”
What an amazing and comfort-filled promise – that God sends His angels to encourage, protect and guide us on our life journey. As God’s messengers and our helpers, angels serve and honor Him through their praise and obedience as they carry out His will here on earth. As believers, we can count on the presence and power of angels at work in our lives.
Mary
|
|||||||
2622
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dbpedia
|
2
| 22
|
https://www.thegospelcoalition.org/reviews/angels-bible-heavenly-host/
|
en
|
What You Didn’t Know About Angels
|
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2018-11-12T05:03:37+00:00
|
Justin Dillehay reviews Michael Heiser’s ‘Angels: What the Bible Really Says about God’s Heavenly Host’ (Lexham Press, 2018).
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en
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The Gospel Coalition
|
https://www.thegospelcoalition.org/reviews/angels-bible-heavenly-host/
|
I’ll never forget when I realized I didn’t believe in angels.
It was 2006, and I was reading C. S. Lewis’s Out of the Silent Planet for the first time. In the book, Edwin Ransom is taken to Malacandra (Mars), where he encounters intelligent beings called eldila, the chief of whom is the Oyarsa.
Because the story dealt with rocket travel through outer space to an actual planet, I had a ready category for these beings: aliens. And since aliens had always been implausible to me anyway, I had no trouble suspending my disbelief. Then Lewis dropped a clear biblical allusion, and my eyes were opened.
Ransom meets the Oyarsa, who explains to him that the Silent Planet Thulcandra is actually Earth, and that it became silent when its Oyarsa became “bent.” There are rumors, however, that “Maleldil” (Jesus) has pulled off an amazing rescue:
We think that Maleldil would not give it up utterly to the Bent One, and there are stories among us that He has taken strange counsel and dared terrible things, wrestling with the Bent One in Thulcandra. But of this we know less than you; it is a thing we desire to look into.
With this clear reference to 1 Peter 1:12, it finally dawned on me that these were not aliens. That passage speaks of the gospel events as “things the angels desire to look into” (KJV).
All along, I had been reading about angels and chalking it up to science fiction. I simply didn’t have room in my cosmology for intelligent, invisible, spiritual beings other than God. Not really. Angels existed in the Bible, not in the “air” and certainly not on other planets in our solar system. I had effectively cut angels out of the “real” cosmos.
Enter Michael Heiser
Ever since that shocking realization, I’ve paid closer attention to what the Bible says about angels, as well as to what older Christian writers have said about them. I’ve even thought about writing a book.
But thanks to Michael Heiser, now I don’t have to.
Heiser is scholar-in-residence for Faithlife Corporation, the company that gave us Logos Bible software. He wrote his doctoral dissertation on the role of angels as “the divine council” (Ps. 82:1), and has since carved out a niche for himself as an expert in the supernatural and paranormal.
His latest book, Angels: What the Bible Really Says about God’s Heavenly Host, is a tour de force tackling everything from the angel of the LORD in Genesis to the angels of the seven churches in Revelation. Written at an intermediate level, Angels offers a thorough account of angels in the Old and New Testaments, as well as in Second Temple Jewish literature. He concludes with a chapter of miscellaneous myths and questions about angels.
Biblical angels are more like Poseidon than Precious Moments.
My only gripe about the book is Heiser’s tendency to cast “Christian tradition” as the bogeyman, with ancient Near Eastern studies as the savior (xiii, xix, 42). Derek Rishmawy refers to this as Heiser’s “frustrating case of biblical studies prejudice.” Perhaps by “tradition” Heiser means the cheesy stuff he heard as a kid. But if he means Athanasius, Aquinas, and Luther, then, as Rishmawy points out, it’s hard to get more supernatural than these guys.
Who Are They?
Chapter 1 surveys the Old Testament (OT) terminology for the heavenly host, structured around terms that describe their nature (what they are), their status (how they rank), and their function (what they do). One might be taken aback by how many terms there are besides “angel.” For their nature, they’re spirits, heavenly ones, stars, holy ones, and gods (2–12). For status, they’re described in terms of an assembly, council, congregation, and court (13–17). And for function, there are words like angel, minister, watcher, host/mighty ones, mediator, cherubim, and seraphim (17–27). He concludes by noting that
talk of “angels” in the Old Testament is both too simplistic and incomplete. We are of course accustomed to that term, but it fails to do justice to how an Israelite would have thought about the spiritual world. (27)
Particularly interesting is his discussion of angels as “gods.” The OT doesn’t reserve the word elohim (God/gods) for God alone (see Ps. 8:5; 82:1, 6). Rather, it uses the word broadly for “any entity that is not embodied by nature and is a member of the spiritual realm” (12). But neither does the OT teach polytheism. Rather, it distinguishes the one true Elohim from the lesser elohim in other ways. He’s eternal; they’re not. He created them; not they him. He is worshiped by them; never they by him. Still, they’re gods in a lesser sense. This language can remind us that biblical angels are more like Poseidon than Precious Moments.
What Do They Do?
Chapter 2 outlines the OT picture of what angels do.
As participants in God’s heavenly council, they contribute to council resolutions, bear witness to his decrees, and assist in his governance of the world (33–46). They also deliver his decrees, explain his activity, and execute his judgment (46–55). They’re both the “heavenly bureaucracy” (13) and “God’s task force” (56). And perhaps most familiarly, they’re God’s heavenly worship team, praising him day and night (55–56).
God’s sovereignty doesn’t render angels useless, any more than it renders humans useless.
With regard to angelic participation in God’s decrees, Heiser seems to hold to a libertarian view of freedom (35, 49). But compatibilists like myself should still profit from his analysis of angelic activity. The fact that I once asked the quasi-deistic question “What would they do?” suggests that we need to work harder to include angels in our concept of secondary causality, in providence as well as in miracles (104; Rev. 16:5).
God’s sovereignty doesn’t render angels useless, any more than it renders humans useless.
Why Does It Matter?
From the opening page, Heiser is aware that the obvious question is “Who cares?” (xiii). Despite obsession with angels in some quarters, for many Christians the Bible’s storyline could be told with nary a reference to angels at all. And to some degree, that’s understandable. As Heiser gladly affirms,
The emphasis of what the Bible says about the intersection of heaven and earth is, understandably, God himself. . . . Though an integral part of how Scripture shows God’s will being carried out on earth, the heavenly host’s service operates like a computer program running in the background. (57)
Still, it’s hard for me to imagine many Western Christians today speaking like Paul does in 1 Timothy 5:21, where he charges Timothy not only in the presence of God and Christ Jesus, but also in the presence of the elect angels. They’re just not part of the furniture of our minds the way they were for Paul. We’re not nearly so conscious of their presence. I suspect we fear that a greater awareness of them would distract us from God or make us superstitious (both of which could happen, of course).
Angels aren’t the main thing in the Bible, but they’re present in supporting roles from beginning to end, and it’s helpful to think through the Bible’s storyline with particular reference to them.
Angels aren’t the main thing in the Bible, but they’re present in supporting roles from beginning to end, and it’s helpful to think through the Bible’s storyline with particular reference to them.
Story of God’s Two Families
If we start at the beginning, John Owen notes that God “provided himself [with] two distinct, rational families,” angels and men. Heiser suggests that both were made in God’s image, albeit with man a little lower than the angels (xv–xvi). Still, both families were on the same side—God’s side. But then a great rupture occurred. Some angels rebelled, followed by all men.
In his sovereign justice, God passed by the fallen angels, offering no redemption (152; Heb. 2:16). But in his great kindness, he carried out an eternal plan in which the Son of God became lower than the angels by assuming human nature, so that through death he could defeat the evil angels and redeem his human brothers (Heb. 2:5–18).
In the end, it will be the holy angels who gather us to Jesus (Matt. 24:31). Then, with his authority, we’ll judge the evil angels and take their place as rulers of the earth (1 Cor. 6:3; Deut. 32:8–9; 131).
Despite obsession with angels in some quarters, for many Christians, the Bible’s storyline could be told with nary a reference to angels at all.
In the meantime, the holy angels serve us (Heb. 1:14), since Jesus has reconciled us and placed us back on the same team. Though torn asunder by rebellion, God’s two families have been made one again in Christ Jesus. And so, far from envying the grace shown to us, they rejoice in our repentance (Luke 15:10), obsess over our salvation (1 Pet. 1:12), and marvel at God’s manifold wisdom in forming one church out of many warring peoples through the blood of his cross (Eph. 3:10; 2:11–22).
Contrary to popular belief, we’ll never become angels. But we’ll meet them in glory as all things in heaven and earth are united in Christ (Eph. 1:10). We’ll gather with them around the throne to worship our mutual Father and King (Rev. 7:9–12). And we will “join [them] in a blended divine family and actually outrank [them] in a new global Eden” (177).
The Oyarsa was right. Maleldil hasn’t given us up to the Bent One. He has dared terrible things for us and taken strange counsel. The angels long to look into God’s plans for us, the redeemed. Let us occasionally return the favor.
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https://www.ligonier.org/learn/articles/angels-messengers-and-ministers-god
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Angels: Messengers and Ministers of God by Phil Johnson
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Few biblical topics have provoked more wild speculation and fruitless debate than the topic of angels. Scripture doesn’t begin to answer all our questions about
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en
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/favicon-32x32.png?v=82b95c6ce4fb23e37fc73b2aba2b7ba1
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Ligonier Ministries
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https://www.ligonier.org/learn/articles/angels-messengers-and-ministers-god
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Few biblical topics have provoked more wild speculation and fruitless debate than the topic of angels. Scripture doesn’t begin to answer all our questions about the subject. But there’s a lot more information about angels in the Bible than you might think. (As a matter of fact, the Old and New Testaments combined speak of angels more than 250 times.) And it’s important that we understand the biblical doctrine of angels correctly, especially in an age like ours, when so much popular superstition surrounds and obscures the truth about these glorious creatures.
How many angels can dance on the head of a pin? The question is raised nowadays only to caricature people who like to indulge in useless squabbling over theological fine points.
But some theologians in the middle ages were seriously intrigued by that question — and many other interesting enigmas like it. Prior to the Reformation, practically every imaginable question about angels was a subject of debate at one point or another. Nineteenth-century Baptist theologian Augustus Strong pointed out that in medieval theology, “even the excrements of angels were subjects of discussion, for if there was ‘angels’ food’ (Ps. 78:25), and if angels ate (Gen. 18:8), it was argued that we must take the logical consequences.”
If medieval doctrine seemed obsessed with mysterious fine points about angelology, the focus of twentieth-century theology swung about as far as possible to the opposite extreme. Someone might point out that for the past twenty-five years or so (owing mainly to a handful of fiction writers who captured the evangelical market), demons have loomed large in the popular evangelical consciousness. But sensationalized novels about demonic activity don’t constitute authentic theological discourse. And considered as a whole, it seems fair to say that the body of serious Reformed and evangelical writing over the past century has shown remarkable apathy about angelology.
Ironically, while interest in demonic activity has been on the rise among Christians, angels have become an extremely popular topic once again among non-Christians. The rising tide of New Age spirituality, spurred by a profound backlash against sterile secular rationalism, has awakened a widespread curiosity about angels and the spirit-world. So just as modernity led to a diminished interest in angels, postmodernity has resurrected a superstitious belief in them. This presents Christians with a unique opportunity to shed biblical light on a spiritual topic the world is currently showing interest in learning about.
Of course, it is by no means possible in one short article to make up for the egregious deficiency of a century of evangelical apathy on this topic, but perhaps we can make a helpful start by highlighting some of the key biblical truths and answering some of the popular misconceptions about angels.
Angels are spiritual creatures. Scripture speaks of the angels’ creation only in passing. They are not explicitly mentioned in Genesis 1, so the precise timing of their creation is uncertain. Job 38:7 seems to speak of the angels’ worshiping when God laid the foundations of the earth, so their creation could well have occurred at the very start of day one in the six-day time frame.
Nevertheless, Scripture plainly teaches that angels are creatures, and not eternal beings of some kind. God “alone has immortality” (1 Tim. 6:16). And Psalm 148:1–5 is a summons for the angels, along with the rest of creation, to worship. It says, “Let them praise the name of the Lord! For he commanded and they were created” (v. 5). Colossians 1:15–17 also indicates that the angels were created by Christ and therefore are subordinate to Him.
They are spirit-beings (Ps. 104:4; Heb. 1:7, 14) and therefore incorporeal as to their nature, but they are capable at times of assuming at least the appearance (if not the actual, albeit temporary, form) of bodily organisms (Gen. 19:1–14; John 20:12). They can do this so perfectly that they are easily mistaken for humans (Ezek. 9:2; Heb. 13:2). But because we know that “a spirit does not have flesh and bones” (Luke 24:39), we ought to understand that these occasional visible manifestations of angels are an accommodation to the limitations of human perception, and not a lesson about the true and essential character of angels.
Angels are personal and moral beings. Angels are always portrayed with personal attributes, including intelligence, volition, and a moral nature. Their wisdom and power are vastly superior to our human abilities (2 Sam. 14:20; Ps. 103:20), but their knowledge is by no means exhaustive (there are “things into which angels long to look,” 1 Peter 1:12; as well as facts they do not know, Matt. 24:36).
Proof that angels are moral agents, capable of sin and righteousness, is evident from the fact that some did sin (2 Peter 2:4). Jude 6 suggests that they did this by exceeding their legitimate authority and abandoning “their proper dwelling.” Apparently this was an organized rebellion, led by Satan. The apostle John’s vision in Revelation 12:1–9 seems to refer to Satan’s original fall, suggesting perhaps that as many as a third of the angels followed him in his rebellion, and that is why they were cast down.
The angels who did not sin are referred to as “holy angels” (Mark 8:38; Luke 9:26).
The angels are a mighty multitude. Without giving any hint as to their actual number, Scripture makes it clear that the angelic host is a vast and imposing army. The expression “host of heaven,” often used to signify the angels (Deut. 4:19; 2 Chron. 18:18; Luke 2:13), suggests an innumerable throng (see Jer. 33:22).
The angels were apparently created all at once, yet individually. They are never portrayed as a race descended from a common ancestor (Luke 20:34–36). Humans are called “sons of men,” but angels are never called “sons of angels.” As a matter of fact, Jesus emphatically said that angels do not marry (Matt. 22:30). As to gender, they are always referred to with masculine pronouns — but since they have no feminine counterparts and are spiritual beings who do not procreate, it would seem that they cannot meaningfully be categorized as either male or female.
But they are nonetheless organized in ranks and legions similar to a massive army. Again, the expression “host of heaven” evokes the idea of an armed company. Jesus said on the night of His betrayal that he could have instantly summoned “more than twelve legions of angels” to fight on His behalf (Matt. 26:53).
The orders of angels are not fully enumerated or explained by the Bible. But the angelic host includes at least one archangel, the seraphim, and the cherubim. The archangel, Michael, is named in Daniel 10:13, 21; Jude 9; and Revelation 12:7. He seems to be the highest of all angelic creatures. Only one other holy angel, Gabriel, is explicitly named (Dan. 8:16; 9:21; Luke 1:19, 26). Some think he is therefore similar in rank to Michael, but Scripture doesn’t actually designate Gabriel as an archangel.
The seraphim are mentioned only in the heavenly vision recounted in Isaiah 6:2–6, where the prophet describes them as glorious and imposing figures who stand before God’s throne and praise Him constantly, guarding the holiness of His throne.
The cherubim, far from the chubby-faced childlike figures often pictured in popular art, seem to represent the power and majesty of the angelic host. They were positioned as guards by the entrance of Eden (Gen. 3:24). They were also the symbolic guardians of the ark of the covenant (Ex. 37:7). And they formed a living chariot of fire on which the Lord would ride (2 Sam. 22:11; Ps. 18:10; see also Ezek. 10:1–22). They are always described as fearsome and awe-inspiring creatures.
Other angelic beings are called thrones, dominions, principalities, and powers (Col. 1:16). Similar terms are applied even to the fallen angels (Eph. 6:12; Col. 2:15). But the precise number and arrangement of the heavenly host is one of the many questions about angels that are left unanswered for us in Scripture.
Angels are God’s unseen ministers. One of the most interesting questions of all about angels has to do with their unseen service on behalf of believers. Scripture portrays angels as caretakers of God’s providence on our behalf — “ministering spirits sent out to serve for the sake of those who are to inherit salvation” (Heb. 1:14). In Matthew 18:10, Jesus (speaking of His own tender care for little children) said, “I tell you that in heaven their angels always see the face of my Father who is in heaven” — suggesting that specific angels have guardianship of specific individuals. And Hebrews 13:2 says, “Do not neglect to show hospitality to strangers, for thereby some have entertained angels unawares.” Very little further explanation of the angels’ service to humans is given. Many are tempted to inquire into the matter in search of specifics that Scripture doesn’t reveal.
But we are expressly forbidden to do that. Deuteronomy 29:29 says, “The secret things belong to the Lord our God, but the things that are revealed belong to us and to our children forever.” When it comes to the subject of angels, we would do well to keep reminding ourselves of those boundaries on each side of the narrow road. It will keep us from falling into the sort of superstition that dominated medieval angelology, and it will also steer us away from the apathy and rationalism that has marred modern theological thought.
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Buy modern and contemporary art, prints, & photographs from the world's best artists, galleries, & museums. Artspace is the leading online art marketplace.
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Bidding increments increase at the following intervals:
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Going Low: The History of the Bassman
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"Jeff Owens"
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2022-08-09T18:37:10.091000+00:00
|
How Fender's invention of the Precision Bass led to one of its greatest amps.
|
en
|
https://www.fender.com/articles/parts-and-accessories/going-low-the-history-of-the-bassman
|
Consider a challenge posed by Leo Fenderâs 1950-1951 development of the worldâs first commercially successful solid-body electric bass guitar, the Precision Bass. Since the solid-body electric bass guitar was largely a previously nonexistent form of instrument, what was it supposed to be plugged in to? There were no suitably powerful and reliable amps in 1951 made specifically for bass guitar, because there werenât any bass guitars.
Consequently, when it first appeared in music stores in November of that year, the revolutionary new Precision Bass was paired with Fenderâs TV-front 1Ã15â Pro guitar amp.
Leo Fender and his staff were building a new TV-front 1Ã15â amp designed specifically for use with the Precision Bass, but it wasnât ready until 1952, when it appeared in Fenderâs sales literature labeled simply as âAmplifier.â Very soon though, Fender sales chief Don Randall gave it a thankfully less-generic name: the Bassman (Randall named all Fender amps of the era and all the instruments except the Precision Bass, a name coined by Leo himself).
The original Fender TV-front Bassman of 1952 was a bare-bones amp with two knobs (volume and tone) and two instrument inputs on a top-mounted control panel, a bottom-mounted copper-plated steel chassis and what Fender billed as a âspecially designedâ Jensen P15N speaker. It was the first Fender amp with a closed back; this had two large round ports and was specifically designed to enhance bass response (the 1Ã15â Pro that accompanied the first Precision basses was open-backed, like all other Fender guitar amps at the time).
The original Bassman was solid, powerful and loud. Guitar expert George Gruhn, quoted in noted guitar historian/author Tom Wheelerâs The Soul of Tone: Celebrating 60 Years of Fender Amps, notes that with its advent, Leo Fender âmade the first amp that was worth calling a bass amp.â
As is so often the case with Fender amps in the first decades of the companyâs existence, evolution proceeded rapidly. Fender was phasing out the TV-front style by summer 1952 in favor of the wide-panel design, and the Bassman was no exception. Restyled with a wide-panel front, the 1953 version (model 5B6) was otherwise essentially the same amp as its TV-front predecessor. At that time, Fender still touted it as a bass-only ampââIt is not a hashed-over guitar amplifier, but an instrument that has been designed for the reproduction of bass and bass only,â the catalog read.
A growing number of musicians, however, were finding that the Bassman made a fine guitar and harmonica amp, too. Fender heeded this and soon stopped billing the amp as a bass-only model. And if guitarists were impressed by the tone and power of the short-lived wide-panel 5B6 model of 1953-1955, they were about to have their minds blown by the ampâs next iteration.
To replace the wide-panel style, Fender started building its ânarrow-panelâ tweed cabinets, which featured less cabinet and more grille in front, in late 1954 for the 1955 model year. In the meantime, back in Fullerton, Calif., Leo Fender and his staff were hearing complaints that model 5B6 couldnât sufficiently handle low frequencies and that its single 15â speaker tended to blow.
Fender responded in fall 1954 with a redesigned version of the amp, the narrow-panel model 5D6âthe first 4Ã10â Bassman. It pumped 40 watts through four 10â blue Jensen P10-R speakers. It still had only two inputs, ânormalâ and âbright,â indicating that Fender was well aware that the amp was being used by guitar players, too. Indeed, the amp appeared in the February 1955 price list with the notation that âWhile its characteristics have been designed to accommodate string bass, at the same time it makes an excellent amplifier for use with other musical instruments.â
The new narrow-panel version of 1955 also featured more controlsâbass, treble and presence knobs, plus standby and ground switchesâthat were a significant tonal improvement over the sparse control layout of the earlier TV-front and wide-panel versions.
Listing the original 4Ã10â Bassmanâs features, however, doesnât really convey what a landmark in the history of instrument amplification it really was. In The Soul of Tone, Wheeler writes that:
For starters, itâs powerful, itâs loud, and itâs sensitive to the playerâs touch. It sounds great, responding beautifully across the frequency spectrum. It exhibits a sparkling, harmonically rich tone at low and moderate volumes. At louder volumes it thickens with a sweet distortion that only seems to get creamier the more itâs cranked. It is particularly well matched to certain popular guitars, especially the Stratocaster.
The narrow-panel tweed 4Ã10â Bassman went through several periodic variations in circuitry over its five years in production, starting with model 5D6 in fall 1954, continuing through model 5D6-A (1955) and model 5E6 (1956), and culminating in model 5F6 (1957) and in what many consider to be one of the greatest guitar amplifiers of all time, model 5F6-A (1958-1960).
What is it about model 5F6-Aâthe last in the original tweed Bassman seriesâthat has made it such a prized and copied amp? It and its immediate predecessor, model 5F6, had an added midrange control and four inputs (high gain/low gain ânormalâ and high gain/low gain âbrightâ). Certainly it was powerfulâfour 10â speakers move a lot of air, and a 1959 model could definitely fill a room with its upgraded Jensen P10Q speakers. Once again, perhaps Wheeler put it best in The Soul of Tone when he noted that:
It seems to combine the perfect array of preamp components, output tubes, power, negative feedback loop, passive tone controls, cab, baffle, and speakers.
It was the circuitry of this amp that was copied in London in 1962 by Jim Marshall and Ken Bran as the basis for the first Marshall guitar amplifiers.
The tweed era ended with the 1950s, however, and model 5F6-A was discontinued in 1960 when most Fender amps changed from tweed to a textured vinyl covering called Tolex.
The 1960s was a decade of constant change for the Bassman. Narrow-panel tweed model 5F6-A was succeeded in 1960 by a completely different version, model 6G6, which was a 1Ã12â piggyback model in blonde Tolex with maroon grille cloth, front-mounted brown control panel and brown handle. Gone were the black âchickenheadâ knobs of the â50s, replaced by cylindrical white knobs. This was succeeded in short order by 2Ã12â model 6G6-A. Wheat-colored grille cloth replaced maroon in late 1962, and a reinforced black handle replaced the brown handle (which tended to break) in early 1963.
The next iteration of the 2Ã12â Bassman appeared in mid-1963, with a numbered black (âblackfaceâ) control panel, white cylindrical knobs, smooth white Tolex covering, gold sparkle grille cloth and a raised Fender logo (with tail)âa sharp but short-lived look. By mid-1964, it had black Tolex covering and silver sparkle grille cloth; the first of these still had white knobs, but these were very quickly replaced by black knobs that were both numbered and skirted. This model (AA864) had substantially different circuitry than its predecessorsâthe âpresenceâ control was removed, and âbrightâ and âdeepâ switches were added.
The blackface Bassman with black Tolex covering and black knobs existed basically unchanged until 1967. This was a period that encompassed Fenderâs 1965 sale to CBS and the summer 1966 start of Fenderâs ill-fated experiment with solid-state electronics. This included a transistorized version of the Bassmanâa 105-watt piggyback beast with three 12â speakers and a four-position âStyleâ switch. Odd, but it lasted until 1971, when Fender discontinued all solid-state amps.
Fender continued to build tube amps while it conducted its solid-state experiment, however, and the 1968 catalog showed yet another tube Bassman variation, this time with a gigantic speaker cabinet that, while 75 percent larger than the previous enclosure, still only housed two 12â speakers.
That year also saw the introduction of the âsilverfaceâ amps, which included another new Bassman; its circuitry was the same as the final blackface versions. In fall 1968, the 2Ã12â configuration was replaced by two 15â speakers in the same-sized cabinet. The ampâs aluminum trim was discarded in mid-1969, resulting in a silverface style that would exist basically unchanged into the 1980s.
Also in 1969, Fender introduced its first truly big bass amps, the 100-watt Super Bassman I and Super Bassman II. These were Fenderâs most expensive amps at the time, with a head and cabinets that were all physically larger than their predecessors. The Super Bassman I had a single 2Ã15â cabinet while the Super Bassman II had two; both used the same head.
The regular 50-watt model remained available during the short (1969-1971) tenure of the Super Bassman. This model became the 2Ã15â Bassman 50 in 1972, a year that also saw the arrival of the 50-watt Bassman 10 combo (the first 4Ã10â version in more than a decade, although it had a sealed back) and the 100-watt piggyback Bassman 100, which was basically a Super Bassman repackaged with four 12â speakers.
Names were changed with upgrades in power in 1977âthe 50 became the 70 and the 100 became the 135. Solid-state returned in 1981 with the small 1Ã15â Bassman Compact, and one more small tube model, the 1Ã15â Bassman 20, appeared in 1982 before all Bassman amps were discontinued in 1983 with the impending end of the CBS era.
The new Fender corporation resurrected the name in 1988 with the introduction of the third solid-state series; this included the 60-watt 1Ã15â Bassman.
Once Fenderâs gradual resurgence gathered real steam throughout the latter 1980s, the company turned its attention to its roots in the 1990s with a series of acclaimed and highly successful reissue tube guitar amps. These were based on classics of the 1950s and â60s, and first among them was the â59 Bassman, released in 1990 and based on model 5F6-A. This was succeeded in 2004 by the Vintage Reissue series â59 Bassman LTD, which has a lacquered tweed covering and four 10â Jensen speakers instead of the Eminence speakers used in the earlier reissue.
Concurrently during its modern era, Fender also marketed a line of bass heads and combo amps under the Bassman name, although these bore little or no connection to the Bassman amps of the 1950s, 1960s and 1970s and were âBassmanâ products in name only.
The model came full circle in a way in 2009 with the introduction of the four Bassman TV series amps, specifically designed for bass guitar in 1Ã10â, 1Ã12â, 1Ã15â and 2Ã10â versions. These tweed-covered TV-front amps are highly evocative of but not strictly copied from the very first 1Ã15â Bassman model of 1952.
In 2015 Fender introduced the dual-channel Bassman 500, combining Fenderâs world-standard "blackface" tube preamp with a lightweight 500 watt Class D power amp and a wealth of innovative features on the front and rear panels.
|
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dbpedia
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https://www.schott-music.com/en/person/george-bassman
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en
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George Bassman
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https://www.schott-music.com/en/person/george-bassman
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https://joeverdegan.com/63-year-old-lowell-bennett-shows-youngsters-how-its-done-with-wir-win/
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en
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63-YEAR-OLD LOWELL BENNETT SHOWS ‘YOUNGSTERS’ HOW IT’S DONE WITH WIR WIN
|
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Joe Verdegan | joeverdegan.com
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https://joeverdegan.com/63-year-old-lowell-bennett-shows-youngsters-how-its-done-with-wir-win/
|
Posted on: Thursday July 15, 2021
ATTENTION SPORTS/MOTORSPORTS – FOR IMMEDIATE RELEASE
63-YEAR-OLD LOWELL BENNETT ENDS FOUR YEAR WIR DROUGHT – WINS SUPER LATE MODEL MAIN
(KAUKAUNA, WI) July 15 – 63-year-old Lowell Bennett had to prove to the ‘kids’ he races against he’s still ‘got it’.
The Neenah racer passed Kyle Calmes for the lead on lap five and kept the lead to win the super late model feature at Wisconsin International Raceway in Kaukauna Thursday. The victory was Bennett’s first at the track since 2017.
Polesitter Calmes took the lead at the drop of the green in the 35-lap contest while Bennett motored past Calmes to take the lead on lap five.
A few laps later Andy Monday and Jesse Oudenhoven would slip into the second and third spots, respectively and began slowly closing the gap on the veteran racer. Point leader Grant Griesbach wrestled the third spot away from Oudenhoven on the 12th circuit.
Bennett kept the lead with Monday, Griesbach, Oudenhoven and Bobby Kendall in toe nose-to-tail with 10 laps remaining.
A caution on lap 32 tightened the field when Sawyer Effertz and Brent Strelka tangled in turn three, setting up a three lap dash to the finish. Bennett fought off Monday and Griesbach to score a popular win. “I won four features in 2017 and haven’t won one since,” Bennett exclaimed in victory lane. “My pit crew has never given up on me and we’ve worked so hard to get this 2 car back to the front.”
Monday settled for second, followed by Griesbach, Kendall and Oudenhoven.
Hometown driver Nate Van Wychen dodged a few caution periods and held on to win the late model feature. Trailing at the checkers were Todd Verhagen, Mike Meyerhofer, Brandon Reichenberger and Jesse Bernhagen.
Kaukauna’s Jerry Schneider and Dylan Wenzel of Fremont split the ¼ mile late model features while Appleton’s Andy Casavant scored fast time and won the super stock feature.
Hilbert’s Mike Byrge fought off heavy pressure from Marty Sokolik and fast timer Bobby Wautier late in the race to capture his first sport truck feature win of the season.
Little Chute’s Evan Beattie won the Sizzlin’ 4 feature while West Bend’s Nick Ostberg copped the Figure 8 feature.
Next Thursday July 22 it’s Bricco Services night at the races. The V6 Rovals will also be in action. Racing gets underway at 6:30 p.m. You can check frrc.us for more information.
SUPER LATE MODEL FEATURE – Lowell Bennett, Neenah; Andy Monday, Appleton; Grant Griesbach, Pewaukee; Bobby Kendall, Montello; Jesse Oudenhoven, Kaukauna; Braison Bennett, Neenah; Jeff Van Oudenhoven, Appleton; Maxwell Schultz, Reedsville; Taylor Vandermoss, Appleton; Kyle Calmes, Freedom; Brent Strelka, Freedom; Alex Stumpf, Woodville; Brady Baldry, Omro; Corey Manders, Hilbert; Nick Van, Greenville; Mike Anthony, Appleton; Sawyer Effertz, Darboy; Trevor Vandermolen, Oshkosh; Pete Vandermolen Jr, Oshkosh; Alex Seidl, Appleton; Mickey Schallie, Darboy; Randy Schuler, Mequon
HEATS 1st) Schuler; Vandermoss 2nd) Effertz; Stumpf
DASH – Oudenhoven
FAST TIME – Schultz, 19.246
LATE MODEL FEATURE – Nate Van Wychen, Kaukauna; Todd Verhagen, Freedom; Mike Meyerhofer, Hilbert; Brandon Reichenberger, Appleton; Jesse Bernhagen, Neilsville; Bryan Monday, Appleton; Brian Henry, Omro; Travis Rodewald, Manitowoc; Will Timmers, Kaukauna; Kevin Retzlaff, Berlin; Rachel Evans, Brillion; Matt Wittman, Appleton; Justin Woller, Appleton; Mike King, Appleton; Chase Randerson, Oshkosh; Tarra Springstroh, Freedom; Robert Younger, De Pere; Jason Vandeberg, Kimberly; Braison Bennett, Neenah
HEAT – Evans
DASH – Mike Meyerhofer
FAST TIME – Bernhagen, 20.375
¼ MILE LATE MODEL FEATURES 1) Jerry Schneider, Kaukauna; Rich Bickle, Edgerton; Wayne Posselt, Greenville; Rick Spoo, Neenah; Jeff Beschta, Appleton 2) Dylan Wenzel, Fremont; Tim Baumann, Neenah; Bickle; Kevin Hebbe, Appleton; Travis Willing, Appleton
FAST TIME – Wenzel 14.770
SUPER STOCK FEATURE – Andy Casavant, Appleton; George Schwalbach, Menasha; Jeff Treml, Greenleaf; Greg Hauser, Wrightstown; Trevor Howard, Kaukauna
HEAT – Treml; Larry Raygo, Omro
FAST TIME – Casavant, 15.731
SIZZLIN’ 4 FEATURE – Evan Beattie, Little Chute; Mitchell Opsahl, Appleton; Scott Wolf, Appleton; Ricky Kaufert, Appleton; Emery Beattie, Little Chute
HEATS 1) Tyler Lind, Appleton; Jacoby Pollei, Appleton 2) Gavin Klein, Greenville; Evan Beattie
FAST TIME – Opsahl, 17.884
SPORT TRUCK FEATURE – Mike Byrge, Hilbert; Marty Sokolik, Oakfield; Bobby Wautier, Denmark; Jason Van Handel, Freedom; Kylee Vandermoss, Darboy
HEATS 1) Logan Mahoney, Oshkosh; Alex Ruedinger, Larsen 2) Vandermoss; Byrge
FAST TIME – Wautier, 16.183
FIGURE 8 – Nick Ostberg, West Bend
|
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https://www.instagram.com/theconsciouslee/reel/C7FqBwLMQCq/
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Instagram
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http://www.georgestraitfever.org/aceintheholeband.html
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en
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AceInTheHoleBand
|
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George Strait's Ace In The Hole Band; one of the best western swing bands there is. Here is their history from 1975 to present, info about their album, their appearance in Pure Country, and lots of interviews and concert tour photos.
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https://www.rollingstone.com/music/music-lists/50-greatest-bassists-of-all-time-1003022/
|
en
|
The 50 Greatest Bassists of All Time
|
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[] |
[] |
[
""
] | null |
[
"Jonathan Bernstein",
"David Browne",
"Jon Dolan",
"Brenna Ehrlich",
"David Fear",
"Jon Freeman",
"Andy Greene",
"Kory Grow",
"Elias Leight",
"Angie Martoccio"
] |
2020-07-01T14:17:17+00:00
|
We count down the 50 greatest bassists of all time, from string-popping virtuosos to steady session heroes.
|
en
|
Rolling Stone
|
https://www.rollingstone.com/music/music-lists/50-greatest-bassists-of-all-time-1003022/
|
“The bass is the foundation,” session legend Carol Kaye once said, “and with the drummer you create the beat. Whatever you play puts a framework around the rest of the music.”
A great bass line, whether it’s Paul McCartney’s hypnotic “Come Together” riff, Bootsy Collins’ sly vamp from James Brown’s “Sex Machine,” or Tina Weymouth’s minimal throb on Talking Heads’ “Psycho Killer,” is like a mantra: It sounds like it could go on forever, and it only feels more profound the more you hear it. Guitarists, singers, and horn players tend to claim the flashiest moments in any given song, while drummers channel most of the kinetic energy, but what the bassist brings is something elemental — the part that loops endlessly in your head long after the music ends.
Bassists are often overlooked and undervalued, even within their own bands. “It wasn’t the number-one job,” McCartney once said, reflecting on the fateful moment when he took over the four-string after Stu Sutcliffe exited the Beatles. “Nobody wanted to play bass, they wanted to be up front.”
And yet the instrument has its own proud tradition in popular music, stretching from the mighty upright work of Jimmy Blanton in Duke Ellington’s orchestra and bebop pioneers like Oscar Pettiford to fellow jazz geniuses like Charles Mingus and Ron Carter; studio champs like Kaye and James Jamerson; rock warriors like Cream’s Jack Bruce and the Who’s John Entwistle; funk masters like Bootsy and Sly and the Family Stone’s Larry Graham; prog prodigies like Yes’ Chris Squire and Rush’s Geddy Lee; fusion gods like Stanley Clarke and Jaco Pastorius; and punk and postpunk masters like Weymouth and the Minutemen’s Mike Watt. The alternative era brought new heroes on the instrument, from Sonic Youth’s intuitive Kim Gordon to Primus’ outlandish Les Claypool, and more recently, a fresh crop of bass icons — including Esperanza Spalding and the ubiquitous Thundercat — have placed the low end at the center of their musical universes.
As with our 100 Greatest Drummers list, this rundown of the 50 greatest bassists of all time celebrates that entire spectrum. It’s emphatically not intended as a ranking of objective skill; nor does it assign any one set of criteria as a measure of greatness. Instead it’s an inventory of the bassists who have had the most direct and visible impact on creating, to borrow Kaye’s term, the very foundation of popular music — from rock to funk to country to R&B to disco to hip-hop, and beyond — during the past half-century or so. You’ll find obvious virtuosos here, but also musicians whose more minimal concept of their instrument’s role elevated everything that was going on around them.
“You grab it, slide around on it, and feel it with your hands,” Red Hot Chili Peppers’ Flea once said of his signature instrument. “You slap, pull, thump, pluck, and pop, and you get yourself into this hypnotic state, if you’re lucky, beyond thought, where you’re not thinking because you’re just a conduit for this rhythm, from wherever it comes from, from God to you and this instrument, through a cord and a speaker.”
Here we pay tribute to 50 musicians who have found that same exalted state via the bass, and changed the world in the process.
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8916
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dbpedia
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2
| 56
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http://www.georgestraitfever.org/aceintheholeband.html
|
en
|
AceInTheHoleBand
|
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[] |
[] |
[
""
] | null |
[] | null |
George Strait's Ace In The Hole Band; one of the best western swing bands there is. Here is their history from 1975 to present, info about their album, their appearance in Pure Country, and lots of interviews and concert tour photos.
| null | ||||||||
8916
|
dbpedia
|
1
| 0
|
https://www.ancestry.com/1940-census/usa/California/George-S-Bassman_2j0pst
|
en
|
George S Bassman in the 1940 Census
|
[
"https://www.ancestrycdn.com/ui-static/i/logo/ancestry.svg"
] |
[] |
[] |
[
""
] | null |
[] | null |
View George S Bassman's 1940 US census record to find family members, occupation details & more. Access is free so discover George S Bassman's story today.
|
en
|
Ancestry.com
|
https://www.ancestry.com/genealogy/records/results?firstName=george&lastName=bassman
| ||||||
8916
|
dbpedia
|
0
| 59
|
https://musicbrainz.org/artist/69a6332a-ce91-44d3-94ca-6f59d0206e9b
|
en
|
George Bassman
|
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[] |
[] |
[
""
] | null |
[] | null |
Type: Person, Gender: Male, Born: 1914-02-07 in New York, Died: 1997-06-26 in Los Angeles, Area: United States
|
en
|
/static/images/favicons/apple-touch-icon-57x57.png
| null |
Discography
Album + Soundtrack
YearTitleArtistRatingReleases2004Ride the High Country / Mail Order BrideGeorge Bassman1
|
|||||
8916
|
dbpedia
|
0
| 9
|
https://music.apple.com/us/artist/george-bassman/201183
|
en
|
âGeorge Bassman
|
[
"https://music.apple.com/assets/artwork/1x1.gif"
] |
[] |
[] |
[
"listen",
"George Bassman",
"music",
"songs",
"Pop",
"apple music"
] | null |
[] | null |
Listen to music by George Bassman on Apple Music. Find top songs and albums by George Bassman including Sentimental Over You.
|
en
|
/assets/favicon/favicon-180.png
|
Apple Music - Web Player
|
https://music.apple.com/us/artist/george-bassman/201183
| |||||
8916
|
dbpedia
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2
| 83
|
http://paulplumeri.com/vin_guitar.htm
|
en
|
The Paul Plumeri Blues Band
|
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"bishop",
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"trenton",
"new",
"jersey",
"guitar",
"band",
"duke",
"williams",
"extremes",
"live",
"cd"
] | null |
[] | null | null |
Expect the unexpected when considering the blues-based music of Paul Plumeri. The veteran guitarist who is based in his hometown of Trenton, New Jersey, has been plying his trade for decades, and it appears his approach to the music is finally garnering recognition...all the way on the other side of the country. * Plumeri's done his share of extensive touring over the years, particularly when he was a member of Duke Williams &the Extremes in the late 1970s. The Extremes released two albums on the Georgia-based Capricorn label (Paul joined the band following those recordings), and nowadays, Williams is a member of Plumeri's band. What's more, during the guitarist's days in the Extremes, Duke Williams coined Plumeri's nickname, "The Bishop of the Blues," which appears on the cover of Plumeri's mid-'9Os solo album. * Another unanticipated aspect concerns Plumeri's surname, which is pronounced Plum-er-eye (not Ploo-MAR-ee). His heritage is Italian, and he asserts the latter pronunciation is technically correct, but for some reason, it assumed a different inflection in the Trenton area.
Vintage Guitar: When someone considers New Jersey's contributions to popular music, a typical reaction would probably be to cite Springsteen or Bon Jovi. How valid would a term like "Jersey Blues" be?
Paul Plumeri: I think it's a very valid term; even "Trenton blues." There's a niche of musicians here who've been practicing the art of the blues for at least 35 years, through all of the trends, like disco. The ones who've been playing it for a long time play it as good as anybody I've heard. Even though I play other styles of music, the blues style is always a part of my playing.
What was your first guitar?
Like many people, it was a huge Harmony archtop. My older brother had started playing it, thinking he was going to become Elvis Presley. When he found out differently, the guitar went off into a corner, and that's where found it. My parents let me take lessons, and really supported me.
After that, I got a copper Danelectro - many people started out with I those - and they're actually good guitars. Then a '59 Les Paul Standard that had been abandoned in a music store, still wrapped in its shipping paper! Mind you, this was before the blues bug caught me, and I wanted a Jazzmaster, because I was a big fan of the Ventures and surf bands. My father, God rest his soul, told me I was going to get the guitar that my teacher wanted me to get. I was the first person to open it up; it was new old stock - this was in '66. I was the only person who played up until I sold it; I couldn't justify it sitting around anymore. It broke my heart, in a way, but that kind of money is useful. But I learned to play blues on that guitar, so I started out with the best, I suppose.
What made you gravitate to the blues?
I had a couple of great inspirations. First of all, my uncle, Don - his stage name was Don Palmer - was a theatrical agent, and he managed [drummer] Buddy Rich, [drummer] Gene Krupa, and [singer] Arthur Prysock. I got to know Arthur very well; I grew up going to see him perform, and when I became good enough I played with him a lot in the black clubs in New Jersey in those days. It was a mindblowing experience, and an education of the highest order. Uncle Don would also bring me James Brown and Wes Montgomery records.
Second, we had a phenomenal R&B station, GBS, run by a man named George Bannister. He had all of the Bill Doggett stuff, Sam & Dave, B.B. King recordings.
Others have cited a station in Memphis as an inspiration. Did this station have a similar format?
Exactly! George was on in the '50s and early '60s. I was a little kid when I first heard "Honky Tonkin'," and it blew me away. There was something about that song that shook me up.
But as a rule I liked any kind of good guitar music - Roy Clark, Chet Atkins, numerous blues people, and the good thing was that heard B.B. King before I heard the British blues players. After that, I got into Clapton and all the others. I think my progression was in the right order.
What about some of your band experiences before Duke Williams & the Extremes?
I was in a very popular regional band called Hoochie Cooch. I started it when I got out of high school. It had different incarnations, but the most popular was when I had teamed with another guitarist named Joe Zook. We were a good two-guitar team; I wouldn't say we were totally inspired by the Allman Brothers, although they deserve a lot of credit. I think the original version of that band was the best band ever. Joe and I seemed to mesh our guitar styles very well.
What would have been your rig back then?
I had the 'Burst, which I ran I through a 50-watt Marshall plexi head or a Traynor, which is a Canadian amp; they're great amps and you can pick 'em up for a song. I had a Fender Vibrolux, but we tended to be pretty loud, so I used the Traynor or Marshall more. We did some recording, and band was on the verge of getting contract when it fell apart.
Duke Williams & the Extremes were Capricorn, but they weren't a Southern band. Do you think (Capricorn founder) Phil Walden was trying to branch out by signing bands with different styles?
I would say that's true, but I joined the Extremes after they'd done their recordings for that label. I'd known Duke for many years; I'd seen him one of his earlier bands, Alexander Rabbit, which was a Mercury (record label) act. He played guitar back then, as well as keyboards. Duke plays with me now; he's a Jersey legend.
Duke's idea was to have kind of blue-eyed soul band meshed with some different R&B sounds, and also the sound coming out of Philadelphia in those days - Gamble & Huff stuff. T.J. Tindall was in the original version of Duke's band, and he'd played records by the O'Jays and Trammps. It sounded totally different from any other band that was Capricorn at the time.
Hoochie Cooch died out around the Fall of' 76. Duke and Tindall been watching me throughout my whole Hoochie Cooch days, and recruited me. The liked the way I could play "effective" rhythm guitar and still play blues. I think that's indigenous to this neck of the woods; it was a melting pot of styles, including the Philadelphia thing.
Tom Johnston of the Doobie Brothers has said that his churning, chugging type of guitar playing is attributable to his experiences playing R&B and James Brown funk tunes.
That's certainly where I got it from. I wish I still had those James Brown records my uncle brought me, like Live at the Apollo; they'd be worth a fortune. Jimmy Nolan was a big influence on a lot of people, and none of us knew who he was (chuckles)!
"Papa's Got A Brand New Bag?"
It doesn't get any better than that! And I think Steve Cropper was great; he was more laid back, but still a great rhythm guitarist. The same goes for Curtis Mayfield.
Did you ever meet or jam with any of the original Capricorn artists?
We played a lot of shows with those bands; we traveled extensively, primarily on the East Coast.
One gig I did with Duke was at a place in Delaware called the Other Side. The guy who owned the place was bringing in some great acts Cheap Trick, Nicolette Larson. We were gonna headline the concert, and a band called the Dixie Dregs was gonna open.
We were doing the soundcheck there in the afternoon, and a big truck pulls in, and [original Allman Brothers roadie] Twiggs is driving it; he was one of Duane's best friends. He came in as we were doing the soundcheck, and sees I'm playing a 'burst; I was doing a blues number at the time, and he told me I sounded real good. Then he said, "I want to show you something in a little while; after I get some work done."
I found him later, and he brought over a road case and told me to open it up. I did, and recognized the guitar - it was Duane's sunburst! It was like a religious experience! He told me to pick it up, and told me he'd been carrying it around to various gigs, and if he liked the guitar player from another band, he thought Duane would have liked the guitar to be appreciated, and he said, "I'd be very happy if you'd play this for a few numbers."
Well, what can you say (chuckles)? I was honored, of course. I played it for a few songs, and I still have a tape of the performance somewhere. It was an eerie thing; I really don't know how to describe it - almost like an out-of-the-body experience. It was a high point of my career. Twiggs has passed on, but he was a real gentleman and a no bull**** kind of guy.
Did you go to directly from the Extremes to a solo career?
I left the Extremes at the end of 1980 for the express purpose of doing what I'm still doing now. I did get into sort of a Top 40 band for awhile; it had some great musicians but I was just biding time until I could find who I wanted to play with. My successor in the Extremes was Richie Sambora. Once I got the solo thing together, I covered a circuit, mostly in the tri-state area, but also as far down South as Virginia and North Carolina.
Over the years, the lineup of your band has changed from a basic guitar/bass/drums setup to guitar/keyboards/drums to a four-piece.
The three-piece with the keyboard player lasted about a year and a half. It was a great combination, but it collapsed rather quickly. Unfortunately, the drummer had some health problems. So here I was with a full plate of gigs, and no band. I started making calls, and ironically,
right at that time Duke called me just to see how I'm doing; he'd been back in this area for the last few years. I told him about how I was trying to get a band together, and he said, "I'll play." And that was it! It was that easy, and I guess it's full circle, after 20 years of not playing with each other.
Let's talk about your style, which is a bit unique. While you're aggressive, a lot of your rifts are based on complicated chords. When you're playing, are you aware that you're doing something like a ninth, a diminished, or an augmented chord?
I'm well aware of the chord forms that have some of the leads developed on them. That goes back to the lessons, and the jazz players I'd listen to. I think it's more melodic than cliche-oriented things. But I'm not devoid of those, either; we all do 'em.
It also sounds like you're using a vibrato arm in a way it was originally intended to be used - there are some passages where the chord or note drops about a halfstep.
I like the way you can use it to sweeten up a chord passage, or even a single note. The only time I do any "extreme" stuff with it is when I do some Hendrix tribute-type of music. Proper use of it can be an artform; it's certainly been bastardized enough. There's definitely a right way to use it.
So we won't ever hear you using a high-tech vibrato, doing divebombs?
(chuckles) No; it has its purpose, and it'a a nice piece of machinery, but it's a little too much for me.
You listed the gear you used on your album in the liner notes. What's changed, if anything, equipment-wise since the mid'9Os?
There was a guy who was a roadie for me named George Alessandro; he was with me for five years, and he got to look at all of my Fenders and Marshalls. I was using the Bassman heads that he modified; they're on the record. Then when his amps came out, I began using those; I'm an endorser.
There's a tweed Fender amp in your publicity photo from around the time the album was released.
That's my 410 Bassman, which I thought would look Linda cool as a prop.
A recent photo of you showed a PRS in your hands.
Yeah; I have six McCarty models. My stable these days consists of a couple of '64 Strats - one of which I used on just about the entire record a '64 Gibson ES-335, a '61 355, and a couple of killer rosewood-neck PRSs I put Tom Holmes pickups in. George had turned me on to those, and he installed them with silver wire.
There's a live version of "Kansas City" with a swing/shuffle feel instead of straight blues.
Definitely; it's certainly not a Muddy Waters/Chicago-type thing. What I tried to do with the rhythm playing on that song was to make horn-like lines. The vibrato helps, but I also have a hand vibrato technique where I try to sway the whole chord from right to left, kind of sideways. It's very effect five, especially on 12-bar blues songs. That track was recorded at one of the concerts I opened for B.B. King at the War Memorial Building, a beautiful old concert hall in Trenton.
The album has four instrumentals. "Philene" is somewhat moody and sounds like it has a Uni-Vibe on it...
That's an old Boss Chorus; one of those little blue boxes that came out in the late '70s. I got turned on to those when I was in Florida with Duke. I picked up one when they were new, and I've had it ever since. On that song, I was thinking about some Hendrix-type moodiness.
The last track, "The Boogie," is basically a one-chord workout and the bass rift is reminiscent of Golden Earring's "Radar Love."
(chuckles) I've been told that before. It's a rousing thing that, again, started as kind of a Hendrix tribute. I wanted the track on there, even though a lot of people think it's a different guitar player because of the tone and use of the (vibrato) bar. It's a little wilder, a little more "noted," and it has a John Lee Hooker beat, which every boogie in the world has. I just wanted to show another side of my playing in contrast to the other tunes.
Do you have any other instruments in your collection that you want to cite?
I've got a '52 Les Paul, a '62 ES-345, a '59 ES-330, a '64 SO Standard, a '58 Junior, a'55 Special, a'63 Jazzmaster...I had to get one of those, eventually (laughs)! That one makes up for the one I didn't get all those years ago! I've got a total of about 50 guitars, and probably more than 50 amps.
Besides Mr. King, which notable performers have you shared a bill with?
I did gigs with the original Sam & Dave, which was more R&B, but a lot of fun. I played at concerts with John Mayall, and even Arthur (Prysock) when he was alive. I played with Rick Derringer, Jimmy Vivino, Fleetwood Mac, Aerosmith, and Hall & Oates; lots of classic rock acts and blues artists.
Which performance was the most memorable?
(pauses) I'd have to say it was performing with Arthur. It was a nostalgic thing, and he was not only a mentor, he was a nice and patient man.
I understand your music is getting a buzz in Seattle.
I've made three trips there. In fact, the next album is going to be a live recording from Seattle; it should be out around Labor Day. They have a massive music scene out there; they appreciate everything. It's not unusual to hear a lot of classic rock like Hendrix, Cream, or the Allman Brothers all the time, and even a lot of the blues artists...you never hear that stuff here unless you're listening to a blues show.
My album garnered a lot of interest out there. There are about eight to 10 clubs in that area where my music has gone over well. I played in the place where they filmed "Northern Exposure." The CD got a lot of airplay, so this is shaping up like a whole new ball game for me. I had the support of my parents when I was coming along, and now my son, Paul Jr., and my fiance, Sharon, are really supporting me, both emotionally and musically. And Paul Jr. plays pretty well himself!
After all these years, what do you think about your music getting a possible breakout all the way on the other side of the country?
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https://scholarsjunction.msstate.edu/cht-sheet-music/8668/
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en
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I'm gettin' sentimental over you
|
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"George Bassman"
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photograph of Tommy Dorsey on a background by Manning.
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/favicon.ico
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Scholars Junction
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https://scholarsjunction.msstate.edu/cht-sheet-music/8668
|
Composer
George Bassman
Files
Download
Download Full Text (540 KB)
Preferred Citation
[Physical ID#]: [Title], Charles H. Templeton, Sr. sheet music collection. Special Collections, Mississippi State University Libraries.
Cover Illustration
photograph of Tommy Dorsey on a background by Manning.
First Line of Song
I was just another who laughed at romance
First Line of Chorus
Never thought I'd fall, but now I hear love call
Subjects
Movietunes ; Songs with piano. ; Movie picture music vocal scores with piano. ; Popular music United States.
Publisher
New York : Mills Music, Inc.,
Performance Medium
Piano; voice ; Ukulele
Music Genre
Popular
Object Type
text
Format (Original)
1 score (3 p.) ; 31 cm.
Physical ID#
32278009421524
Digital ID#
009421524-1933
Location of Original
Box 26, Folder 3, Piece 55
Repository
Manuscripts Division, Special Collections Department, Mississippi State University Libraries.
Digital Publisher
Mississippi State University Libraries (electronic version)
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https://www.wikitree.com/wiki/Bassman-33
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en
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George Samuel Bassman (1914-1997)
|
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"George Bassman genealogy"
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1914-02-07T00:00:00
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Is this your ancestor? Explore genealogy for George Bassman born 1914 Boston, Suffolk, Massachusetts, United States died 1997 Los Angeles, Los Angeles, California, United States including parents + descendants + more in the free family tree community.
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/favicon.ico
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https://www.wikitree.com/wiki/Bassman-33
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[sibling(s) unknown]
Descendants
This page has been accessed 18 times.
Biography
Born in New York City to a Ukrainian- and Lithuanian-Jewish émigré couple, Bassman was later raised in Boston and began studying music at the Boston Conservatory while still a boy.
He studied orchestration and composition formally[citation needed], but in his teens he left home against his father's wishes to play piano in an itinerant jazz group, and subsequently worked as an arranger for Fletcher Henderson in New York.
Through that gig, he became part of the burgeoning swing/big band scene and was soon writing songs as well. Bassman peaked in that career when he and Ned Washington wrote "I'm Getting Sentimental Over You" for the bandleader Tommy Dorsey. Bassman also worked in radio as an arranger for Andre Kostelanetz, and made the move to Hollywood in the mid-1930s.
Among his earliest film jobs was orchestrating the Gershwin songs in the Fred Astaire movie A Damsel in Distress at RKO. He later went to work at MGM, where he composed music for the Marx Brothers vehicles A Day at the Races, Go West, and The Big Store, as well as writing or arranging music for such musicals as Lady Be Good and Cabin in the Sky. He also worked on Metro-Goldwyn-Mayer's 1939 musical The Wizard of Oz (for which he orchestrated the background music used in the tornado scene, poppy-field scene and many of the Emerald City sequences), Babes in Arms, and For Me and My Gal. During his work at MGM, he returned to RKO to supervise the adaptation of the Richard Rodgers/Lorenz Hart musical Too Many Girls to the big screen. He also worked on dramas, including Vincente Minnelli's The Clock and Tay Garnett's The Postman Always Rings Twice.
Bassman's career was interrupted in the midst of the Red Scare, however, when he admitted in testimony before the House Un-American Activities Committee that he had been a member of the Communist party (it was virtually a family legacy, his mother apparently having been a dedicated Communist in the 1910s, when it had a very different meaning than it did in the 1950s).
Bassman left Hollywood after the studios closed their doors to him and returned to New York where he found the theater still open to him. He was engaged to orchestrate the show Guys and Dolls (with Ted Royal), and also composed music for various shows and revues. Although Hollywood was closed to him, Bassman was able to work in television in its early days, as a composer for various live shows and also as a conductor; he eventually composed the music for the live television anthology series Producers' Showcase as well. He also quietly kept his hand in movies, where independent producers were willing to hire him. Among his best scores during this period was his music for The Joe Louis Story (1955); he also got hired to write some music for the Hollywood movie Marty (1955), and Columbia hired him in 1958 to score Middle of the Night.
Bassman had seemingly beaten the blacklist, and without too much inconvenience, but then his professional luck ran out, oddly enough upon his return to MGM for the first time in more than a decade. He clashed with the makers (including director Sam Peckinpah) of what could have been a triumphant comeback, on Ride the High Country (1962). He closed out his film career with Mail Order Bride (1964), and saw several of his scores (including one for Bonnie and Clyde) rejected.
In 1961 he arranged all the music for Mitzi Gaynor's very first nightclub act which debuted at The Flamingo Hotel in Las Vegas.
Late in his career, he re-orchestrated the 1922 one-act jazz opera by George Gershwin and Buddy DeSylva, Blue Monday. This version has been recorded.[according to whom?]
In the late 1960s, he acquired ownership of and operated the Savoy Club, a contract bridge club located on Sunset Strip catering to Hollywood personalities and local bridge professionals.[1]
Bassman's later life was marred by tragedy—his personal life involved three marriages, and the last had a duration of scarcely a year. By the late 1970s, he was cut loose from his career, and he later fell in with the wrong people. He died forgotten by his profession and alone in Los Angeles in 1997.
Sources
https://www.ancestry.com/genealogy/records/george-samuel-bassman-24-l17f4l
Wikipedia contributors. "George Bassman." Wikipedia, The Free Encyclopedia. Accessed 8 May 2024.
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Edgar Buchanan
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Edgar Buchanan - News - IMDb - Movies, TV, Celebs, and more...
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Ride the High Country | Western, Adventure, Classic
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Ride the High Country, American western film, released in 1962, that was a revisionist take on the genre. It was the second movie by director Sam Peckinpah, and its embittered characters and realistic gunplay began to establish the formulas for which he became famous. Ex-lawman Steve Judd (played
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/favicon.png
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Encyclopedia Britannica
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https://www.britannica.com/topic/Ride-the-High-Country
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Ride the High Country, American western film, released in 1962, that was a revisionist take on the genre. It was the second movie by director Sam Peckinpah, and its embittered characters and realistic gunplay began to establish the formulas for which he became famous.
Ex-lawman Steve Judd (played by Joel McCrea) has fallen on hard times. He takes a job transporting gold deposits from a mining camp in the Sierra Nevadas across the mountains to a bank. He is pleased when his old friend Gil Westrum (Randolph Scott), another ex-lawman, agrees to assist him. Gil’s young friend and protégé Heck Longtree (Ron Starr) also accompanies them on the dangerous journey. Along the way they rescue a desperate young woman, Elsa Knudsen (Mariette Hartley), from a horrific life with her abusive father. The men escort Elsa to her fiancé, Billy Hammond (James Drury), and the young couple are quickly married. However, Steve, Gil, and Heck must soon rescue her again when she discovers that she will have to endure Billy’s brothers, who intend on “sharing” her for their sexual pleasure. The situation becomes even more complicated when Steve learns that Gil and Heck intend to rob the gold shipment. He thwarts their plans, and Gil runs off, leaving Steve and Heck to face Billy and his brothers, who have ambushed them in the hopes of taking back Elsa. In the midst of the seemingly hopeless battle, Gil has pangs of conscience and returns in time to help Steve and Heck defeat their assailants. However, Steve has been mortally wounded. Gil makes a solemn promise to fulfill his mission to get the gold shipment to the bank.
Britannica Quiz
Best Picture Movie Quote Quiz
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https://artblart.com/tag/lillian-bassman/
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art and cultural memory archive
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[
"Author Dr Marcus Bunyan"
] |
2022-01-22T22:28:21+00:00
|
Posts about Lillian Bassman written by Dr Marcus Bunyan
|
en
|
Art Blart _ art and cultural memory archive
|
https://artblart.com/tag/lillian-bassman/
|
Exhibition dates: 31st October, 2021 – 30th January, 2022
Curator: The exhibition is curated by Andrea Nelson, associate curator in the department of photographs, National Gallery of Art, Washington.
Tsuneko Sasamoto (Japanese, b. 1914)
Ginza 4 Chome P.X.
1946, printed 1993
Gelatin silver print
Image: 29.6 x 29.6cm (11 5/8 x 11 5/8 in.)
Frame: 40.64 x 50.8cm (16 x 20 in.)
Frame (outer): 41 x 51.2 x 2.5cm (16 1/8 x 20 3/16 x 1 in.)
Collection of Tokyo Photographic Art Museum
Abstract
Using the media images from the exhibition The New Woman Behind the Camera at the National Gallery of Art, Washington (31st October, 2021 – 30th January, 2022) as a starting point, this text examines the (in)visibility of the “New Woman” behind the camera. The text briefly investigates the disenfranchisement of women in 19th century through the work of George Sand and Camille Claudel; the role of the female flâneuse and the rise of the suffragettes; the relationship between two women and two men; a story; the work of two women photographers (Germaine Krull and Claude Cahun) who through photography challenged the representation of gender identity; a Zen proposition, and the particular becomes universal – in order to understand how artists, both female and male, find integrity on their chosen path.
Keywords
New Woman, photography, art, integrity, George Sand, Camille Claudel, female flâneuse, suffragette, camera, Germaine Krull, Claude Cahun, Leni Reifenstahl, Georgia O’Keeffe, Alfred Stieglitz, female emancipation, gender identity, representation, Sabine Weiss, Susan Sontag, self recognition, patriarchal society.
Download the complete text of Finding Integrity: “New Woman” artists and female emancipation in the first half of the twentieth-century (5.6Mb Word docx)
“The world doesn’t like independent women, why, I don’t know, but I don’t care.”
Berenice Abbott
Finding Integrity: “New Woman” artists and female emancipation in the first half of the twentieth-century
After thousands of years of human existence, woman still do not have equality. They have to fight for equal pay for the same job, they fight for equal opportunity in many jobs and top level positions, they fight for control of their body, and they fight against misogyny, discrimination and the aggression of hypermasculinity. They, and their children, fight not to be killed by jealous and enraged (x)lovers or (x)husbands – where x in mathematics is a variable number which is not yet known (in 2021 in Australia 43 women died at the hands of men) – whose ego and possessiveness cannot bear the thought of a vibrant, free thinking woman living beyond their control. I know of these things having grown in the womb, having grown up for the first 18 years of my life feeling my mother being abused, and then being abused myself trying to protect my mother.
My mother wanted to study music at Cambridge after graduating from the Royal College of Music but because she got married and had children she never had the opportunity. Her struggle, as with many women still, was to find her place in a man’s world – as a wife and mother in her case – to live within the parameters of the social construct that is a patriarchal society. At the time (in the 1960s) she said she felt less than human… for there was no help and little opportunity for women to escape their situation. Her one salvation was music and the one way she found to subvert the dominant structures was to teach piano. Now ninety years old, she has taught piano for the rest of her life. She found her voice and her independence. She found her integrity.
Earlier generations
In earlier generations, before the “New Woman”, women had to conform (to society’s expectations) and submit (to men) … unless they were notorious, celebrities or geniuses. Otherwise they were mainly disenfranchised and disempowered.
Women had to write under men’s names to be accepted, to sell and make a living. The novelist Amantine Lucile Aurore Dupin initially collaborated with the male writer Jules Sandeau and they published under the name Jules Sand before Dupin took up the pen name that was to make her famous and a celebrity across Europe: George Sand (French, 1804-1876). “Sand’s writing was immensely popular during her lifetime and she was highly respected by the literary and cultural elite in France.”1 She chose to wear male attire in public without a permit (which “enabled her to circulate more freely in Paris than most of her female contemporaries, and gave her increased access to venues from which women were often barred, even women of her social standing”1), and she smoked “tobacco in public; neither peerage nor gentry had yet sanctioned the free indulgence of women in such a habit, especially in public… While there were many contemporary critics of her comportment, many people accepted her behaviour until they became shocked with the subversive tone of her novels.”1 Sand was also politically active and “sided with the poor and working class as well as women’s rights. When the 1848 Revolution began, she was an ardent republican. Sand started her own newspaper, published in a workers’ co-operative.”1
Nadar (Gaspard Félix Tournachon) (French, 1820-1910)
George Sand (Amandine-Aurore-Lucile Dupin), Writer
c. 1865
Albumen silver print from a glass negative
24.1 x 18.3 cm (9 1/2 x 7 1/4 in.)
The J. Paul Getty Museum, Los Angeles
Used under fair use conditions for the purposes of academic research and education
In other words because of her visibility, celebrity, social standing, writing, intellect and revolutionary fervour she was acknowledged as a great woman. Men consulted with her and took her advice. Upon her death under the heading “Emancipated Woman,” in The Saturday Review, Victor Hugo commented: “George Sand was an idea. She has a unique place in our age. Others are great men … she was a great woman.” All well and good, but then he continues, “In this country, whose law is to complete the French Revolution, and begin that of the equality of the sexes, being a part of the equality of men, a great woman was needed. It was necessary to prove that a woman could have all the manly gifts without losing any of her angelic qualities; be strong without ceasing to be tender. George Sand proved it.”2 In other words to be the equal of a man, a woman must act like a man but also keep her womanly qualities (tenderness, femininity). She couldn’t really be herself because she had to measure up to the ideals of men. What a slap in the face, a kind of pseudo-equality – if you played your cards right and obeyed the rules of the game.
An incredibly sad example of female disenfranchisement in the arts is that of August Rodin’s assistant Camille Claudel (French, 1864-1943) who became his model, his confidante, and his lover. Claudel started working in Rodin’s workshop in 1883 and became a source of inspiration for him.
César (French)
Portrait de Camille Claudel
before 1883
Musée Camille Claudel
Used under fair use conditions for the purposes of academic research and education
“The exact nature of the tasks with which she was entrusted remains uncertain, but she apparently spent most of her time on difficult pieces, such as the hands and feet of figures for monumental sculptures (notably The Gates of Hell). For Claudel, this was an intensive period of training under Rodin’s supervision: she learned about his profiles method and the importance of expression. In tandem, she pursued her own investigations, accepted her first commissions and sought recognition as an independent artist at the Salon. Between 1882 and 1889, Claudel regularly exhibited busts and portraits of people close to her at the Salon des Artistes Français. Largely thanks to Léon Gauchez, Rodin’s friend the Belgian art dealer and critic, several of her works were purchased by French museums in the 1890s.”3
But women working under the “master” were not often acknowledged.
“Le Cornec and Pollock state that after the sculptors’ physical relationship ended [with Rodin in 1892 after an abortion], she was not able to get the funding to realise many of her daring ideas – because of sex-based censorship and the sexual element of her work. Claudel thus had to either depend on Rodin, or to collaborate with him and see him get the credit as the lionised figure of French sculpture. She also depended on him financially, especially after her loving and wealthy father’s death, which allowed her mother and brother, who disapproved of her lifestyle, to maintain control of the family fortune and leave her to wander the streets dressed in beggars’ clothing.
Claudel’s reputation survived not because of her once notorious association with Rodin, but because of her work. The novelist and art critic Octave Mirbeau described her as “A revolt against nature: a woman genius.”” …
Ayral-Clause says that even though Rodin clearly signed some of her works, he was not treating her as different because of her gender; artists at this time generally signed their apprentices’ work. Others also criticise Rodin for not giving her the acknowledgment or support she deserved. …
Other authors write that it is still unclear how much Rodin influenced Claudel – and vice versa, how much credit has been taken away from her, or how much he was responsible for her woes. Most modern authors agree that she was an outstanding genius who, starting with wealth, beauty, iron will and a brilliant future even before meeting Rodin, was never rewarded and died in loneliness, poverty, and obscurity. Others like Elsen, Matthews and Flemming suggest it was not Rodin, but her brother Paul who was jealous of her genius, and that he conspired with her mother, who never forgave her for her supposed immorality, to later ruin her and keep her confined to a mental hospital.”4
This “sculptor of genius” was eventually “voluntarily” committed by her family to a psychiatric hospital in 1913 where she lived the remaining 30 years of her life, unable to practice her art. Her remains were buried in a communal grave at the asylum, her bones mixed with the bones of the most destitute. Her brother Paul Claudel could not be bothered with a grave for her, while he specified the exact place of his internment… the ultimate irony being that, Rodin had decided to include an exhibition space reserved exclusively for Camille Claudel’s works in the future museum that would house the collections he bequeathed to the French state on his death (at the Rodin Museum) – a request that could not be honoured until 1952, when Paul Claudel donated four major works by his sister to the museum.5 Bitter irony.
Ruth Orkin (American, 1921-1985)
American Girl in Italy
1951
Gelatin silver print
© Ruth Orkin
Courtesy of Howard Greenberg Collection
Used under fair use conditions for the purposes of academic research and education
The female flâneuse and a period of transition
During the 19th century women could not stroll alone in the city.
“In Baudelaire’s essays and poems, women appear very often. Modernity breeds, or makes visible, a number of categories of female city-dwellers. Among the most prominent in these texts are: the prostitute, the widow, the old lady, the lesbian, the murder victim, and the passing unknown woman… But none of these women meet the poet as his equal. They are subjects of his gaze, objects of his ‘botanising’. The nearest he comes to a direct encounter, with a woman who is not either marginal or debased, is in the poem, À Une Passante (Even here, it is worth noting that the woman in question is in mourning – en grand deuil). The tall, majestic woman passes him in the busy street; their eyes meet for a moment before she continues her journey, and the poet remains to ask whether they will only meet again in eternity… (But if this is the rare exception of a woman sharing the urban experience, we may also ask whether a ‘respectable’ woman, in the 1850s would have met the gaze of a strange man).”6
But as Janet Wolff observes, women clearly were active and visible in other ways in the public arena, especially when it came to the construction of women’s dress as a sign of their husbands’ position: in effect, the less they worked and the more they evidenced the performance of conspicuous leisure and consumption, the more this was to the credit of their master rather than to their own credit. Wolff further notes, “The establishment of the department store in the 1850s and the 1860s provided an important new arena for the legitimate public appearance of middle-class women…” but denies this has anything to do with women being a female flâneur – a flâneuse – because the fleeting, anonymous encounters and purposeless strolling she has been considering “do not apply to shopping, or to women’s activities either as public signs of their husband’s wealth or as consumers.”7 Wolff rejects the notion of a female flâneuse as “such a character was rendered impossible by the sexual divisions of the nineteenth century.”8
Others disagree with this interpretation. In a paper titled “Gender Differences in the Urban Environment: The flâneur and flâneuse of the 21st Century”, Akkelies van Nes and Tra My Nguyen offer the following history of the flâneur9 and the flâneuse concepts (apologies for the long quotation but it necessary):
“The term flâneur originated from the 18th century. It was described by Charles Baudelaire as ‘gentleman stroller of city streets’ (van Godsendthoven, 2005). …
‘The flâneur was an idle stroller with an inquisitive mind and an aesthetic eye, a mixture of the watchful detective, the aesthetic dandy and the gaping consumer, the badaud. A solitary character, he avoided serious political, familial or sexual relationships, and was only keen on the aesthetics of city life. He read the city as a book, finding beauty in the obsolete objects of other people, but in a distanced, superior way’ (van Godsendthoven, 2005).
The flâneur is a product of modern life and the industrial revolution, parallel to the references of the tourist in contemporary times. The arrival of department stores and the ‘Haussmannization’ of Paris’ streets in the second half of the nineteenth century swept away large parts of the historical city and also the domain of the flâneur. The archetype of the flâneur disappeared with its surroundings, in favour of the women- oriented department stores. ‘The department store may have been, as Benjamin put it, the flâneur’s last coup, but it was the flâneuse’s first’ (Friedberg, 1993).
The flâneuse is not a female flâneur, but she is a version of the flâneur. She does not experience the city in the same way as he does. It is hard to define the archetype of the flâneuse, because the flâneur himself consists of paradoxes and many subcategories. Key concepts for flâneur and flâneuse are the amount of spare time, the aesthetic detachment towards objects, crowd and sceneries they see and their ambiguity about it.
The department stores were a starting point for the existence of the flâneuse, but this also marked her as a consumer, a ‘badaud’. The difference between badauds and flâneuses are the distance they create between themselves and the activities in the city. A characteristic of flânerie is an aesthetic distance between the subject and the object of attention. The badaud-flâneuse lacks this distance. The city is not being experienced, but is reduced to a place to consume.
As implied, the badaud-flâneuse did not have the full ability to flânerie. However, she has many qualities, which are at least some first initiatives to stroll around. Her domain moved from the interior of her home to the interior of the department store and sometimes even to the streets (Parsons, 2000). Shopping, art and day trips contribute to develop a certain view in that period of society, which was at the end of 19th century. Friedberg was very well aware that this new freedom was not the same as the freedom of the flâneur (Friedberg, 1993).
The flâneuse concept developed throughout the years expanded somehow further than being a badaud. She was discovering domains like art forms, like for example the cinema and the theatre at the beginning of the 20th century. But she was still objectified by men and patriarchic institutes. However, women became independent, without taking over the absent look and gaze of the flâneur. They changed their lives into art forms and had an opinion about the society they lived in. To gain respect as artists, the image of women as muses had to disappear. She had to claim an active role and to develop her own personality.
Through the literature, the life of the flâneuse and the female characters in the city, like passersby, artists, dandies and badauds [gawkers, bystanders] are often interlaced with each other, and difficulties they experienced are alike. The flâneuse often shifted between these roles, but distinguished herself by her independency and distanced. She became a symbol for post-modern urban life: a wanderer in many shapes.”10
Nes and Nguyen further argue that the emancipation of women over the last two decades “has brought the flâneuse to a more equal position with the flâneur in the invisible right to be in public urban space. However, aspects like safety and when and where women are spending time in urban space still have effect on how women use public spaces and affect the public spheres.”11 Indeed, with the despicable murder of too many women in Melbourne in recent years by predatory men (Aiia Maasarwe, Mersina Halvagis, Masa Vukotic, Eurydice Dixon, Tracey Connelly, Sarah Cafferkey, Renea Lau and Jill Meagher to name just a few…), women still fear walking the streets alone. “Even when grief enveloped his family, Bill Halvagis can recall the wider sense of public outrage that followed the murder of his older sister Mersina. The shock that someone could do such a thing in a public place was as brutal as the crime itself.”12
Unknown photographer (Australian)
People march through Brunswick in Melbourne after the murder of Jill Meagher in 2012
2012
Australian Associated Press (AAP)
Republished under Creative Commons from The Conversation website
Used under fair use conditions for the purposes of academic research and education
Looking back a century later, one of the key points of female emancipation in the early twentieth century is that women gained their independence “and had an opinion about the society they lived in… She had to claim an active role and to develop her own personality” while present and visible in the community, present in a public place. The world-wide suffragette movement was at the forefront of this early twentieth-century revolution.
“A suffragette was a member of an activist women’s organisation in the early 20th century who, under the banner “Votes for Women”, fought for the right to vote in public elections. The term refers in particular to members of the British Women’s Social and Political Union (WSPU), a women-only movement founded in 1903 by Emmeline Pankhurst, which engaged in direct action and civil disobedience.” During the First World War “the suffragette movement in Britain moved away from suffrage activities and focused on the war effort… Women eagerly volunteered to take on many traditional male roles – leading to a new view of what women were capable of.”13 However, this new found capability and visibility in society “cast women as passive, erotic objects, subjecting them to a kind of voyeuristic control” by men, embodying the gaze of modernity which is both covetous and erotic – public sites (of interaction) producing “meanings and positions from which those meanings are consumed.”14 Women were “playing” in a man’s world subject to their approval, their gaze and their desire to possess and control the female both physically and sexually.
But, as Griselda Pollock observes, “modernity was not represented as taking place in exclusively masculine, because public, domains: rather, the spaces of modernity were in fact marginal spaces, those in which the city’s “new subjective experiences of exhilaration and alienation, pleasure and fear, mobility and confinement, expansiveness and fragmentation,” were most intense. These spaces of intersection happened to be sites in which bourgeois men came into contact with women…”15
Here comes the “New Woman” taking on traditional male roles, socialising in marginalised spaces, boldly going where few women had gone before, sampling new subjective experiences, becoming who they wanted to be… all under the munificent gaze of the (bourgeois) male.
Two women and two men
The “New Woman”, mainly middle class females, took their courage in their hands to become professional photographers and artists: photojournalists, fashion photographers, war photographers, magazine and picture photographers, working with successful men and women in fashion, interior design, news, graphics and art. At the Bauhaus female students pushed the boundaries in fields such as textiles, lighting, ceramics and costume, the “New Woman” putting her femininity under the spotlight.
By pushing boundaries, female artists and photographers broke ground becoming female in a male world… within the framework of modernity and aesthetics, to form the modern divine. In a youthful culture of commercial and technological changes they gained their independence through hard work and talent via the stereotype of the “New Woman” – a constructed image portrayed in the magazines (bobbed hair beauty, flapper, speed, fast cars, cigarette smoking) which played into the male system of the recognition of the feminine subject. By playing the system they became successful and visible, self conscious of their undeniable abilities. But at what cost? Many women, excited by the world of men, where chewed up and spat out, dumped, and sometimes met a terrible end.
Unknown photographer (German)
Leni Riefenstahl with Heinrich Himmler (left) during the 1934 Nuremberg Nazi Party Rally in the Luitpold Arena while recording her film “Triumph of the Will”
September 9, 1934
German Federal Archives / Wikipedia (public domain)
The epito/me of this new self consciousness and will to power was the Nazi film director Leni Reifenstahl (German, 1902-2003). Reifenstahl began as an interpretive dancer who often made almost 700 Reichsmarks for each performance. “Her dancing revealed her childlike quality, her surrender to the moment, and this natural, naïve quality made her the perfect heroine for his [Arnold Fanck’s] Alpine love stories. Riefenstahl was involved in a love triangle involving Fanck and her leading man [in director Fanck’s 1920s “mountain films”], Luis Trenker, demonstrating, in Mr. Bach’s words, “Leni’s skill at dominating the exclusive male society in which she found herself now and for almost all the rest of her professional life.””16 Reifenstahl used her beauty, voracious sexual prowess (with both women and men) and talent to infiltrate the world of film and learn acting and film editing techniques. Hitler saw her films and thought Riefenstahl epitomised the perfect German female.
“Riefenstahl heard Nazi Party (NSDAP) leader Adolf Hitler speak at a rally in 1932 and was mesmerised by his talent as a public speaker… Hitler was immediately captivated by Riefenstahl’s work. She is described as fitting in with Hitler’s ideal of Aryan womanhood, a feature he had noted when he saw her starring performance in Das Blaue Licht. After meeting Hitler, Riefenstahl was offered the opportunity to direct Der Sieg des Glaubens (“The Victory of Faith”), an hour-long propaganda film about the fifth Nuremberg Rally in 1933… Still impressed with Riefenstahl’s work, Hitler asked her to film Triumph des Willens (“Triumph of the Will”), a new propaganda film about the 1934 party rally in Nuremberg. More than one million Germans participated in the rally. The film is sometimes considered the greatest propaganda film ever made… In February 1937, Riefenstahl enthusiastically told a reporter for the Detroit News, “To me, Hitler is the greatest man who ever lived. He truly is without fault, so simple and at the same time possessed of masculine strength”.”17
After the Second World War Riefenstahl was tried four times by postwar authorities for denazification and eventually found to be a “fellow traveller” (Mitläufer) who sympathised with the Nazis but she won more than fifty libel cases against people accusing her of having previous knowledge regarding the Nazi party.18 Research in the first decade of the twenty-first century (Jürgen Trimborn Leni Riefenstahl: A Life Faber & Faber, 2007 and Steven Bach Leni – The Life and Work of Leni Riefenstahl Knopf, 2007) dismantle Riefenstahl’s myth that she was an artist innocent of political motivations. She hitched her wagon to National Socialism, taking money to make her film Tiefland (Lowlands) and then bringing in extras from a concentration camp, keeping them in rags and starving them. After filming some were executed in the gas chambers. “Bach shows that the contract she entered into with the camp commandant makes clear the terms on which she had access to these ‘extras’ and that she knew they were going back to (at the very least) an uncertain future ‘in the east’.”19 Riefenstahl would later claim that all of the Romani extras – 53 Roma and Sinti from Maxglan, and a further 78 from a camp in eastern Berlin – had survived the war. In fact, almost 100 of them are known or believed to have been gassed in Auschwitz.20
Riefenstahl’s image of wholesome “New Woman” – a “version of an ideal presence, a kind of imperishable beauty” – never faded and she never wavered in her belief in herself and her innocence. The hubris of her egotistical narcissism denied any other version of history was possible, jealousy protecting her self-believed legacy like a protective tigress guarding her cubs, all the while denying her servitude and slavery to Nazi propaganda. Of course, all of it is a lie. There is Riefenstahl after the invasion of Poland filming away dressed as a uniformed army war correspondent replete with revolver around her waist.
Oswald Burmeister (German)
Visit of Leni Riefenstahl with a pistol at the XIV Army Corps, conversation with soldiers, on the left a film camera
Poland, September, 1939
German Federal Archives / Wikipedia (public domain)
“Four of the six feature films she directed are documentaries, made for and financed by the Nazi government… [they] celebrate the rebirth of the body and of community, mediated through the worship of an irresistible leader.”21 Susan Sontag saw Riefenstahl’s aesthetics as entirely inseparable from Nazi ideology, “consistent with some of the larger themes of Nazi ideology: the contrast between the clean and the impure, the incorruptible and the defiled, the physical and the mental, the joyful and the critical.”22
Naturally, and I use the word advisedly, the leader was male. While Riefenstahl could wish all she liked that she had power as a “New Woman”, “dominating the exclusive male society” of Nazi Germany, she was in reality just a pawn of their largesse. Women in Nazi Germany were seen mainly as baby producing machines, representing the fundamental ideologies of the role of the mother (the role of women under National Socialism). To that end the Cross of Honour of the German Mother (Mutterkreuz – Mother’s Cross) conferred by the government of the German Reich to honour a Reichsdeutsche German mother for exceptional merit to the German nation – 1st class, Gold Cross: eligible mothers with eight or more children; 2nd class, Silver Cross: eligible mothers with six or seven children; 3rd class, Bronze Cross: eligible mothers with four or five children – reinforced traditional feminine and family values, and “traditional” lifestyle patterns.23 The New Woman in Germany thus became a pure woman of German blood-heredity and genetically fit, the mother worthy of the decoration. In Nazi Germany the New Woman became “decoration” herself, the ideal protected as Sontag puts it as, “the family of man (under the parenthood of leaders).”24
Alfred Stieglitz (American, 1864-1946)
Georgia O’Keeffe
1920
Platinum print
Wikiart (Public domain)
One of the greatest artists of the twentieth-century was the painter Georgia O’Keeffe (American, 1887-1986). O’Keeffe, born in a small town named Sun Prairie in Dane County, Wisconsin grew up on the family farm south of the city. “As a child she received art lessons and her abilities were recognised and encouraged by local teaches and family throughout her school years. After O’Keeffe left Sun Prairie she pursued studies at the Art Institute of Chicago (1905-1906) and at the Arts Students League, New York (1907-9108).”25 She took a job as a commercial artist and then began teaching art, taking summer at classes at the University of Virginia for several years before becoming chair of an art department beginning the fall of 1916. A friend sent some of O’Keeffe’s charcoal drawings to the photographer, gallerist and impresario Alfred Stieglitz (American, 1864-1946) who exhibited them at his 291 gallery in April 1916. Stieglitz found them to be the “purest, finest, sincerest things that had entered 291 in a long while,” and in the spring of 1917 he sponsored her first one-artist exhibition at 291 – the last show held at the galleries before they closed in July of that year.
At this time, “O’Keeffe painted to express her most private sensations and feelings. Rather than sketching out a design before painting, she freely created designs. O’Keeffe continued to experiment until she believed she truly captured her feelings [in watercolour] … After her relationship with Alfred Stieglitz started, her watercolour paintings ended quickly. Stieglitz heavily encouraged her to quit because the use of watercolour was associated with amateur women artists. … Stieglitz, twenty-four years older than O’Keeffe, provided financial support and arranged for a residence and place for her to paint in New York in 1918. They developed a close personal relationship while he promoted her work. She came to know the many early American modernists who were part of Stieglitz’s circle of artists, including painters Charles Demuth, Arthur Dove, Marsden Hartley, John Marin, and photographers Paul Strand and Edward Steichen. Strand’s photography, as well as that of Stieglitz and his many photographer friends, inspired O’Keeffe’s work.”26 Stieglitz and O’Keeffe were married in 1924. Between 1918 and 1928 O’Keeffe worked primarily in New York City and at the Stieglitz family’s summer home at Lake George.
Working creatively side by side with that egotistical beomoth of American art that was Stieglitz could not have been easy. While Stieglitz promoted his wife’s art, provided financial support, directed the medium of her continued development, he also controlled her “purest” form (a symbol of the ideal) – that of her image. O’Keeffe became Stieglitz’s muse (a goddess, a person or personified force who is the source of inspiration for a creative artist), between 1918-1920 the photographer “making more than 140 photographs of O’Keeffe that, unlike his earlier analytic work, resonated with emotion and personal meaning… conjoining her art and her body, suggesting they were one.”27
“Stieglitz conceived of his portraits of O’Keeffe as a single work – a composite portrait. Each photograph stands on its own, revealing a certain innate quality at a given moment. But because change is a constant, only a series of photographs can evoke a subject’s entire being over time. To underscore the composite nature of his project, in 1921 Stieglitz exhibited more than forty photographs of O’Keeffe – many clustered by body part – under the title “Demonstration of Portraiture.”
Stieglitz and O’Keeffe married in 1924, and he continued to photograph her through the 1930s – his composite portrait eventually numbering 331 works. But his pictures of her changed markedly over the years. In 1923 when he became entranced with photographing clouds, he made smaller, more casual pictures of her at work or holding the subjects of her paintings. Many of his portraits of her from the 1930s lack the feverish intensity of those he made from 1918 to 1920 and reveal instead the distance in their relationship.”28
Stieglitz’s early photographs of O’Keeffe capture her in intimate encounters with the camera, portraying her through the gaze of male passion. “Extreme close-ups evoke an intimate sense of touch,” “different body parts were expressive of O’Keeffe’s individuality,” while in other photographs “she looks directly and longingly at the camera…”.29 O’Keeffe’s supposed independent New Woman was tied to the coat tails of an older man, her place in the cult of beauty (the ideal of life as art) an ideal eroticism. Her image was presented not as a temptation, not as a repression of the sexual impulse … but as its ultimate revelation in the seduction of the physicality of the photograph. Stieglitz’s composite “portrait in time,” “reflects his ideals of modern womanhood and is evocative of their close relationship.”30 Under the control of the man.
Alfred Stieglitz (American, 1864-1946)
Georgia O’Keeffe
1918
Wikipedia (Public domain)
O’Keeffe of course realised the power that Stieglitz had over her and she started to remove herself from his field of vision, from his power of influence. To truly gain her independence. As Akkelies van Nes and Tra My Nguyen observed earlier, “To gain respect as artists, the image of women as muses had to disappear” as so this is what O’Keeffe did: she stopped becoming Stieglitz’s muse. After first visiting New Mexico in 1917 O’Keeffe returned to what was her spiritual home in 1929 when she travelled to Mexico with her friend Rebecca Strand and stayed in Taos with Mabel Dodge Luhan, who provided the women with studios,31 from then on spending part of nearly every year working in New Mexico. “Upon returning to the place that touched her heart so deeply, O’Keeffe’s mental health did indeed improve. Her life and her artwork would never be the same again. “I felt as if something was ending and another was beginning,” O’Keeffe once said. She began to feel more like her true self, integrated with parts of her personality that had been submerged in New York City.”32
The distance in the relationship between O’Keeffe and Stieglitz (both physical, he in New York and she in New Mexico, and spiritual with her attenuation to the Cerro Pedernal landscape) was exacerbated by his long-term relationship with Dorothy Norman which started in 1928, leading to O’Keeffe’s mental breakdown and hospitalisation in 1933. She returned to New Mexico and in August 1934 moved to Ghost Ranch, north of Abiquiú. Literally, her place in Mexico was faraway, an isolated landscape which she called the Faraway: “She often talked about her fondness for Ghost Ranch and Northern New Mexico, as in 1943, when she explained, “Such a beautiful, untouched lonely feeling place, such a fine part of what I call the ‘Faraway’. It is a place I have painted before … even now I must do it again.””33 Metaphorically, it was faraway from the life she led with Stieglitz, far away from her wifely concerns. “Shortly after O’Keeffe arrived for the summer in New Mexico in 1946, Stieglitz suffered a cerebral thrombosis. She immediately flew to New York to be with him. He died on July 13, 1946. She buried his ashes at Lake George. She spent the next three years mostly in New York settling his estate, and moved permanently to New Mexico in 1949, spending time at both Ghost Ranch and the Abiquiú house that she made into her studio.”34
Georgia O’Keeffe (American, 1887-1986)
Rams Head and White Hollyhock, New Mexico
1935
Oil on canvas
Brooklyn Museum
Used under fair use conditions for the purposes of academic research and education
Stieglitz never came to New Mexico. It was her space. Here she found her integrity, her own voice, far from the madding crowd, far from the gallery openings – a voice full of songs of the world. “She painted Taos Pueblo, San Francisco de Asís Catholic Church, a tree on the D.H. Lawrence ranch (that still stands), Mexican paper flowers, wood carvings, wild flowers, hills and sky around Taos.”35 She painted her “flowers of the desert”, bleached animal bones that were alive to her; and “she hoped people could see the music that she painted.” In New Mexico she truly became a “New Woman”: independent, intelligent, talented and famous … and her own woman – untamed by men, full of fierce self-protection and formidable work ethic, a woman adept at embracing the unknown and appreciative of the art of solitude.
Pushing the boundaries, finding themselves
While the physical presence of women photographers and their work in the “Roaring Twenties” or “golden 1920s” – “which saw young women breaking with traditional “mores” or likewise step aside from “traditional” lifestyle patterns”36 – was apsirational for young and independent women in order to achieve social prestige and material success, for most women photographers it was all about having a job and making a living.
Paradoxically, while the “New Woman” behind the camera “embraced photography as a mode of professional and personal expression”, promoting female empowerment based on real women making revolutionary changes in life and art they also bought into a capitalist system of male dominance in a patriarchal society where the “feminine” – that is a feminine perspective – underwent a process of sublimation through the sequestering (hiding away) of gender. As women photographers “sought to redefine their positions in society and expand their rights”, their independence, so women were still outsiders in the male system of the recognition of the feminine subject – both of the female body as subject and that of the female photographers’ body (although the latter less so, with the numerous self-portraits of the “New Woman” and their cameras captured in mirrors). Indeed, most “New Woman” photographers never seem to have had the desire, or the eroticism, to virtually put gender in the image. They were still in servitude to the dominant status quo.
The story of the two mites is apposite here. In the story (see below) many rich people put money into the treasury, while a poor widow puts in two mites (two small coins worth a few cents) which is all she has. “The same religious leaders who would reduce widows to poverty also encourage them to make pious donations beyond their means. In [Adison] Wright’s opinion, rather than commending the widow’s generosity, Jesus is condemning both the social system that renders her poor, and “… the value system that motivates her action, and he condemns the people who conditioned her to do it.””37 In other words, the widow (in our case the New Woman) contributes her whole livelihood to maintaining the social system (patriarchal society) that oppresses her by supporting the value system that motivates her action… a system, controlled by men, that keeps her in servitude.
Many “New Woman” photographers behind the camera had to operate in such a value system in order have a job and make a living. Variously, they had to build a career as a fashion photographer, advertising and graphic photographer, magazine photographer, studio photographer, photojournalist, war photographer, social documentary photographer, street photographer and ethnographic photographic … and usually had be proficient at most styles of photography in order to obtain sufficient work for survive. For example, Sabine Weiss bridled at being labelled a humanist, “because she considered her street photography to be just one part of her oeuvre. Most of her career was spent as a fashion photographer and a photojournalist, shooting celebrities like Brigitte Bardot and musicians like Benjamin Britten. “From the start I had to make a living from photography; it wasn’t something artistic,” Weiss told Agence France-Presse in 2014. “It was a craft, I was a craftswoman of photography.”38
I suspect for most women photographers of the era this was the truth: taking photographs wasn’t something artistic it was a craft from which they earned a living. While part of the profound shaping of the medium during a time of tremendous social and political change they did not initiate the “modernisation” of photography but were undoubtedly an important part of that movement. But, and here is the key point, they were still producing “mainstream” images and, as Annette Kuhn notes, “‘Mainstream’ images in our culture bear the traces of the capitalist and patriarchal social relations in which they are produced, exchanged and consumed.”39 They bought into the value system.
Among others (such as Dora Maar, Tina Modotti, Lucia Moholy, Aenne Biermann, Eva Besnyö and Florence Henri to name just a few of my favourites) … two women photographers who did push the boundaries of the art of photography and, in their case, what was acceptable in terms of the representation of gender identity were the temporarily bisexual, pan-world Germaine Krull (1897-1985) and the “neuter” (neither) photographer Claude Cahun (French, 1894-1954).
Krull published her seminal book Métal in 1928 in Paris, and began to receive attention alongside other practitioners of new, assertively modern photographic styles such as Man Ray and André Kertész.
“With Métal, Krull turned her lens on the soaring structures of industrial Europe: Rotterdam’s railroad bridge De Hef, Marseille’s Pont Transbordeur, a number of nameless industrial cranes, factory machinery, and, most recognizably, the Eiffel Tower. The portfolio bore the subtitle “métaux nus” (bare metals), and critics have often likened these metallic bodies to the nude photographs she made around the same time. In both cases, Krull got close to her subjects, dislocating them from their environments. In Métal, Krull rendered the familiar form of the Eiffel Tower nearly unrecognizable…
In an untitled nude photograph from 1928 or ’29, she deployed a similar approach, keeping the camera fixed on an unclothed torso twisting off toward the edge of the frame with upturned face cut off at mid-cheek. The dramatic play of shadow and light renders the figure’s gender indistinct. Whether focused on a living subject or an architectural one, Krull’s camera resists the viewer’s urge to name and categorize.”40
Germaine Krull (1897-1985, photographer)
Cover design by M. Tchimoukow (Louis Bonin)
MÉTAL cover
1928
Librairie des Arts décoratifs A. Calavas, Editeur.
Portfolio comprising a title page, a preface by Florent Fels and sixty four (64) loose photogravures, each mentioning the photographer’s name, titled ‘MÉTAL’, plate number and publisher’s name. Original dust jacket. Used under fair use conditions for the purposes of academic research and education
Folio 30 x 23.5cm; 11 3/4 x 9 1/4 in.
Plate 29.2 x 22.5cm; 11 1/2 x 8 3/4 in.
Image 23.6 x 17.1cm; 9 1/4 x 6 1/2 in.
Germaine Krull (1897-1985, photographer)
From the portfolio Les amies
c. 1924
Used under fair use conditions for the purposes of academic research and education
In 1924, in an earlier portfolio of eleven photographs titled Les amies (French for “the friends,” specifically denoting female friends), Krull depicts “a pair of women in stages of gradual undress, eventually left only in their stockings, the rest of their flesh laid bare.” In a tangle of insouciant bodies that hid breasts and eyes, in which none of the models stares at the camera, Krull presents an eroticism that “is contained between the two women, with no imaginary space for a third, presumably male, viewer to enter…,” Krull dismissing “”the male gaze of Weimar culture in favor of a female gaze” and her emphasis on the gazes within the images as the female models view each other. In Les Amies, there is no space for a third party: the only possibility is to become one of the women.”41
“By photographing erotic scenes, Krull not only constructed the desiring gaze but also placed herself in the position of that gaze, taking on privileges previously permitted only to male photographers…”42 whilst at the same time transgressing the definition of middle-class respectability – all the while emphasising the fluidity of female sexual identity in the 1920s, especially for the adventurous “New Woman”.
While these images received little attention during her lifetime (much like the gender bending images of Claude Cahun) they are representations of queer desire which picture the dissolution of the controlling male gaze. Using the mirror of her / Self and her camera, Krull’s staged (erotic) encounters in Les Amies and Métal undermine the male space of control through spatial disorientation – her “reforming mirror” performing a tangle of limbs, the fragmentation of the female body in which gender becomes neutral coupled with the dismantling of the phallocentrism of the (Eiffel) tower until its form becomes an unrecognisable and different “other”. “Armed with her camera, she had the power not only to depict reality but to transform it.”43
The French surrealist photographer, sculptor, and writer Lucy Renee Mathilde Schwob adopted the pseudonym Claude Cahun in 1914.
“In Disavowals, she writes: “Masculine? Feminine? It depends on the situation. Neuter is the only gender that always suits me.” … [She] is most remembered for her highly staged self-portraits and tableaux that incorporated the visual aesthetics of Surrealism. During the 1920s, Cahun produced an astonishing number of self-portraits in various guises such as aviator, dandy, doll, body builder, vamp and vampire, angel, and Japanese puppet.
Some of Cahun’s portraits feature the artist looking directly at the viewer, head shaved, often revealing only head and shoulders (eliminating body from the view), and a blurring of gender indicators and behaviours which serve to undermine the patriarchal gaze. Scholar Miranda Welby-Everard has written about the importance of theatre, performance, and costume that underlies Cahun’s work, suggesting how this may have informed the artist’s varying gender presentations.”44
Cahun’s self-portraiture over a period of 27 years (in collaboration with her lover Marcel Moore) was a unique investigation into the multiplicity of sexuality and gender identity. “By 1930, Cahun had amassed a considerable image bank of photographic self-portraits; that year, she publicly disseminated a handful of those images for the first and only time.”45 In her photographs she explored the mutable definitions of gender through multiple ‘masked’ personas – using photomontage, the doubling of the image (asserting another conception of gender identity that of a “third sex” or an “Androgyne”), the various ways photographs can be produced and viewed (meant to unsettle the audience’s understanding of photography as a documentation of reality), and the dissolution of the self in the space between the body and the mirror to aid her investigation. Self-reflection was not her objective in the use of the mirror but Cahun did use the mirror as a source of reflection in a contemplative, interrogatory mode in her photographs; and these were private photographs never intended for public display. “It has been proposed that these personal photographs allowed for Cahun to experiment with gender presentation and the role of the viewer to a greater degree.”46
Claude Cahun (French, 1894-1954)
Autoportrait (Self-Portrait)
c. 1927
Gelatin silver print
Used under fair use conditions for the purposes of academic research and education
Claude Cahun (French, 1894-1954)
Self-Portrait
1927
Gelatin silver print
Used under fair use conditions for the purposes of academic research and education
In Cahun’s gender non-conforming self-portraits “identity and gender is played out through performance and masquerade in a constructive way, a deep, probing interrogation of the self in front of the camera. While Cahun engages with Surrealist ideas – wearing masks and costumes and changing her appearance, often challenging traditional notions of gender representation – she does so in a direct and powerful way. As Laura Cumming observes, “She is not trying to become someone else, not trying to escape. Cahun is always and emphatically herself. Dressed as a man, she never appears masculine, nor like a woman in drag. Dressed as a woman, she never looks feminine. She is what we refer to as non-binary47 these days, though Cahun called it something else: “Neuter is the only gender that always suits me.””
Cahun had a gift for the indelible image but more than that, she possesses the propensity for humility and openness in these portraits, as though she is opening her soul for interrogation, even as she explores what it is to be Cahun, what it is to be human. This is a human being in full control of the balance between the ego and the self, of dream-state and reality. The photographs, little shown in Cahun’s lifetime, are her process of coming to terms with the external world, on the one hand, and with one’s own unique psychological characteristics on the other. They are her adaption48 to the world.”49
These were private manifestations of her inner self for the benevolence of her own spirit. She made art for herself, willing enough to face uncertainty and take the untrodden path of inner discovery. She was a “New Woman” where the term “woman” is fluid and fragmentary, open to adaptation and interpretation.
Claude Cahun (French, 1894-1954)
Que me veux tu? (What do you want from me?)
1929
Gelatin silver print
Used under fair use conditions for the purposes of academic research and education
A proposition and, the particular becomes universal
So the question becomes – when is a photographer a photographer a photographer. Does it matter who is behind the lens?
On the evidence of almost 200 photographs in the postings on this exhibition, if the photographs were labelled “unknown photographer”, many of these images could as easily have been made by men as by women. So in one sense it does not matter. What matters is the quality of the work.
But from other perspectives of course it matters, it matters a great deal. These women photographers have been whitewashed from the history of photography as though they never existed. Their challenge to the dominant narrative of male supremacy in society and the continuation of the struggle for female visibility and emancipation, requires a recognition of their courage and sacrifices. These were talented, strong and creative human beings and their work demands the recognition it deserves.
And then we ask, why has it taken a hundred years to shift the institutionally constructed history of photography, which has been perpetuated from generation to generation, where only male photographers were to be looked at, collected, admired and displayed? And the simple answer is that one word: “men”. Although things are changing slowly, too slowly, it was and still is a patriarchal society, a system of society controlled by men, and in the time period we are talking about (1920s-1950s), it was a world where institutions and their collecting practices were controlled by men; where photography was not being collected by many museums; and where the photographs of the “New Woman” behind the camera was not seen as collectible because it was what they did to make a living… it wasn’t art.
Further, we might postulate a proposition with regard to the practice of “New Woman” photographers, a form of Zen kōan if you like:
It doesn’t matter that I am a woman / I am a woman
In relation to this in/sight, I muse on a quotation about the work of Imogen Cunningham: “I keep coming back to this duality: Don’t pigeonhole her for being a woman. But don’t forget she’s a woman!” says Dunn Marsh. “She photographed flowers, which people sort of treated as a feminine subject matter. But Edward Weston was photographing peppers, and nobody considered that to be an exclusively masculine subject matter.”50
If we unpack this quotation, it reads as ‘it doesn’t matter that Cunningham was a woman… but don’t forget she’s a woman!’. Weston made images of peppers and nobody commented on his masculinity or the masculine “nature” of his subject matter and the same should go for Cunningham. Just because she is a women why comment on the femininity of flowers – but don’t forget Imogen is a women! It’s about the quality of the work, not the gender of the artist and then maybe it’s about being female but only if the artist chooses it to be … (Georgia O’Keeffe got very annoyed by the reading of her close-up flower paintings which many interpreted as representing female genitalia, insisting that the paintings has nothing to do with female sexuality).
Finally we can say, it’s doesn’t matter what gender you are when you look through the camera lens (as a machine it’s impartial), it is about the reality of yourself as a human being and your relationship to the camera. The actions of the photographer are a personal engagement with the camera (in other words, in relation to the women behind the camera, the camera in relation to her/Self) but through direct action – an engagement with time and light – their can be a shift in consciousness from the personal (the particular) to the universal.
It shouldn’t (that is the key word) matter whether you are male or female … it’s about the quality of the work and it’s about following the light. The light of self recognition of the path that you are on. As Maria Popova insightfully observes,
“And so the best we can do is walk step by next intuitively right step until one day, pausing to catch our breath, we turn around and gasp at a path. If we have been lucky enough, if we have been willing enough to face the uncertainty, it is our own singular path, unplotted by our anxious younger selves, untrodden by anyone else.”51
The “New Woman” broke new ground by challenging the (in)visibility of women in a male dominated world. She placed herself in a man’s world but she still had to fit into that man’s world and conform to his image of her. But she followed her path of uncertainty with conviction and motivation, a path until then untrodden by anyone else, until she turned around and found that she had forged her own singular path, had looked within and had found her own voice. Looking back from a contemporary perspective we can finally recognise the struggle of the “New Woman” behind the camera, we can see their singular paths and recognise their achievements. What we can learn from the “New Woman” today, is that we all have a choice… to accept the status quo or offer determined defiance to prejudiced social conventions.
All human beings have to live within the parameters of social constructs but as human beings what we can do is push against the limits society imposes on us, push against the barriers of economic, political and sexual freedom. We can transgress the taboo. We can struggle that great and mighty struggle on the path of life, to push at the boundaries of being. What we all need to do, both women and men, is to find our integrity in relation to the reality of the world and to our own spirit. Through the efforts of those that came before us, we all now have a choice as to the path we follow and how we fit into this multifarious society.
Dr Marcus Bunyan
January 2021
Word count: 8,590
Footnotes
1/ Anonymous text. “George Sand,” on the Wikipedia website [Online] Cited 14/12/2021
2/ Victor Hugo. Les funérailles de George Sand quoted “Emancipated Woman,” in the Saturday Review: Politics, Literature, Science and Art, Volume 41, June 17, 1876, pp. 771 [Online] Cited 14/12/2021
3/ Anonymous text. “Camille Claudel,” on the Musée Rodin website [Online] Cited 14/12/2021
4/ Anonymous text. “Camille Claudel,” on the Wikipedia website [Online] Cited 14/12/2021
5/ Musée Rodin op cit.,
6/ Janet Wolff. “The Invisible Flaneuse. Women and the Literature of Modernity” in Theory, Culture and Society Volume 2, Number 3, Sage, 1985, p. 42
7/ Ibid., p. 44
8/ Ibid.,
“When flanerie moves into the private realm of the department store, feminization alters this urban practice almost beyond recognition … By abolishing the distance between the individual and the commodity, the feminization of flanerie redefines it out of existence. The flaneur‘s dispassionate gaze dissipates under pressure from the shoppers’ passionate engagement in the world of things to be purchase and possessed. The flaneur ends up going shopping after all. … The department store cannot be the scene of urban strolling, not only because it is an enclosed and circumscribed space, but, more importantly, because shopping is a pre-defined and purposeful activity.”
Janet Wolff. “Gender and the haunting of cities (or, the retirement of the flâneur),” in Aruna D’Souza and Tom McDonough (eds.,) The Invisible Flâneuse? Gender, Public Space, and Visual Culture in Nineteenth-Century Paris. London, UK: Manchester UP, 2006, p. 21
9/ Flaneur – “The flaneur symbolises the privilege or freedom to move about the public arenas of the city observing but never interacting, consuming the sights through a controlling but rarely-acknowledged gaze… The flaneur embodies the gaze of modernity which is both covetous and erotic. … The site of pleasurable looking, this look actively cast women as passive, erotic objects, subjecting them to a kind of voyeuristic control; it was in this sense that the visual purview of the bourgeois stroller – now the representative of middle-class masculinity in its entirety – became thoroughly implicated in issues of gender.”
Griselda Pollock. Vision and Difference: Femininity, Feminism and the Histories of Art. London, UK: Routledge, 1988.
10/ Akkelies van Nes and Tra My Nguyen. “Gender Differences in the Urban Environment: The flâneur and flâneuse of the 21st Century,” in Daniel Koch, Lars Marcus and Jesper Steen (eds.,). Proceedings of the 7th International Space Syntax Symposium. Stockholm: KTH, 2009
11/ Ibid.,
“Prostitution was indeed the female version of flânerie, which serves only to emphasise the inequality of gender differences in this era. The male flâneur was simply a man who loitered on the streets; but women who loitered risked being seen as prostitutes, streetwalkers, or les grandes horizontales as they were known in nineteenth-century Paris.”
Bobby Seal. “From Streetwalker to Street Walker: The Rise of the Flâneuse,” on the Psychogeographic Review website 24/12/20212 [Online] Cited 20/01/2022
12/ Bianca Hall and Adam Cooper. “From Jill Meagher to Aiia Maasarwe: The murders that changed Melbourne over the past decade,” on The Age website December 30, 2019 [Online] Cited 15/12/2021.
13/ “Suffragette,” on the Wikipedia website [Online] Cited 14/12/2021
14/ Aruna D’Souza and Tom McDonough (eds.,) The Invisible Flâneuse? Gender, Public Space, and Visual Culture in Nineteenth-Century Paris. London, UK: Manchester UP, 2006, p. 8
15/ Ibid., p. 6
16/ Steven Bach quoted in Carl Rollyson. “Leni Riefenstahl on Trial,” on The New York Sun website March 7, 2007 [Online] Cited 04/01/2022
17/ Anonymous. “Leni Riefenstahl,” on the Wikipedia website [Online] Cited 02/01/2021
18/ Ibid.,
19/ Taylor Downing. “Leni: fully exposed,” on The Observer website Sun 29 April 2007 [Online] Cited 12/01/2022
20/ Kate Connolly. “Burying Leni Riefenstahl: one woman’s lifelong crusade against Hitler’s favourite film-maker,” on The Guardian website Thursday 9 December 2021 [Online] Cited 12/01/2022
21/ Susan Sontag. “Fascinating Fascism,” in The New York Review February 6, 1975 issue [Online] Cited 12/02/2022
22/ Ibid.,
23/ See “Cross of Honour of the German Mother” on the Wikipedia website [Online] Cited 12/01/2022
24/ Sontag, op. cit.,
25/ Text from a sign commemorating birth of Georgia O’Keeffe, located next to Sun Prairie City Hall, 300 E, Main Street
26/ Anonymous. “Georgia O’Keeffe,” on the Wikipedia website [Online] Cited 02/01/2022
27/ Mark Levitch. “Stieglitz Career Overview: Georgia O’Keeffe, 1918-1920,” on the National Gallery of Art website Nd [Online] Cited 12/02/2022
28/ Ibid.,
29/ Ibid.,
30/ John Black. “Alfred Stieglitz and Modern America,” on the Boston Event Guide website Wednesday, 23 August 2017 [Online] Cited 12/02/2022. No longer available online
31/ Anonymous. “Georgia O’Keeffe,” on the Wikipedia website [Online] Cited 12/02/2022
32/ Roberta Courtney Meyers. “O’Keeffe in Taos,” on the Taos News website May 21, 2019 [Online] Cited 12/02/2022
33/ Anonymous. “Georgia O’Keeffe,” on the Wikipedia website [Online] Cited 12/02/2022
34/ Ibid.,
35/ Meyers, op. cit.,
36/ Anonymous. “Cross of Honour of the German Mother” on the Wikipedia website [Online] Cited 12/01/2022
37/ Anonymous. “Lesson of the widow’s mite,” on the Wikipedia website [Online] Cited 15/02/2022
38/ Clay Risen. “Sabine Weiss, Last of the ‘Humanist’ Street Photographers, Dies at 97,” on The New York Times website Jan 4, 2022 [Online] Cited 06/01/2022
39/ Annette Kuhn. The Power of the Image: Essays on Representation and Sexuality. London: Routledge and Kegan Paul, 1985, p. 10.
40/ Marina Molarsky-Beck. “Germaine Krull’s Queer Vision,” on The Met website August 17 2021 [Online] Cited 15/12/2021
41/ Anonymous. “Germaine Krull, From Séries les Amies, 1924,” on the La Petite Mélancolie website 19/06/2012 [Online] Cited 15/01/2022
42/ Ibid.,
43/ Ibid.,
44/ Anonymous. “Claude Cahun,” on the Wikipedia website [Online] Cited 16/01/2022
45/ Jennifer Josten. “Reconsidering Self-Portraits by Women Surrealists: A Case Study of Claude Cahun and Frida Kahlo,” in the Atlantis Journal Vol. 30, No. 2, 30/02/2006 p. 24
46/ Anonymous. “Claude Cahun,” on the Wikipedia website [Online] Cited 16/01/2022
47/ Those with non-binary genders can feel that they: Have an androgynous (both masculine and feminine) gender identity, such as androgyne. Have an identity between male and female, such as intergender. Have a neutral or unrecognised gender identity, such as agender, neutrois, or most xenogenders.
48/ “The constant flow of life again and again demands fresh adaptation. Adaptation is never achieved once and for all.” Carl Jung. “The Transcendent Function,” CW 8, par. 143.
49/ Marcus Bunyan. “Gillian Wearing and Claude Cahun: Behind the mask, another mask” on the Art Blart website 24th May 2017 [Online] Cited 16/01/2022
50/ Dunn Marsh quoted in Margo Vansynghel. “How Seattle’s Imogen Cunningham changed photography forever,” on the Crosscut website November 16, 2021 [Online] Cited 08/01/2022
51/ Maria Popova. “Carl Jung on How to Live and the Origin of “Do the Next Right Thing”,” on The Marginalian website 12th July 2021 [Online] Cited 13/12/2021
Many thankx to the National Gallery of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Uncertainty is the price of beauty, and integrity the only compass for the territory of uncertainty that constitutes the landmass of any given life.
And so the best we can do is walk step by next intuitively right step until one day, pausing to catch our breath, we turn around and gasp at a path. If we have been lucky enough, if we have been willing enough to face the uncertainty, it is our own singular path, unplotted by our anxious younger selves, untrodden by anyone else.
Maria Popova. “Carl Jung on How to Live and the Origin of “Do the Next Right Thing”,” on The Marginalian website 12th July 2021 [Online] Cited 13/12/2021
The beautiful woman will continue to serve as a symbol of feminine mystery to the man who desires her and of potency and success to the man who can claim her. And to the women around her, she will remain a symbol of the ideal against which they will be judged. This can only change when beauty loses its distorted power in the evaluation of a “woman’s worth”; that is, when the dependent relationship between women and men has been dismantled. Thus are the politics of appearance inextricably bound up with the structures of social, political and economic inequality … Fighting pressure to conform, attempting to hold one’s own against the commercial and cultural images of the acceptable is a crucial first act of resistance. The attempt to pass and blend in actually hides us from those we most resemble. We end up robbing each other of authentic reflections of ourselves. Instead, imperfectibly visible behind a fashion of conformity, we fear to meet each others’ eyes …
Real diversity can only become a source of strength if we learn to acknowledge it rather than disguise it. Only then can we recognize each other as different and therefore exciting, imperfect and as such enough.
Wendy Chapkis. Beauty Secrets: Women and the Politics of Appearance. Boston: South End Press, 1986, p. 175.
… in practice, images are always seen in context: they always have a specific use value in the particular time and place of their consumption. This, together with their formal characteristics, conditions and limits the meanings available from them at any on moment. But if representations always have use value, then more often than not they also have exchange value: they circulate as commodities in a social / economic system. This further conditions, or overdetermines, the meanings available from representations. Meanings do not reside in images, then: they are circulated between representation, spectator and social function.
Kuhn, Annette. The Power of the Image: Essays on Representation and Sexuality. London: Routledge and Kegan Paul, 1985, p. 6.
Meanings readable from photographs … are at all points connected with the status they occupy as products, with the contexts of reception and the discourses of authorship, aesthetics, criticism and marketing which surround them. ‘Mainstream’ images in our culture bear the traces of the capitalist and patriarchal social relations in which they are produced, exchanged and consumed.
Kuhn, Annette. The Power of the Image: Essays on Representation and Sexuality. London: Routledge and Kegan Paul, 1985, p. 10.
Tsuneko Sasamoto (Japanese, b. 1914)
Woman Selling Her and Her Husband’s Poetry Books (Street Snapshot in Tokyo)
c. 1950-1953, printed 1993
Gelatin silver print
Image: 29.6 x 29.6cm (11 5/8 x 11 5/8 in.)
Frame: 40.64 x 50.8cm (16 x 20 in.)
Frame (outer): 41 x 51.2 x 2.5cm (16 1/8 x 20 3/16 x 1 in.)
Collection of Tokyo Photographic Art Museum
Lesson of the widow’s mite
The lesson of the widow’s mite or the widow’s offering is presented in the Synoptic Gospels (Mark 12:41-44, Luke 21:1-4), in which Jesus is teaching at the Temple in Jerusalem. The Gospel of Mark specifies that two mites (Greek lepta) are together worth a quadrans, the smallest Roman coin. A lepton was the smallest and least valuable coin in circulation in Judea, worth about six minutes of an average daily wage.
Biblical narrative
“He sat down opposite the treasury and observed how the crowd put money into the treasury. Many rich people put in large sums. A poor widow also came and put in two small coins worth a few cents. Calling his disciples to himself, he said to them, ‘Amen, I say to you, this poor widow put in more than all the other contributors to the treasury. For they have all contributed from their surplus wealth, but she, from her poverty, has contributed all she had, her whole livelihood.'”
Commentary
… In the passage immediately prior to Jesus taking a seat opposite the Temple treasury, he is portrayed as condemning religious leaders who feign piety, accept honour from people, and steal from widows. “Beware of the scribes, who like to go around in long robes and accept greetings in the marketplaces, seats of honour in synagogues, and places of honour at banquets. They devour the houses of widows and, as a pretext, recite lengthy prayers. They will receive a very severe condemnation.”
The same religious leaders who would reduce widows to poverty also encourage them to make pious donations beyond their means. In [Adison] Wright’s opinion, rather than commending the widow’s generosity, Jesus is condemning both the social system that renders her poor, and “… the value system that motivates her action, and he condemns the people who conditioned her to do it.”
Text from the Wikipedia website
Tsuneko Sasamoto (Japanese, b. 1914)
The Labor Offensive Heats Up
1946, printed 1993
Gelatin silver print
Image: 24.9 x 37.2cm (9 13/16 x 14 5/8 in.)
Frame: 40.64 x 50.8cm (16 x 20 in.)
Frame (outer): 41 x 51.2 x 2.5cm (16 1/8 x 20 3/16 x 1 in.)
Collection of Tokyo Photographic Art Museum
Tsuneko Sasamoto (Japanese, b. 1914)
“Living New Look” Photography Exhibitionkru
1950, printed 1993
Gelatin silver print
Image: 37.6 x 29.5cm (14 13/16 x 11 5/8 in.)
Frame: 40.64 x 50.8 cm (16 x 20 in.)
Frame (outer): 41 x 51.2 x 2.5 cm (16 1/8 x 20 3/16 x 1 in.)
Collection of Tokyo Photographic Art Museum
Photographer unknown
Tsuneko Sasamoto, Tokyo
1940, printed 2020
Inkjet print
Image: 18.2 x 18.2cm (7 3/16 x 7 3/16 in.)
Frame: 45.72 x 35.56cm (18 x 14 in.)
Frame (outer): 46.99 x 36.83cm (18 1/2 x 14 1/2 in.)
Tsuneko Sasamoto / Japan Professional Photographers Society
Tsuneko Sasamoto (Japanese, 1914-2022)
Hiroshima Peace Memorial
1953, printed 2020
Inkjet print
Image: 37.4 x 37.3cm (14 3/4 x 14 11/16 in.)
Frame: 55.88 x 50.8cm (22 x 20 in.)
Frame (outer): 57.15 x 52.07cm (22 1/2 x 20 1/2 in.)
Tsuneko Sasamoto / Japan Professional Photographers Society
Tsuneko Sasamoto (Japanese, 1914-2022)
Untitled
1940, printed 2020
Inkjet print image: 47.5 x 33.8cm (18 11/16 x 13 5/16 in.)
Frame: 60.96 x 45.72cm (24 x 18 in.)
Tsuneko Sasamoto / Japan Professional Photographers Society
Toshiko Okanoue (Japanese, b. 1928)
Full of Life
1954
Collage on paper
Image/sheet: 23.8 x 24.9cm (9 3/8 x 9 13/16 in.)
Frame: 50.8 x 40.64cm (20 x 16 in.)
Frame (outer): 53.34 x 43.18cm (21 x 17 in.)
National Gallery of Art, Washington, Alfred H. Moses and Fern M. Schad Fund
© Okanoue Toshiko
Toshiko Okanoue (Japanese, b. 1928)
Toshiko Okanoue (岡上 淑子, Okanoue Toshiko, born 3 January 1928) is a Japanese artist associated with the Japanese avant-garde art world of the 1950s and best known for her Surrealist photo collages. …
Early career
Born in Kochi and raised in Tokyo, Okanoue began to make photo collages while studying fashion and drawing at the Bunka Gakuin in Tokyo in the early 1950s. The young Okanoue, initially knew little of art history or the Surrealist movement.
In 1952, a classmate from Keisen Girls’ High School introduced Okanoue to poet and art critic Shuzo Takiguichi, a leading figure in the Japanese Surrealist movement, who would help introduce her to the wider art world, including the work of European Surrealists, such as German artist Max Ernst, who was an influence on her subsequent work.
Over the next six years she would produce over 100 works. She exhibited in two exhibits including, solo shows at the Takemiya Gallery in Tokyo, In the second show at Takemiya, over fifty pieces of Okanoue’s monochrome photographs were hung on display. Also exhibited at the “Abstract and Illusion” exhibition at the National Museum of Modern Art, Tokyo between 1 December 1953 and 20 January 1954, which attracted total of 16,657 audiences appreciating 91 artworks by 91 artists.
Artistic style
In post-war Japan, shortages of goods meant that foreign goods filled the market and fashion and lifestyle magazines such as Vogue, Harpers Bazaar and Life magazine provided the raw materials for Okanoue’s collages. Her black and white photo collages mix images of places, objects and people, often fashionable European women, in dynamic and often unsettling compositions whose subjects explored themes of war, femininity and the relations between the sexes.
Text from the Wikipedia website
Photographer unknown
Page spread featuring Eiko Yamazawa and her assistant, from the “Photo Times”
October 1940
Magazine
Open: 25.4 x 30.48cm (10 x 12 in.)
Cradle: 8.89 x 33.02 x 26.35 cm (3 1/2 x 13 x 10 3/8 in.)
National Gallery of Art Library, Gift of the Department of Photographs
American, 20th Century
“Photo-Fighter,” in “True Comics”
July 1944
Comic book
Open: 25.4 x 35.56cm (10 x 14 in.)
National Gallery of Art Library, Gift of the Department of Photographs
Ilse Bing (United States of America, Germany 1899-1998)
Self-Portrait With Leica
1931
Gelatin silver print
Collection of Michael Mattis and Judith Hochberg/Ilse Bing Estate
Ré Soupault (German, 1901–1996)
Self-Portrait, Tunis
1939
Gelatin silver print
Artists Rights Society, New York
Elisabeth Hase (German, 1905-1991)
Ohne Titel (Weinende Frau) (Untitled (Crying woman))
c. 1934
Gelatin silver print
Image/sheet: 22.8 x 17.1cm (9 x 6 3/4 in.)
Frame (outer): 44.5 x 36.8cm (17 1/2 x 14 1/2 in.)
The Metropolitan Museum of Art, Twentieth-Century Photography Fund, 2016
Image © The Metropolitan Museum of Art. Art Resource, NY
Elisabeth Hase (German, 1905-1991)
Elisabeth Hase (December 16, 1905 – October 9, 1991) was a German commercial and documentary photographer active in Frankfurt from 1932 until her death in 1991, at the age of 85.
Hase was born in Döhlen bei Leipzig, Germany. She studied typography and commercial art from 1924 to 1929 at the School of Applied Arts, and later at the Städelschule, under, among other teachers, Paul Renner and Willi Baumeister. Hase was active as a photographer during the time of the transition from the Weimar Republic to the Third Reich and through post-WWII Germany. She was able to avoid government oversight of her work by establishing her own photographic studio in 1933.
Hase’s work included surreal photography, such as close-up photographs of dolls.
She received several awards, several for paper designs and collages. During a two-year collaboration in the studio of Paul Wolff and Alfred Tritschler, Hase took architectural photographs in New Objectivity style for the magazine Das Neue Frankfurt (The New Frankfurt) and documentary photographs of modern housing projects, including those of Ferdinand Kramer.
In 1932, Hase started her own business. It focused on timeless designs like still life, structures, plants, dolls, people, especially self-portraits. Often she used herself as a model in her photographic “picture stories.” Cooperation with agencies like Holland Press Service and the Agency Schostal enabled her to publish her photographs internationally.
Despite the bombing of Frankfurt in 1944 by the Allies, Hare’s photographic archive survived the war without major damage. Many of those works are now part of the collections held by the Folkwang Museum in Essen, Germany, in the Albertina (Vienna) in Vienna, and in the Walter Gropius estate in the Bauhaus Archive in Berlin, as well as in private collections in Germany and abroad.
Despite loss of her cameras and other technical equipment in the chaos of war, Hase was able to resume taking photographs in 1946 by the help of emigre friends who provided her with film and cameras to use. Among other subjects Hase documented was the reconstruction of St. Paul’s Church in Frankfurt.
From 1949, her work focused on advertising, consisting mostly of plant portraits.
Hase died at the age of 85 in 1991 in Frankfurt am Main.
Text from the Wikipedia website
Erna Lendvai-Dircksen (German, 1883-1962)
Mädchen aus dem Guttachtal, Schwarzwald (Young Woman from the Guttach Valley, Black Forest)
Before 1934
Gelatin silver print
Image: 17.1 x 13.2cm (6 3/4 x 5 3/16 in.)
Mount: 26 x 18.4cm (10 1/4 x 7 1/4 in.)
Frame (outer): 52.07 x 39.37cm (20 1/2 x 15 1/2 in.)
The J. Paul Getty Museum, Los Angeles
Erna Lendvai-Dircksen (German, 1883-1962)
Erna Lendvai-Dircksen (born Erna Katherina Wilhelmine Dircksen, 31 May 1883 – 8 May 1962) was a German photographer known for a series of volumes of portraits of rural individuals from throughout Germany. During the Third Reich, she also photographed for eugenicist publications and was commissioned to document the new autobahn and the workers constructing it. …
Critical reception
Lendvai-Dircksen’s portraits of farmers suited the Nazi ethos except that in her initial publication, almost all her subjects were old, and indeed she clearly portrayed the damage to their bodies as a sign of authenticity. She later widened her focus to include children. She never, however, photographed sport, whether for technical reasons or because of her personal philosophy.
Although Lendvai-Dircksen has been referred to as “brown Erna” for the promotion of Nazi ideals in her work under the Third Reich, her portrait photography can be compared to the work of Dorothea Lange or Walker Evans as documentation of impoverished people, and Margaret Bourke-White also photographed labourers in a heroic light. As pointed out by Berlin photographic curator Janos Frecot in the catalogue of an exhibition at the Albertina which included her work, her portraits and those of others at the time can be seen as applications of the same ethnographic principle as portraits of people in faraway cultures; similarly, Leesa Rittelmann has shown that the same principle of characterising a country by the physiognomies of its people, although a throwback to 19th-century theories, was shared by Weimar-era photographers such as the progressive August Sander, in his Antlitz der Zeit (Face of Our Time).
Text from the Wikipedia website
Annemarie Heinrich (Argentinian born Germany, 1912-2005)
Serge Lifar, “El espectro de la rosa” (Serge Lifar, “The Spirit of the Rose”)
1935
Gelatin silver print
Image: 28.4 x 20.7cm (11 3/16 x 8 1/8 in.)
Frame: 45.72 x 35.56cm (18 x 14 in.)
Frame (outer): 49.53 x 39.37cm (19 1/2 x 15 1/2 in.)
National Gallery of Art, Washington, Pepita Milmore Memorial Fund
Annemarie Heinrich (Argentinian born Germany, 1912-2005)
Annemarie Heinrich (9 January 1912 – 22 September 2005) was a German-born naturalised Argentine photographer, who specialised in portraits and nude photographs. Heinrich is considered one of Argentina’s most important photographers.
She is known for having photographed various celebrities of Argentine cinema, such as Tita Merello, Carmen Miranda, Zully Moreno and Mirtha Legrand; as well as other cultural personalities like Jorge Luis Borges, Pablo Neruda and Eva Perón. She also photographed landscapes, city scenes, animals, and abstracts. Her photographs of South America hold significant ethnographic value, showing changes to the area through the 20th century.
Career
In 1930, she opened her first studio in Villa Ballester, Buenos Aires. She also married Ricardo Sanguinetti, a writer under the name Alvaro Sol, in the same year. Two years later she moved to a larger studio and began photographing actors from the Teatro Colón.
Heinrich co-founded Foto Club Argentino and was a founding member of Consejo Argentino de Fotografía (Argentine Council on Photography) and the Consejo Latinoamericano de Fotografía (Latin American Council on Photography). Her photos were also the cover of magazines such as El Hogar, Sintonía, Alta Sociedad, Radiolandia and Antena for forty years.
In Argentina during the Second World War, Heinrich was part of the anti-war movement, Consejo Argentino por la Paz (Argentinian Council for Peace). She was also in the Junta de la Victoria (Victory Board), a women’s group advocating against fascism and for the Allies. After the war, Heinrich travelled across Europe, exhibiting her work in Rome, Milan, Paris, and Zürich. In the 1950s Heinrich was part of a modernist group calling themselves Carpeta de los diez (Group of Ten).
Heinrich was brought to court in 1991 for displaying one of her nude photographs in the Avenida Callao studio window. National and international outcry in support of Heinrich and the aesthetic value of the photograph led to the case being dropped.
In 2015, the Museo de Arte Latinoamericano de Buenos Aires held a retrospective of her work. Heinrich’s work was shown in New York for the first time in 2016 at Nailya Alexander Gallery in the show “Annemarie Heinrich: Glamour and Modernity in Buenos Aires.”
Heinrich’s archive has been digitised in a project between the British Library Endangered Archives Programme and the Institute for Research in Art and Culture, Universidad Nacional de Tres de Febrero, in 2016. The collection is available online at the Endangered Archives Programme website.
Text from the Wikipedia website
Germaine Krull (German, French, and Dutch, Brazil, Republic of the Congo, Thailand and India, 1897-1985)
Ohne Titel (Studie für “Der Akt”) (Untitled (Study for “The Nude”))
1924
Gelatin silver print
Image: 22.23 x 16.51cm (8 3/4 x 6 1/2 in.)
Frame: 50.8 x 40.64cm (20 x 16 in.)
Frame (outer): 53.34 x 43.18cm (21 x 17 in.)
Trish and Jan de Bont
Germaine Krull’s Queer Vision
The photographer Germaine Krull is little known outside of specialist circles today, but in 1928 she was the toast of Paris. Her avant-garde photographs of the city filled the pages of VU, a magazine known for its dynamic spreads and modern, bold aesthetic. Krull was one of its signature photographers. She shot sailors on the docks, piles of curios at the flea market, dancers at the Moulin Rouge. As both photojournalist and art photographer, Krull was one of the leading lights of the Parisian photography scene. Her pictures hung in the Salon de l’Escalier, a major exhibition of modernist photography, and over the next few years, her work featured in exhibitions across Europe. By 1931, the cultural critic Walter Benjamin used Krull as an example of photography’s potential in his celebrated essay “Little History of Photography.”1
Krull, born in Posen (then Germany, now Poznán, Poland), wound up in Paris after an itinerant childhood, a few years’ study of photography in Munich, and a series of political embroilments that sound like the stuff of fiction. Banned from Bavaria for aiding a Bolshevik emissary’s attempted escape through the Alps, she was later deported from the Soviet Union as a supposed counterrevolutionary.
After a stint in Berlin, where she ran her own photography studio, she made her way to Paris. There, she published her photo book Métal in 1928 and began to receive attention alongside other practitioners of new, assertively modern photographic styles such as Man Ray and André Kertész.
With Métal, Krull turned her lens on the soaring structures of industrial Europe: Rotterdam’s railroad bridge De Hef, Marseille’s Pont Transbordeur, a number of nameless industrial cranes, factory machinery, and, most recognizably, the Eiffel Tower.2 The portfolio bore the subtitle “métaux nus” (bare metals), and critics have often likened these metallic bodies to the nude photographs she made around the same time. In both cases, Krull got close to her subjects, dislocating them from their environments. In Métal, Krull rendered the familiar form of the Eiffel Tower nearly unrecognizable. She tended to shoot the tower from beneath, its iron lattices stretching vertiginously upward, such that the monument’s iconic shape is lost.
In an untitled nude photograph from 1928 or ’29, she deployed a similar approach, keeping the camera fixed on an unclothed torso twisting off toward the edge of the frame with upturned face cut off at mid-cheek. The dramatic play of shadow and light renders the figure’s gender indistinct. Whether focused on a living subject or an architectural one, Krull’s camera resists the viewer’s urge to name and categorize.
Before Krull became a famous Parisian photojournalist, she made a series of enigmatic pictures of female couples. In 1924, while living in Berlin, Krull shot a portfolio of eleven photographs entitled Les amies (French for “the friends,” specifically denoting female friends). The photographs depict a pair of women in stages of gradual undress, eventually left only in their stockings, the rest of their flesh laid bare. In the narrative that unfolds from image to image, the two women move between sofa and floor: the shape of their union shifts but their bodies remain interlocked. The images were risqué enough that they received little attention during Krull’s lifetime – perhaps a bit too lewd for fine art display, and yet not quite pornographic either. Certainly though, these photographs are representations of queer desire; they were made by an artist who desired women herself.
In her memoirs, Krull describes the relationship she had with a woman (perhaps pseudonymously) referred to as “Elsa,” noting, “We would have laughed if someone had labeled us lesbians.” At the time, Krull and Elsa were both married to men, and Krull frames the affair as an exception. She calls Elsa “the only woman I have loved and who has loved me.” In another passage, she seems to contradict herself, stating, “I never loved a woman.” But she does not altogether dismiss this relationship: “With Elsa, the joy of feeling united was so great. … She was so much mine that the physical question did not count.”3
One of the Les amies photographs in The Met collection shows two women wrapped in an amorous knot, so engaged in their pursuit of pleasure that their faces remain almost entirely obscured. This elision of the models’ faces is, perhaps, an effect of modesty or concealing their identity, but it also produces a sense of intense absorption in the sexual act – despite performing for a camera, the two women seem concerned only with each other. The photographs offer a vision of queer feminine sexuality in its most visible form.
Krull’s straightforward depiction of these female lovers is all the more striking given that she took these photographs at a time when lesbians were often imagined to be invisible – or at the very least, imperceptible. In the interwar years of the 1920s and ’30s, and especially in France, anxieties ran high about precisely this problem. If lesbians could not be identified on sight, how could they be apprehended? How could the dangers of rampant female sexuality be curtailed with lesbians walking around Paris in plain sight, undetected? These worries occupied novelists, social scientists, and sexologists alike, as Carolyn J. Dean describes in her book, The Frail Social Body.4
Krull, unlike her (largely male) contemporaries, seems to have had no trouble locating queer female sexuality, or representing it. On the contrary, the Les amies photographs adopt a direct, frontal view of the two lovers. Krull’s models become almost indistinguishable over the course of the series. This compositional strategy suggests a particularly queer eroticization of sameness, very different from the conception of a butch-femme dyad imaged by Krull’s contemporary Brassaï in his photographs of the Parisian lesbian bar Le Monocle. But the representation of queerness as a kind of doubling accords with popular French conceptions of the so-called sapphist as a “female Narcissus,” as Nicole Albert puts it in her 2005 study of the lesbian phantasm at the fin-de-siècle, Lesbian Decadence.5
Just as Narcissus gazed upon his own likeness, the lesbian often appeared in popular representations gazing upon another woman as a kind of mirror image of herself. Mirrors, long linked with feminine vanity, became a convenient shorthand for the idea that lesbian desire is the ultimate narcissism. This allowed for artists and writers to simultaneously denounce sexual immorality and the eroticization of that sin. Contemporary illustrations in magazines and advertisements, for instance, offered up sensuous sights of women embracing through, near, or against mirrors. The mirror’s reflection plays up the autoeroticism of self-regard, and supposedly of sapphism itself. Meanwhile, literary accounts of lesbianism in the interwar period frequently staged scenes of erotic encounters in mirrored rooms.6 Such spaces – be they brothels, nightclubs, or private bedrooms – facilitated both voyeurism and spatial disorientation.
Nor was sapphism the mirror’s only resonance in the 1920s. Contemporary critics frequently compared photography to a mirror. The poet and polymath Jean Cocteau, for instance, told Krull of her art: “You are a reforming mirror. You and the darkroom [chambre noire] obtain a new world, a world that has passed through [the camera’s] workings and a soul.”7 Here, he plays upon the double meaning present in the French “chambre noire,” which refers at once to the literal darkroom where photographs are developed and to the camera obscura, which we might think of as a stand-in for the enterprise of photography itself. As Cocteau would have it, Krull herself was the mirror, not photography. Armed with her camera, she had the power not only to depict reality but to transform it.”
Marina Molarsky-Beck. “Germaine Krull’s Queer Vision,” on The Met website August 17 2021 [Online] Cited 15/12/2021
Footnotes
1/ Walter W. Benjamin, “Little History of Photography,” in Selected Writings: 1927-1934, ed. Howard Eiland, Michael W. Jennings, and Gary Smith, trans. Rodney Livingstone (Cambridge, M.A.: Harvard University Press, 1996), 507-528
2/ Kim Sichel, Making Strange: The Modernist Photobook in France (New Haven: Yale University Press, 2020), 19
3/ Germaine Krull, La vie mène la danse, ed. Françoise Denoyelle (Textuel, 2015), 179-180
4/ Carolyn J. Dean, The Frail Social Body: Pornography, Homosexuality, and Other Fantasies in Interwar France (Berkeley, C.A.: University of California Press, 2000)
5/ Nicole G. Albert, Lesbian Decadence: Representations in Art and Literature of Fin-de-Siècle France, trans. Nancy Erber and William A. Peniston (New York: Columbia University Press, 2016), 241-242. Originally published as Albert, Saphisme et décadence dans Paris fin-de-siècle (Paris: Martinière, 2005)
6/ Dean, The Frail Social Body, 193
7/ “Vous êtes un miroir reformant. Vous et la chambre noire obtenez un monde neuf, un monde qui a traversé des mécanismes et une âme.” Jean Cocteau, Jean Cocteau to Germaine Krull, April 1930. Quoted in Pierre MacOrlan, Germaine Krull (Paris: Librairie Gallimard, 1931), 16
Germaine Krull (German, French, and Dutch, Brazil, Republic of the Congo, Thailand and India, 1897-1985)
André Malraux
1930
Gelatin silver print
Image: 22.5 x 16cm (8 7/8 x 6 5/16 in.)
Mount: 29.1 x 22.8cm (11 7/16 x 9 in.)
Frame: 45.72 x 35.56cm (18 x 14 in.)
Frame (outer): 49.53 x 39.37cm (19 1/2 x 15 1/2 in.)
National Gallery of Art, Washington, R. K. Mellon Family Foundation
© Estate Germaine Krull, Museum Folkwang, Essen
Germaine Krull (German, French, and Dutch, Brazil, Republic of the Congo, Thailand and India, 1897-1985)
Selbstporträt mit Icarette (Self-Portrait with Icarette)
c. 1925, printed 1978
Gelatin silver print sheet: 30.8 x 24.3cm (12 1/8 x 9 9/16 in.)
Image: 23.3 x 17.3cm (9 3/16 x 6 13/16 in.)
Frame: 50.8 x 40.64cm (20 x 16 in.)
Frame (outer): 53.34 x 43.18cm (21 x 17 in.)
Department of Image Collections, National Gallery of Art Library © Estate Germaine Krull, Museum Folkwang, Essen
During the 1920s, the iconic New Woman was splashed across the pages of magazines and projected on the silver screen. As a global phenomenon, she embodied an ideal of female empowerment based on real women making revolutionary changes in life and art. Featuring more than 120 photographers from over 20 countries, the groundbreaking exhibition, The New Woman Behind the Camera, explores the diverse “new” women who embraced photography as a mode of professional and personal expression from the 1920s to the 1950s. The first exhibition to take an international approach to the subject, it examines how women brought their own perspectives to artistic experimentation, studio portraiture, fashion and advertising work, scenes of urban life, ethnography, and photojournalism, profoundly shaping the medium during a time of tremendous social and political change. Accompanied by a fully illustrated catalogue, this landmark exhibition will be on view from October 31, 2021 through January 30, 2022, in the West Building of the National Gallery of Art, Washington. It was previously on view at The Metropolitan Museum of Art, New York, from July 2 through October 3, 2021.
In an era when traditional definitions of womanhood were being questioned, women’s lives were a mix of emancipating and confining experiences that varied by country. Many women around the world found the camera to be a means of independence as they sought to redefine their positions in society and expand their rights. This exhibition presents a geographically, culturally, and artistically diverse range of practitioners to advance new conversations about the history of modern photography and the continual struggle of women to gain creative agency and self-representation.
“This innovative exhibition reevaluates the history of modern photography through the lens of the New Woman, a feminist ideal that emerged at the end of the 19th century and spread globally during the first half of the 20th century,” said Kaywin Feldman, director, National Gallery of Art. “The transnational realities of modernism visualised in photography by women such as Lola Álvarez Bravo, Berenice Abbott, Claude Cahun, Germaine Krull, Dorothea Lange, Niu Weiyu, Tsuneko Sasamoto, and Homai Vyarawalla offer us an opportunity to better understand the present by becoming more fully informed of the past.”
About the exhibition
This landmark exhibition critically examines the extraordinary impact women had on the practice of photography worldwide from the 1920s to the 1950s. It presents the work of over 120 international photographers who took part in a dramatic expansion of the medium propelled by artistic creativity, technological innovation, and the rise of the printed press. Photographers such as Berenice Abbott, Ilse Bing, Lola Álvarez Bravo, Madame d’Ora, Florence Henri, Elizaveta Ignatovich, Germaine Krull, Dorothea Lange, Dora Maar, Niu Weiyu, Eslanda Goode Robeson, Tsuneko Sasamoto, Gerda Taro, and Homai Vyarawalla, among many others, emerged at a tumultuous moment in history that was profoundly shaped by two world wars, a global economic depression, struggles for decolonisation, and the rise of fascism and communism. Against the odds, these women were at the forefront of experimentation with the camera and produced invaluable visual testimony that reflects both their personal experiences and the extraordinary social and political transformations of the era.
Organised thematically in eight galleries, The New Woman Behind the Camera illustrates women’s groundbreaking work in modern photography, exploring their innovations in the fields of social documentary, avant-garde experimentation, commercial studio practice, photojournalism, ethnography, and the recording of sports, dance, and fashion. By evoking the global phenomenon of the New Woman, the exhibition seeks to reevaluate the history of photography and advance new and more inclusive conversations on the contributions of female photographers.
Known by different names, from nouvelle femme and neue Frau to modan gāru and xin nüxing, the New Woman was easy to recognise but hard to define. Fashionably dressed with her hair bobbed, the self-assured cosmopolitan New Woman was arguably more than a marketable image. She was a contested symbol of liberation from traditional gender roles. Revealing how women photographers from around the world gave rise to and embodied the quintessential New Woman even as they critiqued the popular construction of the role, the exhibition opens with a group of compelling portraits and self-portraits. In these works, women defined their positions as professionals and artists during a time when they were seeking greater personal rights and freedoms.
For many women, the camera became an effective tool for self-determination as well as a source of income. With better access to education and a newfound independence, female photographers emerged as a major force in studio photography. From running successful businesses in Berlin, Buenos Aires, London, and Vienna, to earning recognition as one of the first professional female photographers in their home country, women around the world, including Karimeh Abbud, Steffi Brandl, Trude Fleischmann, Annemarie Heinrich, Eiko Yamazawa, and Madame Yevonde, reinvigorated studio practice. A collaborative space where both sitters and photographers negotiated gender, race, and cultural difference, the portrait studio was also vitally important to African American communities which sought to represent and define themselves within a society that continued to be plagued by racism. Photography studios run by Black women, such as Florestine Perrault Collins and Winifred Hall Allen, thrived throughout the United States, and not only preserved likenesses and memories, but also constructed a counter narrative to the stereotyping images that circulated in the mass media.
With the invention of smaller lightweight cameras, a growing number of women photographers found that the camera’s portability created new avenues of discovery outside the studio. In stunning photographs of the city, photographers such as Alice Brill, Rebecca Lepkoff, Helen Levitt, Lisette Model, Genevieve Naylor, and Tazue Satō Matsunaga used their artistic vision to capture the exhilarating modern world around them. They depicted everyday life, spontaneous encounters on the street, and soaring architectural views in places like Bombay (now Mumbai), New York, Paris, São Paulo, and Tokyo, revealing the multiplicity of urban experience. Many incorporated the newest photographic techniques to convey the energy of the city, and the exhibition continues with a gallery focused on those radical formal approaches that came to define modern photography. Through techniques like photomontage, photograms, sharp contrasts of light and shadow, extreme cropping, and dizzying camera angles, women including Aenne Biermann, Imogen Cunningham, Dora Maar, Tina Modotti, Lucia Moholy, and Cami Stone pushed the boundaries of the medium.
Women also produced dynamic pictures of the modern body, including innovative nude studies as well as sport and dance photography. Around the world, participation in spectator and team sports increased along with membership in fitness and hygiene reform movements. New concepts concerning health and sexuality along with new attitudes in movement and dress emphasised the body as a central site of experiencing modernity. On view are luminous works by photographers Laure Albin Guillot, Yvonne Chevalier, Florence Henri, and Jeanne Mandello who reimagined the traditional genre of the nude. Photographs by Irene Bayer-Hecht and Liselotte Grschebina highlight joyous play and gymnastic exercise, while Charlotte Rudolph, Ilse Bing, Trude Fleischmann, and Lotte Jacobi made breathtaking images of dancers in motion, revealing the body as artistic medium.
During the modern period, a growing number of women pursued professional photographic careers and traveled widely for the first time. Many took photographs that documented their experiences abroad and interactions with other cultures as they engaged in formal and informal ethnographic projects. The exhibition continues with a selection of photographs and photobooks by women, mainly from Europe and the United States, that reveal a diversity of perspectives and approaches. Gender provided some of these photographers with unusual access and the drive to challenge discriminatory practices, while others were not exempt from portraying stereotypical views. Publications by Jette Bang, Hélène Hoppenot, Ella Maillart, Anna Riwkin, Eslanda Goode Robeson, and Ellen Thorbecke exemplify how photographically illustrated books and magazines were an influential form of communication about travel and ethnography during the modern period. Othe
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https://guitar.com/features/opinion-analysis/jhs-josh-scott-why-the-fender-bassman-is-the-greatest-amp-of-all/
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Why the Fender Bassman is the greatest amp of all
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2021-07-30T08:00:31+00:00
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Guitar effects would be pretty pointless if we never had amps to use them with, and this month Josh Scott wants to talk about one very important amp in particular.
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Guitar.com | All Things Guitar
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https://guitar.com/features/opinion-analysis/jhs-josh-scott-why-the-fender-bassman-is-the-greatest-amp-of-all/
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Previously, I told you that my favourite amp is my all-original 1959 Fender Bassman; now I’m going to try to explain to you why. Simply put, it’s the definition of perfect. Without ever turning it on, it demands a certain attention by way of its yellow tweed covering, aged and abused from over 60 years of use. When it is on, its 45 watts of power gives you massive clean tones that can stand up next to any drummer, beautiful tube saturation when pushed to high volumes, and the ability to accept overdrive and fuzz pedals as if they are part of its very DNA. Instead of one speaker like most amps of its era, it has four blue-label 10-inch speakers that are as loud as they look, positioned perfectly into the 23-inch cabinet, ensuring that when you need it to, it can fill a room without a microphone in sight.
READ MORE: Invention & Evolution: Charles Darwin, Henry Ford and how the death of silent movies birthed the guitar amplifier
Plug in any guitar that you want – go ahead, I’ll wait – and it will be impossible to find a bad sound using its six simple controls. Notes will fall effortlessly out of your hands and into your ears; perfect bass response and the most balanced high end of any amp I’ve ever played.
From a design perspective, the Fender Bassman is legendary – and for good reason. This is the major evolutionary step forward that took us from the lunchbox-sized, 1930s Rickenbacker amplifiers that just barely amplified beyond natural projection to the refrigerator-sized stacks of amps that Hendrix and others used in the mid-60s. It is everything an amp should be, but it’s also more than that: it is a living, breathing organism that lives to tell a story.
This amplifier, like none other, sits at a pivotal place in history, when the infancy of 1950s jingle-jangly rock ‘n’ roll was about to collide with the purpose and angst of the 1960s rock invasion. There is a reason that this particular amp is one of the most sought after of all time, and, in my opinion, it goes beyond tone. This amp is a physical representation of the sonic transformation happening at the dawn of guitar’s greatest age. You could even call it the Cambrian explosion of the electrified guitar – yeah, I’m throwing out some heavy-duty scientific terms at you today, just roll with it – but like all other great inventions, it started with a man and an idea.
The radio repair man
It’s an oft-repeated fact that Leo Fender was a mechanic and radio repair technician, not a musician, but he was no average repairman – the spark of electronic creativity had gripped Leo at a young age, and he was forever tinkering and inventing in search of his next great idea. Indeed, so dedicated was he to electronic innovation, that Leo dated the establishment of his radio repair business all the way back to 1922, when he became obsessed with radio electronics at age 13.
By 1946, he was still a nerd who wore overalls almost every day and just loved to build stuff. Even though he couldn’t play an instrument, he enjoyed live music. He lived in the Los Angeles area, and fell in love with the Texas swing bands that toured through Orange County and played the local club scene.
Even better, Leo’s presence in and around this scene meant that he witnessed jazz, blues and country merge into a new genre called rock ‘n’ roll. He was the right person in the right place at the right time, positioned to make his mark on music history.
Before he got into guitars, Leo serviced theatre amplification systems for local clubs and venues and had developed a deep understanding of how they worked, and how they could be used to make live music even louder. These theatre system designs inspired Leo to create his first guitar amplifiers by 1946, which he released in three options: the Princeton, Deluxe (also called the ‘Model 26’) and Professional. To be clear, he didn’t invent the guitar amplifier, they had been available years before, but he evolved the concept in the same way that Henry Ford had evolved transportation – things would never be the same again. If the amps of the 1930s were covered wagons, Leo’s amps were the Model T. Leo gave the guitar an engine; he made the guitar loud.
Electric avenue
And in many ways, it had to be that way. In a recent interview with guitar historian George Gruhn, he told me, “You’re not going to have an amplifier invented by somebody who’s a guitar maker. It’s going to be invented by somebody who’s an electronic technician. And the electronic technicians were working first for radio, which came before talking movies. Radio was electronics.”
For the guitar to evolve, hundreds of small, seemingly unimportant inventions (many created by men and women who had never picked up a guitar in their lives) had to add up. It was a process that took decades, but to the public it seemed to happen overnight. Even though Leo Fender and the innovators that would follow him got this advancement off the ground, radio technology gave them the tools to do it.
The guitar amps produced in the 1930s by companies like Rickenbacker were metal-covered devices the size of a bread box with a tiny speaker. You could increase the volume so that the guitar was louder than it had ever been before – but the bar for volume was so freakin’ low in the 1930s and 40s that this isn’t saying much. The amp still couldn’t amplify the sound to anything near the volume of 50s and 60s rock. The guitar had been electrified, but it wasn’t rock ‘n’ roll. Not until Leo Fender came along.
By the time 1949 came around, when Fender introduced the first versions of the solidbody Telecaster (the most important electric guitar ever created) to the world, Leo was already making loud, usable, rockin’ amplifiers to plug them in to. Unlike the other brands on the market, when you played this new revolutionary Fender guitar, you had an equally powerful amplifier to plug it into. This combination gave Fender the upper hand in forging a new way towards rock ‘n’ roll. Everyone afterwards was simply following in the footsteps of a radio technician from California. I hear what you’re thinking: the solidbody electric guitar amplifier came before the solidbody electric guitar? Yup!
Cart before horse?
In many ways the reason for this is actually pretty understandable – Leo recognised the demand for more volume, and everything flowed from that. He created an amp that could actually produce the raw power that his musician friends wanted, and when it became obvious that a standard acoustic guitar – even amplified – wasn’t getting the job done, he began developing solidbody guitars that could keep up.
What’s important here is to understand that Leo didn’t look into the world of guitar to fix the problems of the guitar; instead, he looked to other arenas where technology had already solved these same problems. Leo used the advancement of radio and theatre sound systems to evolve the amplification of the guitar; he borrowed proven technology to create something that had never been seen.
Around the same time that the Telecaster became the guitar of choice for the modern musician, Leo also introduced a fretted electric bass called the Precision. Now, in time players like Carol Kaye would use this guitar to revolutionize the bassline of popular music and directly influenced the way that song structure would evolve in the coming decades, but again Leo wasn’t the first on the scene here. Audiovox had already produced a fretted electric bass and solidbody guitars by this time, but again Leo understood that people wanted loud.
Guitars and basses had previously struggled to be heard above the powerful projection of brass and woodwind instruments, but plug a Fender electric instrument into a Fender electric amp, and one guy could play louder than a symphony orchestra. But this had some real-world consequences that Leo could never have anticipated – remember our friends at the American Federation of Musicians getting upset that the talkies were putting thousands of movie theatre musicians out of work? They were about to get some company.
Imagine you’re a club owner and you do live dance music on the weekends. You’ve been bringing in these Big Bands, but they are bananas expensive. You have to pay a whole busload of musicians (maybe 30 people altogether) and a conductor and a director and an entourage handling all the arrangements. And then all of a sudden, you’re given the alternative of paying three snot-nosed kids in their twenties whose newfangled electric instruments could out-shout those orchestras with ease? It was Charles Darwin’s natural selection all over again, but with dollars instead of dinosaurs – invention would continue its evolution, at least it would once they got past one small issue.
Great leap forward
When Leo Fender’s revolutionary Precision bass arrived in 1951, there was one slight snag holding back evolution. The bass amp as we know it didn’t exist yet. Leo’s original trio of amps might have appeared in 1946, but the Bassman wouldn’t arrive until 1952. And I know what you’re thinking here – ‘Hang on Josh, are you trying to tell me that after everything you said about Leo’s understanding of the need for loud, the P-Bass existed for a whole year before they had anything to properly amplify it with? How the heck does that work?!’
Y’all, what can I tell you – we live in an imperfect universe and even generational geniuses are allowed a Mulligan or two along the way. Anyway, in a bizarre reverse chicken/egg situation to the solidbody electric guitar, the bass came first, and necessity being the mother of invention, it barely took them a year to realise that these newly converted electric four-stringers might need something a bit more potent to work with than the existing amp offerings – enter Bassman.
Like most of Leo’s other creations in that wildly inventive decade, the Bassman quickly saw several internal and cosmetic changes until reaching its perfect state with the 1959 model. But somehow, nobody noticed, and Fender soon fully abandoned the 4×10 combo format and switched to a separate head and speaker cabinet arrangement. But by that point, the Bassman’s history had already taken another left turn.
Back in black
Over on the other side of the Atlantic, the Bassman was going to propel the guitar amp evolution in a way that the Western Swing-loving Leo had never even imagined. Fender might have abandoned the 4×10 Bassman in 1960, but Jim Marshall couldn’t get enough of them. The Englishman had been importing Fender amps into the UK and selling them out of his shop in West London, and they sold like hotcakes – or whatever the British equivalent is… crumpets? [Let’s not get into this – Ed] – to the young guitar players in London’s rapidly growing music scene.
This was of course a very different time, this is pre-internet, pre-modern distribution, pre-eBay, and pre…anything. What’s more, the post-war trade bans made getting hold of American-made US instruments in the UK extremely tricky in the 50s and even as these restrictions relaxed in the 60s, sourcing gear from America was a difficult and expensive job.
Eventually the high cost of import taxes, sea freight and simple availability of these highly desired American amplifiers made Marshall think there had to be a better way – if he could get someone to build him an amp based on these Fender designs in the UK, he’d save himself a lot of hassle, and improve his profit margin considerably.
Now, Jim was a savvy businessman, but he was no electronics whiz, and so he turned to engineer Dudley Craven to build him an amplifier, and in the 1959 Fender Bassman, they had the perfect blueprint to start from. And so Craven and fellow electronic technician Ken Bran retreated to Craven’s garden shed/ham radio base and transformed the Fender Bassman circuit into the Marshall JTM45. Webster defines evolution as “a process of change in a certain direction” and this moment in September 1963 was just that; Leo Fender’s Southern California amplifier evolved onward in London, destined to fuel the music of Eric Clapton, Jimi Hendrix, Angus Young, Eddie Van Halen and countless other guitar gods.
What’s next?
It has been 62 years since my 1959 Bassman rolled off the production line in Fullerton, CA. I would love to travel back in time and watch what that was like: the sounds of the factory, the conversations of the day, maybe even see Leo roaming around the shop floor solving a problem. I can imagine my amp shipping out the door into an unknown world ahead of its time. What store sold it first? Who was the original owner? Were they famous? Have I heard my amp on a song before and just don’t know it? If my amp could talk, it would have six decades of stories to tell. What songs did it get to amplify? What moment was it part of? We may never know, but it’s fun to imagine. I believe it’s a gift to look into the past because it might help us predict what’s in the future.
Truth be told, electric guitar hasn’t changed all that much since Leo’s inventions. Sure, we have digital effects, modelling amps, $500,000 Klons as well as some different shaped guitars, but at the heart of it all is still a magnet, strings and an amplifier that can project what we play.
When the first electric guitar was invented by Rickenbacker, they never saw Fender coming. When Fender made his first amps, he never saw Marshall coming and no one at Ford Motor Company ever dreamed of the Tesla electric car. Invention is rarely predictable, and it is most definitely not simple.
Do me a favour. Just take a moment here. Close your eyes and try to imagine what’s coming next. Is it in front of us now? Is it still evolving behind closed doors? What will the Tesla of guitar look like? Who is going to be the next great innovator of guitar? If history is a teacher, it would tell us that the chances are good that you’ve never even heard their name.
Hopefully that inventor is reading this right now. If you are, just remember that I believed in you first. I may want to interview you on The JHS Show in about 30 years.
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https://musicbrainz.org/artist/69a6332a-ce91-44d3-94ca-6f59d0206e9b
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en
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George Bassman
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Type: Person, Gender: Male, Born: 1914-02-07 in New York, Died: 1997-06-26 in Los Angeles, Area: United States
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/static/images/favicons/apple-touch-icon-57x57.png
| null |
~ Person
Discography
Album + Soundtrack
YearTitleArtistRatingReleases2004Ride the High Country / Mail Order BrideGeorge Bassman1
Showing official release groups by this artist (Show official various artist release groups)
Artist information
Sort name:
Bassman, George
Type:
Person
Gender:
Male
Born:
Born in:
New York, New York, United States
Died:
Died in:
Los Angeles, California, United States
Area:
United States
IPI code:
00002276131
ISNI code:
0000 0000 7217 0245
Rating
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http://www.georgestraitfever.org/aceintheholeband.html
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en
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AceInTheHoleBand
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George Strait's Ace In The Hole Band; one of the best western swing bands there is. Here is their history from 1975 to present, info about their album, their appearance in Pure Country, and lots of interviews and concert tour photos.
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https://gershwin100.wordpress.com/tag/george-bassman/
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en
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George Bassman
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https://secure.gravatar.com/blavatar/2b63ba897b21cb42fef0e8fa6515bb354a66897a87e5fa3f549f598e1d1303be?s=200&ts=1724065994
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] | null |
[
"Michael G. Morris"
] |
2019-09-20T14:00:03+00:00
|
Posts about George Bassman written by Michael G. Morris
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en
|
https://secure.gravatar.com/blavatar/2b63ba897b21cb42fef0e8fa6515bb354a66897a87e5fa3f549f598e1d1303be?s=32
|
Gershwin 100
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https://gershwin100.wordpress.com/tag/george-bassman/
|
We’ll get to this Oscar Levant song, but my story of finding this song goes waaay back… You’re sitting on a tree stump in Borneo 3,000 miles from home. The […]
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https://www.vogue.com/article/the-fashion-figures-we-lost-in-2023
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en
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The Fashion Figures We Lost in 2023
|
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[] |
[] |
[
"year in review",
"obituary"
] | null |
[
"Laird Borrelli-Persson",
"Nathan Heller",
"Arden Fanning Andrews",
"Ivana Rihter",
"Condé Nast"
] |
2023-12-06T15:23:19.726000-05:00
|
A remembrance of the designers, journalists, models, and other fashion bright lights that the industry lost this year.
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en
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https://www.vogue.com/verso/static/vogue/assets/us/favicon.ico
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Vogue
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https://www.vogue.com/article/the-fashion-figures-we-lost-in-2023
|
The end of the year is a time for celebration, but also reflection and commemoration. Here, we look back at some of the fashion figures we lost in 2023. They include Davide Renne, 46, who had just been appointed creative director of Moschino, as well as nonagenarians Marc Bohan, who spent three decades at Christian Dior; Mica Ertegun, tastemaker/interior designer/philanthropist; Queens-born model Barbara Mullen; Seventh Avenue success story Leo Narducci, and Youthquake designer, Mary Quant. The industry, and by extension the world, has been impacted by all whose names appear below. They will be dearly missed.
Mica Ertegun, Tastemaker, Interior Designer, Philanthropist, 97
“I don’t like paillette dresses; I prefer simplicity,” said Mica Ertegun in a 2001 profile. Hamish Bowles described her approach to style as having “rigorous discipline combined with a theatrical sensibility,” and the same might be said of the interiors she designed.
Ertegun’s life story, related by Bowles, reads like a novel. Born in Romania, “she escaped the Soviet oppressors together with her countrywoman Queen Elizabeth of Greece, and on the royal train, no less.” Her journey included stops in Switzerland and Paris, where she modeled for Bruyere, and then on to Canada, to manage a chicken farm with her first husband, Stefan Grecianu. In a coup de foudre, Ertegun met and married Ahmet Ertegun, founder of Atlantic Records, in 1961. Having studied interior design, in 1967 she created MAC II, a decorating business, with Chessy Rayner.
The inseparable friends were known for shopping together and for their mutual passion for Madame Grès’s draped jersey dresses, some of which were exhibited in the designer’s monographic exhibition at the Costume Institute. Ertegun entered the International Best-Dressed List Hall of Fame in 1971. Mica, Oscar de la Renta told Vogue, “has always been herself; she takes from fashion what she thinks is right for her, and what is not right—well, she won’t put it on!” Specific about her own tastes, Ertegun was a generous philanthropist and hostess. As Vogue wrote in 1977, Mica had a “genius for making other people happy.”
Leo Narducci, Fashion Designer, 91
“I like soft clothes,” said the dashing Leo Narducci in a 1984, further burnishing his reputation, per WWD, as a “nice-’n-easy designer with a penetrating astute business sense.” Born in Brockton, Massachusetts, his parents were fashion contractors. “I ended up in business school at Boston University because my father was determined that I stay out of the rag trade. I flunked out,” he said in an interview. He spent four years in the Air Force, and enrolled at RISD upon his return.
Mark Eisen, Fashion Designer and Sculptor, 65
“The last thing I want to be is a designer who sits shuttered in his office, smoking cigarettes and sketching unwearable things,” Mark Eisen told Vogue in 1994, four years after making his debut in the magazine. Born in South Africa, he moved to Los Angeles at 19 to attend USC. There was a sunniness to Eisen’s minimal designs, which he married to a “Take Ivy” vibe that originated in his own experience of wearing a school uniform. But Eisen was no prep: “Basically, I’m a rock-’n’-roll kind of guy,” he told Vogue.
The magazine reported that he was “a serious, albeit self-taught, tailor who made a serious splash in the late eighties with neat little denim suits that he sketched at his kitchen table.” From that table grew an empire. Eisen’s focus shifted over time; in 2007 he moved back to South Africa where he restored a historic wine farm and started to explore industrial design. This evolved into a late career as a sculptor.
Davide Renne, Fashion Designer, 46
The Italian designer Davide Renne had the unique ability to both stand out, as when he wore avant-garde designers in his small hometown of Follonica, and to fit in, as he did at Gucci, which was his work home for two decades.
An avid sketcher who once dreamed of pursuing architecture, Renne studied at Polimoda at the University of Florence. Upon graduating in 2000, he moved to Milan and worked for Alessandro Dell’Acqua. He started at Gucci four years later, and came up in the company alongside his great friend, Alessandro Michele. He was appointed creative director of Moschino earlier this year. Tragically he died ten days into his tenure.
Read Luke Leitch’s obituary.
Read Alessandra Pellegrino’s tribute.
Countess Marina Cicogna, Film Producer and Photographer, 89
The glamorous Countess Marina Cicogna was a woman of status, independence, and elegance long before she was cast by Alessandro Michele when he was at Gucci. Not only was she snapped for Vogue, she also contributed photographs to the magazine—including portraits of Jeanne Moreau and Brigitte Bardot. Cicogna’s first appearances in its pages, as a subject, were in April 1965; she was photographed at home at Villa Volpe by Cecil Beaton and by Slim Aarons for a feature story titled “The Beautiful People in Mexico.”
A member of the 1960s jet-set, she defied expectations to become, according to the New York Times, “one of the most powerful women in European cinema, as both a producer and a distributor.” Cicogna, wrote Diane Von Furstenberg, was an “unconventional and beautiful countess who broke the rules of aristocracy by going into the movie business.” In fact, the entire family was involved one way or another with cinema. Her father helped fund Bicycle Thieves, and her mother owned Euro International Films, which she transferred to her daughter and son. In 1967, Cicogna had three films playing at the Venice Film Festival, which was founded by her grandfather. The siblings threw a legendary party in the floating city. It would turn out that there was much to celebrate: The Cigona-produced Belle de Jour won the top prize, the Golden Lion. Cicogna would work with Pierpaolo Pasolini (on Medea and Teorema), Franco Zeffirelli (on Brother Sun Sister Moon), and many other projects, including Investigation of a Citizen Above Suspicion, which took home the best foreign-language film Oscar in 1971. In addition to exhibiting and publishing her photographs, Cicogna was the subject of a 2021 documentary; her autobiography was released this year.
Gail O’Neill, Model and Journalist, 60
Gail O’Neill was a Wesleyan graduate with a job at Xerox when she was discovered at JFK on her way back from vacation in 1985. Within a year this Westchester, New York native was on the cover of British Vogue and part of what was being described at the time as a renaissance of Black models. She was a member of the Bethann Hardison and Iman’s Black Girls Coalition and appeared in Vogue Italia’s Black Issue in 2008, but by then she was enjoying a second fame as a journalist. She acted as a correspondent for The Early Show on NBC and subsequently worked with CNN and HGTV. O’Neill moved to Atlanta in 2000 where she wrote about art and was heard on NPR via WBAE.
Read Gail O’Neill’s obituary.
Michael Leva, Designer and Consultant, 62
Michael Leva’s 1986 debut collection, presented, wrote The New York Times, at “the Soho boutique of the nightlife impresario Susanne Bartsch” and featuring “tie-dyed taffeta evening dresses on models who strode out to music by Nico and the Velvet Underground” sounds pretty splashy, but 1989 was actually his breakthrough year. It’s then that Vogue profiled the young New Jersey-ite, who enrolled at RISD to study landscape architecture and switched to fashion because he “liked the immediacy of grabbing the fabric, throwing it on the form, pinning it. It’s similar to what I love about gardening: the hands-on experience.”
Vogue reported that the designer’s studio was “terrifyingly spare. What is on the walls is a carefully orchestrated grouping of tearsheets and memorabilia; wreaths of dried flowers in muted pastels, an HG tearsheet of “mad gardener” C. Z. Guest wearing a Mainbocher coat, pages from Diana Vreeland’s Man and the Horse. One of Leva’s own Hermès riding boots is tossed behind the desk.” The magazine summed him up as “a new-wave monk more than a fashion designer.” Yet in his hands jersey and other materials followed the curves of the body seductively, but subtly. Though off to a strong start, Leva couldn’t make ends meet and closed his business in 1991, but continued to work as a consultant in the industry and as a lecturer at his alma mater. A tastemaker, Leva co-authored the book Recipes for Parties in 2014.
Barbara Mullen, Model, 96
Barbara Mullen, a four-time Vogue cover girl, was counted among the top 10 American models working in the 1950s, alongside beauties like Jean Patchett and Dovima. Born in New York, she was raised by a single mother. While she was working in a beauty salon after finishing high school, a stranger suggested she try modeling; Mullen quickly found a spot showing clothes in the custom salon at Bergdorf Goodman. When Vogue wanted to shoot one of the gowns presented there, like Cinderella, Mullen was the only one who fit it and so she landed her first credit in the magazine in 1947, and became a paradigm of “a new kind of beauty.”
“It starts with bearing, and an assured grace,” the magazine noted. “It is, of course, a whole new attitude. The ideal walk is now from a flexible waist, with shoulders small, the neck held straight and high. Since the little waistline is the common denominator of all the new clothes, the new carriage is easier….” Mullen at 5’ 9”, with a 20-inch waist, was in high demand. She was a favorite model of Lillian Bassman and Willian Klein who once described her as a “tough Irish American.” Moving to Paris in the mid-1950s Mullen continued to work, retiring prior to the Youthquake. She took up residence in Switzerland where she ran a fashion shop, Barbara’s Bazar and contributed to Annabelle magazine. In 2019 she left Zurich for New Mexico, where she lived out her final days.
Marc Bohan, Designer Who Spent 30 Years at Christian Dior, 97
Fifteen years into his 30 year tenure at Christian Dior, Vogue described Marc Bohan as “a man of warm temperament and precise tempo.” The article was about the designer’s country home and the author noted that “Chez Bohan, nothing is haphazard, nothing left to chance.” All of the qualities are apparent in this Frenchman’s work for Christian Dior. There, he kept pace with the times without ever forsaking the values of the maison. He was forever finding a balance between continuity and change.
Born in Paris, he studied in Sceaux before becoming an assistant to Robert Piguet (1945-49), Edward Molyneux (1949-51), and a designer at Madeleine de Rauch, all houses that flowered in the interwar period. After showing one collection under his own name, Bohan joined Patou couture as the lead in 1954 only to leave four years later to begin his tenure at Christian Dior. Hired to design the Dior London line, he succeeded the wunderkind Yves Saint Laurent as head designer and art director in 1960. Vogue raved about Bohan’s debut collection. “After the first 10 minutes of the showing, the scent of triumph was in the air. What went into Bohan’s design triumph was a certain amount of originality; the fillip of change without the fear of ‘looking strange’; an enormous helping of impeccable Dior making; a great deal of consideration for the wearers; a large measure of the most beautiful materials the world has to offer; a certain unexplainable but surely recognizable come-hither. What will remain with those who saw the whole collection and, we think, with those who wear the clothes this spring, is an impression of lavishness, beauty, and a kind of tender, delicious becomingness.”
There was a surprising freshness to Bohan’s work that owed something to his attachment to a streamlined Deco vibe, which had a second fame in the 1970s. Yet his ideal was not a fresh faced flapper but a sophisticate. “The Dior woman is a woman—not a girl—and a pretty woman. She understands luxury, demands luxury—in understandable clothes. Marc Bohan has given her the moon,” noted Vogue in 1971.
Looking back at the New Look in 1987, Bohan said this of Monsieur Dior: “What he did was more.” Bohan, on the other hand, did more with less. As he told Hamish Bowles in 1997: “I tried to make things that suited and pleased the customer, not to make some striking change, some fun thing every season. I thought that was over. I kept the clientele. That was the main idea, not to make headlines.” The discreet charm of the bourgeoisie….
Bohan left Dior in 1989 and worked for Hartnell in London from 1990 to 1992. He was named a Chevalier de la Legion d'Honneur, 1979; and belonged to the Ordre de Saint Charles, Monaco.
George Kolasa, Fashion Marketing Executive, 57
“I never put myself out there publicly in my career. My job was to communicate on behalf of a brand or designer. That was my main purpose, I kind of was old-school in that way,” George Kolasa was a fashion marketing executive with 30 years of experience in the industry. In 2022, the beloved insider was diagnosed with brain cancer and documented his experience on Instagram, working his connections to raise over $500,000 for a cure.
Born in Queens and raised on Long Island and Arizona, he studied marketing and segued into modeling. Relocating to Los Angeles, he worked for a talent agency, who sent him to New York. Having lost his mailroom job he found another, in Mademoiselle’s fashion closet through a friend. Returning samples, he was noticed by Ralph Lauren and brought on board. Kolasa went on to work with Tommy Hilfiger, Karl Lagerfeld’s namesake brand, and Giorgio Armani, and finally, Burberry.
Read George Kolasa’s story in his own words as told to Nicole Phelps.
John Barrett, Celebrity Hair Stylist, 66
John Barrett, the Irishman who worked for years 13 years from a penthouse suite above one of the toniest shops in New York, and whose salon provided inspiration for Plum Sykes’s book Bergdorf Blondes, was surprisingly down to earth. No matter that he worked with Princess Diana, Martha Stewart, and the female leads of Friends, his motto, noted Vogue, was “Service without snottiness.”
Born in Limerick, Ireland, one of 10 children of a laborer and homemaker, Barrett left home, aged 13 and scraped together a living on the streets of London, sometimes not knowing where he’d sleep. “I left home early, so it was a question of finding something I could do, rather than having a calling. I was trying to find a job I wouldn’t get fired from,” Barrett once said. He applied for a three-year hairdressing apprenticeship and finished it in 12 months. He found work in the city, and when he was employed at Michaeljohn, a miscommunication turned into a boon, when he did Liz Taylor’s hair. Having won a green card lottery, Barrett moved to Los Angeles in the ’80s. Sober by the end of the decade he returned to London. In 1995 he moved back to New York and was employed with Frédéric Fekkai, then working out of Bergdorf Goodman. By chance he did store president Dawn Mello’s hair and when Fekkai moved out she invited Barrett to move into the founding family’s former home in the clouds, high above Fifth Avenue. Part of the allure of his salon was that it was full-service, offering hair and beauty. In 2019 left his castle in the sky to open on his own place.
Jane Birkin, Actor, Musician, Style Icon, 76
Jane Birkin, the queen of effortless cool, was born in London and took first to the stage, and then to film: The actor appeared in the buff in Michelangelo Antonioni’s fashionable 1966 film, Blow-Up. A year earlier she had married John Barry, the James Bond composer, with whom she had a daughter, Kate. After their divorce in 1968, she went to France to film the movie Slogan and fell for her co-star Serge Gainsbourg. Within a year she embarked on a music career with him, recording the breathy, sexy, and scandalous “Je t’aime… moi non plus.” Birkin was the recipient of many honors across fields; she was awarded the French Ordre National du Mérite twice, in 2004 and 2015, and was named an OBE in 2001.
Birkin’s easy, sometimes androgynous style, which ranged from wide-leg jeans and a wicker basket to a tee and a Hermès Birkin—the cult bag made and named for her—was ever a subject of fascination. And it seems to have been passed on to her daughters Charlotte Gainsbourg and Lou Doillon.
Read Jane Birkin’s obituary.
See Jane Birkin’s best looks in Vogue.
Chris “Spanto” Printup, Born x Raised Co-Founder, 42
Born in Venice, California, to Indigenous parents, Chris “Spanto” Printup experienced hardships, including beating two bouts of cancer, but was always able to find the bright side of things and lift people, and communities, up. He had, said actor Travis Bennet, “a fucking heart of gold.” Printup conceived of Born x Raised, the streetwear brand he founded with Alex Erdmann/2Tone while incarcerated, according to The New York Times. For this self-taught designer, Born x Raised was both a “love letter” to L.A. from a native who knew it inside and out, and a way to elevate Indigenous culture. Earlier this year the brand collaborated with Levi’s on a collection honoring Printup’s Seneca father Butch.
Read memorial to Chris “Spanto” Printup.
Mary Quant, Youthquake Designer, 93
Since 1966 Mary Quant’s name has been synonymous with the mini-skirt. Speaking more broadly, the designer was at the center of what Vogue called the Youthquake. In the 1960s, teens were not content to dress like their parents or follow their career paths. Quant was designing for like minded women of her generation. In 1955 this London-born, Goldsmiths college-trained designer set up Bazaar, with Alexander Plunkett-Greene, her partner in life and work, and their friend entrepreneur Archie McNair, on the King’s Road, the main shopping artery of Swinging London. They didn’t stop at minis; the tights you wore with them followed, as did makeup—a world of Mary Quant. Petite and bright-eyed with her sharp Sassoon cut, the designer was the ultimate embodiment of the brand. She stepped away from the business in 2000 having become an OBE in 1966. She was granted a Damehood in 2015.
Read Mary Quant’s obituary.
Read Sarah Mower’s remembrance.
Michael Roberts, Artist, Fashion Editor, Renaissance Man, 75
A man of discerning taste, wit, and many talents, Michael Roberts worked as an illustrator, writer, stylist, photographer, and director throughout his five decades in fashion. Born in Buckinghamshire, he studied drawing and fashion at school, after which he worked with fashion editor Molly Parkin at Nova and at London’s Sunday Times, where he wrote an acerbic fashion column. In 1979 he joined Tina Brown at Tatler as style and art director. It was during his tenure that Vivienne Westwood was unforgettably photographed as Margaret Thatcher for its cover. Following Brown to Vanity Fair in New York, Roberts began to further explore photography and filmmaking. He won an MTV Award for a Bryan Ferry music video, and more recently directed a biopic on Manolo Blahnik. Having never lost his passion for illustration, Roberts published The Jungle ABC, in 1998. Other books followed—as did acclaim. In 2022, Roberts was appointed Commander of the Order of the British Empire (CBE).
Read Michael Roberts obituary.
Rabanne’s use of plastics and his costumes for Jane Fonda in Barbarella cemented the Spaniard’s reputation as a Space Age designer, alongside André Courrèges and Pierre Cardin. Rabanne also believed he had past lives, and had once lived on a planet in the cosmos. His earthly existence began in the Basque town of Pasajes, with tragedy; his father was executed by Franco’s fascist regime. At age three, his mother, who worked for Cristóbal Balenciaga at his Eisa atelier in Spain, relocated her family to Paris, where Rabanne became a student of architecture at the École des Beaux Arts.# His first involvement with fashion was as a jeweler. In 1966 he made his debut with a collection called “Manifesto: 12 Unwearable Dresses in Contemporary Materials” and is likely the subject of William Klein’s satire in Qui êtes-vous, Polly Maggoo? It was a shockingly unconventional and forward looking approach to design, peek-a-boo armor for the modern woman.\ Read Paco Rabbane’s obituary.
See some of the designer’s early designs.
Tatjana Patitz, Supermodel, 56
An oval-faced German beauty with a gentle air and a warm heat, Tatjana Patitz got her first taste of supermodeldom in 1988 via photographer Peter Lindbergh, who shot her for “White Shirts: Six Supermodels, Malibu.” Two years later she was again in front of his lens with four other one-named wonders, memorialized on the January 1990 cover of for British Vogue, the very one that inspired George Michael to ask the quintet to lip sync through his “Freedom ’90” video. She retreated from fashion, settling in California to raise her son Jonah and tend to her ranch and animals. “Tatjana was always the European symbol of chic, like Romy Schneider-meets-Monica Vitti,” remembered Anna Wintour, chief content officer of Condé Nast and global editorial director of Vogue. “She was far less visible than her peers—more mysterious, more grown-up, more unattainable—and that had its own appeal.”
Read Tatjana Patitz’s obituary.
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https://thepartae.com/josha-daniel/
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Josha Daniel
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2020-11-29T01:28:09+00:00
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Where are you currently based? I’m currently based in Noordwijk, The Netherlands. A small village near the coast of Holland where I grew up. How did you
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The Partae
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https://thepartae.com/josha-daniel/
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1.5K
Where are you currently based?
I’m currently based in Noordwijk, The Netherlands. A small village near the coast of Holland where I grew up.
How did you first start playing music?
Music has always been a very big part of my life. I always loved singing and remember one of the first rock concerts I went to in my hometown. I saw those guys playing live on stage and it just blew me away! I knew this was what I wanted to do and after that concert I asked my mother if I could play the electric guitar. She said yes and after having some guitar lessons I formed a band with a couple of friends from school, nothing serious but we had the best time of our lives. We always felt the urge to write our own songs and never really played covers. A few years later things were starting to get a bit more serious and I really wanted to write songs and make music on a more professional level.
What’s been happening recently and how has your Covid experience been so far?
2020 was a very weird, but also exciting year for me. I was busy finishing my album and had some plans to play live for the first time with my new music. The whole festival season was canceled so I thought it would be better to just focus on writing more music. I feel very grateful that I have my studio at home so I can work whenever want, that’s really nice. Since 2020 I also signed a publishing deal with Cloud9. They connect me to other producers/songwriters so I really have plenty of work and inspiration that keeps me going. This summer they’ve sent me on a writing trip to Berlin and I even had some online writing sessions. It’s cool that we can use the technologie to write with people all around the globe, but I really hope that it will be over soon so we can truly connect again.
Your new album ‘Dream Of You’ is out now, what influenced the sound and songwriting?
‘Dream Of You’ is the very first album I produced and wrote myself. After quitting my band I knew I did not want to stop making music and felt that I wanted to do something truly for myself. I wanted to make music that felt pure and honest, without any compromises. Over the years I collected a lot of sounds, plugins, guitars, synthesizers and effects and they all inspire me in my writing proces. I love the sound of analog gear like my Prophet Rev2, but also use a lot of soft synths in my productions because they get better every year and it’s just really fast to work with.
How did you go about writing the music?
The way I write songs is the way a lot of modern producers work nowadays, with my Macbook and Logic Pro x. For me it always starts off with music only. I try to make a solid track that’s already tells a story to me, without any vocals or lyrics. When I feel that it’s time, I just start singing and try to translate the music into words to tell a story. For me this works for most of the time. Even for the title track ‘Dream Of You’ the instrumental was already finished for 99%. Only this time I liked the instrumental so much that I thought my voice killed the vibe of it. I just could not finish it. After a few months of trying I just woke up with the Dream Of You vocal ID in my head and now I’m really happy with the end result. Sometimes you just have to put an idea aside, especially when you work on it by yourself 🙂
Where and when did you record/produce/master?
All at the same time haha. Okay that’s not entirely true, but the way I see it is that it all works together as a balanced triangle. I write, record, produce and master in the same project. This way I have all my favorite plugins/FX and sounds ready so I can work fast. Also I can already feel the vibe of the master chain and get a better picture of the end result while working on the track. For me this works best, because I can just keep going without any time consuming exporting stems etc. When the track is nearly finished, my brother Devi (NEW_ID) opens up my project for the last tweaks and does the final master. We’ve built the template together and he knows exactly what he’s doing. I always think its great to have an extra pair of ears because after a while you’re just used to the way it sounds and you can’t make any objective decisions anymore. And sometimes you just have to kill your darlings!
Please tell us about how you approached the recording/production process:
For this album I wanted to experiment with lots of instruments and styles of singing, but still wanted to have a clear focus and overall sound. What really helped me accomplishing an overall sound is that I made a very big template with all of my favorite reverbs, delays etc. This way it feels like songs of the album sits in the same space. All guitars where recorded trough a Bassman 100 72 amp and I only used one mic for my vocals, the Aston Origin. My main synth sound for pads is the Dave Smith Prophet Rev2. I just love analog filters, noise and the level of imperfection. There’s just some magic to it that plugins sometimes can’t match up to and it really inspired the overall sound of my album. I recorded all synths and vocals true a UAD Apollo Twin Quad with an Octo satellite for extra DSP to go crazy on the plugins.
What programs/instruments did you use?
DAW: Logic Pro X. I started Ends > begin and Room for Error in Ableton Live, but ended up exporting all the tracks to Logic because it matches my workflow better
Plugins: Roland Cloud, UAD, Valhalla, Soundtoys, Fabfilter, Wavesfactory, Waves, Sonarworx & many more
Instruments: Fender Telecaster, Gibson ES325, Prophet Rev2, Epiphone Thunderbird bass
Please tell us about your transition from being in a band to going solo:
In 2013 I started a band with a few friends from my hometown: Silent War. We all shared the same drive and knew this was something we wanted to do. We experienced some crazy adventures together and I can only look back on that time with a big smile. Unfortunately after a few year we all felt that we needed to do something else and we all went a different way. This is when I started my solo project. I always produced the demo’s for the band, so it felt very natural to me to start producing my own music.
How did you come to work with and release on Enroute Records?
I met Quirijn at Armada when my brother Devi was invited to play there during ADE. My brother used to work with him when Quirijn was part of Volt & state so he introduced me to him. Q told me that he had some instrumentals he was working on and I offered him to write some vocals for them. The week later he actually send me the tracks and I was really thrilled to write for him. I wrote and sang the vocals for’ Higher’ and ‘On Your Mind’ and that’s how we started working together. I just started producing my own songs and asked Quirijn if he could give me some feedback on the production. After a few months I was confident to ask him if he wanted to release it on his record lable, Enroute. He helped me out with the release, promo and still gives me feedback on my tracks. He’s also very much into indie styles of music so I think it was just right place, right time. We became close friends and it’s just great to work with people who have the same passion about music.
What do you like to do away from music?
When I’m not in the studio, I love to go to the beach. I’ve been (kite)surfing ever since I was 13 and work part-time in a kitesurf store in NL. It’s just great to clear your mind, exercise and have some fun with friends. You should definitely go try it out!
Who are you listening to at the moment?
I feel very inspired by ‘indie’ acts like M83, Foals, the XX, RÜFÜS DU SOL, but also more ambient artists like George FitzGerald, Jon Hopkins & Rival Consoles. I guess what I love about music is that it’s a real journey and it takes you to another dimension.
What’s planned for the remainder of 2020 going into 2021?
For now I want to focus more on the live aspect and work on my live setup. Also I started on album 2 so let’s see where that will take me.
Favourite food and place to hangout?
Thai Food – Any beach.
the partae
The Partae
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Listen to music by George Bassman on Apple Music. Find top songs and albums by George Bassman, including Main Title / The Contract for Gold / The Trek Begins / Elsa's Mad Dash Arrival / Elsa's Long Gown / Heck Tempts Elsa / The Boys Reminisce / Love in the Way / The Bigot / The Trek Continues / Philosophy of Life (From "Ride the High Country" Soundtrack), So Long Partner (From 'Riding the High Country') and more.
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https://music.apple.com/ca/artist/george-bassman/201183
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Main Title / The Contract for Gold / The Trek Begins / Elsa's Mad Dash Arrival / Elsa's Long Gown / Heck Tempts Elsa / The Boys Reminisce / Love in the Way / The Bigot / The Trek Continues / Philosophy of Life (From "Ride the High Country" Soundtrack) - E - EPâ·â2014
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https://gameshows.fandom.com/wiki/Richard_Hayes
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Richard Hayes
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Richard Herbert Hayes (January 5, 1930 – March 10, 2014) was an American singer and actor and, in his latter career, a game show host and talk radio host. Hayes was well known during television's golden age as the unnamed boyfriend opposite his real-real-life wife Peggy Ann Garner to Barbara...
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Game Shows Wiki
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https://gameshows.fandom.com/wiki/Richard_Hayes
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Richard Hayes Name: Richard Herbert Hayes Born: January 5, 1930 Birth Hometown: Brooklyn, New York Died: March 10, 2014 Place of death: Los Angeles, California Occupation: Singer
Actor Years active: 1948-1990
Richard Herbert Hayes (January 5, 1930 – March 10, 2014) was an American singer and actor and, in his latter career, a game show host and talk radio host. Hayes was well known during television's golden age as the unnamed boyfriend opposite his real-real-life wife Peggy Ann Garner to Barbara "Babs" Smith on the ABC sitcom Two Girls Named Smith for two seasons in 1951.
Hayes was best-known and remembered for his music. Born in Brooklyn, New York, on January 5, 1930, Hayes had much success as a recording artist while in his late teens. Between 1948 and 1953, Hayes had fourteen top 25 hits. That included four top-10 hits recorded and produced during his time at Mercury Records. His most successful record was his rendition of The Old Master Painter which was released in 1949. The song, produced by Mitch Miller, reached no. 2 on the national charts in December 1949 and remained on the charts for twelve weeks until March 1950.
In addition to Mercury, Hayes recorded and produced songs for ABC, Decca, Columbia and finally Contempo Records. After leaving Contempo in 1964, Hayes pursued a further career in television making several appearances on The Ed Sullivan Show and The Robert Q. Lewis Show. Hayes also was a regular guest on Arthur Godfrey's television and radio series between 1958 and 1972.
Hayes was also noted for his military service and career during that time. He was drafted into the military, (Army specifically), in 1953. His rank was second lieutenant. Hayes was stationed at Fort Dix, New Jersey then Governors Island, New York. He served during the Korean War which ended in June 1953, a few months after Hayes' conscription, and the Cold War. The fact that he was in the army and his musical/acting background, Hayes earned a permanent spot as the emcee and co-host with Arlene Francis on the ABC competition series Soldier Parade in 1954. He was hired after the departure of Steve Allen. He remained on the show until its cancellation in June 1955. He also left the army that same year.
In the 1970s, Hayes retired from acting and became a game show host. Several game shows he hosted include the syndicated version of Name That Tune from 1970–71 and All About Faces. He also worked as a talk-radio host at several radio stations in Philadelphia and New York City before retiring in 1990.
Early life[]
Richard Herbert Hayes was born on January 5, 1930 in Brooklyn, New York. Hayes was a part of the glee club in high school. Hayes got his first singing job on Bob Emery's Rainbow House children's radio program. He heard the program on WOR radio one day when he was 14. After auditioning to sing on the show, he got a part in the show's choir. The series was cancelled shortly after Hayes joined the cast.
Career[]
Hayes was discovered by a personnel from Mercury Records in 1948. Hayes was singing at the Leon & Eddie's nightclub in New York City. He was approached by somebody who invited Hayes to perform on Art Ford's local Saturday night TV series on station WPIX in New York. Hayes eventually became a regular performer on Art Ford Saturday Night. A vice president from Mercury saw Hayes on the series and invited him to record for Mercury. Between 1948-1949, Hayes made three recordings for Mercury that weren't that successful. But his fourth recording, a version of the song "The Old Master Painter", became an instant success.
The song had been previously recorded by singers Dick Haymes, Peggy Lee & Mel Tormé, Phil Harris, Snooky Lanson and Frank Sinatra. But it was Hayes' recording of this song that made the charts. The song was ranked number 2 on the Billboard Hot 100 charts and remained there for twelve weeks.
The next song he recorded for the Mercury label was a version of the song "My Foolish Heart" in 1950. He again enjoyed the producing accompaniment of Mitch Miller. Hayes also enjoyed another hit. Although not as popular as his previous song, "My Foolish Heart" did manage to rank number 21 on the charts. Shortly after the release of the song, Miller left Mercury and joined rival label Columbia Records. Hayes remained with Mercury and recorded four more songs that did not place on the charts. But the fifth song he recorded, a duet with Kitty Kallen entitled "Our Lady Of Fatima", managed to reach number 10 on the charts beginning in September 1950 and remained there for three months.
In March 1951, Hayes recorded another duet with Kallen entitled "The Aba Daba Honeymoon". The song was also on the charts for three months. Before Hayes and Kallen recorded the song, it was made famous by Debbie Reynolds and Carleton Carpenter in the movie Two Weeks with Love the year earlier.
During the summer of 1951 Hayes recorded a version of Nat King Cole's hit "Too Young" on the Mercury label. It reached number 24 on the pop charts. That side charted at number fourteen as did the flip side "Go! Go! Go!" both recorded with George Bassman's orchestra. In late October 1951, Hayes had another big seller for Mercury entitled "Out in the Cold Again" with The Joe Reichman Orchestra. The record again made it into the top ten best sellers in the country and remained on the charts for close to three months. Hayes' next hit came in May 1952 with the tune "I'll Walk Alone" which, despite a number of versions including the big hit version by Don Cornell, Hayes' recording got to number 24. At the same time his recording of "Junco Partner", recorded with Eddie Sauter's Orchestra, was released. The record had a three-month stay on the charts and was ranked number fifteen.
His next two songs were recorded with the accompaniment of The Jimmy Carroll Orchestra. They were "The Mask Is Off" and "Forgetting You". Both of the songs were recorded in 1952, the latter being ranked number 15 on the charts. Hayes' last hit song with Mercury was entitled "Midnight in Paris", recorded in the summer of 1953 with The Richard Hayman Orchestra, which was a top twenty-five seller.
Hayes left Mercury Records in 1954 in hopes of joining Columbia Records where Miller had gone four years earlier. But when Columbia turned him down, Hayes joined the ABC label. He left ABC in 1957 and joined the Decca label. He remained with Decca for two years before Columbia finally signed Hayes in 1960. He left Columbia in 1961. He released more than 40 sides with ABC, Decca and Columbia but none of them ever made the charts.
Hayes was drafted into the military in 1953. He served in the Army and was stationed originally in Fort Dix, New Jersey then in Governors Island, New York. He served during the last few months of the Korean War. During his service in the military, Hayes was selected to become the co-host of Arlene Francis and replacement for Steve Allen on the game show Talent Patrol. He remained with the series until its cancellation in 1955 and left the military that same year.
Hayes also made frequent guest star appearances on The Ed Sullivan Show and The Robert Q. Lewis Show between 1956-1964. Hayes also made frequent appearances on Arthur Godfrey's radio and television programs between 1958 and 1972.
Shortly after the release of his last record in 1964, Hayes worked on several game shows. He first worked as an announcer on the original ABC game show Supermarket Sweep from 1965-1967, followed by a stint as host of the 1967-1968 series The Baby Game. From 1970-1971, Hayes was the host of the syndicated version of the game show Name That Tune. He also was the host of the Canadian syndicated hidden camera game show All About Faces from 1971-1972.
In the late 1970s, Hayes moved back to New York where he became a congenial radio host. He first spent several years at WMCA in New York, then went to WWDB in Philadelphia, and from there to WCAU 1210am (now WPHT), where he stayed until 1990. While on radio in Philadelphia, he wrote and recorded his radio show theme song to the tune of Secret Agent Man.
Personal life and death[]
Hayes was originally married to actress Peggy Ann Garner from 1951-1953. Hayes was Garner's co-star on Two Girls Named Smith. Garner and Hayes divorced in 1953. Hayes married a second time. With his second wife, Hayes had four children; Drew, Jackie, Jim and Gideon. His son Jim is a TV sportscaster for The St. Louis Cardinals Major League Baseball team. His son Drew works for Cumulus Talk Radio in Los Angeles.
Hayes died on March 10, 2014 in Los Angeles, California after battling a long illness. Survived by his children and several grandchildren, Hayes died at the age of 84.
Shows hosted[]
Baby Game
Name That Tune
All About Faces
Show announced[]
Supermarket Sweep
Shows appeared[]
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Bassman Family History: Last Name Origin & Meaning
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Bassman family history, genealogy, and family tree. Find the origins, meaning of the Bassman name, photos, and more.
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https://static.ancientfaces.com/favicon.ico?v=2
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https://www.ancientfaces.com/surname/bassman-family-history/679
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History
We don't have any information on the history of the Bassman name. Have information to share?
Name Origin
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Spellings & Pronunciations
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Nationality & Ethnicity
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Famous People named Bassman
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Early Bassmans
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Amhad Jarrard - Men's Basketball
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Amhad Jarrard (5) Guard - 2023-24 - Redshirt: Missed the season due to injury... named to IUPUI's Academic Advisor's List (3.0 GPA or better) for the fall semester.
2022-23
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IU Indy Athletics
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https://iuindyjags.com/sports/mens-basketball/roster/amhad-jarrard/7622
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2023-24 Men's Basketball Roster
Choose a Player:
Jason Cohn
Brian Drumm
Ricky Bassman
Ricky Bassman
Brian Drumm
Position Guard
Height 6-4
Weight 180
Class Sophomore
Hometown Indianapolis, Ind.
Highschool Mt. Vernon
Bio
Related
Stats
Historical
Biography
2023-24 - Redshirt: Missed the season due to injury... named to IUPUI's Academic Advisor's List (3.0 GPA or better) for the fall semester.
2022-23 - Freshman: Played in 22 games, making nine starts... averaged 4.5 points, 1.9 assists and 1.3 rebounds per game while playing 19.4 minutes per contest... missed multiple games due to injury during the season... had his lone double-digit scoring game of the season with 12 points (4-8 FG, 4-4 FT) and two boards at Green Bay on Dec. 5... had nine points (3-7 FG, 1-2 3's, 2-2 FT) and five assists at Robert Morris on Jan. 9, playing a season-high 31 minutes in that contest... had five points and a season-high six assists in the win over Spalding on Dec. 12... had a point and season-high five rebounds and two assists in the win over Green Bay on Feb. 4... had a season-high two steals on two different occasions.
High School: Three-year starter at nearby Mt. Vernon High School... selected to the prestigious Indiana All-Star Team... ISCA Large School All-State honoree as a senior... averaged 14.6 points, 4.3 rebounds, 3.8 assists and 1.2 steals per game as a senior while shooting 63.1 percent from the field... helped the Marauders to a 22-3 record... guided Mt. Vernon to back-to-back sectional titles... named the 2021 Hancock County Player of the Year and two-time Hoosier Heritage Conference honoree... scored a season-high 26 points in a Jan. 22 win over Hamilton Southeastern his senior year... hit a game-winning three in the closing seconds to knock off Class 4A No. 1 Zionsville, 44-41, on Dec. 28, 2021... named an honorable mention underclass All-State selection... averaged 12.9 points, 3.5 rebounds and 2.6 assists per game as a junior... averaged 10.7 points, 4.7 rebounds and 3.4 assists per game as a sophomore... closed his prep career with 895 points, 287 rebounds and 225 assists... averaged 11.6 points per game for his varsity career while shooting 56 percent from the field... had 14 points for Team Terhune in the Boys Hoosier Gym Classic at historic Hoosier Gym... played summer basketball with George Hill All Indy.
Year GP-GS MPG FG-A PCT 3FG-A Pct. FT-A PCT RPG PF-D A T B S PTS PPG 2022-23 22-9 19.4 38-102 37.3 6-25 24.0 18-25 72.0 1.3 41-1 42 40 4 9 100 4.5 2023-24 Redshirted - Did not play Totals 22-9 19.4 38-102 37.3 6-25 24.0 18-25 72.0 1.3 41-1 42 40 4 9 100 4.5
Career Highs (as of 3/10/2024)
Points: 12 at Green Bay (12/5/22)
Rebounds: 5 vs. Green Bay (2/4/23)
Assists: 6 vs. Spalding (12/12/22)
Field Goals Made: 4 - twice
Field Goal Attempts: 10 vs. Eastern Illinois (12/17/22)
Threes Made: 1 - six times
Threes Attempted: 3 - four times
Free Throws Made: 4 at Green Bay (12/5/22)
Free Throw Attempts: 4 - twice
Blocked Shots: 1 - four times
Steals: 2 - twice
Minutes: 31 at Robert Morris (1/9/23)
Related Content
There is no related content available.
Related Headlines
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Statistics
Season:
2023-2024
2022-2023
2023-2024
Season Statistics
Season Statistics
No statistics available for this season.
Career Statistics
There are no statistics available for this player.
Historical Player Information
5
2022-2023Freshman
Guard
6'4" 180 lbs
5
5
2023-2024Sophomore
Guard
6'4" 180 lbs
5
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https://gershwin100.wordpress.com/2019/09/20/everything-but-you/
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Everything But You
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[
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[
"Michael G. Morris"
] |
2019-09-20T00:00:00
|
We'll get to this Oscar Levant song, but my story of finding this song goes waaay back... You're sitting on a tree stump in Borneo 3,000 miles from home. The world is at war, and as a 20-year-old in the Royal Australian Air Force, so are you. What better time to begin a lifelong love…
|
en
|
https://secure.gravatar.com/blavatar/2b63ba897b21cb42fef0e8fa6515bb354a66897a87e5fa3f549f598e1d1303be?s=32
|
Gershwin 100
|
https://gershwin100.wordpress.com/2019/09/20/everything-but-you/
|
We’ll get to this Oscar Levant song, but my story of finding this song goes waaay back…
You’re sitting on a tree stump in Borneo 3,000 miles from home. The world is at war, and as a 20-year-old in the Royal Australian Air Force, so are you. What better time to begin a lifelong love of music?
That’s where it all started for Frank Bristow, listening to American Forces Network radio programs in 1945 and escaping for a moment or two into the sounds of big bands a world away. Frank, now 94 and living in Brighton, Australia (near Melbourne) was part of the Borneo Campaign, one of the last big battles in the Pacific toward the end of the war.
His appreciation for that music expanded along with his extensive music collection over the many decades. Frank’s initial collecting days in the 1940s were helped along by his father who was a captain in the Australian Entertainment Unit of the Army. As Frank wrote me recently, his father “was, from time to time, able to get me records not generally available. Records were hard to come by in those days due to the shortage of shellac.”
From those earliest days, his collection now takes the form of 532 carefully curated CDs of music that you might not find anywhere else. When I went in search of the Debroy Somers Band’s soundtrack to the 1932 Oscar Levant musical Out of the Bottle, I could find it nowhere else in the world but at Frank’s website! (You really should check out Frank’s website!)
Though Frank was and is the mastermind and financier of it all, his efforts would not have taken on their present form without help from a few friends. Some of Frank’s international roster of allies in the field include:
Alan Bunting (Scottish sound engineer)
Andy Pope (American restorer)
Bill Park (American researcher)
Jim Drake (American writer and researcher)
Ray Kolle (Australian writer)
Ian Dodds
Ivan Hutchison (“Mr. Movies” on Channel 7)
Neville Wragg
Bert Whelan
and “Mr. Movies,” Bill Collins (Australian film critic and TV personality)
Incidentally, in the pre-internet days, Frank only once sought out others interested in music collecting by running a single ad in the local Radio Times newspaper, asking for others who share his same devotion to preserving music.
In response to the Gershwin emphasis in my Gershwin 100 blog, Frank said, “Along the way, I came in contact with Gershwin aficionado Michael Feinstein (we both still keep in touch), and if one needed to be inspired by that outstanding musician [George Gershwin] and his brother [Ira], they naturally appear in many of my CD issues.”
I do not have the opportunity to ask this of just anybody, but I had to ask Frank if he remembered hearing the news of George Gershwin’s death in 1937 when Frank was just 12 years old.
Frank: “No, I was too young to recall news of George’s death. It sticks in mind from the movie Rhapsody in Blue. It partly drew Bert Whelan and me together in our crusade to preserve George’s music. The set of George Bassman & His Orchestra playing Gershwin is, to mine and Bert’s minds, terrific. But you have to be pretty bad to destroy the genius that was the Gershwins.”
I asked Frank if he could single out a few of his all-time favorites, and he responded, “My two top favorite records are Mario “Harp” Lorenzi and Anton & The Paramount Theatre Orchestra. If you look at my site, you’ll find that I’ve also done a couple dozen of special discs featuring their music.” On the topic of Oscar Levant, Frank said that “Blame It On My Youth” as sung by Mabel Mercer was a personal favorite.
From fighting Imperial Japan to amassing a truly remarkable treasury of musical history, Frank has shown how one dedicated person and his allies can achieve so much when they unite for a worthy cause.
Thanks, Frank, for keeping the music alive!
By the way, Frank’s website is being updated. The new email to contact him for ordering CDs has changed recently and is franbris01@gmail.com.
The Song “Everything But You”
What makes this duet unique is that it is of that rare genre of song, the love/hate song. She is sweet on him, while he has soured on her. It is not your typical love song duet, and therefore it may have been doomed to obscurity. The lyrics by Clifford Grey are enjoyable, though they do always fit the accents of the melody every time.
Levant’s music is fine, with colorful harmonies and syncopated moments in the melody, but I have to admit that it doesn’t have that spark of Oscar-riginality that I have come to expect in a Levant song.
Sorry if it’s a little cramped on the page (see PDF below). I prefer to keep songs to one page if at all possible.
Below is the live recording from the 1932 London musical Out of the Bottle, and it is sung by Jack Leopold and Frances Day with music by Debroy Somers and His Band. Note how Jack Leopold appears to misremember the lyrics compared to the official lyrics from the sheet music printed below (or were they rewrites?).
Download the PDF of the simplified sheet music to “Everything But You” here: Everything But You
Lyrics to “Everything But You” by Clifford Grey:
Verse 1: (She) Can’t you be more easy to please.
(He) You don’t seem so easy to freeze.
Why be so insistent?
(She) Must we be so distant?
Does this mean you’ll never unbend?
Don’t you fancy me for a friend?
Why must we be formal?
(He) I’m perfectly normal.
Chorus 1: (He) Lots of things I like: flowers in spring,
gardens by moonlight, birdies that sing.
I like mountains, lakes, and music.
I like everything but you.
Lots of things I want: freedom from care,
sunshine to loaf in, money to spare.
I want rest and sweet contentment.
I want everything but you.
I like shady walks, quiet peaceful shady walks,
but I like to walk without you.
I like cozy talks, quiet cozy little talks,
but don’t want to talk about you.
Lots of things I need, take it from me.
I need my breakfast, also my tea.
I need sugar in my coffee.
I need everything but you.
Verse 2: (She) I must seem quite silly to you,
liking you the way I do.
(He) That doesn’t surprise me
Still your method tries me.
(She) I’m not always quite such a fool.
Most partic’lar ‘me’ as a rule.
(He) I’d care if it mattered.
(She) You ought to be flattered.
Chorus 2: (She) Lots of things I hate: ping-pong and flies,
soup and goloshes*, bridges and black ties.
I hate rules and regulations.
I hate everything but you.
Lots of things I hate: fat men in spats,
wireless programs and prunes and top hats.
I hate string quartettes and spinach.
I hate everything but you.
I hate flutes and mice, listening to advice,
and getting up on Monday.
I hate catching trains and eating cold remains
of things we had on Sunday.
Lots of things I hate: colds in the head,
plus fours, and Shakespeare, crumbs in my bed.
I hate fish and my relations.
I hate everything but you.
* Not sure if the lyric “soup and goloshes” means “soup and galoshes” or “soup and goulashes.” Frances Day’s recording below sounds like “galoshes.”
|
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https://www.mattkendrickjazz.com/about
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en
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mysite
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[] |
[
""
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[] | null |
en
|
mysite
|
https://www.mattkendrickjazz.com/about
|
Matt Kendrick and his groups entertain audiences locally, regionally and around the southeast at a range of venues, including private events, festivals and clubs.
When not leading his own groups, Kendrick has played with the greatest, including jazz legends Marian McPartland, JoAnne Brackeen and Archie Shepp. When not playing, he’s composing; he’s one of the few musicians to have won the NC Jazz Composers Fellowship twice.
Kendrick’s performances and compositions reflect his musical journey. After attending the NC School of the Arts in his hometown of Winston-Salem, he moved to New York City. His musical career took off as he played in a number of avant-garde groups. When the chance arose to study with renowned jazz educator Jerry Coker, Kendrick returned south to Tennessee, where he honed his technique and performed with the Knoxville Symphony Orchestra. In 1981, Kendrick headed home to Winston-Salem and emerged as a leader in North Carolina’s jazz scene.
Critics from around the country have applauded Kendrick’s CDs, which have appeared on national radio charts. His CDs—four on his own label, Suitcase Music—feature over forty original works.
Kendrick also scores music for films. His credits include The Dark Power, Weather or Not, and The Darien Gap, which won second place at the Sundance Film Festival.
Devoted to music education, Matt Kendrick was on the faculty at Wake Forest University for 25 years. He’s also the Musical Director of Carolina Music Ways, a non-profit group that performs in K-12 schools. Dedicated to giving back to his community, Kendrick is co-artistic director for Music Carolina an arts presenting non-profit.
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https://www.last.fm/music/George%2BBassman
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en
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George Bassman music, videos, stats, and photos
|
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[
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[] |
2024-02-19T00:00:00
|
Listen to music from George Bassman like I'm Getting Sentimental Over You, The Postman Always Rings Twice/Theme & more. Find the latest tracks, albums, and images from George Bassman.
|
en
|
Last.fm
|
https://www.last.fm/music/George%2BBassman
|
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https://www.allaboutjazz.com/news/bill-kreutzmann-papa-mali-george-porter-jr-7-walkers-2010/
|
en
|
Jazz news: Bill Kreutzmann, Papa Mali, George Porter Jr.
|
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[] |
[] |
[
""
] | null |
[
"SOMETHING ELSE! >",
"Something Else!",
"All About Jazz"
] |
1970-01-01T00:00:00
|
Jazz news: Bill Kreutzmann, Papa Mali, George Porter Jr. - 7 Walkers (2010). Posted in “Recording” column. Published: November 12, 2010 @ All About Jazz
|
en
|
https://www.allaboutjazz.com/icon/favicon.ico
|
All About Jazz
|
https://www.allaboutjazz.com/news/bill-kreutzmann-papa-mali-george-porter-jr-7-walkers-2010/
|
Home » Jazz News » Recording
|
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dbpedia
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| 65
|
https://going-postal.com/2024/08/desert-fox-erwin-rommel-and-the-deutsches-afrikakorps/
|
en
|
Desert Fox: Erwin Rommel and the Deutsches Afrikakorps – Going Postal
|
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https://going-postal.com/2024/08/desert-fox-erwin-rommel-and-the-deutsches-afrikakorps/
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The “Deutsches Afrikakorps” (DAK) were formed in 1941 after the failure of the Italian defence of their North African colonies against the British advance in Operation “Compass”. The Germans sent out the DAK, initially composed of the 5th Light Infantry Division and the 15th Panzer Division, with the intention of providing only a level of support sufficient to bolster the Italians and block any further British advance.
The DAK commander was General Erwin Rommel who had specific orders from the German High Command to limit any assistance given until all of his allocated forces were established on the ground in the Italian colony of Tripolitania. Rommel was also given by the Italian High Command, the control of their limited motorised forces still in existence but was also made by them to be subordinate to their General Rodolfo Graziani.
Johannes Erwin Eugen Rommel was born in 1891, his father was a teacher and his mother the daughter of a local government official. He joined the 124th Infantry Regiment in 1910 as an “aspirant” or Officer Cadet and ended WW1 having fought initially in France, winning the Eisernes Kreuz 2nd class, as a Kapitän decorated with the “Pour le Merit” for his leadership of actions on the Italian Front.
He remained in the reduced German army post WW1 and, as the new German Republic descended into Communist inspired civil strife into the 1920s, he personally led bloodless security actions to restore law and order in places like Frederikshavn and Lindau.
In the 1930s, Rommel was an instructor at the German War Academy when he authored his book on tactics, “Infanterie greift an” (Infantry Attacks), based on his WW1 experience, that had a considerable influence on the development of the Wehrmacht. Rommel was then assigned to being the liaison officer to the Hitler Youth but was subsequently removed from that post when tried to take it out of the control of the NSDAP and into that of the regular German army.
In 1938, he was seconded to command the Führerbegleitbrigade (Führer bodyguard) and in 1939 was promoted to Generalmajor. During this period Rommel in public apparently appeared to be ambivalent about the aims of the ruling NSDAP, his son Manfred saying that he “would look the other way” when confronted with anti-Jewish violence but in private he openly disagreed with the government’s antisemitism.
In 1939, following the invasion of Poland, Rommel was promoted to being the commander of a Panzer Division, ahead of more senior rivals, because of what was seen as his applicable use of surprise and manoeuvre in his WW1 command achievements that would suit tank warfare.
In 1940 he had successfully demonstrated his capabilities by fighting from the front with his Panzers across France to the Channel coast, the capture of the citadels of St Valery-en-Caux and of Cherbourg, and the surrender of over 12,000 soldiers including General Victor Fortune of the 51st Highland Division.
General Rodolfo Graziani on the other hand was an Italian noble and ardent Fascist known by the Arabs as the “Butcher of Fezzan” from his exploits in Libya from 1921 through to 1934 when he crushed the Senussi Rebellion (see Desert Mysteries – Part 1) and who had thousands of Ethiopians massacred in Addis Abba in 1937 when he was the Viceroy of Italian East Africa.
It was thus unsurprising that, given Graziani was the antithesis of the professional soldier, middle class and seemingly apolitical Rommel, that Rommel did not get on with Graziani and so did not directly inform him of his plans for the DAK.
After a parade in the Port of Tripoli on 15th February 1941 of only a small proportion of his force that had by then landed, the then Generalleutnant Rommel launched his offensive on the 18th, with a push forward of the 3rd Reconnaissance Regiment and the 39th Anti-tank Battalion. An unexpected offensive that surprised both the German and Italian High Commands as well as the British under General Alexander Wavell.
This eventually resulted in the thrusting back of the forces opposing the DAK out of Tripolitania and across the Italian colony of Cyrenaica to the port of Tobruk situated close to the Egyptian border. At the start of this offensive, Rommel had successfully requested that the Luftwaffe bomb Benghazi to disrupt the British supply lines, a task apparently declined by the Italian Air Force as many of their officers owned palatial homes there.
The DAK did not at any time have superiority over the opposing British in either numbers or firepower, but they had a commander who had already developed his theories of mobile warfare in practice during the Blitzkrieg across France and who led his men from the front, having the same food and water rations, and suffering the same privations and risks.
In particular, his tactically coordinated use of anti-tank guns and infantry supported by tanks overcame the sedentary British who, through outdated WW1 thinking and lack of effective training, failed to be able to use their infantry and tanks in conjunction with each other. Rommel apparently stated that, “Why should I bother about the superior number of British tanks when their commanders always use them in driblets? Against those driblets I am stronger with my army.”
Rommel would reconnoitre the terrain he would be attacking across either with his recon group or from the air (prior to the 18th of February he had flown in a Heinkel He111 over the approach his offensive would take), and then would set up the starting positions of his forces to gain the greatest advantage, usually that of surprise by appearing unexpectedly “out of the desert”.
At the beginning of an attack, usually after an artillery bombardment, it would be the DAK anti-tank guns covered by supporting Panzers that first moved forward and engaged the British tanks.
The British, in response, consistently failed to support their tanks adequately with infantry so that as soon as the anti-tank gunners had dealt with the tanks, the Panzers could then attack and overrun the British infantry positions and soft-skinned vehicles.
He would then “leapfrog” his forces so that as the Panzers were mopping up, the anti-tank gunners would quickly pass through them and move ahead to pursue the retreating British.
Frequently he outflanked the British which resulted in the capture of headquarters units such as that of Major-General Michael Gambier-Perry of the 2nd Armoured Division, Lieutenant-General Philip Neame, General Officer Commanding (GOC) Cyrenaica, and even that of Lieutenant-General Richard O’Connor, GOC British Troops in Egypt, who had been in charge of Operation Compass.
Rommel, by using almost all of his forces in mass attacks to repeatedly defeat the superior forces the British set against him, ended up with the DAK suffering overstretched supply lines due to their rapid advances.
However, the DAK took the opportunities to refuel and reequip in the field they were given by the British tendency to abandon their equipment, especially tanks, trucks, fuel and food stores, when attacked. Rommel is reputed to have told one of his officers, who had queried how they were to be supplied during an advance, to “take petrol hoses with them and get their fuel off the British”.
Eventually the majority of DAK supply trucks had inadvertently been provided by the British, the DAK fought in Beutepanzer platoons of captured British Matilda, Valentines and Crusaders tanks alongside their own Panzer II, III and IV. They ate captured British tinned foodstuffs, in particular the cases of Brazilian corned beef and those of “compo” ration packs of bully beef, spam, steak and kidney pudding, beans, cheese, jam, biscuits, soup, sausages, and margarine, unsurprisingly considered superior to the usual DAK diet of black bread, sardines and raw onions.
They even wore items from captured British clothing stocks with socks, pants and boots being particularly sought out as, along with shorts and great coats, their own were worn out and rarely could be replaced.
Unlike the British commanders who expected set-piece battles and thought that holding onto large areas of empty desert territory was important, Rommel, who compared desert warfare to a sea war and apparently said to his officers that “no admiral ever won a naval battle from a shore base,” concentrated on exploiting the rapid mobility of his mechanised forces along with the loyalty, flexibility, skill and resilience of his men whilst utilising the seemingly boundless open terrain of the desert to freely manoeuvre his forces.
Ultimately however, the DAK were defeated by being unable to replace their losses of men and armour due to the attrition of their supplies and supply routes by the RAF and RN aided by “Ultra” intercepts and code-breaking of German radio messages by a German High Command whose priorities were always elsewhere until it was too late. And finally, after Operation “Torch”, by having to fight simultaneously on two fronts, in the East and West, against Allied armies with now virtually limitless supplies, particularly armour, being shipped in from the burgeoning American military-industrial complex.
Rommel was not with his men when the last of them went into captivity, having been invalided back to Germany and been refused permission to return, but had Rommel’s first offensive passed Tobruk, crossed the Egyptian border and taken the Suez Canal, WW2 would have taken a completely different course.
Rommel was a hero to his men, seen as being “one of them” and was not only also admired by the troops he fought against but even Churchill praised him as “a great General” in the House of Commons. In post-war Germany, he was used as an example of a “good German” integration figure, especially as details of his involvement in the July 1944 plot and the events surrounding his death emerged.
However, as with all history, his reputation today and that of the Deutsches Afrikakorps are now being rewritten by “woke” revisionists who, rather than look at the military results they achieved, such as smashing the British 8th Army at Gazala and taking tens of thousands of prisoners, have decided that it was, in fact, all down to Dr Goebbels’ propaganda, that the DAK getting close to a decisive victory in North Africa was fantasy and Rommel was a Nazi who, had he survived, should have been tried for his supposed “war crimes” against Jews and Arabs.
The Bundeswehr, despite having two of its primary barracks (Generalfeldmarschall-Rommel-Kaserne in Augustdorf and Rommel-Kaserne in Dornstadt) named after him, the teaching of his tactics still taking place in military academies around the world, and even after the Bundesministerium der Verteidigung (German Ministry of Defence) announced in 2018 that Erwin Rommel would continue to be a “tradition-forming figure”, is under pressure that they should drop this so-called “hero worship”.
Instead, they should use a more modern-day example of a good German General of the Bundeswehr. Exactly who this would be is open to question, given the apparent lack of potential candidates.
As for General Rodolfo Graziani, post-war the Ethiopians wanted him charged with war crimes via the United Nations War Crimes Commission but, ironically, this was blocked by the British and, with the Americans being effectively ambivalent to any Italian wrongdoing, he ended up only on a charge of treason brought by the post-Mussolini Italian Republic. He was sentenced to 19 years in prison for “collaboration with the Nazis” but was released after only a few months on the grounds his actions were after he had “received orders”. He died in 1955 and, in 2012, a large new mausoleum was built over his grave in Affile in Rome.
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https://en.wikipedia.org/wiki/Lynn_Seaton
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Lynn Seaton
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2006-09-18T14:48:33+00:00
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en
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/static/apple-touch/wikipedia.png
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https://en.wikipedia.org/wiki/Lynn_Seaton
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American jazz bassist
Musical artist
Lynn Seaton (born July 18, 1957 in Tulsa, Oklahoma) is a jazz bassist associated with bebop and swing.
He has appeared on over 125 albums, including Nirvana by Bucky Pizzarelli, and the Grammy Award winning Diane Schuur & the Count Basie Orchestra. He has also recorded as a leader on releases such as Bassman's Basement and Zoom Blewz.
He began with classical guitar, but switched to bass at age 9. He began his professional career after moving to Ohio with the Steve Schmidt Trio, and later he did a two-year world tour with the Count Basie Orchestra. He has performed and recorded with other notable musicians such as Woody Herman, Jeff Hamilton, and George Shearing. He currently teaches at the University of North Texas.
As leader
Bassman's Basement (Timeless Records, 1991)
Solo Flights (OmniTone, 1996)
Puttin' On The Ritz (Nagel-Heyer Records, 2002)
Live!!! (International Society of Bassists, 2003)
Lower Convergence Bass Trio with Jeffry Eckels and Brian Mulholland (Lower Convergence, 2005)
Zoom Blewz (Lynn Seaton, 2012)
As sideman (partial)
Woody Herman, 50th Anniversary Tour (Concord Jazz, 1986)
The Count Basie Orchestra, Long Live the Chief (Denon Records, 1986)
Diane Schuur, Diane Schuur & the Count Basie Orchestra (GRP Records, 1987)
Frank Wess, Tryin' to Make My Blues Turn Green (Concord Jazz, 1994)
Kenny Drew Jr., Portraits Of Charles Mingus & Thelonious Monk (Claves Jazz, 1995)
Jeff Hamilton Trio, Live! (Mons Records, 1996)
John Fedchock, On the Edge (Reservoir Records, 1997)
Butch Miles, Straight On Till Morning (Nagel-Heyer Records, 2003)
Steve Wiest, Out of the New (Arabesque Recordings, 2008)
Michael Waldrop, Origin Suite (Origin Records, 2018)
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https://secondhandsongs.com/artist/26941
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SecondHandSongs
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George Bassman covered Fast Freight, Can't Seem to Laugh Anymore, Vanity, Don't Blame Me and other songs. George Bassman originally did Can't Seem to Laugh Anymore, Fast Freight, Vanity, Don't Blame Me and other songs. George Bassman wrote (I'm Gettin') Sentimental over You.
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https://secondhandsongs.com/artist/26941/all
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Released on My Truly, Truly Fair (1951)
Covered by (17 artists)
Originally by (unknown), Fred Waring and His Pennsylvanians
Released on We Won't Live in a Castle (1952)
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https://www.tiktok.com/discover/solo-iwara-wanted
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Make Your Day
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https://www.ancestry.com/1940-census/usa/California/George-S-Bassman_2j0pst
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George S Bassman in the 1940 Census
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View George S Bassman's 1940 US census record to find family members, occupation details & more. Access is free so discover George S Bassman's story today.
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Ancestry.com
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https://www.ancestry.com/genealogy/records/results?firstName=george&lastName=bassman
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https://www.ancestry.com/1940-census/usa/California/George-S-Bassman_2j0pst
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George S Bassman in the 1940 Census
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View George S Bassman's 1940 US census record to find family members, occupation details & more. Access is free so discover George S Bassman's story today.
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Ancestry.com
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https://www.ancestry.com/genealogy/records/results?firstName=george&lastName=bassman
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http://paulplumeri.com/vin_guitar.htm
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The Paul Plumeri Blues Band
|
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Expect the unexpected when considering the blues-based music of Paul Plumeri. The veteran guitarist who is based in his hometown of Trenton, New Jersey, has been plying his trade for decades, and it appears his approach to the music is finally garnering recognition...all the way on the other side of the country. * Plumeri's done his share of extensive touring over the years, particularly when he was a member of Duke Williams &the Extremes in the late 1970s. The Extremes released two albums on the Georgia-based Capricorn label (Paul joined the band following those recordings), and nowadays, Williams is a member of Plumeri's band. What's more, during the guitarist's days in the Extremes, Duke Williams coined Plumeri's nickname, "The Bishop of the Blues," which appears on the cover of Plumeri's mid-'9Os solo album. * Another unanticipated aspect concerns Plumeri's surname, which is pronounced Plum-er-eye (not Ploo-MAR-ee). His heritage is Italian, and he asserts the latter pronunciation is technically correct, but for some reason, it assumed a different inflection in the Trenton area.
Vintage Guitar: When someone considers New Jersey's contributions to popular music, a typical reaction would probably be to cite Springsteen or Bon Jovi. How valid would a term like "Jersey Blues" be?
Paul Plumeri: I think it's a very valid term; even "Trenton blues." There's a niche of musicians here who've been practicing the art of the blues for at least 35 years, through all of the trends, like disco. The ones who've been playing it for a long time play it as good as anybody I've heard. Even though I play other styles of music, the blues style is always a part of my playing.
What was your first guitar?
Like many people, it was a huge Harmony archtop. My older brother had started playing it, thinking he was going to become Elvis Presley. When he found out differently, the guitar went off into a corner, and that's where found it. My parents let me take lessons, and really supported me.
After that, I got a copper Danelectro - many people started out with I those - and they're actually good guitars. Then a '59 Les Paul Standard that had been abandoned in a music store, still wrapped in its shipping paper! Mind you, this was before the blues bug caught me, and I wanted a Jazzmaster, because I was a big fan of the Ventures and surf bands. My father, God rest his soul, told me I was going to get the guitar that my teacher wanted me to get. I was the first person to open it up; it was new old stock - this was in '66. I was the only person who played up until I sold it; I couldn't justify it sitting around anymore. It broke my heart, in a way, but that kind of money is useful. But I learned to play blues on that guitar, so I started out with the best, I suppose.
What made you gravitate to the blues?
I had a couple of great inspirations. First of all, my uncle, Don - his stage name was Don Palmer - was a theatrical agent, and he managed [drummer] Buddy Rich, [drummer] Gene Krupa, and [singer] Arthur Prysock. I got to know Arthur very well; I grew up going to see him perform, and when I became good enough I played with him a lot in the black clubs in New Jersey in those days. It was a mindblowing experience, and an education of the highest order. Uncle Don would also bring me James Brown and Wes Montgomery records.
Second, we had a phenomenal R&B station, GBS, run by a man named George Bannister. He had all of the Bill Doggett stuff, Sam & Dave, B.B. King recordings.
Others have cited a station in Memphis as an inspiration. Did this station have a similar format?
Exactly! George was on in the '50s and early '60s. I was a little kid when I first heard "Honky Tonkin'," and it blew me away. There was something about that song that shook me up.
But as a rule I liked any kind of good guitar music - Roy Clark, Chet Atkins, numerous blues people, and the good thing was that heard B.B. King before I heard the British blues players. After that, I got into Clapton and all the others. I think my progression was in the right order.
What about some of your band experiences before Duke Williams & the Extremes?
I was in a very popular regional band called Hoochie Cooch. I started it when I got out of high school. It had different incarnations, but the most popular was when I had teamed with another guitarist named Joe Zook. We were a good two-guitar team; I wouldn't say we were totally inspired by the Allman Brothers, although they deserve a lot of credit. I think the original version of that band was the best band ever. Joe and I seemed to mesh our guitar styles very well.
What would have been your rig back then?
I had the 'Burst, which I ran I through a 50-watt Marshall plexi head or a Traynor, which is a Canadian amp; they're great amps and you can pick 'em up for a song. I had a Fender Vibrolux, but we tended to be pretty loud, so I used the Traynor or Marshall more. We did some recording, and band was on the verge of getting contract when it fell apart.
Duke Williams & the Extremes were Capricorn, but they weren't a Southern band. Do you think (Capricorn founder) Phil Walden was trying to branch out by signing bands with different styles?
I would say that's true, but I joined the Extremes after they'd done their recordings for that label. I'd known Duke for many years; I'd seen him one of his earlier bands, Alexander Rabbit, which was a Mercury (record label) act. He played guitar back then, as well as keyboards. Duke plays with me now; he's a Jersey legend.
Duke's idea was to have kind of blue-eyed soul band meshed with some different R&B sounds, and also the sound coming out of Philadelphia in those days - Gamble & Huff stuff. T.J. Tindall was in the original version of Duke's band, and he'd played records by the O'Jays and Trammps. It sounded totally different from any other band that was Capricorn at the time.
Hoochie Cooch died out around the Fall of' 76. Duke and Tindall been watching me throughout my whole Hoochie Cooch days, and recruited me. The liked the way I could play "effective" rhythm guitar and still play blues. I think that's indigenous to this neck of the woods; it was a melting pot of styles, including the Philadelphia thing.
Tom Johnston of the Doobie Brothers has said that his churning, chugging type of guitar playing is attributable to his experiences playing R&B and James Brown funk tunes.
That's certainly where I got it from. I wish I still had those James Brown records my uncle brought me, like Live at the Apollo; they'd be worth a fortune. Jimmy Nolan was a big influence on a lot of people, and none of us knew who he was (chuckles)!
"Papa's Got A Brand New Bag?"
It doesn't get any better than that! And I think Steve Cropper was great; he was more laid back, but still a great rhythm guitarist. The same goes for Curtis Mayfield.
Did you ever meet or jam with any of the original Capricorn artists?
We played a lot of shows with those bands; we traveled extensively, primarily on the East Coast.
One gig I did with Duke was at a place in Delaware called the Other Side. The guy who owned the place was bringing in some great acts Cheap Trick, Nicolette Larson. We were gonna headline the concert, and a band called the Dixie Dregs was gonna open.
We were doing the soundcheck there in the afternoon, and a big truck pulls in, and [original Allman Brothers roadie] Twiggs is driving it; he was one of Duane's best friends. He came in as we were doing the soundcheck, and sees I'm playing a 'burst; I was doing a blues number at the time, and he told me I sounded real good. Then he said, "I want to show you something in a little while; after I get some work done."
I found him later, and he brought over a road case and told me to open it up. I did, and recognized the guitar - it was Duane's sunburst! It was like a religious experience! He told me to pick it up, and told me he'd been carrying it around to various gigs, and if he liked the guitar player from another band, he thought Duane would have liked the guitar to be appreciated, and he said, "I'd be very happy if you'd play this for a few numbers."
Well, what can you say (chuckles)? I was honored, of course. I played it for a few songs, and I still have a tape of the performance somewhere. It was an eerie thing; I really don't know how to describe it - almost like an out-of-the-body experience. It was a high point of my career. Twiggs has passed on, but he was a real gentleman and a no bull**** kind of guy.
Did you go to directly from the Extremes to a solo career?
I left the Extremes at the end of 1980 for the express purpose of doing what I'm still doing now. I did get into sort of a Top 40 band for awhile; it had some great musicians but I was just biding time until I could find who I wanted to play with. My successor in the Extremes was Richie Sambora. Once I got the solo thing together, I covered a circuit, mostly in the tri-state area, but also as far down South as Virginia and North Carolina.
Over the years, the lineup of your band has changed from a basic guitar/bass/drums setup to guitar/keyboards/drums to a four-piece.
The three-piece with the keyboard player lasted about a year and a half. It was a great combination, but it collapsed rather quickly. Unfortunately, the drummer had some health problems. So here I was with a full plate of gigs, and no band. I started making calls, and ironically,
right at that time Duke called me just to see how I'm doing; he'd been back in this area for the last few years. I told him about how I was trying to get a band together, and he said, "I'll play." And that was it! It was that easy, and I guess it's full circle, after 20 years of not playing with each other.
Let's talk about your style, which is a bit unique. While you're aggressive, a lot of your rifts are based on complicated chords. When you're playing, are you aware that you're doing something like a ninth, a diminished, or an augmented chord?
I'm well aware of the chord forms that have some of the leads developed on them. That goes back to the lessons, and the jazz players I'd listen to. I think it's more melodic than cliche-oriented things. But I'm not devoid of those, either; we all do 'em.
It also sounds like you're using a vibrato arm in a way it was originally intended to be used - there are some passages where the chord or note drops about a halfstep.
I like the way you can use it to sweeten up a chord passage, or even a single note. The only time I do any "extreme" stuff with it is when I do some Hendrix tribute-type of music. Proper use of it can be an artform; it's certainly been bastardized enough. There's definitely a right way to use it.
So we won't ever hear you using a high-tech vibrato, doing divebombs?
(chuckles) No; it has its purpose, and it'a a nice piece of machinery, but it's a little too much for me.
You listed the gear you used on your album in the liner notes. What's changed, if anything, equipment-wise since the mid'9Os?
There was a guy who was a roadie for me named George Alessandro; he was with me for five years, and he got to look at all of my Fenders and Marshalls. I was using the Bassman heads that he modified; they're on the record. Then when his amps came out, I began using those; I'm an endorser.
There's a tweed Fender amp in your publicity photo from around the time the album was released.
That's my 410 Bassman, which I thought would look Linda cool as a prop.
A recent photo of you showed a PRS in your hands.
Yeah; I have six McCarty models. My stable these days consists of a couple of '64 Strats - one of which I used on just about the entire record a '64 Gibson ES-335, a '61 355, and a couple of killer rosewood-neck PRSs I put Tom Holmes pickups in. George had turned me on to those, and he installed them with silver wire.
There's a live version of "Kansas City" with a swing/shuffle feel instead of straight blues.
Definitely; it's certainly not a Muddy Waters/Chicago-type thing. What I tried to do with the rhythm playing on that song was to make horn-like lines. The vibrato helps, but I also have a hand vibrato technique where I try to sway the whole chord from right to left, kind of sideways. It's very effect five, especially on 12-bar blues songs. That track was recorded at one of the concerts I opened for B.B. King at the War Memorial Building, a beautiful old concert hall in Trenton.
The album has four instrumentals. "Philene" is somewhat moody and sounds like it has a Uni-Vibe on it...
That's an old Boss Chorus; one of those little blue boxes that came out in the late '70s. I got turned on to those when I was in Florida with Duke. I picked up one when they were new, and I've had it ever since. On that song, I was thinking about some Hendrix-type moodiness.
The last track, "The Boogie," is basically a one-chord workout and the bass rift is reminiscent of Golden Earring's "Radar Love."
(chuckles) I've been told that before. It's a rousing thing that, again, started as kind of a Hendrix tribute. I wanted the track on there, even though a lot of people think it's a different guitar player because of the tone and use of the (vibrato) bar. It's a little wilder, a little more "noted," and it has a John Lee Hooker beat, which every boogie in the world has. I just wanted to show another side of my playing in contrast to the other tunes.
Do you have any other instruments in your collection that you want to cite?
I've got a '52 Les Paul, a '62 ES-345, a '59 ES-330, a '64 SO Standard, a '58 Junior, a'55 Special, a'63 Jazzmaster...I had to get one of those, eventually (laughs)! That one makes up for the one I didn't get all those years ago! I've got a total of about 50 guitars, and probably more than 50 amps.
Besides Mr. King, which notable performers have you shared a bill with?
I did gigs with the original Sam & Dave, which was more R&B, but a lot of fun. I played at concerts with John Mayall, and even Arthur (Prysock) when he was alive. I played with Rick Derringer, Jimmy Vivino, Fleetwood Mac, Aerosmith, and Hall & Oates; lots of classic rock acts and blues artists.
Which performance was the most memorable?
(pauses) I'd have to say it was performing with Arthur. It was a nostalgic thing, and he was not only a mentor, he was a nice and patient man.
I understand your music is getting a buzz in Seattle.
I've made three trips there. In fact, the next album is going to be a live recording from Seattle; it should be out around Labor Day. They have a massive music scene out there; they appreciate everything. It's not unusual to hear a lot of classic rock like Hendrix, Cream, or the Allman Brothers all the time, and even a lot of the blues artists...you never hear that stuff here unless you're listening to a blues show.
My album garnered a lot of interest out there. There are about eight to 10 clubs in that area where my music has gone over well. I played in the place where they filmed "Northern Exposure." The CD got a lot of airplay, so this is shaping up like a whole new ball game for me. I had the support of my parents when I was coming along, and now my son, Paul Jr., and my fiance, Sharon, are really supporting me, both emotionally and musically. And Paul Jr. plays pretty well himself!
After all these years, what do you think about your music getting a possible breakout all the way on the other side of the country?
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https://www.fandango.com/people/george-bassman-45544/biography
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A Message To Our Fans
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https://joelfrancis.com/2020/05/05/sds53/
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Social Distancing Spins – Day 53
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2020-05-05T00:00:00
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By Joel Francis Insurgence DC – Broken in the Theater of the Absurd (2019) Insurgence DC formed in the late ‘80s, but Broken in the Theater of the Absurd is just their third album, arriving 19 years after their previous release. The Washington D.C.-based punk trio has plenty to say about the corruption and incompetence…
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https://joelfrancis.com/2020/05/05/sds53/
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By Joel Francis
Insurgence DC – Broken in the Theater of the Absurd (2019) Insurgence DC formed in the late ‘80s, but Broken in the Theater of the Absurd is just their third album, arriving 19 years after their previous release. The Washington D.C.-based punk trio has plenty to say about the corruption and incompetence they see around their hometown. Reading the lyrics printed across the back of the album, one could be forgiven for thinking she was looking at a Billy Bragg broadside. What keeps songs like “Poison Profits” and “Third Party Opinions” from being op-ed pity parties is a well-seasoned band that plays well off each other and knows how vary textures and arrangements to keep the music fresh. The aggressive songs are tempered by flourishes of avant noise (think Sonic Youth), post-punk moodiness and the gleeful ska of “Pick Pocket Pirates.” Fans of the Dischord label and anyone P.O.ed by the current political landscape will find a lot to like in the Theater of the Absurd.
Miles Davis – In a Silent Way (1969) I shudder to think how Miles Davis would have responded to the age of Twitter. Davis has been dead for nearly 30 years and audiences are still trying to catch up to what he was doing. The period when In a Silent Way came out demonstrates Davis’ restlessness and ambition. Just a year earlier, Davis disbanded his second quintet, one of the most incredible ensembles in music history. Three members of that quintet appear on In a Silent Way, but are used in completely different ways and surrounded by a host of other musicians. I’m having trouble coming up with a contemporary corollary for the sounds here. The last couple Davis quintet albums hinted at this direction, but In a Silent Way’s music still sounds surprising and fresh more than half a century later.
Neither rock, nor jazz (and not fusion), the closest touchstone to the music on In a Silent Way might be a psychedelic, improvised version of Brian Eno and Robert Fripp tried to accomplish both together and on their own in the mid 1970s. In fact, John McLaughlin’s electric guitar that opens the second side on “In a Silent Way/It’s About that Time” sounds like what Daniel Lanois would play with Eno in the 1980s. Davis had long moved on by that point, of course. He jerked even more heads by releasing Bitches Brew, another masterpiece, the following year. The vast expanse of the universe is barely enough to contain all of Davis’ ideas. I’m glad he never had to face myopic imbeciles limited to 280 characters.
Alex Chilton – Songs from Robin Hood Lane (compilation) What is it about the Great American Songbook of the 1930s to ‘50s that compels repeated interpretations? Late in his recording career Alex Chilton drew from this well for two solid albums. The output bears absolutely no resemblance to the power pop that Chilton created with Big Star or the blue-eyed soul he brought to the Box Tops. While no one would confuse him with Grant Green, the albums do reveal Chilton has decent jazz guitar chops. Chilton’s phrasing and vocal delivery also depict him as someone completely at home in this style of music. The title of this collection holds the key to Chilton’s comfort with these jazz standards. Robin Hood Lane was the name of the suburban Memphis street where Chilton grew up hearing his mom play these classic songs endlessly. Come to this collection not expecting “September Gurls” or “Cry Like a Baby,” but with an open mind to hear another facet from a criminally neglected (by mainstream society and himself) artist.
Eddie Hazel – Game, Dames and Guitar Thangs (1977) Parliament-Funkadelic guitarist Eddie Hazel left his stamp on many P-Funk classics (dig “Maggot Brain” as Exhibit A) but this was the only solo album released in his lifetime. Solo is a relative term here. Bassman Bootsy Collins co-wrote three of the songs here and keyboard legend Bernie Worrell is credited on two. Those two, plus the Brides of Funkenstein and a host of other P-Funk players all appear, but the album really does belong to Hazel. He transforms “California Dreamin’” into a slow jam and turns the Beatles “I Want You (She’s So Heavy)” into an acid-drenched guitar workout. The original songs fit well into the P-Funk songbook, but Hazel’s playing is remains prominent throughout. Although Hazel continued to sporadically appear on P-Funk releases after this album dropped, he was never as prominent as before. Thankfully back in print, Game is essential not only for P-Funk fans, but anyone who wondered what Jimi Hendrix or Ernie Isley might have sounded like fronting a funk band.
Tom Petty and the Heartbreakers – Hard Promises (1981) Nearly 40 years ago, when Hard Promises came out, MCA records wanted to hike the price to $9.98. Today, you can down the album on iTunes for $9.99. Inflation, huh? Petty and the boys refused to be the reason their label nicked fans an extra buck and Hard Promises eventually came out at the standard price of $8.98. Regardless of how much you paid, the music here is worth the investment. The songwriting on Hard Promises is every bit as good as Damn the Torpedoes, the band’s previous album, but doesn’t suffer from the same overexposure. The album starts with the classic “The Waiting” before leading into “A Woman in Love (It’s Not Me),” the album’s second single. The remaining eight songs are all album cuts, but still beloved to hardcore Petty fans. Stevie Nicks duets on the gorgeous “Insider,” the Heartbreakers roar on “A Thing About You” and the album ends with another delicate ballad, “You Can Still Change Your Mind.” In between we get the slinky “Nightwatchman” and “The Criminal Mind,” which opens with a slide guitar part that sounds like a country version of the riff from “Mary Jane’s Last Dance.”
Heartbreakers bass player Ron Blair left after this album and didn’t return until 20 years later. Of the four original-lineup Heartbreakers albums, Hard Promises is easily my favorite. Heck, it might be my favorite Petty album pre-Full Moon Fever. Either way, all American rock fans need this album.
The Roots – Game Theory (2006) The Philadelphia natives that comprise The Roots are often labelled the best band in hip hop, an unsubtle jab at other groups that don’t play traditional instruments. Twenty-seven years after their debut album, I think it’s past time to drop the sobriquet and call them what they are: One of the best bands ever. Full stop. After striving (and compromising) for mainstream success on their previous album, The Roots went all-in on a darker, stripped down sound for Game Theory. Even though they weren’t aiming for the charts, I find myself humming the hooks in these songs for days afterward. Named after a mathematical model for decision making, Game Theory stares at big-picture topics like police brutality, drug addiction, poverty and dishonest media outlets. MC Black Thought’s isn’t afraid to drop heavy lyrics, but his delivery swings enough that you wind up tapping your foot as you nod your head. “Clock With No Hands” isn’t just a thought-provoking (no pun intended) look at addiction, but features a beautiful original (read: non-sampled) melody. In fact, one of the few samples on the album comes when Thom Yorke’s voice floats in and out of “Atonement.”
I saw The Roots perform with a full horn section on back-to-back nights of the Game Theory tour and they are among the best shows I’ve ever seen. Not in hip hop, but among everyone. Full stop.
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Ginger Rogers
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American actress, dancer and singer (1911–1995)
Ginger Rogers (born Virginia Katherine McMath; July 16, 1911 – April 25, 1995) was an American actress, dancer and singer during the Golden Age of Hollywood. She won an Academy Award for Best Actress for her starring role in Kitty Foyle (1940), and performed during the 1930s in RKO's musical films with Fred Astaire. Her career continued on stage, radio and television throughout much of the 20th century.
Rogers was born in Independence, Missouri, and raised in Kansas City. She and her family moved to Fort Worth, Texas, when she was nine years old. In 1925, she won a Charleston dance contest[1] that helped her launch a successful vaudeville career. After that, she gained recognition as a Broadway actress for her stage debut in Girl Crazy. This led to a contract with Paramount Pictures, which ended after five films. Rogers had her first successful film roles as a supporting actress in 42nd Street (1933) and Gold Diggers of 1933 (1933).
In the 1930s, Rogers's nine films with Fred Astaire are credited with revolutionizing the genre and gave RKO Pictures some of its biggest successes: The Gay Divorcee (1934), Top Hat (1935) and Swing Time (1936). But after two commercial failures with Astaire, she turned her focus to dramatic and comedy films. Her acting was well received by critics and audiences in films such as Stage Door (1937), Vivacious Lady (1938), Bachelor Mother (1939), Primrose Path (1940), The Major and the Minor (1942) and I'll Be Seeing You (1944). After winning the Oscar, Rogers became one of the biggest box-office draws and highest-paid actresses of the 1940s.[1]
Rogers's popularity was peaking by the end of the decade. She reunited with Astaire in 1949 in the commercially successful The Barkleys of Broadway. She starred in the successful comedy Monkey Business (1952) and was critically lauded for her performance in Tight Spot (1955) before entering an unsuccessful period of filmmaking in the mid-1950s, and returned to Broadway in 1965, playing the lead role in Hello, Dolly! More Broadway roles followed, along with her stage directorial debut in 1985 of an off-Broadway production of Babes in Arms. She continued to act, making television appearances until 1987, and wrote an autobiography Ginger: My Story which was published in 1991. In 1992, Rogers was recognized at the Kennedy Center Honors. She died of natural causes in 1995, at age 83.
During her long career, Rogers made 73 films. She ranks number 14 on the AFI's 100 Years...100 Stars list of female stars of classic American cinema.
Early life
[edit]
Virginia Katherine McMath was born on July 16, 1911, in Independence, Missouri, the only child of Lela Emogene Owens, a newspaper reporter, scriptwriter, and movie producer, and William Eddins McMath, an electrical engineer.[2]: 9, 10 [2]: 16 [3] Her maternal grandparents were Wilma Saphrona (née Ball) and Walter Winfield Owens.[4]: 3 She was of Scottish, Welsh, and English ancestry.[5] Her mother gave birth to Ginger at home, having lost a previous child in a hospital.[2]: 11 Her parents separated shortly after she was born.[2]: 1, 2, 11 After unsuccessfully trying to reunite with his family, McMath kidnapped his daughter twice, and her mother divorced him soon thereafter.[2]: 7, 15 [6] Rogers said that she never saw her natural father again.[2]: 15
In 1915, she was left with her grandparents, who lived in nearby Kansas City, while her mother made a trip to Hollywood in an effort to get an essay she had written made into a film.[2]: 19 Lela succeeded and continued to write scripts for Fox Studios.[2]: 26–29
One of Rogers's young cousins had a hard time pronouncing "Virginia", giving her the nickname "Ginger".[7]
When Rogers was nine years old, her mother married John Logan Rogers. Ginger took the surname Rogers, although she was never legally adopted. They lived in Fort Worth. Her mother became a theater critic for a local newspaper, the Fort Worth Record. She attended, but did not graduate from, Fort Worth's Central High School (later renamed R. L. Paschal High School.)
As a teenager, Rogers thought of becoming a school teacher, but with her mother's interest in Hollywood and the theater, her early exposure to the theater increased. Waiting for her mother in the wings of the Majestic Theatre, she began to sing and dance along with the performers on stage.[8]
Career
[edit]
1925–1929: Vaudeville and Broadway
[edit]
Rogers's entertainment career began when the traveling vaudeville act of Eddie Foy came to Fort Worth and needed a quick stand-in. In 1925 the 14-year-old entered and won a Charleston dance contest, the prize allowed her to tour as Ginger Rogers and the Redheads for six months on the Orpheum Circuit.[9][10] In 1926, the group performed at an 18-month-old theater called The Craterian in Medford, Oregon. This theater honored her years later by changing its name to the Craterian Ginger Rogers Theater.[11] When the M.G.M film The Barrier premiered in San Bernardino, California, in February 1926, Rogers's vaudeville act was featured. The local newspaper commented, "Clever little Ginger Rogers showed why she won the Texas state championship as a Charleston dancer."[12]
At 17, Rogers married Jack Culpepper, a singer/dancer/comedian/recording artist of the day who worked under the name Jack Pepper (according to Ginger's autobiography and Life magazine, she knew Culpepper when she was a child, as her cousin's boyfriend).[10] They formed a short-lived vaudeville double act known as "Ginger and Pepper". The marriage was over within a year, and she went back to touring with her mother.[10] When the tour got to New York City, she stayed, getting radio singing jobs. She made her Broadway debut in the musical Top Speed, which opened at Chanin's 46th Street Theatre on Christmas Day, 1929[13] following the musical's premiere in Philadelphia at the Chestnut Street Opera House on November 13, 1929.[14]
Within two weeks of the New York opening of Top Speed, Rogers was chosen to star on Broadway in Girl Crazy by George Gershwin and Ira Gershwin. Fred Astaire was hired to help the dancers with their choreography. Her appearance in Girl Crazy made her an overnight star at the age of 19.[citation needed]
1929–1933: Early film roles
[edit]
Rogers's first movie roles were in a trio of short films made in 1929: Night in the Dormitory, A Day of a Man of Affairs, and Campus Sweethearts. In 1930, Paramount Pictures signed her to a seven-year contract.[citation needed]
Rogers soon got herself out of the Paramount contract—under which she had made five feature films at Astoria Studios in Astoria, Queens—and moved with her mother to Hollywood. When she got to California, she signed a three-picture deal with Pathé Exchange. Two of her pictures at Pathé were Suicide Fleet (1931) and Carnival Boat (1932) in which she played opposite future Hopalong Cassidy star William Boyd. Rogers also made feature films for Warner Bros., Monogram, and Fox in 1932, and was named one of 15 WAMPAS Baby Stars. She then made a significant breakthrough as Anytime Annie in the Warner Bros. film 42nd Street (1933). She went on to make a series of films at Warner Bros., most notably in Gold Diggers of 1933, in which her solo, "We're In The Money", included a verse in Pig Latin. She then moved to RKO Studios, was put under contract and with Astaire started work on Flying Down to Rio, a picture starring Dolores del Río and Gene Raymond. Rogers and Astaire "stole the show",[15][16][17] an industry term for outshining the billed stars.
1933–1939: Partnership with Astaire
[edit]
Rogers was known for her partnership with Fred Astaire. Together, from 1933 to 1939, they made nine musical films at RKO: Flying Down to Rio (1933), The Gay Divorcee (1934), Roberta (1935), Top Hat (1935), Follow the Fleet (1936), Swing Time (1936), Shall We Dance (1937), Carefree (1938), and The Story of Vernon and Irene Castle (1939). The Barkleys of Broadway (1949) was produced later at MGM. They revolutionized the Hollywood musical by introducing dance routines of unprecedented elegance and virtuosity with sweeping long shots set to songs specially composed for them by the greatest popular song composers of the day. One such composer was Cole Porter with "Night and Day", a song Astaire sang to Rogers with the line "... you are the one" in two of their movies, being particularly poignant in their last pairing of The Barkleys of Broadway.[citation needed]
Arlene Croce, Hermes Pan, Hannah Hyam, and John Mueller all consider Rogers to have been Astaire's finest dance partner, principally because of her ability to combine dancing skills, natural beauty, and exceptional abilities as a dramatic actress and comedian, thus truly complementing Astaire, a peerless dancer. The resulting song and dance partnership enjoyed a unique credibility in the eyes of audiences.[citation needed]
Of the 33 partnered dances Rogers performed with Astaire, Croce and Mueller have highlighted the infectious spontaneity of her performances in the comic numbers "I'll Be Hard to Handle" from Roberta, "I'm Putting All My Eggs in One Basket" from Follow the Fleet, and "Pick Yourself Up" from Swing Time. They also point to the use Astaire made of her remarkably flexible back in classic romantic dances such as "Smoke Gets in Your Eyes" from Roberta, "Cheek to Cheek" from Top Hat, and "Let's Face the Music and Dance" from Follow the Fleet.[citation needed]
Although the dance routines were choreographed by Astaire and his collaborator Hermes Pan, both have testified to her consummate professionalism, even during periods of intense strain, as she tried to juggle her many other contractual film commitments with the punishing rehearsal schedules of Astaire, who made at most two films in any one year. In 1986, shortly before his death, Astaire remarked, "All the girls I ever danced with thought they couldn't do it, but of course they could. So they always cried. All except Ginger. No, no, Ginger never cried".[18]
John Mueller summed up Rogers's abilities as: "Rogers was outstanding among Astaire's partners, not because she was superior to others as a dancer, but, because, as a skilled, intuitive actress, she was cagey enough to realize that acting did not stop when dancing began ... the reason so many women have fantasized about dancing with Fred Astaire is that Ginger Rogers conveyed the impression that dancing with him is the most thrilling experience imaginable".[19]
Author Dick Richards, on p. 162 of his book Ginger: Salute to a Star, quoted Astaire saying to Raymond Rohauer, curator at the New York Gallery of Modern Art, "Ginger was brilliantly effective. She made everything work for her. Actually she made things very fine for both of us and she deserves most of the credit for our success."[citation needed]
In a 1976 episode of the popular British talk-show Parkinson (Season 5, Episode 24), host Michael Parkinson asked Astaire who his favorite dancing partner was. Astaire answered, "Excuse me, I must say Ginger was certainly [uh, uh,] the one. You know, the most effective partner I ever had. Everyone knows."[citation needed]
After 15 months apart and with RKO facing bankruptcy, the studio paired Fred and Ginger for another movie titled Carefree, but it lost money. Next came The Story of Vernon and Irene Castle, based on a true story, but the serious plot and tragic ending resulted in the worst box-office receipts of any of their films. This was driven not by diminished popularity, but by the hard 1930s economic reality. The production costs of musicals, always significantly more costly than regular features, continued to increase at a much faster rate than admissions.[citation needed]
1933–1939: Success in nonmusicals
[edit]
Both before and immediately after her dancing and acting partnership with Fred Astaire ended, Rogers starred in a number of successful nonmusical films. Stage Door (1937) demonstrated her dramatic capacity, as the loquacious yet vulnerable girl next door and tough-minded theatrical hopeful, opposite Katharine Hepburn. Successful comedies included Vivacious Lady (1938) with James Stewart, Fifth Avenue Girl (1939), where she played an out-of-work girl sucked into the lives of a wealthy family, and Bachelor Mother (1939), with David Niven, in which she played a shop girl who is falsely thought to have abandoned her baby.[citation needed]
In 1934, Rogers sued Sylvia of Hollywood for $100K for defamation. The fitness guru and radio personality had claimed that Rogers was on her radio show when, in fact, she was not.[20]
On March 5, 1939, Rogers starred in "Single Party Going East", an episode of Silver Theater on CBS radio.[21]
1940–1949: Career peak and reuniting with Astaire
[edit]
In 1941 Rogers won the Academy Award for Best Actress for her role in 1940's Kitty Foyle. She enjoyed considerable success during the early 1940s, and was RKO's hottest property during this period. In Roxie Hart (1942), based on the same play which later served as the template for the musical Chicago, Rogers played a wisecracking flapper in a love triangle on trial for the murder of her lover; set in the era of prohibition. Most of the film takes place in a women's jail.
In the neorealist Primrose Path (1940), directed by Gregory La Cava, she played a prostitute's daughter trying to avoid family pressure into following the fate of her mother. Further highlights of this period included Tom, Dick, and Harry, a 1941 comedy in which she dreams of marrying three different men; I'll Be Seeing You (1944), with Joseph Cotten; and Billy Wilder's first Hollywood feature film: The Major and the Minor (1942), in which she played a woman who masquerades as a 12-year-old to get a cheap train ticket and finds herself obliged to continue the ruse for an extended period. This film featured a performance by Rogers's real mother, Lela, playing her film mother.
After becoming a free agent, Rogers made hugely successful films with other studios in the mid-'40s, including Tender Comrade (1943), Lady in the Dark (1944), and Week-End at the Waldorf (1945), and became the highest-paid performer in Hollywood. However, by the end of the decade, her film career had peaked. Arthur Freed reunited her with Fred Astaire in The Barkleys of Broadway in 1949, when Judy Garland was unable to appear in the role that was to have reunited her with her Easter Parade co-star.
1950–1987: Later career
[edit]
Rogers's film career entered a period of gradual decline in the 1950s, as parts for older actresses became more difficult to obtain, but she still scored with some solid movies. She starred in Storm Warning (1950) with Ronald Reagan and Doris Day, a noir, anti-Ku Klux Klan film by Warner Bros. In 1952 Rogers starred in two comedies featuring Marilyn Monroe, Monkey Business with Cary Grant, directed by Howard Hawks, and We're Not Married!. She followed those with a role in Dreamboat alongside Clifton Webb, as his former onscreen partner in silent films who wanted to renew their association on television. She played the female lead in Tight Spot (1955), a mystery thriller, with Edward G. Robinson. After a series of unremarkable films, she scored a great popular success on Broadway in 1965, playing Dolly Levi in the long-running Hello, Dolly![22]
In later life, Rogers remained on good terms with Astaire; she presented him with a special Academy Award in 1950, and they were copresenters of individual Academy Awards in 1967, during which they elicited a standing ovation when they came on stage in an impromptu dance. In 1969, she had the lead role in another long-running popular production, Mame, from the book by Jerome Lawrence and Robert Edwin Lee, with music and lyrics by Jerry Herman, at the Theatre Royal Drury Lane in the West End of London, arriving for the role on the liner Queen Elizabeth 2 from New York City. Her docking there occasioned the maximum of pomp and ceremony at Southampton. She became the highest-paid performer in the history of the West End up to that time. The production ran for 14 months and featured a royal command performance for Queen Elizabeth II.[citation needed]
From the 1950s onward, Rogers made occasional appearances on television, even substituting for a vacationing Hal March on The $64,000 Question. In the later years of her career, she made guest appearances in three different series by Aaron Spelling: The Love Boat (1979), Glitter (1984), and Hotel (1987), which was her final screen appearance as an actress. In 1985, Rogers fulfilled a long-standing wish to direct when she directed the musical Babes in Arms off-Broadway in Tarrytown, New York, at 74 years old. It was produced by Michael Lipton and Robert Kennedy of Kennedy Lipton Productions. The production starred Broadway talents Donna Theodore, Carleton Carpenter, James Brennan, Randy Skinner, Karen Ziemba, Dwight Edwards, and Kim Morgan. It is also noted in her autobiography Ginger, My Story.[citation needed]
Honors
[edit]
The Kennedy Center honored Ginger Rogers in December 1992. This event, which was shown on television, was somewhat marred when Astaire's widow, Robyn Smith, who permitted clips of Astaire dancing with Rogers to be shown for free at the function itself, was unable to come to terms with CBS Television for broadcast rights to the clips (all previous rights-holders having donated broadcast rights gratis).[23]
For her contributions to the motion picture industry, Rogers has a star on the Hollywood Walk of Fame at 6772 Hollywood Boulevard.[24]
Personal life
[edit]
Rogers, an only child, maintained a close relationship with her mother, Lela Rogers, throughout her life. Lela, a newspaper reporter, scriptwriter, and movie producer, was one of the first women to enlist in the Marine Corps, was a founder of the successful "Hollywood Playhouse" for aspiring actors and actresses on the RKO set, and a founder of the Motion Picture Alliance for the Preservation of American Ideals.[25] Rogers was a lifelong member of the Republican Party and campaigned for Thomas Dewey in the 1944 presidential election, Barry Goldwater in the 1964 presidential election and Ronald Reagan in the 1966 California gubernatorial election.[26][27][28] She was a strong opponent of Franklin Delano Roosevelt, speaking out against both him and his New Deal proposals. She was a member of the Daughters of the American Revolution.[29]
Rogers and her mother had a very close professional relationship. Lela Rogers was credited with pivotal contributions to her daughter's early successes in New York City and in Hollywood, and gave her much assistance in contract negotiations with RKO. She also wrote a children's mystery book with her daughter as the central character.[30]
Marriages
[edit]
Rogers married and divorced five times. She did not have children.
On March 29, 1929, Rogers married for the first time at age 17 to her dancing partner Jack Pepper (real name Edward Jackson Culpepper). They divorced in 1932, having separated soon after the wedding. Rogers dated Mervyn LeRoy in 1932, but they ended the relationship and remained friends until his death in 1987. In 1934, she married actor Lew Ayres (1908–96). They divorced six years later in 1940. In 1943, Rogers married her third husband, Jack Briggs, who was a U.S. Marine, before divorcing in 1950. In 1953, she married Jacques Bergerac, a French actor 16 years her junior, whom she met on a trip to Paris. A lawyer in France, he came to Hollywood with her and became an actor. They divorced in 1957. Her fifth and final husband was director and producer William Marshall. They married in 1961 and divorced in 1970, after his bouts with alcohol and the financial collapse of their joint film production company in Jamaica.[31]
Friendships
[edit]
Rogers was lifelong friends with actresses Lucille Ball and Bette Davis. She appeared with Ball in an episode of Here's Lucy on November 22, 1971, in which Rogers danced the Charleston for the first time in many years. Rogers starred in one of the earliest films co-directed and co-scripted by a woman, Wanda Tuchock's Finishing School (1934). Rogers maintained a close friendship with her cousin, writer/socialite Phyllis Fraser, the wife of Random House publisher Bennett Cerf. Rita Hayworth's maternal uncle, Vinton Hayworth, was married to Rogers's maternal aunt, Jean Owens.
Religion
[edit]
Rogers was raised a Christian Scientist and remained a lifelong adherent, Christian Science was a topic she discussed at length in her autobiography.[32] Rogers's mother died in 1977. She remained at the 4-Rs (Rogers' Rogue River Ranch) until 1990. When the property was sold, Rogers moved to nearby Medford, Oregon.
Interests
[edit]
Rogers was a talented tennis player, and entered the 1950 US Open. However, she and Frank Shields were knocked out of the mixed doubles competition in the first round.[33]
Legacy
[edit]
The city of Independence, Missouri designated the birthplace of Ginger Rogers a Historic Landmark Property in 1994. On July 16, 1994, Ginger and her secretary, Roberta Olden, visited Independence, Missouri, to appear at the Ginger Rogers' Day celebration presented by the city. Rogers was present when Mayor Ron Stewart affixed a Historic Landmark Property plaque to the front of the house where she was born on July 16, 1911. She signed over 2,000 autographs at this event, which was one of her last public appearances.
The home was purchased in 2016 by Three Trails Cottages and restored, then transformed into a museum dedicated to Lela Owens-Rogers and Ginger Rogers. It contains memorabilia, magazines, movie posters, and many items from the ranch that Lela and Ginger owned. Several gowns that Ginger Rogers wore are on display. The museum was open seasonally from April to September, and several special events were held at the site each year. It closed in August 2019.[34]
Rogers made her last public appearance on March 18, 1995, when she received the Women's International Center (WIC) Living Legacy Award. For many years, Rogers regularly supported, and held in-person presentations, at the Craterian Theater, in Medford, where she had performed in 1926 as a vaudevillian. The theater was comprehensively restored in 1997 and posthumously renamed in her honor as the Craterian Ginger Rogers Theater.[citation needed]
Death
[edit]
Rogers spent winters in Rancho Mirage and summers in Medford, Oregon. She died at her Rancho Mirage home on April 25, 1995, from a heart attack at the age of 83.[35] She was cremated and her ashes interred with her mother Lela Emogene in Oakwood Memorial Park Cemetery in Chatsworth, California.[36]
Legacy
[edit]
Likenesses of Astaire and Rogers, apparently painted over from the "Cheek to Cheek" dance in Top Hat, are in the "Lucy in the Sky With Diamonds" section of The Beatles film Yellow Submarine (1968).
Rogers's image is one of many famous women's images of the 1930s and 1940s featured on the bedroom wall in the Anne Frank House in Amsterdam, a gallery of magazine cuttings pasted on the wall created by Anne and her sister Margot while hiding from the Nazis. When the house became a museum, the gallery the Frank sisters created is preserved under glass.
Ginger The Musical by Robert Kennedy and Paul Becker which Ginger Rogers approved and was to direct on Broadway the year of her death was in negotiations as late as the 2016–17 Broadway season. Marshall Mason directed its first production in 2001 starring Donna McKechnie and Nili Bassman and was choreographed by Randy Skinner.
Rogers was the heroine of a novel, Ginger Rogers and the Riddle of the Scarlet Cloak (1942, by Lela E. Rogers), in which "the heroine has the same name and appearance as the famous actress, but has no connection ... it is as though the famous actress has stepped into an alternate reality in which she is an ordinary person." It is part of a series known as "Whitman Authorized Editions", 16 books published between 1941 and 1947 that featured a film actress as heroine.[37]
The Dancing House in Prague, sometimes known as Ginger and Fred, designed by the Croatian-Czech architect Vlado Milunić in cooperation with Canadian-American architect Frank Gehry and inspired by the dancing of Astaire and Rogers.
In the 1981 film Pennies From Heaven, Bernadette Peters's character dances with Steve Martin's as they watch Fred and Ginger's "Let's Face the Music and Dance" sequence from 1936's Follow the Fleet, using it as their inspiration.
Federico Fellini's film Ginger and Fred centers on two aging Italian impersonators of Ginger Rogers and Fred Astaire. Rogers sued the production and the distributor when the film was released in the U.S. for misappropriation and infringement of her public personality. Her claims were dismissed. According to the judgment, the film only obliquely related to Astaire and her.[38]
Rogers was among the sixteen Golden Age Hollywood stars referenced in the bridge of Madonna's 1990 single "Vogue".[39]
Rogers is the namesake of the Ginger Rogers, a cocktail containing gin, ginger, and mint.[40][41][42]
Rogers was the subject of a quotation summarizing women's capacity to achieve that is popular among feminists: "Rogers did everything [Astaire] did, backwards . . . and in high heels." The quote comes from a 1982 Frank and Ernest comic strip by Bob Thaves.[43]
A musical about the life of Rogers, entitled Backwards in High Heels, premiered in Florida in early 2007.[44][45]
Filmography
[edit]
Main article: Ginger Rogers filmography
See also
[edit]
List of actors with Academy Award nominations
List of dancers
References
[edit]
Bibliography
[edit]
Astaire, Fred (August 5, 2008). Steps in Time (reprint ed.). Harper Collins. ISBN 978-0061567568.
Croce, Arlene (1977). The Fred Astaire and Ginger Rogers Book (reprint ed.). Vintage Books. ISBN 978-0394724768.
Faris, Jocelyn (1994). Ginger Rogers – a Bio-Bibliography. Greenwood Press. ISBN 978-0313291777.
Hyam, Hannah (2007). Fred and Ginger – The Astaire-Rogers Partnership 1934–1938. Brighton: Pen Press Publications. ISBN 978-1-905621-96-5.
Mueller, John (1986). Astaire Dancing – The Musical Films of Fred Astaire. Hamish Hamilton. ISBN 978-0241117491.
Rogers, Ginger (1991). Ginger: My Story. Toronto: Harper Collins, Canada. ISBN 978-0060183080.
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It's well known that the steelband grew in and out of adversity. What's less obvious is that sometimes the opposition came from within the movement, as in the case of the discrimination suffered by bands from outside Port of Spain.
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Kenrick Thomas
Thomas, Survivor Of The '50s Movement
February 22, 1998
By Kim Johnson
It's well known that the steelband grew in and out of adversity. What's less obvious is that sometimes the opposition came from within the movement, as in the case of the discrimination suffered by bands from outside Port of Spain.
For instance: Midland Syncopators from the village of Tacarigua, led by Kenrick Thomas, applied early in 1952 to join the recently-formed Steelbands Association of Trinidad and Tobago (Statt), and was accepted for membership in March of the same year. And yet the band was not invited to attend a single Statt meeting until 1955 - three years later.
The Statt president, Nathaniel Crichlow from Casablanca, was living in the village and invited Thomas to attend a meeting at the Good Samaritan Hall, Duke Street, at 9 a.m. on a Sunday.
Dutifully, Thomas and another band member, Vincent "Sneggs" Villaruel, hustled through drenching rain to arrive on time, only to find the only other person there was a short, formally dressed man whom Thomas had never seen before. The three stared at one another.
"What struck me was his dress, which I didn't expect to see in a steelband meeting. He was wearing a crash suit," recalls Thomas. "He was sitting there smoking profusely. He had dark glasses and this hearing aid - first time I see a man with a hearing aid. I didn't say anything to him, he didn't say anything to me or my friend, but I kept looking at him."
Eventually George Goddard and a handful of panmen arrived late, followed by a bustling Crichlow. Thomas asked Crichlow who the man in the suit was.
"You don't know that man?" snapped Crichlow without even breaking stride. "You should know that man!"
Crichlow started the meeting immediately, introduced Dr Eric Williams, emphasizing his academic qualifications and his status, explaining that Dr Williams had been invited to assist the Association in revising its rules and drafting a constitution.
Introducing Williams, Crichlow mentioned that he himself wouldn't like the Association to get involved in politics. Although Williams was already gathering strength to storm the political stage, it wasn't public yet and the steelbandsmen were still more dazzled by his education than yoked to this political charisma.
"At that time I was so fascinated with looking at Williams I didn't associate him with politics," recalls Thomas. "I was just thinking about him academically."
Then Williams spoke. First, he lambasted the 15 or so panmen there for their lateness. His time was very important to him, he buffed the stunned gathering. Then he corrected Crichlow: politics is in everything, you breathe politics, you eat politics, and everybody should be involved in politics. And he ended the session with an invitation to meet as a subcommittee at his home in Cornelio Street, Woodbrook.
Thomas, the only person from the East, was on that sub-committee, but after two abortive meetings the sub-committee fizzled out, and Thomas's next encounter with the steelband executive came during the 1960 Steelband Festival. His band, by now calling itself Merrystars Metronomes, had won the East Prelims and was successful in the semis, thus qualifying for the finals in Queen's Hall. This was not surprising, for the band, despite its parochialism, had the benefit of the musically trained boys in the Tacarigua Orphanage, much as Casablanca did in Port of Spain.
Two days after the semis, however, two Statt executive members visited Merrystars' panyard. "Our euphoria came to an abrupt end (They) came to our panyard at Tacarigua and without any remorse just simply threw us out of the final with the flimsy excuse that an error on the part of the computation of the judges' scores was uncovered," writes Thomas of the casual prejudice he suffered.
For all his rustic decency, however, Thomas possessed as much fighting spirit as any other panman, an he continued the struggle. In 1962, which was the next time the Steelbands Association was invited to a meeting, Thomas attended, and discovered it in turmoil, with the previous executive under attack. A vote of no confidence was passed and a new executive elected, which included George Goddard, George Yeates and, as Education Secretary, Kenrick Thomas.
Thomas soon became one of the pillars of the Steelband Association, which was renamed the National Association of Trinidad and Tobago Steelbandsmen (Natts), the adviser to George Goddard. In 1967, when the Association ran the panorama, Thomas was treasurer, and managed the competition along with north Calypso King competition, King and Queen of the Steelbands contest, the bomb and the Paramount pictures (Is Paris Burning?) Competition, and was able to realize their biggest profit ever: $8,234.13.
And yet, his rural roots were always disparaged.
"What used to humiliate me," he recalls, "is that whenever they introduced me to someone they'd always add: 'He from the country'."
It was in response to this that Thomas decided as early as 1963 to write abut the contribution of the country steelbands to the overall movement, and he jotted a few pages down.
Three decades later, in 1992, he decided to take back up the project and the result is the unpublished 235-page manuscript entitled Tacarigua's Contributions to the Evolution of the Steelband Phenomenon, starting the story with a description of his hometown, its rich cultural and racial variety, and moving on to the district's first steelband: the Dead End Kids, which was formed in 1945 under leadership of his uncle Mack "Zorro" Thomas.
Thomas's book comes from those early beginnings right down to the Seventies, when the Steelband Association was subverted by the government-sponsored Pan Trinbago, and Thomas withdrew from the fray.
It is a colourful story based on not only astonishingly detailed memory, but many interviews with pioneers in the district and the documentation Thomas preserved. What's more, it is written with a sensitivity and analytic ability rare even among professional writers, and thus is both a tribute to the vitality of the early steelband movement in the country areas, and an embodiment of its brilliance. Hopefully, a sponsor will son offer to make this marvelous testament available to the wider public by contributing to its publication costs.
Articles | Steelpan Pioneers | Homepage | Photo Gallery
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https://www.fender.com/articles/fender-performances/not-fade-away-the-legend-and-legacy-of-buddy-holly
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Not Fade Away: The Legend and Legacy of Buddy Holly
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The unlikely rock and roll star was the first in a long line of fabled Stratocaster players.
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https://www.fender.com/articles/fender-performances/not-fade-away-the-legend-and-legacy-of-buddy-holly
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Among early rock and rollers, Buddy Holly was an anomaly.
Tall, bespectacled, with a gawkiness he never lived to outgrow, he was no Elvis Presley, at least in terms of dangerous sex appeal. But Holly was a true rock and roll star, the first cool geek, opening the door for generations of glasses-wearing rockers like John Lennon, Roy Orbison, Elton John, Elvis Costello and Rivers Cuomo.
He was also a trailblazing innovator whose remarkably short careerâhe spent just 18 months at the topâleft a legacy that endures to this day.
While Elvis and other stars of the era had their hits penned by professional tunesmiths, Holly wrote his own material. With his band the Crickets, he pioneered the two guitar, bass, drums and vocals format for rock bands that would be adopted by the British beat groups and is still in use today.
He was also the first high-profile rock and roller to adopt the Fender Stratocaster as his guitar of choice.
Holly got his first Strat in 1955, at Adair Music in his hometown of Lubbock, TX after his older brother Larry loaned him the money. At the time, Strats were more popular with country musicians; which may have been part of what attracted Holly to the guitar, as his fingerpicking and twangy lead style owed a debt to his country-and-western musical roots.
With his band the Crickets, Holly pioneered a distinct guitar style that deftly merged rhythm with lead, and at times, seemed to parrot his hiccupping vocals.
He used techniques like sweep pickingâusing a downward pick stroke to push through three strings and an upstroke for the fourth noteâand would muffle his strings or toggle his pickups to create the exciting dynamics that made his records leap out of the speakers.
If there was one thing that really distinguished Hollyâs playing, it was his unconventional strumming technique. He used down strokes exclusively, keeping his wrist locked to achieve the furious, driving rhythm heard on early Crickets recordings. While he was a capable soloist, he often spurned the incendiary lead style deployed by the likes of Chuck Berry in favor of rhythmic, chord-based solos like the one on âPeggy Sue.â
With his Stratocaster plugged into Magnatone Custom 280 and later a Fender Bassman, Hollyâs guitar sound was stripped down and simple. But it was louder than most at the time, with the Stratâs full sound lending itself to the chunky rhythms that drove Hollyâs recordings.
Along with his thick-framed black glasses, the Stratocaster was also an enormous component of Hollyâs image, particularly in England, where few (if any) Fender Strats had been seen before.
As Frank Allen, guitarist of the Searchers told the Independent, âWhile we were skiffling away trying to find a fourth chord, Buddy was giving us the opening bars of âThatâll Be the Day,â with unbelievable expertise and on an instrument that was the equivalent of a bullet-finned â59 Cadillac. He looked gangly and geekish with those glasses but that guitar made him unbelievably cool.â
While he was a major star at home, Holly resonated with English audiences in a way few of his contemporaries, perhaps not even Elvis, managed to do. Itâs telling that the Beatles adopted their moniker because they wanted an insect name like the Crickets, and that the Stonesâ first top 10 hit was a cover of Hollyâs âNot Fade Away.â
âListen to the songs on the first three Beatles albums,â said John Mellencamp to Rolling Stone. âTake their voices off and itâs Buddy Holly.â
Hollyâs untimely death in the plane crash that also claimed the lives of Ritchie Valens and the Big Bopperâknown colloquially as "The Day the Music Died"â was a tragedy on a great many levels. Mainly the loss to his wife, Maria Elena Santiago, who was so stricken she couldnât attend her husbandâs funeral.
But putting personal tragedy aside, itâs tantalizing to imagine what Buddy Holly might have achieved had he survived into the â60s. Rock and rollâs first real singer/songwriter/guitarist, Holly was living in Greenwich Village at the time of his death, exploring recording techniques and had spoken to his wife about opening a studio in London.
Holly was always an unlikely figure for a â50s rock star. But the â60s would seemingly have suited him. His guitar chops, songwriting ability and curiosity about the recording process suggest he wouldâve weathered the turn of the decade better than many his early rock and roll contemporaries did. He would also have looked cool with Dylan hair and Lennon specs.
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The Wizard of Oz Concert Suite | Herbert Stothart
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https://www.wisemusicclassical.com/img/favicon.ico
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The Wizard of Oz Concert Suite by Herbert Stothart, Harold Arlen, published by EMI Music Inc
|
en
|
/img/favicon.ico
|
https://www.wisemusicclassical.com/work/44833/The-Wizard-of-Oz-Concert-Suite--Herbert-Stothart--Harold-Arlen/
|
Editor Note
The original orchestra scores and parts to The Wizard of Oz were the victim of a purging of the studio’s vast music archives when a new owner concluded they were taking up space and sold them by the pound, in black garbage bags, for use as landfill, where they reside today under the Mountaingate Country Club and a section of the Santa Monica Freeway. Fortunately, the short scores (with indications of orchestration) were kept and are the basis of this restoration by Steven Bernstein.
Many brilliant arrangers and orchestrators at MGM worked on The Wizard of Oz, principally Herbert Stothart (who composed much of the underscoring around the songs by Harold Arlen and E. Y. Harburg). In addition, his team included Georgie Stoll, Murray Cutter, George Bassman, Leo Arnaud, Paul Marquardt, and Conrad Salinger, all of whom had a hand in this music. Stothart would go on to win the Academy Award for his work on the soundtrack, beating Max Steiner, who was nominated for his epic score to Gone with the Wind in 1939.
The concept for this orchestral piece, inspired by my colleague Tommy Krasker, was to tell the story of The Wizard of Oz as a tone poem, allowing audiences to hear its glorious sounds played by living musicians. Its world premiere was in 1991 and is featured on the Hollywood Bowl Orchestra’s first album, Hollywood Dreams (Philips Classics), and is linked with the very first season of a brand-new orchestra made up of Hollywood’s finest studio musicians. That recording was made in the very same room in which the MGM soundtrack was first heard —and the last time it was played by living musicians — in 1939.
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| 11
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https://www.wikidata.org/wiki/Q1506958
|
en
|
George Bassman
|
https://www.wikidata.org/static/favicon/wikidata.ico
|
https://www.wikidata.org/static/favicon/wikidata.ico
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[
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American composer and arranger
|
en
|
/static/apple-touch/wikidata.png
|
https://www.wikidata.org/wiki/Q1506958
|
American composer and arranger
edit
|
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8916
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dbpedia
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0
| 13
|
https://www.hovcremation.com/obituaries/george-m-jaraczewski
|
en
|
George M. Jaraczewski Obituary 2020
|
https://cdn.tukioswebsites.com/social/facebook/fb_3/4800c758-734d-44fa-a658-b9cc52863a70/93fb6e244411a27416b3e482f73c858b_2826740ab4e58dbafde71d95dc866089
|
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[
"Heart of the Valley Cremation Services"
] |
2022-03-23T17:26:10
|
George Michael Jaraczewski (Buzzard), age 75 of Omro, Wisconsin passed away in Ascension Medical Center Oshkosh on November 21, 2020. George was born in Milwaukee, Wisconsin on...
|
en
|
https://cdn.filestackcontent.com/uLfs15oMTCW4dxPH3zHT
|
Heart of the Valley Cremation Services
|
https://www.hovcremation.com/obituaries/george-m-jaraczewski
|
Please select what you would like included for printing:
Header
Portrait Photo
Services
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Copy the text below and then paste that into your favorite email application
|
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8916
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dbpedia
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| 0
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https://music.apple.com/ca/artist/george-bassman/201183
|
en
|
âGeorge Bassman
|
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"listen",
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Listen to music by George Bassman on Apple Music. Find top songs and albums by George Bassman, including Main Title / The Contract for Gold / The Trek Begins / Elsa's Mad Dash Arrival / Elsa's Long Gown / Heck Tempts Elsa / The Boys Reminisce / Love in the Way / The Bigot / The Trek Continues / Philosophy of Life (From "Ride the High Country" Soundtrack), So Long Partner (From 'Riding the High Country') and more.
|
en
|
/assets/favicon/favicon-180.png
|
Apple Music - Web Player
|
https://music.apple.com/ca/artist/george-bassman/201183
|
Main Title / The Contract for Gold / The Trek Begins / Elsa's Mad Dash Arrival / Elsa's Long Gown / Heck Tempts Elsa / The Boys Reminisce / Love in the Way / The Bigot / The Trek Continues / Philosophy of Life (From "Ride the High Country" Soundtrack) - E - EPâ·â2014
|
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https://valleymusicinstitute.com/the-beatles-amplifier-1964-fender-bassman/
|
en
|
The Beatles’ Amplifier: 1964 Fender Bassman
|
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[
""
] | null |
[
"user"
] |
2012-04-21T01:44:14-07:00
|
en
|
Valley Music Institute |
|
https://valleymusicinstitute.com/the-beatles-amplifier-1964-fender-bassman/
|
What a lot of people do not know is that the 1964 6G6-B
Bassman with Utah Speakers was actually the most recorded amplifier
used by The Beatles. The amp was first used by Paul McCartney as his
main bass amp from 1965 to mid 1967 (he did use a Vox during this time
but not as much as the Bassman). In 1966 and 1967 John Lennon and
George Harrison shared it (sometimes playing their guitars through the
amp at the same time) and from early 1967 George Harrison took it over
as his main amp. This amp was then used on a few of the early John
Lennon solo albums when George was there and then George used it as
his main solo amp. It even became George’s main amp when they did
Antholody and Real Love/Free As A Bird (you will see it in the
recording sessions). If you look at any Beatles documentary from 1967
you will always see it there (even in the Apple offices at times), it
is all through the Lennon Imagine films and documentaries and also the
Harrison documentaries and it was even on stage during the Concert for
George, as a tribute when George died. So, the 1964 Bassman is
actually the “real” amp used by The Beatles in the latter years and
most creative years, rather than the iconic Vox which dominated their
early years. So, although the Utah speakers were not the best
speakers their sound dominated Beatle recordings from Rubber Soul
(1965) to Abbey Road (1970) so that is not too bad 🙂
1961 Pro Reverb and 1963 Bandmaster. Both have 6G6-B circuit.
1964 Fender Bassman.
THE BEATLES’ GEAR
October 1965–March 1966
1964 Rickenbacker 325
1961 Fender Stratocaster (studio only)
1964 Gibson J-160E
Vox AC-30 and AC-100 amplifiers
1963 Hofner 500/1 bass
1964 Rickenbacker 4001S bass (studio only)
Fender Bassman amplifier
2nd Gretsch Country Gentleman
1961 Fender Stratocaster (studio only)
Gibson ES-345
1962 Gibson J-160E
1965 Rickenbacker 360/12
Vox AC-30 and AC-100 amplifiers
Starr’s 4th Ludwig drumkit with 5th drop T logo drumhead
April 1966–June 1966
1965 Epiphone Casino
Gretsch 6120 (studio only)
1964 Gibson J-160E
Vox AC-30 amplifier
Fender Showman amplifier
Vox 7120 prototype amplifier
1964 Rickenbacker 4001S bass (studio only)
1962 Epiphone Casino ES-230TD (studio only)
Fender Bassman amplifier
Vox 4120 prototype amplifier
1961 Fender Stratocaster
1965 Epiphone Casino
1965 Rickenbacker 360/12
1964 Gibson SG Standard
1962 Gibson J-160E
Burns Nu-Sonic bass guitar (studio only)
Vox AC-30 amplifier
Fender Showman amplifier
Vox 7120 prototype amplifier
Starr’s 4th Ludwig drumkit with 5th drop T logo drumhead
More on the bassman:
The Great Bass Amps Of The 60s
By David Hicks | March, 2005
Although the bass guitar was introduced in 1951, bass amplifiers lagged far behind. For a decade, bassists had to make do with guitar (or accordion) amps ill-suited to reproducing low-frequency sounds. Even the early Fender bass amps, including the ’59 Bassman 4×10, had open-back enclosures that produced little more than a muddy approximation of the instrument’s true sound. Finally, in the early 1960s, engineers began to turn their attention to the problem of amplifying this “new” instrument. Let’s take a look at some of the more memorable designs they came up with during that turbulent decade.
Fender Bassman
As the mid-’60s neared, a phenomenon called the “British Invasion” occurred. Suddenly, everybody was learning to play guitar, bass, or drums, and combos were forming in every town across the nation. While many of the English groups were using strange gear made by Vox, most music stores in the U.S. featured amps manufactured in California by Fender. At this time, Leo and company had some 15 years of amp-building experience under their belts, and they were building what proved to be perhaps the most durable—and desirable—amplifiers ever made. In 1964, if you were serious about your music, your amp of choice was a “blackface” Fender Bassman (so called because of the black paint on its front panel).
This amp featured the relatively new (at the time) piggyback design, with separate amp head and speaker bottom, which provided flexibility as well as an illusion of size. (While some of the Fender piggyback amps had tilt-back legs and fasteners to attach the head, no self-respecting rock player of the era set his speaker bottom on its side!) The Bassman’s all-tube amplifier design included dual channels, one marked BASS and the other NORMAL—implying, one assumes, that playing bass was somehow abnormal. Each channel had volume, treble, and bass controls, as well as individual voicing and preamp designs for optimum sound with bass or guitar/microphone. And, as the popularity of electric music continued to expand, the 50-watt power section and pair of heavy-duty 12″ speakers set the standard for bass. The tone was pretty good—all of a sudden, you could hear the bass guitar, without a lot of buzz or distortion. At the time, it was the ultimate in bass gear.
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| 64
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https://www.wikidata.org/wiki/Q1506958
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en
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George Bassman
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https://www.wikidata.org/static/favicon/wikidata.ico
|
https://www.wikidata.org/static/favicon/wikidata.ico
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American composer and arranger
|
en
|
/static/apple-touch/wikidata.png
|
https://www.wikidata.org/wiki/Q1506958
|
American composer and arranger
edit
|
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8916
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dbpedia
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1
| 90
|
https://www.tiktok.com/%40pascaldavis/video/7331079226751339808
|
en
|
Make Your Day
|
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https://www.ancestry.com/1940-census/usa/California/George-Bassman_2hskhb
|
en
|
George Bassman in the 1940 Census
|
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[
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View George Bassman's 1940 US census record to find family members, occupation details & more. Access is free so discover George Bassman's story today.
|
en
|
Ancestry.com
|
https://www.ancestry.com/genealogy/records/results?firstName=george&lastName=bassman
| ||||||
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https://www.music.af.mil/USAFBand/Test-home/igphoto/2001807945/igphoto/2000494670/
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en
|
Test home
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[
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] | null |
[] | null |
en
|
/Portals/33/BandNoteFavicon.ico?ver=8s8OUipjM7DlIJASdf6LlA%3d%3d
| null |
AIR FORCE STRINGS
The Air Force Strings is the official string ensemble of the United States Air Force. Stationed at Joint Base Anacostia-Bolling in Washington, D.C., it is one of six musical ensembles that form The U.S. Air Force Band. The Air Force Strings consists of 17 active-duty musicians performing a wide range of musical styles, from classical symphonic selections and Broadway show tunes to classic rock, bluegrass, and patriotic compositions. The ensemble often entertains audiences at high-level military and government events in a formation known as the Strolling Strings. Providing a multi-dimensional experience, the instrumentalists surround the audience performing from memory without a conductor’s aid. More ...
AIRMEN OF NOTE
Stationed at Joint Base Anacostia-Bolling in Washington, D.C., the Airmen of Note is one of six musical ensembles that form The U.S. Air Force Band. Created in 1950 to continue the tradition of Major Glenn Miller's Army Air Forces dance band, the current band consists of 18 active-duty musicians, including one vocalist. Through the years, the Airmen of Note has presented its own brand of big band jazz as well as more contemporary forms of jazz to audiences via annual tours across the United States, deployments around the world, and local performances throughout metropolitan Washington D.C. For smaller, more intimate venues, the Airmen of Note Combo and various individual musicians perform apart from the full band to support military and civilian ceremonial and diplomatic events. More ...
CEREMONIAL BRASS
The Ceremonial Brass is the official ceremonial ensemble of The United States Air Force. Stationed at Joint Base Anacostia-Bolling in Washington, D.C., it is one of six musical ensembles that form The U.S. Air Force Band. Featuring 38 active-duty musicians, the Ceremonial Brass provides musical support for funerals at Arlington National Cemetery, arrivals for foreign heads of state at the White House and Pentagon, patriotic programs, and change of command, retirement, and awards ceremonies. More ...
CONCERT BAND
The Concert Band is the official symphonic wind ensemble of the United States Air Force. Stationed at Joint Base Anacostia-Bolling in Washington, D.C., it is one of six musical ensembles that form The U.S. Air Force Band. Featuring 52 active-duty musicians, the Concert Band performs across the United States via biannual tours, engages the local community in our nation's capital through numerous concert series, and reaches millions globally through live radio, television, and internet broadcasts. Additionally, Concert Band members perform in smaller chamber ensembles at official military and civilian functions, education outreach events, and local concert venues. More ...
MAX IMPACT
Max Impact is the official rock/pop music ensemble of the United States Air Force. Stationed at Joint Base Anacostia-Bolling in Washington, D.C., it is one of six musical ensembles that form The U.S. Air Force Band. Featuring six active-duty musicians, Max Impact regularly presents high-intensity performances throughout the nation and abroad. The ensemble supports events at the White House, State Department, Department of Defense, and numerous other high-level military and civilian functions to advance international diplomacy with America’s allies and strategic partners. More ...
|
||||||
8916
|
dbpedia
|
1
| 7
|
https://music.apple.com/ca/artist/george-bassman/201183
|
en
|
âGeorge Bassman
|
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[
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"George Bassman",
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[] | null |
Listen to music by George Bassman on Apple Music. Find top songs and albums by George Bassman, including Main Title / The Contract for Gold / The Trek Begins / Elsa's Mad Dash Arrival / Elsa's Long Gown / Heck Tempts Elsa / The Boys Reminisce / Love in the Way / The Bigot / The Trek Continues / Philosophy of Life (From "Ride the High Country" Soundtrack), So Long Partner (From 'Riding the High Country') and more.
|
en
|
/assets/favicon/favicon-180.png
|
Apple Music - Web Player
|
https://music.apple.com/ca/artist/george-bassman/201183
|
Main Title / The Contract for Gold / The Trek Begins / Elsa's Mad Dash Arrival / Elsa's Long Gown / Heck Tempts Elsa / The Boys Reminisce / Love in the Way / The Bigot / The Trek Continues / Philosophy of Life (From "Ride the High Country" Soundtrack) - E - EPâ·â2014
|
||||
8916
|
dbpedia
|
0
| 67
|
https://going-postal.com/2024/08/cure-for-cancer/
|
en
|
Cure for Cancer – Going Postal
|
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[] |
[] |
[
""
] | null |
[] | null |
en
|
https://going-postal.com/2024/08/cure-for-cancer/
|
To: Professor Don Boudreaux, George Mason University
From: Patrick Barron
Date: July 21, 2024
Dear Don,
I read your latest Café Hayek post “On Making the Case for Free Trade” in which you respond to the many objections that free trade unfairly impacts those whose livelihoods were harmed by goods and services from overseas.
I have a thought experiment. Let’s assume that an inexpensive cancer preventative process of some kind is invented by someone overseas. Of course, it will destroy thousands of highly paid healthcare worker jobs almost overnight…IF ALLOWED TO BE IMPORTED OR ADOPTED BY AMERICANS. Let’s further assume that the revolutionary process is invented by someone in a country that we currently classify as a despised enemy of America, perhaps North Korea or Iran. Let’s go even further and assume that this country will not allow its citizens to purchase goods and services from America. Would we deny Americans access to this new process? I should hope not.
This may be a radical and unrealistic scenario; nevertheless, almost every day I see people waiting at bus stops in the heat, humidity, snow, and rain. I’m certain that many of these people would be able to afford cheap Chinese cars, if such cars were allowed into the US without prohibitively expensive tariffs, etc. Of course, the very fact that tariffs are required to keep cheap Chinese made cars from being purchased by Americans proves our point that these cars are preferred over American cars or cars built by people in currently friendly nations. No tariffs were required to keep out cheaply made cars from Eastern Europe following the fall of the Berlin Wall and the end to the Cold War.
Warmest Regards,
Pat
|
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8916
|
dbpedia
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3
| 6
|
https://ancestors.familysearch.org/en/LKVH-M7M/henry-george-bassman-1906-1958
|
en
|
FamilySearch.org
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
Discover your family history. Explore the world’s largest collection of free family trees, genealogy records and resources.
|
en
| null | |||||||
8916
|
dbpedia
|
3
| 73
|
http://www.soundtrackcollector.com/title/19825/Mail%2BOrder%2BBride
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en
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SoundtrackCollector.com
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[] |
[
""
] | null |
[] | null |
en
|
http://www.soundtrackcollector.com/title/19825/Mail+Order+Bride
|
Country
United States
Format
CD
Release Date
Sep-2004
Silver Age Classics series.
Limited edition of 3,000 copies.
Also contains music from:
Ride The High Country
|
|||||||
8916
|
dbpedia
|
3
| 24
|
https://www.prestomusic.com/sheet-music/artists/5114/browse
|
en
|
George Bassman (artist) (page 1 of 4)
|
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[] |
[
""
] | null |
[] | null |
Browse all George Bassman Sheet Music titles available to buy.
|
en
|
Presto Music
|
https://www.prestomusic.com/sheet-music/artists/5114/browse
|
Out of stock at the UK distributor
You may order it now but please be aware that it may be six weeks or more before it can be despatched
Out of stock at the UK distributor
You may order it now but please be aware that it may be six weeks or more before it can be despatched
Out of stock at the UK distributor
You may order it now but please be aware that it may be six weeks or more before it can be despatched
Out of stock at the UK distributor
You may order it now but please be aware that it may be six weeks or more before it can be despatched
Out of stock at the UK distributor
You may order it now but please be aware that it may be six weeks or more before it can be despatched
Out of stock at the UK distributor
You may order it now but please be aware that it may be six weeks or more before it can be despatched
Out of stock at the UK distributor
You may order it now but please be aware that it may be six weeks or more before it can be despatched
|
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8916
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dbpedia
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0
| 71
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https://myastro.com/myastropedia/george-bassman
|
en
|
George Bassman’s natal birth chart, kundli, horoscope, astrology forecast, relationships, important life phases and events — myAstropedia
|
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"George Bassman",
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"kundli",
"zodiac sign of George Bassman",
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] | null |
[
"George Bassman"
] | null |
George Bassman's Birth chart, kundli, astrology data and forecast, love and romance, relationship compatibility, and important life phases and events. George Bassman’s birth date, time of birth and place of birth — myAstropedia.
|
en
|
/logo.ico
| null |
Here you will read about qualities of George Bassman that may be familiar to you as well as a few that might seem new. Together the various features listed below, comprise an astrological portrait of George Bassman as a unique person
For a more detailed analysis, check out Astro Reports.
How George Bassman Appears to Others:
The Essence of Who George Bassman Is:
George Bassman's Emotions and Feelings:
How does George Bassman Think and Communicate:
George Bassman's Love and Romance:
George Bassman's Drive and Ambition:
You are unique – not just one of 12 Sun Signs
myAstro is a kind of astrotherapy - combining astrology with psychology - that provides context to better understand both the opportunities and difficult times in your life. We provide practical and psychological guidance to help you to make the most out of all your phases and relationships. Add unlimited profiles to your account to enhance your relationships.
Register now to receive your personalized
Opportunities, Challenges and Actions Transit Report worth $10 FREE.
|
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8916
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dbpedia
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1
| 4
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https://en.wikipedia.org/wiki/George_Porter_Jr.
|
en
|
George Porter Jr.
|
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2007-05-21T08:22:06+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/George_Porter_Jr.
|
American funk bass guitarist and singer
Musical artist
George Porter Jr. (born December 26, 1947) is an American musician, best known as the bassist and singer of the Meters. Along with Art Neville, Porter formed the group in the mid 1960s and came to be recognized as one of the progenitors of funk.[1] The Meters disbanded in 1977, but reformed in 1989. The original group played the occasional reunion, with the Funky Meters, of which Porter and Neville are members, keeping the spirit alive, until Neville's retirement in 2018 and death the following year.[1]
Porter has his own group the Runnin' Pardners, and also other projects such as The Trio with Johnny Vidacovich, New Orleans Social Club, Deep Fried, and Porter Batiste Stoltz. He has been performing and recording with wide range of artists including Soul Rebels Brass Band, Dr. John, Paul McCartney, Robbie Robertson, Willy DeVille, Robert Palmer, Patti LaBelle, Jimmy Buffett, David Byrne, Johnny Adams, Harry Connick Jr., Earl King, Warren Haynes, Tori Amos, and Snooks Eaglin among many others.[1][2]
Porter joined John Scofield's Piety Street Band in 2008 to tour and to record. Jon Cleary and Ricky Fataar are also members of this band. In 2010, he replaced Reed Mathis in Bill Kreutzmann's renewest band, 7 Walkers.[3] Also in 2010 he performed with Runnin' Pardner at New Orleans' Voodoo Experience.[4]
Biography
[edit]
Early life and career with the Meters
[edit]
Porter's parents were both avid lovers of music. His father frequently listened to Duke Ellington and his mother sang in the local church choir. He grew up in New Orleans next to future Meters bandmate, Joe "Zigaboo" Modeliste, and the two became friends when George was 10 years old. As teenagers, they played jam sessions together with Porter playing a box guitar.[5] Porter was inspired to play bass guitar by another New Orleans native, Benjamin "Poppi" Francis who also gave Porter some lessons on the instrument.[6] When Porter was still in his teens, he sat in with Earl King. After one of the shows, Art Neville came up to him saying he was trying to start a band and asked if he would like to join. Porter agreed spawning the beginnings of the Meters. At first the band was known as Neville Sound and consisted of seven men including Cyril and Aaron Neville as vocalists and Gary Brown on saxophone. After a short time, however, the band was trimmed down to four core members - Art Neville, Zigaboo Modeliste, Leo Nocentelli and Porter Jr. The four were playing six nights a week at a Bourbon Street bar called Ivanhoe when they were approached by Allen Toussaint and asked if they wanted to sign a record deal. After the deal, the label wanted the band to change their name to something that better reflected their sound. They settled on "The Meters." By the early seventies, Porter was touring coast to coast with the Meters. At the same time, the Meters were performing as session musicians on numerous hit records, including "Right Place, Wrong Time," "Lady Marmalade," "Sneakin' Sally Through the Alley," and "Southern Nights." In 1975, they were touring as the opening act to the Rolling Stones.[5] Porter has said that the best moment in his musical career is when he and the other Meters were opening for the Stones in Paris in 1976. The crowd started to boo them, when Keith Richards and Mick Jagger came out in support of the Meters and told the crowd to shut up and listen to the music. He said that moment kept the Meters alive for the time being.[6] By 1977, however, the band broke up due to personal differences. After the breakup, Porter Jr. formed a band called Joyride.[5]
After the Meters
[edit]
Porter played with Joyride and with many other New Orleans musicians in the 1980s. In 1989, Porter reunited with Art Neville and Leo Nocentelli as the Meters, replacing Joe Modeliste on drums with Russell Batiste Jr.[7] In 1990, he started a band called The Runnin' Pardners; a band that is still playing today. Also in the 1990s, Porter became a highly coveted bass player in the studio playing with artists like David Byrne and Tori Amos.[8] In 1994, Porter and Neville re-collaborated to form the band The Funky Meters to carry on the Meters sound. They were joined by Brian Stoltz on guitar and Russell Batiste Jr. on drums. Stoltz left the band in 2007 but rejoined in 2011 and the band still plays today.[9]
2000 to present
[edit]
In 2000, the original four Meters reunited for a show at the Warfield in San Francisco. Modeliste wanted to make the reunion a permanent one but the other members and their management objected. In 2006, however, the Meters performed at the New Orleans Jazz and Heritage Festival.[10][11] This was the first Jazz Fest since Hurricane Katrina so the fact that the Meters reunited for it meant a lot to the city. In 2012, Porter, Leo Nocentelli, Joe Modeliste, and Phish keyboardist Page McConnell performed two concerts as The Metermen. Limited shows followed in 2013 and 2014 with two more night shows during Jazz Fest.
Porter appears in performance footage in the 2005 documentary film Make It Funky!, which presents a history of New Orleans music and its influence on rhythm and blues, rock and roll, funk and jazz.[12] In the film, he performs with Snooks Eaglin and house band on "Come On (Let the Good Times Roll)", and is seen in clips with other musicians, including Art Neville.[13]
Since Hurricane Katrina, Porter has done some activist work with other New Orleans musicians informing people of the dangers of eroding wetlands threatening the future of the city.[14] Porter still tours consistently with the Runnin' Pardners, Joyride, and The Funky Meters. He plays sporadically with the four original members of the Meters, now known as The Original Meters and also frequently collaborates with other musicians, many of whom are from New Orleans. On February 24, 2018, Porter sat in with Dead & Company during their New Orleans concert at the Smoothie King Center, playing bass on several songs including "Smokestack Lightning", "Bertha" and taking lead vocals on "Sugaree".[15]
He plays sporadically with Steve Kimock on various projects including Voodoo Dead.
Personal life
[edit]
Porter was raised Catholic, and once considered becoming a priest.[16]
Awards and honors
[edit]
OffBeat's Best of The Beat Awards
[edit]
Year Category Result Ref. 1995 Best New Orleans Style R&B Band or Performer Won [17] 1996 Best New Orleans Style R&B Band or Performer Won [17] 1997 Best Bass Player Won [17] 1998 Won [17] 1999 Won [17] 2000 Won [17] 2001 Won [17] 2002 Won [17] 2003 Won [17] 2004 Won [17] 2006 Won [17] 2008 Won [17] 2009 Won [17] 2010 Won [17] 2011 Lifetime Achievement in Music Won [17] Best Bass Player Won [17] 2012 Best Bass Player Won [17] 2013 Best Bass Player Won [17] 2015 Best R&B/Funk Band or Performer Won [17] Best R&B/Funk Album (for It's Time to Funk) Won [17] Best Bass Player Won [17] 2016 Best Bass Player Won [17] 2017 Won [17] 2018 Won [17] 2019 Won [17] 2020 Won [17] 2021-22 Won [17] 2023 Won [17]
Discography
[edit]
Runnin' Partner (1990), Rounder
Things Ain't What They Used to Be (1994)
Count On You (1994) - Japan release
Funk This (1997), Transvideo - EP
Funk 'n' Go Nuts (2000), Transvideo
We Came to Play (2003) - as Johnny Vidacovich, June Yamagishi and George Porter Jr.
Searching for a Joyride (2005), Night Train
Expanding the Funkin Universe (2007), OUW Records - as Porter Batiste Stoltz
It's Life (2007), Transvideo
Can't Beat the Funk (2011)
Collaborations
[edit]
In the Right Place - Dr. John (Atco Records, 1973)
Sneakin' Sally Through the Alley - Robert Palmer (Island Records, 1974)
Nightbirds - Labelle (Epic Records, 1974)
Desitively Bonnaroo - Dr. John (Atco Records, 1974)
Keep On Lovin' You - Z. Z. Hill (Hill Records, 1975)
Phoenix - Labelle (Epic Records, 1975)
Patti LaBelle - Patti LaBelle (Epic Records, 1977)
New Orleans Heat - Albert King (Tomato Records, 1978)
Victory Mixture - Willy DeVille (Sky Ranch Records, 1990)
Storyville - Robbie Robertson (Geffen, 1991)
Uh-Oh - David Byrne (Warner Bros. Records, 1992)
Soul of the Blues - Solomon Burke (Black Top Records, 1993)
There's Room for Us All - Terrance Simien (Black Top Records, 1993)
Under the Pink - Tori Amos (Atlantic Records, 1994)
Boys for Pele - Tori Amos (Atlantic Records, 1996)
From the Choirgirl Hotel - Tori Amos (Atlantic Records, 1998)
Maestro - Taj Mahal (Heads Up, 2008)
Bible Belt - Diane Birch (S-Curve Records, 2009)
Good Road to Follow - John Oates (Elektra Records, 2014)
References
[edit]
Biography portal
|
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https://issuu.com/bluedoormagazine/docs/bdm_issue14
|
en
|
Blue Door Magazine | Issue 14
|
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2021-05-26T00:00:00+00:00
|
A Lifestyle Magazine Celebrating Coastal Orange County.
|
en
|
/favicon.ico
|
Issuu
|
https://issuu.com/bluedoormagazine/docs/bdm_issue14
|
Welcome to Issuu’s blog: home to product news, tips, resources, interviews (and more) related to content marketing and publishing.
Here you'll find an answer to your question.
|
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8916
|
dbpedia
|
1
| 66
|
https://sterlingsop.wordpress.com/2011/03/05/my-hometown-blackley/comment-page-3/
|
en
|
My Hometown – Blackley
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[
"Pam Smith"
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2011-03-05T00:00:00
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Let me introduce you to my hometown – Blackley. It’s a small area of Manchester around 3 miles north from the city centre. There are about 11,000 people living in Blackley and there are two main roads running through it; Victoria Avenue, running roughly east-west from Heaton Park, and Rochdale Road which runs roughly north…
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Mushy Cloud
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https://sterlingsop.wordpress.com/2011/03/05/my-hometown-blackley/comment-page-3/#comments
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Let me introduce you to my hometown – Blackley. It’s a small area of Manchester around 3 miles north from the city centre. There are about 11,000 people living in Blackley and there are two main roads running through it; Victoria Avenue, running roughly east-west from Heaton Park, and Rochdale Road which runs roughly north from the city centre towards Rochdale. I was born here and I grew up here, attending 2 primary schools and a secondary school in the area, and now as a married woman with children of my own I live here still.
Blackley is a lovely little hamlet that still has very rural atmosphere despite it being part of Greater Manchester. We have all the usual sort of amenities – schools, churches, library, a golf club, police and fire station, doctors surgeries, parks etc but unusually for a suburban area it has its own cricket team and a brass band (Blackley Band…visit their website here). I was a member of Blackley Band from being a beginner at the age of 7 until after I got married. I am still in contact with them regularly and my daughter plays cornet with them. They had their bandroom on Crab Lane (near to my first primary school) but due to vandalism and general thuggery they were forced to move out about 5 years ago and now have their base in the Community Centre on Victoria Avenue.
I first went to Crab Lane Primary but was taken out of there just before I was 5 to go to Bowker Vale because of difficulties with my class teacher at the time. I went to Plant Hill High School when I was 11 and pretty much enjoyed my time there right through. I had some fantastic teachers – not necessarily good at what they taught but good at teaching me to THINK. My school had a long-running feud with the catholic school up the road, Our Lady’s High School, and it wasn’t unknown for gangs to organise fights at lunchtime and after school several times a week. It got so bad that the schools got together to change the start and end time of the school day so that we wouldn’t meet in the streets. Terrible when you think about it now!
I have loved living in Blackley all my life. It’s so green! Everywhere you look there are trees and grass verges, open spaces, parks and flowers. It is beautiful all year round and I love it here. The people are friendly too and even now, 40 years on, it only takes a few minutes of walking up the main road to spot someone familiar from my childhood. I spent a lot of my time playing out – on my bike, playing football, climbing trees, exploring Heaton Park, playing hide and seek or ralivo, exploring the disused mill site (now a Sainsbury’s) and finding ways to cross the River Irk without getting wet…not always successfully. I had many happy scrapes in and around Blackley and have got oodles of scars and odd bumps from playing where I shouldn’t have been (like the sewage pipes over the river, frozen ponds and building sites when the workmen weren’t watching…)
Let me tell you a little bit about the history of Blackley itself. The name “Blackley” comes from the Anglo-Saxon for “clearing in a wood” and as I described above, it is still very much a rural hamlet. Hints at its rural and farming past are found in some street names; we have French Barn Lane, Plant Hill Road, Cooper Lane, Acre Top Road, Hill Lane amongst others. In the 12th century the area was a deer park and was used by nobility for hunting. Later the land was parcelled off and was then owned by a string of aristocratic and noble families, including the Byron family of whom Lord Byron the poet is probably the most famous.
Amongst the families who have owned Blackley between them were the Egertons and the Booths. The Booth family built a hall on what is now Charlestown Road and their land became what is now known as Boggart Hole Clough – a parkland area that borders Blackley, Moston and Harpurhey. There is a story about why it is called by that name, and I will be writing about that in another post. The hall was pulled down at the end of the 19th century after a period of disuse, and the land came to be used as an infirmary and later again as a leading children’s hospital. Unfortunately, due to changes and cuts in the NHS Booth Hall Hospital was fighting for its own survival since the 1990s and it closed a couple of years ago. For more on its history click here. Blackley Band visited Booth Hall Hospital every Christmas Day morning (10am sharp!) to play carols for the children and staff on the wards and in A&E. I loved this part of playing with the band and played with them every Christmas even when I was no longer a member. One particular Christmas morning we met up with Take That who were broadcasting live from the hospital. Away from the cameras we went with them round a couple of wards and one of my outstanding memories is accompanying them whilst they sang Away In A Manger.
The Egerton family owned the land that is now Heaton Park (again, I will be writing about this later on) and the Earls of Wilton lived in Heaton Hall. If you can’t wait for my article, click here for more information.
Blackley is blessed with a huge number of pubs, many of which I have visited whilst carolling with the band and for my own pleasure. There are several that have “lion” in their title – The White Lion, The Lion and Lamb, Ye Golden Lion, The Red Lion, The New White Lion – and legend has it that there are so many with this in their title in such a small area because it was where the last lion in England was killed. I prefer my own notion that it is because the Egerton family had lions as part of their crest and public houses were named in their honour. This is a picture of Ye Golden Lion in Blackley village to show you its name, its sign and the road that it is on the corner of…Lion Street.
The smallest pub is The Millstone and the largest was the Clough Hotel (until it burned down a couple of years ago).
There are more pubs than churches in Blackley (which is probably typical of England as a whole!) but I will mention some of the main churches in the area. I am a member of St Paul’s, but I was married at St Andrew’s (I lived in that parish at the time) and I was confirmed at St Peter’s. There has been a church or chapel on the site of St Peter’s since the 1100’s in one form or another. The current building was built in the mid 1800’s and is a glorious example of architecture and history. There is a big catholic church at Plant Hill called St Clare’s and I’ve attended a couple of weddings and a funeral there. I told you we were a close community! There are quite a few smaller chapels dotted around the area too so as you see we can cater for any “flavour” of Christianity you care for.
We may be a small place, but we can boast a couple of famous people who hail from round here. Bernard Hill the actor was born in Blackley, Mike Harding the comedian/singer/presenter was born and brought up locally too. Most people will have heard of Bernard Manning and his “world famous” Embassy Club; he was born on the other side of the Clough and lived with his mum on Lewis Avenue for most of his life. Roger Byrne, captain of Manchester United who died in the Munich air disaster in 1958, had his funeral and was cremated in Blackley. Further back in history (1555 to be precise) John Bradford, a son of Blackley, was executed and made a martyr for his Protestant religious beliefs.
It is also said that the infamous highwayman Dick Turpin passed through the area and there are two pieces of “evidence” to support the claim; first of all there is a plaque on the side of the White Lion pub attesting that he slept there and secondly the Flying Horse pub on Crab Lane is said to be named in his “honour”. Personally I would seriously doubt it because the pub really is not that old, only a hundred years or so and Dick Turpin hails from 200 years before then and the road where the pub is forms part of the main coaching route that was used between Manchester and Rochdale before the wider Rochdale Road was built much later. Most coaching inns were called something relevant at the time, and it wouldn’t have been unusual for that particular pub to have seen horses “fly” past it all day. It makes a good story though doesn’t it!
A good story that I know to be true is that the dye works in Blackley village (which became the UK headquarters for ICI) caused the sheets at the local hospital to become coloured blue when the wind was in a certain direction….in the days well before health and safety!! (The local hospital was Crumpsall Hospital which was originally the local workhouse. I will be writing about that another time).
There’s more I could tell you about Blackley but I’m going to save it for later articles. I hope you have enjoyed my little introduction to my home town and my pictures to illustrate certain parts of it. Why not tell me about your own hometown? Link back to me when you have done your post. I’d love to hear from you.
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Posts about Film & TV written by holybeeofephesus
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https://s1.wp.com/i/favicon.ico
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Holy Bee of Ephesus
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https://holybeeofephesus.com/category/film-tv/
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Duck Soup takes place in the Ruritanian-style fantasy country of Freedonia — where everyone speaks perfect English and the entire government is funded from the pocketbook of a rich widow, Mrs. Teasdale (Maragret Dumont). She insists, for reasons that are entirely unfathomable (always the sign of a good Marx Brothers plot), that she will no longer underwrite the country’s budget unless Rufus T. Firefly (Groucho) is installed as the head of state. Chico and Harpo are spies in the employ of Freedonia’s rival country, Sylvania, where the foreign ambassador Trentino (Louis Calhern) seems to be running the whole show, and has designs on annexing Freedonia. The first two thirds of the film concern the avoidance of war…then the war inevitably comes.
Although Zeppo once again is relegated to the nothing role of Groucho’s secretary, by virtue of being an official Marx Brother he does get to participate in the big musical number that accompanies Freedonia’s declaration of war. The exuberant setpiece is an ironic take on jingoistic pride and misplaced enthusiasm many feel when sending soldiers off to a possible gruesome death. Those who are thrilled and excited by such things are rarely those who have to do the actual fighting (and we are treated to the sight of the entire Freedonia parliament doing handstands in the midst of their fervor). At least Groucho isn’t above joining in the combat, although at one point he makes the mistake of machine-gunning his own troops. (When Zeppo points this out, Groucho hands him five dollars and tells him to “keep it under your hat.”) The war is won when they’re able to pin down Ambassador Trentino and pelt him with fruit.
Was it all too much? Had the Marx Brothers finally crossed the line? When the film was released on November 17, 1933, the reviews were tepid and the box office returns were below expectations (although it did turn a tidy profit and was not the complete bomb that it was later alleged to be — in fact it was the studio’s fifth-highest grosser that year). Paramount was still salty over the Marxes’ attempt to sue them earlier that year, and now that their three-picture contract was fulfilled, they used the mediocre performance of Duck Soup as a reason not to offer them another contract.
“Rufus T. Firefly” — President of Freedonia
Since the primitive days of 1933, Duck Soup has climbed its way up the Marx Brothers filmography ladder, and it regularly appears in “Best Comedies of All Time” lists, usually in the top five. Its darkly cynical, anti-war tone struck home with younger generations, and many felt that being directed by a true filmmaking artist (McCarey went on to win two Best Director Oscars for The Awful Truth and Going My Way) paid off handsomely for the Marx Brothers. Some latter-day Marx fans have taken it down a notch or two because they feel McCarey heavy-handedly imposed too much of his own imprint onto the team (silly montages, overly-cartoonish sight gags, and some recycled Laurel & Hardy bits, including the title itself), but it doesn’t look like Duck Soup is going to be knocked off its perch any time soon.
Despite the anti-McCarey carping from some corners, my opinion is that Duck Soup is indeed their best movie. Whatever influence McCarey may have had, it definitely still feels like high-octane Marx Brothers, and it’s still the film I would show (and have shown) to someone who has never seen the team to demonstrate them to their best advantage (despite the lack of the piano and harp solos — those can be introduced when your new viewer inevitably wants to watch more Marx Brothers). Duck Soup is responsible for creating newly-minted Marx fans by the thousands over the years. Sadly, no Marx Brothers picture is perfect (“The Marx Brothers have never been in a movie as wonderful as they are,” said film critic Cecelia Ager), but minute-by-minute and line-for-line, Duck Soup is their funniest picture. The Kalmar & Ruby surrealism has reached the height of absurdity, and for the most part, I enjoy McCarey’s hyper-visual style. (Yes, I could have done without the rather lame “going-to-war” montage that follows the superlative musical number.)
Master spies Chico and Harpo confer with Ambassador Trentino
And as a reward for making their funniest picture, they were essentially fired by Paramount.
With no prospect of another movie in the foreseeable future, the Marx Brothers scattered into solo activities. In December of 1933, Harpo traveled to the Soviet Union, briefly passing through early-phase Nazi Germany, which terrified him. For the first time since the Bolshevik Revolution, the U.S. had opened diplomatic relations with the U.S.S.R. and Harpo’s brief tour was arranged by his friend Alexander Woolcott as a goodwill gesture between the two nations. Harpo performed at the Moscow Art Theatre and the Leningrad Music Hall. His silent comedy antics (playing off two Russian-speaking co-stars, and having no idea what they were actually saying) were well-received, but it was his harp playing that truly brought down the house.
Zeppo used the Marx Brothers’ period of unemployment to fulfill his long-burning desire to jump ship. His departure was officially announced in Variety on March 31, 1934. After bouncing around a bit, by 1935 he had partnered with his brother-in-law Allan Miller and set up a theatrical agency. Not long after, Marx & Miller hired Gummo, becoming Marx, Miller & Marx. Initially, the agency deliberately avoided anything to do with the three performing Brothers, and built an impressive roster of non-Marx clients.
Now it was the Three Marx Brothers for the first time since 1911.
Except for a brief return with Chico to radio that spring (the show, titled The Marx of Time, was an audio parody of newsreels and only lasted eight episodes), Groucho was at loose ends. He packed his family off to a luxury cabin in the Maine woods for the entire summer and pondered his future. He soon grew bored, and took a week-long role in a local summer stock production of Twentieth Century. Maybe it was time to retire the greasepaint mustache and look into more legitimate areas of performance.
Chico had spent the layoff since Duck Soup going to the racetrack and playing cards. This time his proclivities paid off. He got into a card game with MGM production chief Irving Thalberg.
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Most fans mentally divide the Marx Brothers’ films into a few distinct chronological categories:
The New York Paramounts / Stage Adaptations (The Cocoanuts, Animal Crackers)
The Hollywood Paramounts (Monkey Business, Horse Feathers, Duck Soup)
The Thalberg MGMs (A Night at the Opera, A Day at the Races)
The Odd One Out (Room Service, an adaptation of a non-Marx play done for RKO Pictures)
The Lesser MGMs (At the Circus, Go West, The Big Store)
The Post-Retirement Reunions (A Night in Casablanca and Love Happy, although the latter’s status as a true Marx Brothers film is disputed)
We have reached what many fans and film scholars regard at the Marx Brothers’ peak, the Hollywood Paramounts and the Thalberg MGMs. As indicated in Part 1, this will likely be the shortest segment of this essay series, as we are really exploring how the Marx Brothers came to be film comedy icons (the Rise, Parts 1-6), and what became of them when quality control started slipping and they decided to retire from cinema screens (the Fall, Parts 9-11). I use “Fall” only because it goes with “Rise,” and not because they made some catastrophic mistake or had some embarrassing failure that caused audiences to turn away. It was just that the material thrown their way by a studio that no longer cared about them had become inarguably sub-par, and the Brothers had lost interest in the whole movie-making thing anyway.
So in discussing the run of their best Hollywood-era movies, I will try to keep it brief. I will go light on summaries and well-worn anecdotes. You can find those in any number of books. My goal is to take a quick (well, quick for me) look at how these films fit into the overall trajectories of their lives and careers, and maybe give a few personal thoughts and opinions.
As the door closed on 1930, the Marx Brothers had Hollywood in their sights. But first, a return to the stages of London with a revue called The Schweinerei, a mixed-bag collection of highlights from all three of their stage shows, which had already toured some U.S. cities that fall. Their new three-picture contract with Paramount was signed on board the S.S. Paris right before it sailed for the U.K. on Christmas Eve.
Another situation to be dealt with before they sailed away for a month’s residency in England was coming up with an idea for a radio show. To that end, the Brothers contracted fledgling but soon-to-be-legendary humorist S.J. Perelman and I’ll Say She Is writer Will B. Johnstone to come up with some ideas. After thinking of and rejecting a number of premises, the writers presented their final scenario to the team right before they left — how about the Marx Brothers as four stowaways on an ocean liner? Groucho declared the idea was too good to be wasted on a mere radio show, and should in fact be the plot of the first movie on their new contract. Before they were really aware of what was happening, the radio show was on the back burner, and Perelman and Johnstone were on a train to California to bang out a screenplay.
The pair of writers reported to the office of the Marx Brothers’ new producer — their old Algonquin crony from the I’ll Say She Is days, the hard-drinking, acid-tongued Herman “Mank” Mankiewicz, a former drama critic who had come west in 1925 to try his hand at screenwriting. He found the comfortable Hollywood lifestyle quite appealing (and profitable). “Millions are to be grabbed out here and your only competition is idiots,” he wrote to Ben Hecht. Mank quickly rose through the ranks at Paramount and was put in charge of the Marx Brothers, whom he knew well. (Groucho used to come over to his house in New York and say to his wife “Hi Mrs. Mankiewicz! Can Herman come out and play?”). He was brutally honest with their new writers: “[The Marx Brothers] are mercurial, devious, and ungrateful. I hate to depress you, but you’ll rue the day you took this assignment.”
In the modern era, comedy is very proprietary. Stand-ups write their own material (and guard it fiercely). Sketch troupes write their own sketches. As tempting as it is for a modern audience to want to believe that the Marx Brothers came up with all of that wonderful material themselves, the truth of the matter is they were performers first and writers…not even second (except possibly Groucho, who always had literary ambitions). And this was par for the course for just about every comedy act up through the 1960s*. Jack Benny, George Burns, Milton Berle, Bob Hope — all considered comedy giants, and all had teams of writers to provide their funny lines. The fact that the Marx Brothers did too doesn’t mean they weren’t capable of coming up with brilliant stuff off the tops of their heads — that’s what people remembered most about their stage act after all, the ad-libbing. But when it came down to it, the Marx Brothers knew the value of written material, even if they didn’t always adhere to it faithfully.
Upon their return to the United States, the Marx Brothers almost immediately headed to Los Angeles. Exhausted after a long ship and train journey, and the hassles of setting up their new living arrangements, the Brothers and a few associates were invited to a reading of their new script by Perelman and Johnstone at 8:30 on a Friday night at the Roosevelt Hotel. Not an ideal time to be receptive to a comedy script, and the first person to actually show up was Mankiewicz at 9:45. To put it mildly, it did not go well. (“I would have shot myself by page twenty-five,” said writer and friend-of-Groucho Arthur Sheekman, who witnessed the ill-fated reading). Chico and Harpo went to their default mode — sound asleep. Groucho listened silently the whole way through, then gave his two word verdict — “It stinks.”
So, the script needed work, it was all hands on deck, and a pattern for Marx Brothers script writing was set.
Marx Brothers movies (the better ones, at least) were written in a way remarkably similar to modern sitcoms. The writers who would receive official onscreen credit would craft the story, basic dialogue, and hopefully more than a few good jokes and funny bits. Then the script would run the gauntlet of the “writers’ room,” where a round-table of scribes would punch up the dialogue, cram in more jokes and bits (as many as they could fit), and polish it to a high sheen. In addition to giants like Kaufman or Perelman whose names ended up prominently in the credits, the list of uncredited or partially-credited contributing writers would include guys like Sheekman, Nat Perrin, Grover Jones, vaudevillan Sol Volinsky, cartoonist J. Carver Pusey, legendary gag man Al Boasberg, animator Frank Tashlin, silent comedy icon Buster Keaton, Ben Hecht, Uncle Al Shean (who supposedly was paid $5000 for one line), and of course the Brothers themselves, who were always tweaking and improving lines.
Although Mankiewicz was known to drop by the script conferences from time to time and contribute, he was a pretty hands-off producer. When the writing team came to him for guidance on the plot, he told them “If Groucho and Chico stand against a wall and crack funny jokes for ninety minutes, that’s enough of a plot for me.” When he inevitably got fed up with the writers’ questions interrupting his afternoon boozing sessions, he would yell at them to “get back to [their] hutch,” and if they were good he would bring them “a lettuce leaf to chew on.” “If [Mank] had any loveable qualities,” said Perelman, “he did his best to hide them.” Groucho said, “Herman was a good writer, but he didn’t like to work. He would rather play cards, drink, and get laid [who wouldn’t? — Ed.]. He had a lot of talent but he never used it. He was a character. I think he finally got thrown out of Paramount because he was loaded all the time.” (Mank returned to screenwriting after he washed out as a producer, and his script for 1941’s Citizen Kane won the Oscar, evidently utilizing some of the talent Groucho mentioned.)
Harry Ruby explained that the Marx Brothers didn’t ad-lib much on film, for a very basic reason: “There’s no audience to react. Of course, you couldn’t stop them from ad libbing, but they didn’t carry on the way they did on stage…On stage, there was no one to control them. You couldn’t stop the show and tell them to calm down. But on the set they knew the director could call a halt to shooting and tell them to cut it.” According to Joe Adamson, Groucho found another type of audience. Since the material had not been tested over the course of several hundred live shows as with their first two movies, he would worry when too many takes of a scene caused the sound and lighting crew to no longer have to stifle their laughter at a line or joke. He would then huddle with the writers, or think of something himself, to break up the technicians again.
Groucho in particular was insistent early on in the production process that there be no Margaret Dumont in Hollywood. She represented the old days, and would not fit into their new phase. The team now wanted glamour and sex appeal. The female lead in their first Paramount picture would be a young, modern woman and would be played by Thelma Todd. Todd’s formidable combination of “ice cream blonde” looks and comedic acting skills would definitely be an asset to the Marxes’ new cinematic incarnation. (Dumont’s sidelining — about which she felt both a little hurt and a little relieved — would be temporary.)
Filming began on the stowaway story — titled Monkey Business, with an entirely re-written script — in early April of 1931. Animal Crackers director Victor Heerman was tied to Paramount’s New York studio, so they were assigned a new Hollywood-based director, Norman Z. McLeod. McLeod was a genial, soft-spoken former animator who generally let the Marx Brothers have their way, got the shots when he could, and went on to have a pretty solid musical-comedy directing career (It’s A Gift, Topper, Road to Rio, The Paleface, The Secret Life of Walter Mitty, among others).
It is quite clear that Monkey Business is not just a filmed play like their first two movies, but a creation of pure cinema. The camera is finally unleashed, able to follow the Brothers wherever they go — and they went all over. They are nameless agents of chaos. Far from avoiding attention as stowaways, they rampaged across that ocean liner, insulting the captain and taunting the crew. They even got themselves entangled with dangerous gangster Alky Briggs (veteran screen villain Harry Woods) and his beautiful “bad girl” wife (Todd). Zeppo is given his best part yet in a Marx Brothers project — he is the romantic lead! Although he’ll never win an acting prize, he manages to generate some flickers of onscreen charm as he wins the heart of the “good girl” (Ruth Hall) and defeats Alky Briggs in a round of (rather unconvincing) fisticuffs in the climax.
The pace of the film is quickened quite a bit (Animal Crackers is measured and The Cocoanuts is absolutely leaden by comparison). There is just enough time for the piano and harp numbers (there are no “real” songs to be found — any other music is background, or used solely for humorous purposes). For the final third of the story, they are off the ocean liner and engaging in what was already becoming a Marx Brothers trope — disrupting some kind of fancy-dress function. The whole thing streaks across the finish line in a little under eighty minutes.
Monkey Business was released on September 19, 1931, and it was a very much a success — but it slightly underperformed Animal Crackers at the box office. The ever-pessimistic Groucho was once again convinced the team was finished and once again began planning an early retirement, but Paramount was happy with the returns, and plans for the second film on their contract proceeded apace.
Monkey Business is the film from their “peak period” that I probably watch the least. The gangster subplot is a little labored, and the dialogue (though it definitely has its moments) is a notch below Animal Crackers and a notch-and-a-half below the next two films, lapsing too often into old-fashioned corny jokes that seem beneath them, and Perelman’s (who was still finding his voice) sometimes tortured wordplay. Still, it’s better than The Cocoanuts, and astronomically better than their later MGM films.
Vaudeville was all but dead, but the Marxes simply could not shake their addiction to performing live, or more likely, the quick and lucrative paydays live shows provided. In a now-established pattern, they filled a couple of months between films with a short tour of the few remaining vaudeville houses, this time performing the Napoleon scene from I’ll Say She Is. The $10,500 a week they earned for Napoleon’s Return broke records for a vaudeville salary, although one review called the performance “perfunctory.”
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A performance of The Cocoanuts is underway…at the start of the second act, Groucho walks up to the footlights, peers into the crowd, and asks solemnly “Is there a doctor in the house?” A man stands up and waves his hand. “I’m a doctor!’
Long pause.
“So…how do you like the show so far, doc?”
Although noted for their boundary-pushing and rule-breaking, as professional touring entertainers, the Marx Brothers always liked to have a bit of a template to work within, if for nothing else as something to ignore or violate when the mood struck them. Part of that structure was an external target, some authority or establishment figure for their antics to knock down a few pegs. During the Brothers’ vaudeville days, in both Home Again and On the Mezzanine Floor, that figure came in female form — an elegant but stuffy dowager. A haughty grand dame, perfect for insulting, offending, shocking, and sometimes downright manhandling and/or trampling. In Broadway’s The Cocoanuts, this “straight woman” was personified by the snobbish Mrs. Potter, and was played to perfection by Margaret Dumont, who would appear with the Brothers in most of their stage and screen appearances for the rest of their careers. She was an irresistible mark — nose in the air, speaking her dialogue with an operatic trill, and rolling her r’s like a true denizen of the legitimate stage.
According to Marxian legend, Dumont’s acting skills were not exactly stretched by the roles she was given in their plays and films. The Brothers, especially Groucho, insisted she really was the prim, overly dignified, easily-shocked figure she portrayed. Groucho went as far as saying she didn’t really get the jokes she was constantly the butt of, and was only dimly aware she was performing in comedies.
She was born Daisy Baker in Brooklyn in 1882, but re-named herself “Daisy Dumont” and cut her performing teeth as a showgirl and singing comedienne on the same collection of vaudeville circuits as the Brothers’ old Nightingales act a few years before them. Although she burnished her resume with appearances on the stages of Paris and London, there is no evidence she ever left the U.S. She married a wealthy heir to a sugar-refining business and temporarily retired from the stage in 1910. As the socialite wife of Mr. John Moller Jr., she put on the dignified manners and pompous airs that would come to characterize her later persona. When her unfortunate husband was disinherited, and died not long after during the 1918 flu epidemic, the flat-broke Mrs. Moller was forced to take up her earlier vocation, and returned to the stage under the name “Margaret Dumont.” Her showgirl days long behind her, the stout, middle-aged Dumont spent the early 1920s toiling in supporting parts in several unmemorable Broadway productions.
Fortune smiled on everyone involved when Sam Harris cast her as Mrs. Potter in The Cocoanuts. She was the perfect foil for the Marx Brothers. The rest is history.
Was she as clueless as Groucho insisted? Almost certainly not. She had few close friends or family to corroborate or disavow the Brothers’ portrayal of her. Although she did carry herself with an exaggerated regal bearing even offstage, and was described by Cocoanuts co-author Morrie Ryskind as a little naive, it should be remembered Dumont was a professional actress with a long history of working in comedy going back to the turn of the century. The one in-depth interview she gave indicates her awareness of what she brought to the team: “Working with the Marx Brothers is an art. It requires a great deal of study and concentration to remain at perfect ease when they spring surprise lines…It wasn’t easy, at first, to keep a straight face at all times…But please don’t refer to me as their stooge. It’s a terrible word, isn’t it?” In other words, Margaret Dumont knew exactly what she was doing.
The Cocoanuts finished its run on Broadway in August of 1926, and headed out on tour that fall. The play stayed on the road all the way through February of 1928, and even beyond that, the Brothers did a forty-five minute truncated version of the show, called Spanish Knights, for a limited vaudeville run that spring (only in the biggest and most prestigious houses in L.A., San Francisco, and the Chicago area). During that busy time, Zeppo Marx got married, Groucho and Ruth had a second child (daughter Miriam), George S. Kaufman managed to complete and stage two non-Marx plays…and sound came to motion pictures. The William Morris Agency began shopping for a film deal for The Cocoanuts now that the all-important dialogue could actually be heard.
During the seemingly never-ending road tour, Zeppo’s new wife Marion Benda (who, for murky reasons, shared her very distinctive stage name with Rudolph Valentino’s mistress), formerly a chorus girl in the show (naturally — they never seemed to look too far for spouse material), was elevated to the role of Penelope, one of the show’s main villains. Poor Zeppo found himself in the unenviable position of being an official Marx Brother, but having a smaller part and less dialogue than his recently-promoted bride
Kaufman and Ryskind were corralled into writing another musical comedy for the Brothers to see if the team could pull off the hat trick — conquering Broadway for the third consecutive time.
They did.
Rehearsals for Animal Crackers began in the late summer of 1928. The Marxes vowed to work hard, pay attention to the director and choreographer, and stay on script as much as possible (at least until they had it memorized). The vow lasted almost a week before they once again began making a mockery of anything like stagecraft or discipline. “It was not that they were emboldened by optimism and a sense of security in their own talents. They simply could not help themselves,” writes Groucho biographer Stefan Kanfer. “They looked at the stage as a vast toy store full of pretty girls, props, lights, straight men and women, and, the greatest plaything of all, a script to be tossed around and pieced together again.”
Seconds before the curtain went up on the very first try-out performance in Philadelphia, Groucho casually turned to nervous co-star Maggie Irving and remarked, “You don’t expect to get cues from me tonight, do you?”
After a month in Philadelphia, Animal Crackers opened at the 44th Street Theatre in New York City on October 23, 1928. The plot concocted by Kaufman and Ryskind (who was officially credited as co-author for the first time) dealt with a posh weekend house party hosted by Mrs. Rittenhouse (Dumont). One guest of honor is Roscoe W. Chandler (Louis Sorin), a distinguished art collector who plans on displaying his most recent acquisition, After the Hunt, by the revered artist “Beaugard.” The other key guest is Captain Jeffrey T. Spaulding (Groucho) an “African explorer” invited to regale the guests with tales of his exploits in the jungle, even though anyone with half a brain can tell he’s a complete charlatan. (Chandler, too, is actually a fraud, but a more subtle one.) Chico is on hand as the party’s resident pianist and bandleader Emanuel Ravelli, and Harpo is a mysterious guest known only as “The Professor.” Zeppo has a few lines as Groucho’s secretary, Jamison (the same name he had in The Cocoanuts.) What little actual narrative there is revolves around the theft of the Beaugard painting, and the budding romance between Mrs. Rittenhouse’s daughter and a young aspiring artist (the two plot threads are indeed related.)
As usual no one cared a fig about the plot. Kaufman and Ryskind now had a Marx Brothers Formula — five major comedy scenes showcasing the Brothers and giving plenty of room for them to improvise and wreak their usual havoc, a handful of “supporting” scenes to propel the narrative (to be tolerated and gotten through as quickly as possible), all linked by songs. The final comedy scene should be a lavish “big finish.” In the case of Animal Crackers, the closing sequence was another “fancy dress ball,” a repeat of Cocoanuts (and borrowing many elements from the I’ll Say She Is Napoleon scene), with French royal court regalia replacing the Spaniard costumes. The song performed was “We’re Four of the Three Musketeers.” (“Eeny!” “Meeny!” “Miney!” Honk!). Somewhere along the line, Harpo yet again drops purloined silverware from his raincoat sleeve for the 10,000th time. It never seemed to get old.
This time, the songs were provided by Bert Kalmar and Harry Ruby, a journeyman songwriting team who had begun in vaudeville, then had worked frequently on Broadway since the start of the decade. They scored an Irving Berlin-sized hit with “Who’s Sorry Now?” in 1923, and became great friends and frequent collaborators with the Brothers, with whom they shared an anarchic sense of humor.
The Marx Brothers played sold-out house after sold-out house. Audiences left the 44th Street Theatre completely wrung out, happily singing Kalmar & Ruby’s “Hooray for Captain Spaulding,” which in later years would become Groucho’s theme song, along with its companion piece, “Hello, I Must Be Going.”
After a brief flirtation with United Artists, the offer for the film rights to The Cocoanuts arrived on the desk of Adolph Zukor, president of Paramount Pictures. The whole package — story, the songs, and the services of the Marx Brothers, now an unqualified stage sensation — could all be his for a mere $75,000. Zukor still balked at the price. A meeting was arranged by Walter Wanger, head of Paramount’s New York office, between the irascible, tight-fisted Zukor and Zeppo Marx, who laid on the flattery to Zukor so thick (“You’re the one showman in the world!”) that a deal was easily reached — for $100,000. Zukor was so bowled over by Zeppo’s sweet-talk, he seemed not to notice the $25,000 increase that was slyly slipped in. Wanger watched the whole thing go down in absolute astonishment. (Some sources say it was Chico who pulled off this deal, but Wanger remembers it being Zeppo.) Veteran Paramount director Monta Bell had recently been promoted to producer, and was put in charge of shepherding The Cocoanuts from stage to screen. Morrie Ryskind was tapped to turn the stage script he had written with Kaufman into a filmable screenplay.
Early sound films were a technical nightmare to shoot. There was no way to post-synch tracks of audio, so everything had to be recorded live on set — including the music. A full orchestra was always just off-camera, waiting for its cue. Huge, primitive condenser microphones were hidden all over the set (picking up even the slightest rustle of paper — which is why all the papers on the set of the Cocoanuts film were soaked in water before a take, creating a pretty odd visual for sharp-eyed viewers). The cameras and their operators were sealed in huge wooden boxes, and filmed through thick glass windows, to keep the sound of their motors from drowning out the dialogue. The cameramen would need frequent breaks to avoid heat stroke or asphyxiation.
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Will B. Johnstone’s day job was as a brilliant political cartoonist for the New York World. The image of the “American taxpayer” as a naked man wearing a barrel on suspenders? That was created by him. His sideline was writing lyrics, and later books and lyrics, for B-grade Broadway musicals. His younger brother Tom composed the tunes. Joseph M. Gaites was a failed playwright who eventually found success as a producer of C-grade Broadway musicals. After one of his shows was inevitably savaged by the New York critics and closed after a handful of performances, he would put it on the road, cutting as many corners as possible in the cost of the production (it was said that the “M” in his name stood for “Minimum”). All he had to do was hype that the show was “direct from Broadway” and all the rubes from Tucson to Tulsa to Tampa Bay would line up in droves to see a “real Broadway musical.” Gaites would scrape his money back, and start all over again with a new show.
As a team, Johnstone and Gaites saved the Marx Brothers, who themselves were not far from wearing barrels on suspenders at this point.
Johnstone and Gaites first collaborated on Take It From Me. Out of the gate, it was their biggest success, getting halfway-decent reviews, and touring the sticks for a number of years thereafter. Next, Gaites signed up Kitty Gordon, once a major Broadway star who had left the stage for the lure of silent pictures. When she failed to make a cinematic impact after several years of trying, she announced a return to theater in late 1919. Johnstone was tasked with writing her big comeback vehicle. He came up with Love For Sale. Noah Diamond writes, “Johnstone’s idea was not, in itself, much of an idea. But get used to it: A bored heiress is looking for thrills, and each scene depicts an attempt to thrill her. In the end, she learns the greatest thrill is the thrill of love. It was a flexible revue plot, which could accommodate any kind of song, sketch, or specialty.” The bored heiress, identified as “the Beauty,” was wooed by a series of eight suitors, identified by the well-known bit of children’s doggerel — “Rich Man, Poor Man, Beggar Man, Thief; Doctor, Lawyer, Merchant, Chief” — each offering a unique thrill.
Love For Sale was a flat failure — it did not make it out of tryout performances in Detroit, but Johnstone and Gaites filed the idea away as they moved on to their next production, the modestly-successful Up in the Clouds. In 1922, they cut Love For Sale to tabloid length and re-titled it Gimme A Thrill…and put it on the Shubert vaudeville circuit, the very same ineptly managed money-hole that the Marx Brothers were currently touring — and circling the drain — with. Gaites ended up losing $10,000 on the endeavor.
With both Gimme A Thrill and the Marx Brothers’ Twentieth Century Revue dead in the water by the spring of 1923, everyone went back to New York to lick their wounds and ponder their future in live theater. At some point the Brothers, in pure desperation, contacted Ned Wayburn, the man who first put teenaged singers Groucho and Gummo into vaudeville as “Ned Wayburn’s Nightingales” back in 1907. The Brothers hoped their old mentor could set something up for them. The best Wayburn could do when put on the spot was introduce them to the Johnstone brothers, and hope for something to spark. Will B. agreed that the Marx Brothers might be a good act to write something for.
At almost the exact same time, Philadelphia businessman James P. Beury, heir to a coal-mining fortune, pulled the name of Joe Gaites out of his lengthy list of contacts to see if there was anything Gaites could provide to put on at the Walnut Street Theatre for the normally-dormant summer season. Beury had bought the Walnut Street Theatre as a sound investment. Musical theater was having a strong run in Philly in the early ‘20s, and the Walnut Street Theatre had historical significance. It was (and remains) the oldest continuously operating theater in the United States, running shows since 1808. Beury had installed air conditioning during his recent renovation, and wanted to capitalize on it. (In those days, “air conditioning” meant blowing massive fans over equally massive blocks of ice.)
Gaites agreed to come up with something. He got in touch with Johnstone, and thriftily pushed him for a resurrection of the pre-existing Love for Sale/Gimme A Thrill book and songs, mostly as a way to get some use out of the scenery and costumes he had been storing. Johnstone admitted with a little polish and a few additions, they might be onto something. One of the additions could be the Marx Brothers, but Johnstone wasn’t quite sure. It turns out that Will B. Johnstone may have been the only human being in the tri-state area who had never seen the Marx Brothers perform. The Brothers made a quick deal with the Premier Theatre in the outskirts of Brooklyn, hastily rustled up a Sunday afternoon audience, and played a one-off show (without a chorus) specifically for Johnstone on April 15, 1923. They passed the audition. Johntsone figured they could easily be worked into the show. (Stories of Chico setting up the show with Beury and/or Gaites over a poker game, or through running into Johnstone randomly in front of the Palace Theatre, appear to be — guess what? — totally apocryphal. The story of a besotted Beury wanting a show that summer to put his mistress, an aspiring dancer, into is also pretty dubious.)
The show was a revue. The Marx Brothers would be a segment of a much larger cast, incorporating several other comedic and musical acts, including an onstage jazz band, the Yerkes Happy Six. There was also a “sister” act — the Melvin Sisters. The Brothers were initially billed only as “featured performers.” Officially they were cast as Lawyer, Poor Man, Beggar Man, and Merchant (later Doctor). You can probably sort out who was who. The longest-running actress in the part of Beauty was the aptly named “Lotta Miles” (her stage name came from her tenure as a model for Kelly-Springfield Tires — her real name was Florence Reutti). The rest of the cast was filled out mostly by performers who had been in Up in the Clouds. (Reliable old Ed Metcalfe reprised his role as a Theatrical Agent/“Rich Man” as soon as the show hit the road.)
The show’s official book has not survived, but there is a 23-page typescript summary with some dialogue that has been preserved, and allows us to piece things together. After the big opening musical number, the show would start with the Brothers’ sure-fire Theatrical Agent’s Office sketch, and two new bits of original business were created to showcase their comedy — a “courtroom” sketch that would be the centerpiece of Act One (with an additional built-in poker routine from On the Balcony), and would once again feature Harpo dropping silverware from his sleeve, and the big Act Two closer — a sketch entitled “Napoleon’s First Waterloo.”
Co-written by Johnstone and Groucho, who at last was elevated to the long-desired level of Professional Writer, the sketch depicts Napoleon (Groucho) bidding farewell to Josephine/Beauty multiple times and leaving her room…then returning on some pretense, sending her three suitors (the other Brothers) scrambling for a hiding place. Both the courtroom sketch and the Napoleon sketch strayed pretty far afield from the “give the heiress a thrill” plot, but no one cared — it was just a revue. (All right, if you must know, the courtroom sketch was slotted in as part of Beauty’s thrill of being a criminal, and the Napoleon sketch came from Beauty’s thrill of…well, being put in a hypnotic trance and made to believe she is Josephine. See how flimsy these revue plots were? Just an excuse to have a courtroom sketch and a Napoleon sketch.) As indicated, Beauty realizes love is the biggest thrill, and ends the show after the last big musical number in the arms of the various handsome male leads who assayed the role of the Chief during the show’s run (including, briefly, Chico’s old partner Arthur Gordoni). What he was supposed to be the Chief of is never really explained. The harp and piano numbers were mixed in there somewhere, too. The show ran two hours and forty minutes on a fast night.
The revamped show received its third title — I’ll Say She Is — and was initially created to play a summer season at a specific theater in Philadelphia, but everyone knew what was at stake — everyone had their sights on the Great White Way. Nothing about it elevated it above the type of stuff they had been doing in vaudeville since 1911 except budget and running time…and the location where it was hoped to be performed in the near future. I’ll Say She Is was really nothing more than “Vaudeville Storms Broadway.” (The new title was the proper response to the question “Isn’t she a beauty?”) Robert Bader: “I’ll Say She Is was truly a salvage project — with story lines, scenery, and costumes from four different shows and a quartet of blacklisted stars who couldn’t work anywhere else.” The director was Eugene Sanger, and the choreographer was Vaughn Godfrey, neither of whom merited much mention in the reviews or in the Brothers’ memories. “This was an age in which theater directors functioned mostly as traffic cops,” explains Noah Diamond. “The producer had the creative vision; the director told the cast where to stand.”
Excerpts from the Napoleon sketch as they appeared in Noah Diamond’s off-Broadway reconstruction/revival of I’ll Say She Is
After a shakedown run in Allentown, I’ll Say She Is opened at the Walnut Street Theatre on June 4, 1923 and it was a sensation. It played through the end of August. (It may have helped that the newly air-conditioned theater was the only open theater in town during the dog days of summer, but love for the show from critics and audiences seemed genuine.) For the show’s extended national tour through the rest of 1923 and into 1924, the Marxes had to hold their noses and deal with the Shubert Company again, who owned many of the theaters in which they would be appearing. Their “o” nicknames began cropping up some of the reviews (as they had sporadically since 1917), but were mentioned as being their onstage characters (no one paid much attention to the “Lawyer, Merchant” nonsense) rather than the actors themselves.
Just in case there’s some nugget of truth to the Beury-and-the-Showgirl story (Harpo and Groucho both told it in print several times — still no guarantee of veracity), I’ll relate this anecdote: Right before I’ll Say She Is kicked off its tour, it needed another $10,000 for various expenses and re-tooling. The company went to James Beury with their hands out. There were two complicating factors regarding Beury’s darling chorine (known as “Ginny”), and they needed to be dealt with at this point: 1) Ginny had also been sleeping with Harpo that whole summer, and 2) she was a worse dancer than even Groucho’s wife, Ruth. (“Ginny got more laughs than we did,” said Groucho.) Harpo was talked into breaking it off with her for the good of all involved, but the second situation was not so easily remedied. Groucho semi-facetiously suggested hiring someone to break her legs. Chico responded that she danced as if she had at least one leg broken already. Ginny solved the situation herself by telling Beury she’d fallen in love with a Walnut Street Theatre house musician, and considered her relationship with Beury to be at an end. Now Beury threatened to withhold the $10,000 unless Ginny was fired. The Brothers pretended to be very sad at the situation, while secretly rejoicing at their good fortune.
The show proved its worth on a grueling tour, and after a triumphant return residency at Walnut Street in April 1924, I’ll Say She Is was prepped for the big jump to Broadway. Gaites stepped aside, and handed total control of the production of Beury, formerly just the financier. Beury pumped the kind of money into the production that “Minimum” Gaites never would — costumes and scenery were refurbished or replaced, and the onstage jazz band was upgraded to the classy Nat Martin and His Orchestra. Both Groucho and Harpo confessed to last-minute jitters. “We’re not good enough,” Groucho told Chico. “We wouldn’t be a hit on Broadway. We’re vaudeville actors.” “I was a realist,” wrote Harpo in his memoirs. “I kept hearing the words: Sorry, boys — you’re shut. But what the hell…it was going to be fun while it lasted.” Only Chico remained cheerfully optimistic, as usual. Maybe Zeppo did too, but nobody asked him, as usual.
Publicity photo for the Marx Brothers’ Broadway debut, 1924.
I’ll Say She Is officially put the Marx Brothers on Broadway on May 19, 1924. The road show proved beyond a doubt that the show’s draw was the Brothers. They were no longer “featured players.” The were now billed above the title — their name literally in lights, but still as “JULIUS, ARTHUR, LEONARD and HERBERT — THE MARX BROS. in I’LL SAY SHE IS.” The “Four” had been dropped, perhaps indicating Zeppo was already getting restless as fourth banana. The theater was the Casino, on the corner of Broadway and 39th Street. Built in 1882 and owned by the Shuberts, the 1,300-seat Moorish theater boasted the first electric lights in a New York theater, the first public roof garden, and the first chorus line. By 1924, however, it had seen better times. The Brothers later referred to it as “a dump.” (The Casino met the wrecking ball in 1930.)
The Casino Theatre
Still, they were on Broadway at the height of the Roaring Twenties. It was the culmination of Minnie’s dreams, and “of twenty years of scheming, starving, cajoling, and scrambling,” as Groucho said. The only thing that marred the big premiere was her tumbling off a chair on which she was standing to get fitted for her opening-night dress. The resulting fractured ankle was considered only a mild annoyance, and she was ceremoniously carried to her front-and-center seat by a team of ushers.
The costumed brothers pose with their mother, Minnie
The reviews hit the newsstands the next morning. They were an almost-universal smash. The chorus of approbation was led by the New York World’s distinguished top theater critic Alexander Woollcott, one of the most-quoted men of his generation. Woollcott praised the show in general, but reserved several lines of particularly fulsome praise for Harpo. This was not unusual for the era. Smartass Groucho is usually the modern viewer’s favorite, but at the time, his caustic wisecracks and non-sequiturs were often a little rough-edged for audiences to fully embrace. It was Harpo, the child-like silent clown and brilliant harpist who won the affection of the old-fashioned folks whose tastes were still rooted in the 19th century. In his review for Life magazine, Robert Benchley said “The pantomime of Mr. Arthur Marx…is 110 proof artistry. To watch him…at any moment of during the show, is to feel a glow at being alive in the same generation.”
Woollcott made his way backstage at the Casino after his second viewing of the show to meet Harpo. Woollcott, whose acid pen had gotten him banned from several Broadway theaters, was completely disarmed by Harpo. Groucho (and others) took things to their logical conclusion and flat-out stated that Woollcott was literally in love with Harpo. (Woollcott’s sexuality was certainly always a gray area, and their eventual friendship was very close, but it is unlikely Harpo reciprocated any romantic feelings.) Woollcott invited Harpo for a round of poker, and pretty soon, the semi-literate Marx Brother had a seat at the most literate place in the nation — the Algonquin Round Table.
The Algonquin Round Table was a daily lunch meeting at the Algonquin Hotel on West 44th Street among New York’s elite columnists, playwrights, and critics literary and theatrical. Although the group was informal, Woollcott, Franklin P. Adams, Robert Benchley, Dorothy Parker, Heywood Broun, George S. Kaufman, Harold Ross, Robert Sherwood, Marc Connelly, and Ruth Hale were considered the more regular members, and several others came and went (Herman “Mank” Mankiewicz was always welcome before he high-tailed it to Hollywood, and novelist Edna Ferber came on Saturdays.) The group met regularly throughout the 1920s, playing cribbage, sipping flasks of illegal booze, setting up collaborations with each other (Ross used the group’s talents as a springboard for his creation of The New Yorker magazine), and most fun of all…affectionately insulting each other in the wittiest ways possible. Woollcott remarked on Dorothy Parker’s newly-bobbed hair: “You look almost like a man.” Her reply: “So do you.” (Historical due diligence: this bit of repartee has been attributed to others. But we want so badly for it to be Woollcott and Parker.) After lingering over their fried oysters and barbed repartee for an hour or two, they would wander back to their Vanity Fair or newspaper offices to concoct some brilliant piece that would ripple through America’s intelligentsia.
Harpo was not much of an insulter (that was Groucho’s territory), but began taking more and more lunches with his new literary pals at the Algonquin, mostly just sitting quietly and listening, which definitely would have marked him as odd-man out. If you couldn’t keep up, you were phased out of the group. But Harpo seemed to get a free pass, and became a kind of serene mascot in the eye of the hurricane (or the “vicious circle” as the group was sometimes called). The New York papers picked up on his Algonquin association, and one even had the audacity to call Harpo “the brains of the Marx Brothers.” Groucho, furious (and perhaps a tad envious), responded that “there is no brains in the Marx family, and…if there was, it most certainly wouldn’t be Harpo.”
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It’s time to introduce our Fifth and Final Marx Brother, Zeppo.
Herbert Marx always felt like an afterthought. Born several years after his other siblings, he stayed home while they (and his mother) endlessly toured the country. Frenchie was also not the most hands-on parent, and too soft-hearted to be much of a disciplinarian. So it shouldn’t be surprising that Herbert became something of a juvenile delinquent, skipping school and roaming the streets of Chicago unsupervised, the way his brothers did in New York back at the turn of the century. Only instead of sneaking rides on streetcars and playing dice, Herbert was running with a genuine street gang, stealing cars and carrying a pistol.
When Minnie could spare him a thought, she despaired of his future. She felt the best way of saving him was to groom him for the family business as soon as possible. When they played Joliet in May of 1914, they were joined for a couple of performances by the adolescent Fifth Marx Brother, who in addition to being a heat-packing car thief, also had a passable “boy tenor” voice, and was quite happy to warble a few songs onstage when his mother asked. He also did a short tour of Michigan with the act in the summer of 1915. The chicken farm Minnie bought in 1917 to keep the older Brothers out of the draft had the added benefit of keeping her youngest off the mean streets…briefly.
It was during his sojourn on the farm that he finally earned his “o” nickname. Every Brother has his own story of where the name “Zeppo” came from, and none of them hold much water. The truth is, the older boys had been calling Herbert “Zip” for some time. Here’s why:
According to a story revealed many years later by Harpo’s son Bill, the label “Zip” came from a man suffering from microcephaly, and displayed at sideshows as a “freak” called Zip the Pinhead. His deformity included a deeply-receded forehead and a large, wedge-shaped nose that sloped straight into it, without the usual indentation between the eyes. Herbert also had a very distinctive nose bridge and slightly receding forehead. Nowhere near the point of deformity, but just different enough to be sensitive about as a young teen with self-esteem issues. And just the sort of thing that four much-older comedian siblings would delight in mercilessly teasing a little brother about. The taunting nickname “Zip” became “Zippo” to match his brothers’ names, and eventually evolved into “Zeppo.”
By the time he was seventeen, he had dropped out of school and was working as a mechanic for the Ford Motor Company (he demonstrated a remarkable aptitude for engineering and working with machinery from an early age). A steady job did not keep him out of Chicago pool halls and gambling dens. Like eldest brother Chico, Zeppo loved “action.” He had a head for numbers and a passionate love for playing cards and pursuing girls. “I’d have ended up in jail,” he confidently predicted. Minnie intervened to prevent that fate.
June 5, 1918…the phone rings in the Ford mechanic shop somewhere in Chicago. An insistent voice demands to speak to Zeppo. Zeppo is summoned, and wipes the grease off his hands, perhaps anticipating what is coming. “My mother called me…[and] said come home immediately,” remembered Zeppo. “I said, well I’m working. She says, well quit your job and come home immediately…And I said okay, so I came home…She says, your brother Gummo just joined the Army…you go and get packed and get on the train. Here’s the fare and go to Rockford, Illinois and join your brothers. You have to take Gummo’s place because I want the name of the Four Marx Brothers intact…So I acquiesced and joined the boys in Rockford, Illinois. I got right on, right on the stage. Didn’t know what the hell to do.”
Zeppo Marx, former auto mechanic and small-time Chicago hood, bravely faked his way through the last performances of Home Again ever staged (well, not quite — read on). “When I stepped out, Zeppo stepped in,” said Gummo. “I must say, though, that he was the only actor who ever had less talent than me.” The big question was what to do next.
Zeppo on board, 1918
From the Chicago Daily Tribune, Sept. 22, 1918: “The Four Marx Brothers, residents of this city, propose to eschew vaudeville, in which they are eminent, and take up musical comedy. At Grand Rapids September 28 [the show actually opened in Benton Harbor on the 26th] they will begin a career in The Street Cinderella, whose words are by Jo Swerling, once a good reporter for The Tribune…”
They decided to make an attempt at a “real” musical comedy. They commissioned an eager young scribe named Jo Swerling to write them an original self-contained show with a genuine plot and real characters. Gus Kahn and Egbert van Alstyne would provide the songs. Uncle Al would direct. Ads began to appear in Michigan newspapers for The Street Cinderella — “Minnie Palmer presents…a new farce comedy in three acts…beautiful girls, beautiful music, beautiful love story…”
The title went back and forth between The Street Cinderella and The Cinderella Girl, and it seems they settled on the latter at the last minute. No one remembers the plot, something about a romance between two “street singers.” No one remembers the characters the Brothers were supposed to play (presumably variations on their already established personas). When the curtain rose and the overture began playing at the Bell Opera House in Benton Creek, Michigan on September 26, 1918, the Four Marx Brothers stared out at a half-filled house. Deliberately half-filled. In a sight that would become depressingly familiar just over a hundred years later, every other seat was empty. Every other row was empty. The audience all wore masks over their noses and mouths.
The Marx Brothers’ newest show — meant to lift them out of the vaudeville ghetto and into legitimate theater — opened the same week as the deadly Spanish influenza epidemic hit the Midwest.
There was another problem: “It was a terrible act and we realized we couldn’t play it successfully,” said Groucho. It limped through two performances. Both times, according to Marx biographer Kyle Crichton, the Brothers did not bother to finish the storyline, going into their familiar Home Again material instead. All future bookings of The Cinderella Girl were cancelled, and it was written off as an expensive mistake. By mid-October, the flu epidemic had closed most of the country’s theaters anyway. The only thing that was salvageable from the experience, according to Groucho, was that actor Ed Metcalfe (who had the thankless role of “the policeman” in Home Again and also appeared in Cinderella Girl) introduced him to the works of Gilbert and Sullivan around this time. Groucho became possibly the world’s biggest G&S fan, obsessively listening to their comic operas, and collecting their material and memorabilia for the rest of his life.
Chagrined, the Brothers trudged back into vaudeville, and got themselves booked for the truncated 1918-19 season on the Keith-Albee Circuit. They sat down with Uncle Al, made a few updates to the old Home Again material, threw in some of the better Cinderella songs (not wanting to waste what they had spent good money on), and called the “new” show ‘N’ Everything.
Betty Marx had joined the act’s chorus, probably to keep an eye on Chico. One night as she was exiting the stage after a big musical number, Harpo spontaneously stretched out a foot and tripped her. She was sent scooting across the stage on her stomach as the audience roared. After the curtain, she took her hurt feelings to her brother-in-law, who did not exude sympathy. “What the hell are you complaining about?” said Harpo, scrubbing off his make-up. “You got a laugh, didn’t you?” You had to be tough to be a Marx.
Zeppo practiced diligently to replicate Gummo’s old “whirlwind dance.” His partner was initially Gene Maddox. When she left the act, one of the chorus girls, Ruth Johnson (sometimes rendered as “Johnstone,” and billed as “Ruth Tyrell”) was randomly promoted to take her place. She and Zeppo began casually dating…but Groucho had his eye on her. He bided his time, then pounced, stealing the shapely, strawberry blonde, snub-nosed chorus girl away from his little brother. You had to be tough to be a Marx.
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As Minnie “Palmer” Marx began expanding her vaudeville production empire, Leo took more direct control of the Brothers’ act.
In 1911, a new fad was reinventing the face of vaudeville — the tabloid musical, or “tab” as they were quickly dubbed by the trade papers. In the words of Robert S. Bader, tabs were “truncated versions of popular Broadway and touring shows, reduced by cutting much of the dialogue, removing non essential characters, and leaving the musical numbers and just enough of the plot to maintain some semblance of the original idea of the show.” The more respectable vaudeville houses began clamoring for shows consisting of a couple of classy tabs, rather than a low-rent, crazy-quilt collection of short, unrelated acts. And fewer acts on a bill meant fewer salaries had to be paid and more profit for the theaters. When the craze got too popular, Broadway producers began cracking down on copyright violations. Even with vaudeville companies legitimately paying for the material, demand outweighed supply. This led to the creation of more tabs featuring original material.
And that’s what put the light bulb on in Leo’s head when he and his erstwhile performing partner George Lee joined forces with the Three Marx Brothers in the late summer of 1912. Leo decided that the school act could be polished, tweaked, and refined into a tabloid musical. They could then hire a few supporting acts, and sell the whole thing as a self-owned, self-contained package.
In its new form, the two parts of Fun in Hi Skule (the classroom and the recital) would be condensed into the first act. A newly-minted second act (created with a little help from Uncle Al) would be more comedy and music in the form of a ten-year-class reunion in honor of the retirement of Julius’ teacher character, now named Mr. Herman Green. Arthur kept his Patsy Brannigan character. The dim-witted class disrupter of the first act had grown into the local garbage man by the second. (“Patsy Brannigan the garbage man is here.” “Tell him we don’t want any.” When and where this big laugh-getting line was first used is yet another element of the early days that is awash in contradictory stories.) He also continued to refine his costume, which was growing less Irish stooge and more tramp-like clown. But despite “Patsy” no longer being explicitly Irish, ethnic stereotypes were still firmly entrenched in the world of vaudeville. Leo became the Italian student, Tony Saroni. George Lee, with his bigger performance style and firmer command of Yiddishisms, took over the role of the Jewish student, now named Ignatz Levy. Milton dug the name “Hans Pumpernickel” out of retirement, and became the German student in a pageboy/”Hansel”-style wig. Paul Yale remained as his “nance” character, but toned down the more overt homosexual mannerisms and became more of a prissy “mama’s boy” (the audience would gasp, then crack up when Yale, in his knee pants and heavily-rouged cheeks, opened his mouth and sang in a deep, manly baritone.) The main support act was the dancing Harris Brothers. And the “schoolgirl” chorus had expanded to fifteen young women, still including the trouper Dot Davidson, who had been with them since the end of 1910, possibly due to her passionate attachment to Yale.
The schoolroom act still comprised the first half of the revised show. Julius is at the center, apparently delivering a harsh lecture to Dot Davidson, while the schoolgirl chorus on the left points and laughs. Arthur, on the right, is also getting in on shaming Davidson. New cast member Leo is in the background, bullying the Harris Brothers. In front of them is “sissy” Paul Yale and Milton as the updated version of “Hans Pumpernickel”
The whole shebang was titled Mr. Green’s Reception, and it was the first time the Four Marx Brothers shared a stage. It ran a full forty minutes, and the Marx Brothers touring company now included a stage carpenter and property manager in addition to its cast, supporting acts, and chorus line. The cast appeared in white-tie evening dress for the second act. As was the case with most mid-level vaudeville acts, they did not tour with musicians (apart from those in already in the cast), but carried sheet music for all of their numbers, arranged for anything from a four-piece to a full dance orchestra, depending on the size of the theater and its resident house band.
Mr. Green’s Reception started its run in Chicago on September 5, 1912, and was eagerly booked by the WVMA circuit for the entire 1912-1913 vaudeville season. The big-time beckoned, tantalizingly near. But they had yet to attain name recognition. They weren’t stars quite yet. They would come to town, get the audiences roaring (Leo’s piano-playing, Arthur’s ever-improving harp solos…and the Harris Brothers’ clogging…were all considered highlights), earn decent reviews in the local paper, and then were forgotten about as soon as the act left town. Not for much longer.
From the Burlington, Iowa Hawkeye, Dec. 20, 1912: “Judge W.S. Winthrow cut short his luncheon period yesterday to unite in marriage Mr. S. Paul [Yale] and Miss Margaret [Dot] Davidson, two young people who are playing at the Garrick Theatre this week. The thespians secured a marriage license at 11 o’clock and asked if they might see the judge…”
Time was of the essence, as Dot was six weeks pregnant. It was at that same Garrick Theater where the Brothers had several run-ins with a particularly nasty theater manager. (The story goes he paid the company’s salary in pennies. Hate to burst the anecdote bubble yet again, but this would have been pretty much impossible. Remember the size of the Marx Brothers’ company? And have you seen a few thousand dollars in pennies?) As their train pulled out of town, according to Marxian legend, Arthur stood on the back platform of the last car, shook his fist at the receding town, and yelled “You lousy sonofabitch, I hope your goddamn theater burns to the ground!” “The next day, it did,” Julius always loved to recall. “And that’s why we decided not to let Harpo talk.” (As with any legend, there’s a kernel of truth — Arthur may very well have cursed the theater as he left town, and the Garrick Theatre really did burn down, but not until two months later. And Arthur continued speaking onstage for at least another year-and-a-half.)
By the time the Garrick had been reduced to ashes in February of 1913, Mr. Green’s Reception was playing in South Bend, Indiana. South Bend was experiencing record low temperatures, and the St. Joseph River was choked with ice.
The Mr. Green’s Reception company, in costume — Julius as Mr. Green is in the back row with the girls. Milton, Leo, and Arthur are front and center. Paul Yale is on the far right, his arm around a Harris Brother, with George Lee on the far left. Looks like the other Harris Brother volunteered to take the picture
A scrapbook clipping from the local South Bend paper (name & date unknown): “Mr. [Arthur] Marx was on the bank of the stream in the rear of the Orpheum Theatre with others of the Orpheum troupe when one of the women…bet him 50 cents that he was afraid to take a swim. ‘I’ll bet you another 50 cents.’ ‘And I another,’ answered two others. Before taking the plunge, Mr. Marx said: ‘That’s a dollar and a half when I get out, ain’t it?’ He then dove from the ledge of ice, clothes, hat, and all. He came to the surface with chattering teeth, exclaiming, ‘It’s not so bad.’”
Jumping into icy rivers was only one way to pass the time. Stories of the Brothers’ affairs with the chorus girls that came and went from their show, and their necessarily brief dalliances with local women, fill their biographies and autobiographies and are at this point impossible to verify, but it seems sex on the road was very much part of their routine. Sometimes, when it came to the local whorehouses, it was almost too easy. “The girls used to come watch us at the theater,” said Julius. “And if they liked us, they’d send a note backstage inviting us over after the show.” Presumably, the services were discounted or maybe even gratis.
Raising a stein at the curtain call for Mr. Green’s Reception — l. to r. Paul Yale, Leo, Arthur, Julius, Milton, George Lee
The company also had the novel idea of forming a baseball team, and when not performing, rehearsing the house orchestra, or pursuing women, took on local college teams — and usually lost big. (For the curious: Catcher — Julius. First base — Paul Yale. Second base — George Harris. Shortstop — Arthur. Third base — Leo. Left field — Milton. Center field — stage carpenter Fred Browning. Right field — George Lee. Pitcher — Victor Harris.) The uniforms proudly had “MARX BROS.” printed across the chest.
Mr. Green’s Reception toured another full year, and exhaustion was beginning to set in by the spring of 1914. The grind of the road and the close quarters caused tempers to grow short. George Lee, whom many reviewers had indicated was the “principal comedian” of the act, and also their best singer, had already found another job as a solo act for the following season, and would be leaving the Marx Brothers company at the end of the tour. With only a couple of months left to go, Lee demanded a raise. Not seeing the sense of giving more money to someone who was just going to be taking off soon, the Brothers refused. “As the size of his head grew, he decided his salary should grow with it,” said Julius. Lee abruptly quit in early April of 1914. Paul Yale and Dot Davidson took the opportunity to leave the act at the same time. They formed their own song-and-dance duo, Yale & Davidson, and occasionally worked as a supporting act for the Brothers through 1916.
Mr. Green’s Reception company out of costume. Milton is top center, with Paul Yale to the right. Just below them is Julius. Arthur and George Lee kneel in the foreground. Leo is off to the left
The Brothers hired some replacements, and the company finished out the season, but the situation left Julius with a realization:
“For the first time in our career we realized we could succeed as an act without any outside help. We didn’t need any more extraneous singers, dancers, and feeble comedians. We were now a unit. We were the Marx Brothers…we had finally freed ourselves from always having some outsider along to put us over, and from then on we were able to steam on under our own power.”
And it was during those closing days of the final Mr. Green’s Reception tour that Something Momentous happened…
It was the very beginning of the Platinum Age of Comics. When the newspaper hit the front step, many adult readers would flip right to the “funny pages,” skipping the depressing headlines to enjoy the adventures of the Katzenjammer Kids, Maggie and Jiggs, Mutt and Jeff, and Krazy Kat. In 1904, artist Gus Mager created a series of comic strip characters called “monks,” after their vaguely monkey-like faces. All the monks had names ending in “o.” For a brief period, these characters featured in a strip called Sherlocko the Monk, in which the title character solved mysteries. Sherlock Holmes creator Sir Arthur Conan-Doyle threatened a lawsuit, and in 1913 the title of the strip was changed to Hawkshaw the Detective (and the characters redesigned to look a little more human). But the impact of “Sherlocko” and his fellow monks remained. Vaudeville and popular culture in general went through a fad of nicknames ending in “o.”
This is said to be the only picture in existence of all five brothers and their parents together. Outside the theater in Joilet, Illinois, April 30, 1914
The Brothers always agreed it happened in Galesburg, Illinois, which would make it mid-May of 1914. They were sharing a bill with a someone named Art Fisher. Over a round of backstage poker between shows, Fisher and the Brothers were idly discussing the “o” nickname phenomenon. As Fisher dealt the cards, he assigned each Brother an “o” name. “He named me Gummo,” said Milton, “because I had holes in my shoes and I’d wear rubbers, or gumshoes, over them even when it wasn’t raining.”
Arthur became “Harpo” for obvious reasons.
Leo became “Chicko,” because of his reputation for “chasing the chicks.” It was always intended to be pronounced as “Chick-o,” but at some point the “k” was dropped from the spelling, rendering it as “Chico” and resulting in many people pronouncing it “Cheek-o.” Although the Brothers used the original pronunciation, when people called him “Cheek-o,” the man himself never bothered to correct them. He happily answered to both.
There is some speculation that Julius’ new name — “Groucho” — may have come from the fact that he kept his cash in a “grouch bag,” which was a small drawstring pouch worn around the neck to prevent the petty theft that was a fact of life in a vaudeville touring company. But more likely, as even Julius admitted, it was because he was often in a surly mood and had a cynical overall attitude.
Art Fisher had made his impact on entertainment history, and promptly vanished. No researcher has ever been able to dig up exactly who he was or what became of him. (The blog From the Marxives has identified a vaudevillian named Art Fisher performing a “cowboy mimic” act, but he pretty much disappears from the record after 1912.)
Even though it was intended as a momentary card-game joke, the Brothers were delighted with their new names, and began using them among themselves immediately. It was pretty funny for an afternoon. Then the days stretched into weeks and months. They persisted in using the names. Friends and family shrugged and began calling them by those names as well (even Minnie, who did not seem too bitter that her sons enthusiastically ditched the names she gave them). It would be ten years before the Marx Brothers used their new names as their professional stage billing, but to themselves and everyone who knew them, they were now and forever Chico, Harpo, Groucho, and Gummo. And that’s who they’ll be in these essays from this point forward. (Family members tended to drop the “o”s — to relatives and spouses they were Grouch, Chick, Harp, and later, Zep. Gummo remained “Gummo” in all cases. I guess calling someone “Gum” just sounded too odd.)
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As we saw in the previous entry, Julius Henry Marx had a passionate, all-consuming love for being onstage and entertaining an audience. His younger brother Milton most assuredly did not.
But Milton’s antipathy toward performing did not slow their mother, Minnie, down for one second. She was also consumed by a single-minded desire: making her sons famous. Julius was off to a good start. Now it was time to add another to the mix.
Acting in her new capacity as agent for her sons, Minnie struck up a personal friendship and professional relationship with Ned Wayburn, a well-known producer and choreographer who not only staged musical shows with fresh young performers, but also ran Wayburn’s Training School for the Stage (sometimes referred to as the “College of Vaudeville”), where ambitious but awkward stars-to-be could be receive instruction in singing, dancing, projection, and poise. Milton was immediately enrolled. How long he attended the classes is not remembered. How much good it did him is academic. In June of 1907, Milton and Julius (in matching white yachting suits) were on the road with a petite girl soprano in a pretty party dress named Mabel O’Donnell — a discovery of Wayburn’s — performing as Ned Wayburn’s Nightingales. Minnie accompanied the troupe as road manager. Mother-hen Minnie touring with her boys was a tradition that would continue long after O’Donnell had been forgotten. (Young Herbert was left under the loving but less-than-watchful care of Frenchie and Opie.)
A be-wigged Mabel O’Donnell, and her ardent suitor, Milton
Reviews were…mixed. “The young people in the act dress in white and sing with expression and some magnetism,” noted the New York Clipper. “Their voices are too immature to be measured by critical standards, and they evidently do not attempt to give any example of vocal ability.” Variety was a little kinder: “Two clean-cut, good looking boys and a little mite of a girl with a voice that seems about ten times too large for her make up a most pleasing singing trio. The voices blend well and are handled with judgment usually lacking in children.” Variety also noted that their white costumes needed to be sent to the cleaners.
Their centerpiece number was “Love Me and the World is Mine.”
By the end of the year, Ned Wayburn had over-extended himself. He had several expensive shows touring up and down the east coast that were returning negligible profits, so he was preparing to file for bankruptcy. As a result, he was not giving his Nightingales the attention that Minnie felt they deserved. She took over their management and bookings, took Wayburn’s name off the act (now they were “The Three Nightingales”) and, at some point in the spring of 1908, fired Mabel O’Donnell. According to Julius and Milton in later interviews, O’Donnell’s voice was a powerful instrument, but tended to wander off-key. She also, in Milton’s uncharitable memory, had a glass eye and had to wear a peek-a-boo wig that covered one side of her face, which hampered her constant lustful pursuit of Julius. In Julius’ even more uncharitable memory, she was “a fucking nuisance.” In O’Donnell’s defense, the few photographs in existence of her seem to depict a rather plain but perfectly normal-looking girl, and no review of their act ever mentioned off-key singing. (She definitely wore a wig, though.)
Lou Levy, a diminutive boy singer from Brooklyn a few years younger than the Marxes, became the third Nightingale, which may reveal the real reason O’Donnell was sent packing — an all-boy act could share a single room, saving money on accommodations.
This new version of The Three Nightingales did not sing a single note before they became The Four Nightingales. As always, stories about the reason for this expansion of the act are contradictory, but the most commonly accepted version is that the manager of the next venue where the Nightingales were booked — Henderson’s Music Hall in Coney Island — insisted he had hired a quartet, and a quartet is what had damn well better show up. No problem, decided Minnie. She would just put another son in the act. But even with three sons to choose from, realistic options were limited. Leo, now a talented “trick” pianist and the most obvious choice (even though, at twenty-one, he would be a little long in the tooth for a juvenile act), was counted out because he was actually working a semi-respectable job all the way over in Philly (more on that later). Herbert was…well, Herbert was seven. That left Adolph, who, at nineteen, had outgrown his childhood nickname of “Ahdie” — but wasn’t especially fond of the name “Adolph,” either.
Adolph was not quite the black sheep (Frenchie and Minnie could never be ashamed of any of their boys), but he was the oddity in an already odd family. Leo had an amazing head for numbers and could mentally calculate as quick as lightning. Julius was a voracious bookworm, and loved literature and history. Adolph was the Brother who left school the earliest (around his second year of second grade), and struggled with basic literacy. He wandered around the city, hopping on and off streetcars one step ahead of the ticket-takers, and worked dozens of odd jobs that would last only a few weeks or even just a day or two before he was let go for being a screw-up. He had all of Leo’s irresponsibility, but none of his drive. He was a dreamer and a naif. He could play piano well enough that his most steady job was playing accompaniment to the short silent films still called “flickers” at the nickelodeon.
And of all the Brothers, he was the only one who couldn’t sing.
This would seemingly be the minimal requirement for joining a singing quartet, but didn’t seem to faze Minnie at all as she stalked into the nickelodeon one day and insisted her almost-adult son stop what he was doing and come with her immediately as she sized him up for a white suit.
The Four Nightingales make their debut. Adolph clutches Lou Levy by the shoulder. The three men on the right are unidentified — Coney Island, June 1908
Adolph Marx — later known to the world as the silent comic genius Harpo Marx — made his professional stage debut on Coney Island on June 1, 1908 as part of The Four Nightingales. He was silent at that moment, too, having been instructed to lip-synch his part of “Darling Nelly Gray.” He had to be literally shoved onstage. “As I caught my balance, the thought sizzled in my mind. You’re not a boy anymore. You’re a man. Don’t let them know you’re scared,” Adolph recalled. “I came to a halt beside Lou Levy. And there They were. A sea of mocking, hostile faces across the footlights…With my first look at my first audience, I reverted to being a boy again. I wet my pants. It was probably the most wretched debut in show business.”
As is generally the case with a good Marx Brothers story, this may be exaggerated or totally fictional. (Julius remembers Adolph shitting his pants, so take it all with a grain of salt.) If Adolph’s little accident really happened, then the audience didn’t notice. The Four Nightingales were a success at Henderson’s Music Hall, and played there a full week. Then the road beckoned, and the boys (and ever-present Minnie) hit the circuit. York, PA…Lima, OH…Tampa, FL…Wheeling, WV…Richmond, IN…the road went on and on as 1908 turned to 1909. Adolph developed a passable enough singing voice to “growl” the bass parts. At the same time, Julius recalled that as he and Milton reached the end of their teens, their formerly sweet singing voices had begun to coarsen. Lou Levy had to carry the primary musical load as lead vocalist.
Ladies and gentlemen…the Four Nightingales: Milton, Lou Levy, Julius, and Adolph
Although The Four Nightingales’ show was essentially a musical act, comedy had been a part of it from the very beginning, when Julius would do a little between-song patter, often in a comic German accent (in imitation of Uncle Al.) An early review in a New Jersey paper stated that “Julius and Milton Marks [sic]…are not only good singers but clever comedians, too.” Not everyone was so appreciative. “[They] are wasting a good deal of valuable time in the exploitation of ineffectual comedy and dialogue,” read a later review. “The greater part of it could be dropped altogether, and the precious moments thus saved devoted to more singing.” (Evidently this reviewer did not share Julius’ disdain for their voices.) If the boys even read these reviews, it didn’t put them off their new direction. More and more comedy began creeping in, until Julius had developed his first full-blown comic character — “Hans Pumpernickel,” the German butcher boy. He ditched his white suit in favor of a grocer’s apron, a blonde wig (one of Minnie’s cast-offs), blacked-out teeth, and a basket of rubber frankfurters. His star turn was the comedic German song “Ist das Nicht Ein Schnitzelbank?”
From a theater manager’s report: “Four boys, three of them work straight, one eccentric. One of them is a good soloist and their quartet work is acceptable.”
Top to bottom: Julius, Adolph, Milton, Lou Levy
The very first Marx Brothers comedy sketch, circa 1908, “wasn’t built around much of an idea,” Julius said. “I pretended I was a German comedian. All comedians using German accents were called ‘Dutch comics.’ The accent came easily to me. We lived in Yorkville, a German neighborhood, my uncle, Al Shean, was a Dutch comic, and we were surrounded by breweries… The plot consisted of me as a butcher boy delivering wieners, asking Adolph and Milton (who were dressed as yachtsmen) how to get to Mrs. Schmidt’s house. While Milton pointed me in one direction, Adolph stole the wieners.”
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The Marx Brothers, at the peak of their powers and over the course of their best Broadway shows and Hollywood films (to most fans, that’s roughly a single decade, 1925 to 1935) were an unstoppable juggernaut that essentially invented modern comedy, or maybe post-modern comedy. (Buster Keaton might share that honor, but he existed in his own peculiar silent bubble — the Marx Brothers loudly ran amok in society.)
Some have called their style anarchic. Some have said they are surreal (Salvador Dali was a big fan). Revolutionary. Ahead of their time. Anti-establishment antiheroes. They ended up as all of these things when viewed backwards through the lens of pop culture history, but they wouldn’t have called themselves any of those things at the time. They always said they were only trying to entertain. It just came out that way. And as Marx scholar Noah Diamond says, “They were never angry. They broke the rules just for the sheer joy of breaking the rules. I don’t know that they really had an agenda.”
As I put it in my one-shot Zeppo essay several years back, “the Marx Brothers were three Great Comedians — Groucho, with his cigar, painted-on mustache, and endless flow of wisecracks, insults and non-sequiturs, Harpo, the gifted silent clown who communicated through exaggerated facial expressions and horn-honking, Chico, the piano-playing sharpie with the inexplicable Italian accent — and one leftover.” (Poor Zeppo.)
For being one of the most famous and successful comedy teams in history, they were certainly the strangest. Those bizarre costumes. The fact that they worked best not as a full team, but in ones and twos (Groucho and Chico, Chico and Harpo, Groucho playing off a clueless victim of his rapier wit). The fact that one Brother was entirely unnecessary, and left the team part way through their film career with no effect whatsoever.
You can be strange, you can break the rules, you can tear down the walls of what’s accepted, but you don’t become a comedy legend unless you bring the goods. You have to be funny, and the Marx Brothers were certainly that. As proof, I submit my several years’ experience as an instructor of cinema studies…at the middle-school level. Talk about a tough crowd. I often did a semester on comedy, and always included a few of the best Marx Brothers movies. After a brief bit of skeptical silence as they adjusted to the creaky old black-and-white antiquity of what they were seeing, they would start to laugh. Yes, even the most jaded, TikTok-sated middle schooler will succumb to the charms of the Marx Brothers, if that middle schooler has at least a modicum of a sense of humor (most of them do).
In this series of essays, my plan is to explore the Marx Brothers’ entire career, but with particular emphasis on their early years and later years (hence the subtitle of “rise and fall.”) Of course, I will be touching on the classic movies that made them legends, but so many others have done that so many times (and so much better), that I feel like adding too much to that particular pile would be superfluous. The Brothers’ career peak may well be the shortest portion here. And I’ll try to avoid the most well-worn stories. Still, this will be the longest sustained piece of writing on a single topic that I’ve ever done, except for “This Used To Be My Playground” Parts 1-24, which were written piecemeal over eight years. (This still might beat that series on actual word count.) So if you’re not into the Marx Brothers, or don’t want to learn about the Marx Brothers, then I’m sorry for what’s going to be happening here for the next year or so. (Yes, it’s that long, and the site only updates once a month. I’d like to go faster, but I have a job, a life, computer games to play, golf to watch, etc.).
The problem with pursuing a straightforward examination of the Brothers’ lives and careers is that mundane facts are almost totally obscured by myth and apocrypha — mostly spun by the Brothers themselves. They were showmen, born and bred, and never let the truth get in the way of a good story. In their old age, both Groucho and Harpo wrote autobiographies that were chock full of exaggerations, mistaken memories, and outright fabrications, many of which were taken as gospel by fans and journalists of the time. It took a later generation of scholars to peel away the patina of legend and piece together as much of the real story as they could. But misinformation still proliferates, especially on the internet. As much as I can, I will use the most up-to-date, reliably researched sources. (The Holy Bee as amateur armchair researcher is greatly indebted to the legwork of these professional authors, and a full source list will be provided after the final entry of this series.) I will do my level best to get the history right, without relying on Marxian Tall Tales, and if that means there will be fewer funny stories that are only half-true (or less), then so be it. It’ll make for a slightly less entertaining read, but I’ll be able to sleep at night. (And so will you, after reading one of these essays!)
The title of this series comes from the working title of author Joe Adamson’s seminal work on the Marxes, Groucho, Harpo, Chico, and Sometimes Zeppo. (Evidently, Simon & Schuster editor Michael Korda hated cutesy, esoteric, or wordplay-based titles. Makes it fair game for the Holy Bee to swipe.)
So this will be, in a description I’ve used in the past, your typical Holy Bee mishmash. Part biography, part cultural history, part critical analysis, part rambling and musing.
Here we go…
The region known as Alsace has always been a victim of geographical tug-of-war. Hugging the western bank of the Rhine River, the area has been regarded at various times as the easternmost territory of France or the westernmost territory of Germany. In October of 1859, Alsace was firmly under the control of France, and in a Jewish commune known as Mertzwiller, Simon Marx was born to another Simon Marx (possibly spelled “Marrix”), an illiterate peddler and suspected bigamist who may have been married illegally to two women at the same time. Before the boy was twelve, the events of the Franco-Prussian War annexed Alsace on behalf of the new Imperial State of Germany — the Second Reich — and young Simon went from being French to being German overnight.
In a similar vein, before the Franco-Prussian War, the little seashore town of Dornum, just east of the Dutch border, was considered to be in the independent Kingdom of Prussia. After the Franco-Prussian War, it was considered to be in the newly consolidated German Empire. It was there, in the waning days of the old kingdom, that Miene Schoenberg was born in November of 1864 to distinctly un-orthodox Jewish parents.
Miene’s parents were Lafe and Fanny Schoenberg, who traveled through northern Germany and the Low Countries performing as a ventriloquist/magician and a singing harpist, respectively. Lafe had a reputation as a wily, philandering charmer, always on the lookout for a pretty girl or easy money, traits he would pass on to at least a few of his grandsons. The 1851 marriage of the rascally Lafe and the more proper Fanny was objected to by her parents — and had been scandalously preceded by the 1850 birth of their eldest daughter, Schontje. Schontje was turned over to Lafe’s parents to raise, and for whatever reason the Lafe/Fanny union was not blessed with any more children until 1858 — then they came very close together. In addition to Schontje, there was daughter Sara, who emigrated to New York well ahead of the rest of the family in 1872, daughters Celine (about whom nothing is known) and Jette (died at age three), and at least a few others who didn’t survive infancy. All we need to note for the future are daughter Hanchen (b. 1862), daughter Miene, son Abraham (b. 1868) and son Heinemann (b. 1873).
Fanny and Lafe, 1876, just before immigrating. Hanchen is between them, Abraham is in front of Fanny, and Heinemann is on Lafe’s lap. The fair-haired Meine is on the right.
Looking for greater opportunities, the Schoenbergs came to the melting pot of New York City between 1877 and 1879, and began the process of assimilation among the crowds of fellow immigrants in the Lower East Side. Lafe became “Louis” (although he never mastered English), Hanchen became “Hannah,” Meine became “Minnie,” and the boys, Abraham and Heinemann, became “Al Shean” and “Henry (‘Harry’) Shean.” (Fanny stayed Fanny.) Fifteen-year-old Minnie took a job in a sweatshop, assembling fur coats.
We don’t know if Schontje or Celine made the trip. If they did, it is likely they are partly responsible for the flood of “Schoenberg cousins” the Brothers remember going in and out of their household at all hours. We know that Sara married a Gustave Heymann, and had a bunch of little Heymanns roughly the same age as the Brothers.
Fanny and Lafe, 1880s
Simon Marx made his way to New York in 1880, and was taken in and apprenticed by an older cousin who worked as a tailor. He shed the name “Simon” and became “Sam,” but — although he considered himself German — he went by the nickname of “Frenchie” for the rest of his days. He never mentioned nor gave much thought to his parents and a multitude of siblings and half-siblings he had left behind in the Old Country. (“Frenchie” or “Frenchy”? Looking through all the sources, it seems to be a 50-50 split. I’ll go with Harpo’s spelling from his autobiography.)
Minnie, at around sixteen years old
By late 1884 Frenchie was barely scraping by as a tailor. But there were other opportunities for a handsome, dapper, and gentlemanly young Alsatian — especially one who was a decent dancer. He picked up extra money moonlighting as an instructor at a dance hall, and that’s where he met the bright, vivacious Minnie, who had moved on from the sweatshop and was now selling straw hats. Romance blossomed, and Sam “Frenchie” Marx, 25, married Minnie Schoenberg, 20, on January 18, 1885. They bounced from apartment to apartment (always moving further uptown — away from the teeming, roughshod Lower East Side), and began to produce their remarkable offspring.
Frenchie Marx
The first Marx brother never got to be a “Marx Brother” at all. Manfred Marx, born in January 1886, was dead by July, a victim of acute “enterocolitis” (inflammation of the digestive tract) and “asthenia” (overall weakness), brought on by either influenza or tuberculosis. Whatever bacteria or virus was at fault, Manfred became another statistic in the annals of urban 19th-century infant mortality. His parents were devastated, but in true immigrant spirit, they persevered — and all their subsequent children lived to see old age.
After poor lost “Mannie” came Leonard, born on March 22, 1887. Then came Adolph on November 23, 1888. The middle child, Julius Henry, was born on October 2, 1890. Little brother Milton arrived on October 21, 1892. (He was another sickly one — Minnie watched him like a hawk.) The “surprise baby,” Herbert, was born on February 25, 1901.
We know them as Chico, Harpo, Groucho, Gummo, and Zeppo.
Although the family always had its eyes on the future, Manfred’s death was not without reverberations that would echo for years. Minnie became incredibly protective. “Sam can cough all night, and I never hear him,” she once said. “But if one of my boys coughs just once, I’m wide awake.” And the first child born after Manfred — Leonard — was undoubtedly his mother’s favorite, spoiled and cosseted unabashedly. All the boys were born with fine blonde hair (and Minnie was known to have mixed peroxide with their shampoo) — except Julius, who sported woolly black locks from the get-go. That, and the slight cast to his left eye, always made him feel like a little bit of an outsider. Minnie referred to him as der Eifersuchtihe, “the jealous one.” His brothers’ hair eventually darkened in adolescence, but for Julius, the damage was already done.
The dominant Yorkville landmark was the massive Hell Gate Brewery. The Brothers’ grandfather taught them to tell time by looking out of their window towards the brewery’s clock tower
Every Marx Brother has a story about what a terrible tailor their father was (he supposedly refused to use a tape measure, preferring to guess his customers’ measurements), and also liked to spin tales about their poverty and life in the tenements. The reality was a little different. Yes, Frenchie preferred cooking and playing pinochle to cutting cloth, but he must have been earning something. By 1895, the family had settled into the top floor of a comfortable four-story brownstone at 179 East 93rd Street in the respectable German neighborhood of Yorkville — hardly a tenement. They stayed there for almost fifteen years, a far cry from the days of fleeing angry landlords in the Lower East Side when rent came due. The Marx family was solidly lower-middle class.
Which isn’t to say the apartment wasn’t very, very crowded.
Let’s take a look at the occupants of this address, circa 1900…
The stoop of the Marx family’s building as it appears today
The occupants of three rooms on one floor of 179 East 93rd Street included Frenchie, who was more likely to be found frying short ribs and cabbage or playing cards than plying his trade. (He didn’t have a shop. His big cutting table and scraps of fabric dominated the dining area during work hours, and were put away when it was time for dinner and/or a round of cards, which came earlier and earlier in the day as he got older.) There was Louis and Fanny (now “Opie” and “Omie” to the grandsons). There was thirteen-year-old Leo and eleven-year-old “Ahdie” — towheaded troublemakers who at the time could pass as twins, and were already showing a proclivity for prowling the neighborhood looking for action. There was nine-year-old “Julie,” somewhat sour and serious, usually to be found with a book in whatever private corner he could claim, or keeping an eye on seven-year-old Milton, who was frail and small for his age. Presiding over all of this was Minnie Marx, pregnant (or very soon to be) with Herbert, and beginning to concoct the dream of putting her precocious boys on the stage. (None of the Brothers bothered with school beyond their bar mitzvah, and their attendance was pretty spotty before that.)
And according to the Brothers’ collective memories, another constant presence was a Marx Sister — Pauline (“Polly”), aged sixteen. Actually, Polly was the daughter of Minnie’s sister Hannah, born in 1884 when Hannah was between husbands, and unofficially adopted by Frenchie and Minnie to keep things respectable. (For what it’s worth, Polly was listed in the 1900 census as residing with her mother and stepfather, but who knows what the actual situation was.)
The Marxes occupied the top floor
A total of eight people — and that’s just the baseline. It seems that Polly was a semi-permanent fixture, and Aunt Hannah and her second husband Uncle Julius were there so often they might as well have been residents. Plus there was an endless stream of Schoenberg cousins, family friends, Frenchie’s customers, and pinochle players trooping up and down the three flights of stairs at number 179. And somewhere among the clutter, human and otherwise, they managed to find room for Omie’s old harp and a second hand upright piano. (One of Julius’ favorite reading spots was draped over the back of the piano.)
The story goes that Minnie was for some reason convinced Uncle Julius was sitting on secret riches, and named her middle child after him in hopes of a future inheritance. The question mark in the story is that Hannah and Julius Schickler did not marry until two years after Julius Marx was born. But who knows, maybe the couple had been “courting” for a couple of years.
Julius and Adolph in front of 179 East 93rd Street, around 1901-02
The loss of Omie Fanny in 1901 was balanced by the arrival of baby Herbert, but gradually the fourth floor got some breathing room. Polly married young, to the nearest non-related male (one of Frenchie’s card-playing cronies, actually) and got the hell out of there as soon as she could. Teenaged Leo and Ahdie were spending less and less time under the family roof, out until all hours doing who-knows.
Julius was a touring vaudeville singer by the end of 1905. And Julius most assuredly did not get an inheritance from his eponymous uncle when he finally shuffled off sometime in the 1920s. Uncle Julius’ entire estate, grouched his nephew in his colorful autobiography, consisted of “a nine-ball he stole from a pool hall, his liver pills, and a celluloid dickey.” Plus, he died owing Frenchie eighty-four dollars.
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By the end of 1963, Peter Sellers was a physical and mental time bomb. He and Blake Edwards had vowed never to work together again after the second Clouseau movie, A Shot In The Dark.
Sellers was never properly diagnosed or treated, but in examining the behavioral symptoms he began manifesting from late 1963 onward, his biographers seem to think he had schizoaffective disorder — perhaps the worst case suffered by anyone of any level of fame.
Somehow, his career continued successfully, at least for a time. Riding a wave of public sympathy after a near-fatal series of heart attacks in April 1964, and refusing to acknowledge any mental issues publicly or privately, he spent the remainder of the 1960s starring in various international productions of erratic quality but with big budgets, beautiful women, and unmistakable glamour.
Behind the scenes, he was crumbling. His hasty 1964 marriage to Britt Ekland collapsed under his paranoia and abuse. His kids grew terrified of his volcanic rages on the occasions he demanded obedient visits from them. He lashed out unpredictably and threw infantile tantrums. He became totally reliant on the guidance of a bogus “psychic advisor,” Maurice Woodruff. He heard voices. He subjected colleagues to dozens of his bizarre whims. He was terrified of the color purple — it was not allowed to be worn in his presence, and his assistants would check his hotel rooms in advance and remove any trace of violet.
In the meantime, Blake Edwards married Julie Andrews, and made one decent film (1965’s The Great Race) to his usual ratio of stinkers.
Sellers and Edwards buried the hatchet to work on 1968’s The Party — an arguably funnier, or at least warmer, film than any of the Pink Panthers, but difficult to watch these days because Sellers is slathered in brown make-up and thick eyeliner. His character, the well-meaning but Clouseau-clumsy Hrundi V. Bakshi, is a thickly-accented collection of South Asian stereotypes.
Once again, Edwards and Sellers hated each other by the end of it.
Around the same time, the Panther series’ original production company, the Mirisch Corporation, decided that a third film in the series would be worth doing. When both Sellers and Edwards declined to participate, the project went forth anyway. The production company believed that the character of Inspector Clouseau was the true star, bigger than any actor who happened to portray him. They went into production on a new Clouseau movie without Edwards or Sellers (or Mancini). Bud Yorkin would direct.
Stepping into Sellers’ shoes as Clouseau was the rising newcomer Alan Arkin, who had received an Oscar nomination for his very first film, the Mirisch Corporation’s The Russians Are Coming, The Russians Are Coming (1966).
Arkin is a great actor, but in 1968’s Inspector Clouseau he was badly miscast, failing to acquit himself convincingly as the title character. He is alternately sleep
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2022-09-08T23:00:00+00:00
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Their collaboration has been hailed as a summit meeting of two jazz masters. Enrico Rava, trumpeter from Trieste, and Fred Hersch, pianist from Cincinatti, share a deep affection for the tradition and a profound sense for melodic invention. In this recording, with flugelhorn and piano glowing in the superb acoustic of the Lugano studio, Rava […]
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ECM Records
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https://ecmrecords.com/product/the-song-is-you-enrico-rava-fred-hersch/
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3
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https://music.apple.com/us/artist/george-bassman/201183
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en
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âGeorge Bassman
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Listen to music by George Bassman on Apple Music. Find top songs and albums by George Bassman including Sentimental Over You.
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/assets/favicon/favicon-180.png
|
Apple Music - Web Player
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https://music.apple.com/us/artist/george-bassman/201183
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dbpedia
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| 10
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https://ballstatesports.com/sports/football/roster/anthony-winbush/5099
|
en
|
Anthony Winbush - Football
|
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Anthony Winbush (98) Defensive End - Awards and Honors:
2017 All-Mid-American Conference First Team
2017 Ball State John Magnabosco Award (most outstanding player)
MAC
|
en
|
/images/logos/site/site.png
|
Ball State University Athletics
|
https://ballstatesports.com/sports/football/roster/anthony-winbush/5099
|
2017 Football Roster
Choose a Player:
Ball State University Creative Services
Michael Hickey
Paul Ferrer
Ricky Bassman
Ricky Bassman
Kyle Crawford
Tim Cowie Photography
Kyle Crawford
Justin Casterline
98 Anthony Winbush
Position Defensive End
Ht./Wt. 6-1 / 240
Class Redshirt Senior
Hometown Indianapolis, Ind.
Prev School Warren Central HS
Major Professional Selling
Bio
Related
Stats
Historical
Biography
Awards and Honors:
2017 All-Mid-American Conference First Team
2017 Ball State John Magnabosco Award (most outstanding player)
MAC West Defensive Player of the Week (Sept. 4, 2017)
2016 All-Mid-American Conference Third Team
2017 (R-Sr.): Started all 12 games and recorded at least one sack in seven contests … career-high three sacks at Illinois on Sept. 2 … equaled the Ball State career record for sacks (25) on Nov. 16 versus Buffalo … ranked among the national leaders in sacks (11.5 – 4th), forced fumbles (5 – 1st) and tackles for loss (16.5 – 19th) … finished fourth on the squad with 51 tackles … notched a career-high seven tackles in three games – at Illinois (Sept. 2), versus Tennessee Tech (Sept. 16) and versus Central Michigan (Oct. 21) … recorded six stops, 1.5 sacks and two forced fumbles in the win over UAB on Sept. 9 … wrapped up his Ball State career with five stops, a tackle for loss and two quarterback hurries against Miami on Nov. 21.
2016 (R-Jr.): Played in all 12 games with 11 starts at defensive end … led the team and ranked third in the MAC with 8.5 sacks … concluded the season with a then personal-high 2.5 sacks at Miami (Ohio) on Nov. 22 … recorded multiple sacks in three other contests – at Indiana on Sept. 10, versus Eastern Kentucky on Sept. 17 and at Central Michigan on Oct. 8 … tallied a season-high five stops, including 1.5 tackles for loss, in the win at Florida Atlantic on Sept. 24 … forced and recovered a fumble on the same play in the opener at Georgia State.
2015 (R-So.): Saw action in 11 games at defensive end … led the team with five sacks … ranked third on the team with 5.5 tackles for loss … was involved in a tackle for loss in six contests … notched a strip sack and recovered the fumble in the third quarter at No. 16 Texas A&M on Sept. 12 … tallied a 14-yard sack in the fourth quarter against Georgia State on Oct. 17 that forced a punt … finished with a season-high three tackles at Ohio on Nov. 17.
2014 (R-Fr.): Played in 10 games to earn first letter … season-high four tackles versus Akron … registered at least one tackle in six games … tallied first career tackle in his collegiate debut at Iowa … forced first career fumble versus Eastern Michigan.
2013 (Fr.): Took a redshirt season.
HIGH SCHOOL: Earned two letters in football for coach Steve Tutsie at Warren Central High … helped team to a 33-8 overall record in career … helped the Warriors reach the Indiana High School state championship game in 2010 and 2011 … all-state and all-conference as a senior … Warren Central's Defensive Lineman of the Year as a senior … team captain as a senior … tallied 10 sacks and six knockdowns as a senior … also competed in track … won the sectional and placed in the regional in the discus as a junior.
PERSONAL: Son of George Winbush and Nicole Williams … born Dec. 18, 1994, in Indianapolis … five brothers and two sisters … full name is Anthony Winbush … earned his Ball State bachelor’s degree in December 2017.
Related Content
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Statistics
Season Statistics
Season Statistics
No statistics available for this season.
Career Statistics
There are no statistics available for this player.
Historical Player Information
98
2013Freshman
Defensive Line
6'1" 207 lbs
98
98
2014Freshman
Defensive Line
6'1" 216 lbs
98
98
2015Sophomore
Defensive Line
6'1" 228 lbs
98
98
2016Junior
Defensive End
6'1" 225 lbs
98
98
2017Redshirt Senior
Defensive End
6'1" 240 lbs
98
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| 3
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https://en.wikipedia.org/wiki/George_Porter_Jr.
|
en
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George Porter Jr.
|
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2007-05-21T08:22:06+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/George_Porter_Jr.
|
American funk bass guitarist and singer
Musical artist
George Porter Jr. (born December 26, 1947) is an American musician, best known as the bassist and singer of the Meters. Along with Art Neville, Porter formed the group in the mid 1960s and came to be recognized as one of the progenitors of funk.[1] The Meters disbanded in 1977, but reformed in 1989. The original group played the occasional reunion, with the Funky Meters, of which Porter and Neville are members, keeping the spirit alive, until Neville's retirement in 2018 and death the following year.[1]
Porter has his own group the Runnin' Pardners, and also other projects such as The Trio with Johnny Vidacovich, New Orleans Social Club, Deep Fried, and Porter Batiste Stoltz. He has been performing and recording with wide range of artists including Soul Rebels Brass Band, Dr. John, Paul McCartney, Robbie Robertson, Willy DeVille, Robert Palmer, Patti LaBelle, Jimmy Buffett, David Byrne, Johnny Adams, Harry Connick Jr., Earl King, Warren Haynes, Tori Amos, and Snooks Eaglin among many others.[1][2]
Porter joined John Scofield's Piety Street Band in 2008 to tour and to record. Jon Cleary and Ricky Fataar are also members of this band. In 2010, he replaced Reed Mathis in Bill Kreutzmann's renewest band, 7 Walkers.[3] Also in 2010 he performed with Runnin' Pardner at New Orleans' Voodoo Experience.[4]
Biography
[edit]
Early life and career with the Meters
[edit]
Porter's parents were both avid lovers of music. His father frequently listened to Duke Ellington and his mother sang in the local church choir. He grew up in New Orleans next to future Meters bandmate, Joe "Zigaboo" Modeliste, and the two became friends when George was 10 years old. As teenagers, they played jam sessions together with Porter playing a box guitar.[5] Porter was inspired to play bass guitar by another New Orleans native, Benjamin "Poppi" Francis who also gave Porter some lessons on the instrument.[6] When Porter was still in his teens, he sat in with Earl King. After one of the shows, Art Neville came up to him saying he was trying to start a band and asked if he would like to join. Porter agreed spawning the beginnings of the Meters. At first the band was known as Neville Sound and consisted of seven men including Cyril and Aaron Neville as vocalists and Gary Brown on saxophone. After a short time, however, the band was trimmed down to four core members - Art Neville, Zigaboo Modeliste, Leo Nocentelli and Porter Jr. The four were playing six nights a week at a Bourbon Street bar called Ivanhoe when they were approached by Allen Toussaint and asked if they wanted to sign a record deal. After the deal, the label wanted the band to change their name to something that better reflected their sound. They settled on "The Meters." By the early seventies, Porter was touring coast to coast with the Meters. At the same time, the Meters were performing as session musicians on numerous hit records, including "Right Place, Wrong Time," "Lady Marmalade," "Sneakin' Sally Through the Alley," and "Southern Nights." In 1975, they were touring as the opening act to the Rolling Stones.[5] Porter has said that the best moment in his musical career is when he and the other Meters were opening for the Stones in Paris in 1976. The crowd started to boo them, when Keith Richards and Mick Jagger came out in support of the Meters and told the crowd to shut up and listen to the music. He said that moment kept the Meters alive for the time being.[6] By 1977, however, the band broke up due to personal differences. After the breakup, Porter Jr. formed a band called Joyride.[5]
After the Meters
[edit]
Porter played with Joyride and with many other New Orleans musicians in the 1980s. In 1989, Porter reunited with Art Neville and Leo Nocentelli as the Meters, replacing Joe Modeliste on drums with Russell Batiste Jr.[7] In 1990, he started a band called The Runnin' Pardners; a band that is still playing today. Also in the 1990s, Porter became a highly coveted bass player in the studio playing with artists like David Byrne and Tori Amos.[8] In 1994, Porter and Neville re-collaborated to form the band The Funky Meters to carry on the Meters sound. They were joined by Brian Stoltz on guitar and Russell Batiste Jr. on drums. Stoltz left the band in 2007 but rejoined in 2011 and the band still plays today.[9]
2000 to present
[edit]
In 2000, the original four Meters reunited for a show at the Warfield in San Francisco. Modeliste wanted to make the reunion a permanent one but the other members and their management objected. In 2006, however, the Meters performed at the New Orleans Jazz and Heritage Festival.[10][11] This was the first Jazz Fest since Hurricane Katrina so the fact that the Meters reunited for it meant a lot to the city. In 2012, Porter, Leo Nocentelli, Joe Modeliste, and Phish keyboardist Page McConnell performed two concerts as The Metermen. Limited shows followed in 2013 and 2014 with two more night shows during Jazz Fest.
Porter appears in performance footage in the 2005 documentary film Make It Funky!, which presents a history of New Orleans music and its influence on rhythm and blues, rock and roll, funk and jazz.[12] In the film, he performs with Snooks Eaglin and house band on "Come On (Let the Good Times Roll)", and is seen in clips with other musicians, including Art Neville.[13]
Since Hurricane Katrina, Porter has done some activist work with other New Orleans musicians informing people of the dangers of eroding wetlands threatening the future of the city.[14] Porter still tours consistently with the Runnin' Pardners, Joyride, and The Funky Meters. He plays sporadically with the four original members of the Meters, now known as The Original Meters and also frequently collaborates with other musicians, many of whom are from New Orleans. On February 24, 2018, Porter sat in with Dead & Company during their New Orleans concert at the Smoothie King Center, playing bass on several songs including "Smokestack Lightning", "Bertha" and taking lead vocals on "Sugaree".[15]
He plays sporadically with Steve Kimock on various projects including Voodoo Dead.
Personal life
[edit]
Porter was raised Catholic, and once considered becoming a priest.[16]
Awards and honors
[edit]
OffBeat's Best of The Beat Awards
[edit]
Year Category Result Ref. 1995 Best New Orleans Style R&B Band or Performer Won [17] 1996 Best New Orleans Style R&B Band or Performer Won [17] 1997 Best Bass Player Won [17] 1998 Won [17] 1999 Won [17] 2000 Won [17] 2001 Won [17] 2002 Won [17] 2003 Won [17] 2004 Won [17] 2006 Won [17] 2008 Won [17] 2009 Won [17] 2010 Won [17] 2011 Lifetime Achievement in Music Won [17] Best Bass Player Won [17] 2012 Best Bass Player Won [17] 2013 Best Bass Player Won [17] 2015 Best R&B/Funk Band or Performer Won [17] Best R&B/Funk Album (for It's Time to Funk) Won [17] Best Bass Player Won [17] 2016 Best Bass Player Won [17] 2017 Won [17] 2018 Won [17] 2019 Won [17] 2020 Won [17] 2021-22 Won [17] 2023 Won [17]
Discography
[edit]
Runnin' Partner (1990), Rounder
Things Ain't What They Used to Be (1994)
Count On You (1994) - Japan release
Funk This (1997), Transvideo - EP
Funk 'n' Go Nuts (2000), Transvideo
We Came to Play (2003) - as Johnny Vidacovich, June Yamagishi and George Porter Jr.
Searching for a Joyride (2005), Night Train
Expanding the Funkin Universe (2007), OUW Records - as Porter Batiste Stoltz
It's Life (2007), Transvideo
Can't Beat the Funk (2011)
Collaborations
[edit]
In the Right Place - Dr. John (Atco Records, 1973)
Sneakin' Sally Through the Alley - Robert Palmer (Island Records, 1974)
Nightbirds - Labelle (Epic Records, 1974)
Desitively Bonnaroo - Dr. John (Atco Records, 1974)
Keep On Lovin' You - Z. Z. Hill (Hill Records, 1975)
Phoenix - Labelle (Epic Records, 1975)
Patti LaBelle - Patti LaBelle (Epic Records, 1977)
New Orleans Heat - Albert King (Tomato Records, 1978)
Victory Mixture - Willy DeVille (Sky Ranch Records, 1990)
Storyville - Robbie Robertson (Geffen, 1991)
Uh-Oh - David Byrne (Warner Bros. Records, 1992)
Soul of the Blues - Solomon Burke (Black Top Records, 1993)
There's Room for Us All - Terrance Simien (Black Top Records, 1993)
Under the Pink - Tori Amos (Atlantic Records, 1994)
Boys for Pele - Tori Amos (Atlantic Records, 1996)
From the Choirgirl Hotel - Tori Amos (Atlantic Records, 1998)
Maestro - Taj Mahal (Heads Up, 2008)
Bible Belt - Diane Birch (S-Curve Records, 2009)
Good Road to Follow - John Oates (Elektra Records, 2014)
References
[edit]
Biography portal
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https://ancestors.familysearch.org/en/G3CX-RFR/george-basse-1470-1557
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FamilySearch.org
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Discover your family history. Explore the world’s largest collection of free family trees, genealogy records and resources.
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https://eminence.com/blogs/blog/interview-with-george-alessandro
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Q&A with amp guru George Alessandro
|
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2012-10-30T00:00:00+00:00
|
Eminence and Alessandro collaborated with Eric Johnson on the Eric Johnson Signature EJ1250 guitar speaker. We recently sat down with George to learn more.
|
en
|
//eminence.com/cdn/shop/files/CrownFavicon1800_32x32.jpg?v=1613790473
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Eminence Speaker, LLC
|
https://eminence.com/blogs/blog/interview-with-george-alessandro
|
Eminence has had the pleasure of working with George Alessandro for many years, building custom guitar speakers to his specifications for many of his high-end amplifiers. Together we collaborated with legendary guitarist Eric Johnson on what we think is the finest alnico guitar speaker on the market, the Eric Johnson Signature EJ1250. We recently sat down with George to learn more about the man behind the tone of many of today's premier artists. Eminence: First, tell us a bit about Alessandro High-End Products, Working Dog, and Hound Dog Corp. What do you do, and what sets you apart? George: Hound Dog Corporation is the parent company that does business as Alessandro and Working Dog. The Alessandro trademark was put into place to define a new concept of true high-end products. The Working Dog mark was about quality, and cost effective products for the working musicians out there. Eminence: How did you first get started in the industry? How did you learn your trade? George: I earned an associates electronics degree out of high school, worked servicing 2-way radios for a couple years, then went back to college for my BS in Biology and Chemistry (pre-med at the time). During this time I was working as a sound-man/roadie and tech. It was a hobby at the time. At 15 years old, my first guitar and amp was an Ibanez Roadstar and Peavey Bandit. By 16 I had a vintage strat and Super Reverb, and by 18 acquired two more vintage strats, more Super Reverbs and a '59 tweed Bassman. I grew up in the early 80's, so hair bands were the trend. By my mid teens SRV made it big. He opened my eyes to a whole new type of music and gear and I've never looked back. By the time I purchased the '59 Tweed Bassman, I was working on electronics and tinkering with vacuum tube amps. I thought there was something wrong with the sound of the amp and took it to a bunch of the local techs. I still never thought it was right. Months passed, many repair bills later and still unsatisfied, I decided to do some research and see if I could fix it. Low and behold, it had a shorted cap that no one had found, and sounded like I thought it should, heavenly and mean. I kept reading and learning about vintage guitar amps from that time and started servicing all my own gear. This was also the time when I learned to seek out the "old timers" and pick their brains about vacuum tube gear. I worked for a "Fred Sanford" type guy, named Fred Chassie, who had more vintage studio gear and vacuum tube stuff than you could imagine (10,000 sq. ft. minimum, floor to chest with just isles to get around). My job was to unbury mountains, pack them onto pallets and move them to a smaller warehouse. My pay was to make piles of gear that I found in those mountains, and if I wasn't greedy I got it. I pulled so much vintage studio gear, vacuum tubes, mics, and parts out of that place that I still have piles left here today. Cool gear aside, the true gift of Fred was his knowledge. As we uncovered gear, Fred would tell the story of what the gear was, where it came from and how it worked. I'm talking about the earliest generation tape machines, microphones, compressor/limiters and preamps. He knew everything about all that gear because he was there when they came out, used and serviced them, bought and sold them till the day he passed. There are no books on this stuff and his generation is now no longer with us. His knowledge was a gift I will never under appreciate. That knowledge was something that I applied to my trade everyday. Since then I've been compiling a similar knowledge base of Vintage Guitar amps of the 50's and 60's. I've been lucky to have played, owned and serviced just about every pinnacle amp out there. I've refined my trade to a specialty of vintage amps only, that is where my decades of experience lies. I'm good at it, and it is still just fun. Eminence: What made you decide to go into business for yourself? George: In the mid/early 90's I was at the crossroads of my life; school or work. I was finishing my BS degree and looking into med school. By this time, I was servicing vintage amps as a side job for fun money. I had made friends with a brain doc at University of Penn in Philly. I serviced his guitar amps and he showed me around at Penn's dept. of Neurology. We got to be good friends and had a mutual friend in Ken Fischer, another person who had an influence on me at the time. I had to make a choice of 10 more years of school/residency to get my PHD/MD or let my hobby of amp repair become a career. I had designed my own circuit that I was installing in Black Face Bassman heads to give them more gain and built a crude amp from spare parts with it. It sounded really good and a couple prototypes later, looked less crude. As Ken Fischer was the only local guy I could talk shop about intelligently, I brought him the prototype to hear. He liked it and gave me a really nice plug in Vintage Guitar Magazine. The orders flooded in and my hobby became a business. At the same time my brain doc friend was telling me about the downfalls of the medical field, (with HMOs, malpractice insurance and the internal politics in the hospitals), it was not necessarily a good fit for me. I really wanted to get into medicine for the right reasons, but if I was going to be miserable, was it worth it? Well, we know what I'm doing now and when I look back at all the people and places this path has taken me, I would have never believed it then. As the years passed and I added more amps to the product line, I started getting into high-end audio (avoid it unless you have some disposable income available because it is addictive and can get costly). I was amazed at how Hi-Fi evolved from Macintosh in the 60's to the gear of today. Hi-Fi today is better then yesterday, the last decade and the decade before, they never stopped evolving their products. It seems like in the Guitar business, the 50's and 60's was the heyday of gear. The raw materials in current high-end hi-fi are modern technology designed for enhanced audio, while guitar amps are still dinosaurs. In the late '90's I started tinkering with these high-end parts and it was truly a revelation. I found that if used properly, very modern and state-of-the-art hi-fi parts could be used to enhance vintage style guitar amps. This revelation led to revamping the amp line and designing from scratch new designs that utilize all the positive effects of the new parts. I found all the weak links in my rig, like the cables, guitar internal parts and speakers because the amp had so much more to offer, but was not coming through. I had to develop all the other parts of the rig to equal or exceed what the amp was capable of creating. Now the tones, oh what beautiful tones! The product line now expanded from just amps to everything except the wooden guitar itself. The concept was to offer everything from cost-effective high-end, to the very best money can buy (I can still remember being laughed at when we introduced a $2000 guitar cable in the late 90's. Within 5 years everybody jumped into the market and there were too many cables that were very expensive but did not sound better, hence the market collapsed). Eminence: You"ve worked with some really great artists over the years. Who have you gotten to know and in what capacity did you work together? George: Because I was in this upscale market (started as boutique, I evolved into high-end) and I was offering really good products, many of the A-List guitar players sought me out. I had the opportunity to build gear and do service work for all the guitar heroes I grew up listening to. Out of respect to all the musicians, I'd love to list them all, but the short list of most memorable/most respected are guys like David Gilmour, Eric Clapton, Eric Johnson, John Mayer, Joe Perry, Derek Trucks and Keith Urban. I still have to pinch myself to see if I dreamed all the things I've done, one of the most memorable being backstage at an Aerosmith concert with my wife and 6 month old daughter. Steven comes out of his dressing room and we are standing there, he stops, runs over and starts playing with my daughter. He is there making ducky noises and playing with her feet, 10 minutes later he is standing in front of 20,000 screaming fans and Joe is out there playing an art amplifier, the Bling Beagle, I built for him that we snuck in his rig for his birthday. It was a fun night and one I can remind my daughter about when she is a teenager and thinks her parents are uncool, that we actually are :-) Eminence: How did you first meet Eric Johnson? Has your relationship changed over the years? George: The phrase "it is a long, strange trip" comes to mind with EJ. I remember a decade before becoming friends with Eric, sneaking backstage at a gig in Philly and standing back there with all his gear. I was in awe of all the gear, but never touched anything. I was walking around back there, got caught and escorted all the way out. A decade later, I was introduced to him by a mutual friend and we became friends. Eric is very controlling about his gear, more than his reputation would lead you to believe. I respect that, I am the same way about the tools of my trade. There is a reason he is as good as he is, and it is not from being lazy and settling for good enough. I am very good at what I do because I put in the time and it is my gift. (Do not ask me to play guitar, not my gift). After years of testing the waters, Eric has let me do what I do and now we have a symbiotic relationship. I have definitely learned things from him because you never know everything and he definitely looks at things from a different perspective than my analytical mind. There is nobody like Eric, he brings something unique to the table. Whether genius or insanity he has a trained ear like no other. Eminence: How did the idea of an Eric Johnson signature speaker design come about? George: In general, the artists in my world feel there is nothing quite like the gear from 40-55 years ago. Eric primarily plays the old Marshall heads into old Basketweave cabs with all original speakers in them, in conjunction with a Fender for the clean tones. The problem is he plays 100's into a single 4x12 with 44 year old speakers. It is hard to find perfect examples of these cabs and many have been reconed. We go through a lot of speakers to find ones that work perfectly and then after touring, they start acting up. This is not a good scenario with a touring artist, to have your gear failing and parts not readily available. The signature speakers came about because of this frustration. At the time we were working on a '58 Tweed Twin that I had just serviced and put an original set of P12N speakers into. The amp sounded angelic. Eric got it and 30 minutes later blew out one of the speakers, the other followed shortly thereafter. Got another set of vintage cone speakers and same scenario. Because I still service vintage amps, blown speakers come up often. I have had lackluster success with all the reconing companies out there, so I had to learn to do it myself. By doing it myself, I can match up the parts more accurately and fine tune them if needed. I sent Eric some of my reconed P12N speakers, they worked. Months passed and he started blowing some of the recones (by now he had a '59 Tweed Twin along with the '58). I already had three Alessandro speakers manufactured by Eminence for me so I suggested we try designing a new speaker for the Twins. Since Eric knew I could make an old speaker sound proper with new parts, we thought we should be able to make a new speaker with the new parts. We prototyped a few speakers and started dialing something in. The prototype was not strictly American or British and because we were starting with a clean slate, we kept making changes till we dialed it in. Eminence: You obviously know Eric"s tone very well, having worked intimately with us to achieve the tone Eric was after. How would you define the tone of the EJ1250? George: After we dialed in the speakers, I started installing them into the High Power Tweed Twins. You can definitely tell where my ear was during the development of the prototypes, they sound like Leo designed the amp for these speakers. Since Fender never intended players to use the amps the way Eric does, turned up way into full distortion, the stock speakers fall far short from allowing the amp to voice properly. Eric's setting is Y-corded into the amp with both controls on 11 7/8 (turn it up to 12 then back it down a notch). With the new speakers, the amp can now voice properly clean, dirty and flat out. I built a recreation of his amps, blueprinted from his amps and another 100% original '59, and installed the new speakers. The combination of a strong, tight, proper recreation Twin and the new speakers, is pure tone. These are desert island amps, giving all the choices out there. This is the one amp to be stuck with for life. We did find that like all speakers, this speaker is not for every application. Like Marshall in '65 who stopped using Alnico speakers in closed back 4x12s, we found with 100W Marshall amps, it was not a perfect match. I have not tried every cabinet configuration, but in general this speaker voices wonderfully with American amps and lower power British amps. Eminence: In your opinion, how important is the loudspeaker"s role in the overall tone chain? Do you feel this is often overlooked? George: Without the speaker, you aint got jack. A bad or mediocre speaker will kill the best rig. On the flip side, an efficient, revealing speaker will bring out all the flaws in a mediocre amp. There are speakers out there with a super rolled off top-end that guys are raving about. I can't use them because they kill my amp's tone. If there is something wrong with an amp, the fix is not a muted speaker. A good speaker is efficient, balanced and has an airy top-end. There are different flavors of chocolate out there for different tastes, same as speakers, but dynamic should be a component of every speaker. The reason I struck up a working relationship with Eminence is because years ago, I felt like someone tied my hands and would not allow me to make a proper sounding amplifier. The companies I was using had quality control issues and special order from others was not an option. Eminence stepped up to the plate, prototyped what I asked, and now they are my go to speakers, and now on stage with the biggest names in the business. Eminence: What"s the best advice you could give a young guitarist who is searching for their tone? Do they have to spend a lot of money to sound great? George: It really is all in the hands, and a good rig will make you sound worse if you don't have the tone in your hands. Simplicity is best, have a good tube amp with a proper speaker, plug straight in and play. Add effects in front if needed, but do not rely on them for the tone, it should come from the heart, the hands and the rig. Eminence: We always enjoy working with you and hope to collaborate on more projects in the future. Aside from that, what other projects/products do you have on the horizon? George: I'd like to see some new signature speakers with new artists (and some with the "old" ones). I'm working on possibly producing the amp that spurred this project and we have a light-weight speaker cabinet line on the horizon utilizing the Alessandro speakers. Learn more about Alessandro products at www.alessandro-products.com
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https://www.thejazzguitarlife.com/2021/12/06/pat-kelley-interview-with-jazz-guitar-life/
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Pat Kelley Interview With Jazz Guitar Life – Jazz Guitar Life
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“I had a fantastic time playing with George and we got along really well. The band was always stellar. This was not a reading gig. George had very few charts, so I learned all the material from the records before the first concert. Some of the pop tunes, such as Turn Your Love Around, had specific guitar riffs that had become part of the song. I think either Steve Lukather or Lee Ritenour had played the Turn Your Love Around riff on the record. Those parts were obvious when I was learning the songs from the records.”
Pat Kelley
I was first introduced to Pat Kelley back in the 90’s when on a whim I bought his High Heels CD because I liked the guitar he was holding. I had always considered him a smooth Jazz artist until I got another CD that he was on, John Pisano’s Guitar Night via Mel Bay Records. I was delighted to hear Pat play in a more traditional manner and I began searching him out on the WWW. I eventually friended him on Facebook and finally reached out to interview him, which he graciously accepted.
In this interview, Pat talks about his background, his educational dream of studying – at least in a workshop format – with Howard Roberts and Johnny Smith on separate occasions and his being able to work with the Man, George Benson. It’s an informative and entertaining read and I think you’ll dig it! Enjoy 🙂
…
JGL: Thank you Pat for taking the time to talk to Jazz Guitar Life. First off, if we can get into a little background about you that would be great. How old are you?
PK: I can hardly believe it, but I will be seventy in March. I guess that means I’m sixty-nine.
JGL: Now, for those who are unaware of you, could you give Jazz Guitar Life readers an elevator pitch of who Pat Kelley is?
PK: I have played the guitar almost everyday for the past sixty-five years. I still love to play and I have had a most fortunate life and career.
JGL: Whereabouts are you located?
PK: I just moved to the California Central Coast, about three hours north of Los Angeles after living in LA since the seventies. I will still be going into LA for some gigs, sessions, and socializing.
JGL: Were you interested in jazz from the beginning or were there other musical interests before jazz? How did you find your way to this particular music and instrument?
PK: I started playing when I was five years old, so at that time I was just learning popular songs and songs my dad knew. I started my first band in sixth grade. We played a lot of surf music and other popular music with maybe a few things hinting at jazz. I moved along pretty quickly and became interested in jazz for real at about thirteen, when one of my dad’s friends brought over some Howard Roberts records which really lit a fire in me.
JGL: Who were your influences on jazz guitar when you were beginning, and have they stayed the same or have they changed over the years? Who are you listening to today (guitarists or non-guitarists)?
PK: In addition to Howard Roberts, I listened to Wes Montgomery, Johnny Smith, Jim Hall, Joe Pass, Kenny Burrell, Grant Green, and all the guys of that time. There was a next wave of guitarists that had a big influence. These would include George Benson, Pat Martino, John McLaughlin, Larry Coryell, Ralph Towner, and the guys that were around that age. I’ve always liked listening to piano players and that is mostly what I’ve been listening to lately.
JGL: What was your first guitar and what are you playing now?
PK: My first good guitar, at age eight, was a Rickenbacker, which I still own. I have a bunch of guitars, both acoustic and electric, that I have used for sessions and various musical situations. Today my main guitars are a Roger Borys B120 and a Benedetto Bambino.
JGL: What other gear are you using? Do you have a specific stage set-up that works best for you in a variety of musical situations?
PK: I’m pretty much a hard-core tube amp guy. I have had refrigerator sized Bradshaw racks and pedal boards of all varieties. Today, for my own music, I am mostly using very minimal effects with great sounding amps. I may use a digital reverb and delay. I have a ’57 Tweed 4×10 Fender Bassman, ’64 Fender Deluxe Reverb, ’59 Tweed Fender Deluxe, ’68 Fender Princeton Reverb, ’62 Supro, Matchless Chieftan, Matchless Lightning. I sometimes like a two amp stereo setup.
JGL: Is there anyone – alive or dead – whom you’d love to play and/or record with?
PK: I won’t talk about the dead ones. There are too many. I like Diana Krall and the way she lets the band play and be featured, although Anthony may never give up that gig. James Taylor would be a great gig also. He always has a stellar line up in his band. Herbie Hancock would be a dream.
JGL: Did you know early on that music was something you wanted to do as a career choice and if so, what have you done to make this choice work for you?
PK: I knew from the moment I touched a guitar that I wanted to make this my life mission. I practised as a kid because I liked having the guitar in my hands all the time. I got an early start so by the time I was sixteen I was playing in bands with guys that were older than me, while working to improve my reading and overall playing. When I was twenty, I moved from my hometown of Tulsa to southern California, and started my first steady California gig two weeks later, playing five nights a week at a Hilton Inn. I just kept meeting people and trying to develop a circle of contacts as I moved into new things. I’ve also tried to keep learning and actually think my playing is still improving.
JGL: According to your Bio you have been “an integral part of the Thornton School of Music Guitar Faculty at the University of Southern California for twenty-four years”; have published two books: Arpeggios for the Evolving Guitarist and Melodic Minor Guitar; are part of the USC Thornton School of Music Instructional Series (Mel Bay Publications) and have been on the faculty of the Monterey Jazz Festival Summer Jazz Camp, the Guitar College Summer Guitar and Bass Camp, the University of Tulsa Summer Jazz Camp, and the Interlochen Center for the Arts. When do you sleep!? LOL.
PK: Haha. All of this was spread out over a number of years.
Seriously though, how did you get into teaching at such a high level and what was your music/Jazz education like when you started on this journey? Did you study privately or did you go through the formal school system?
PK: I had some great teachers when I was young, including my dad, who was my first teacher. When I was four, he gave me one of his ukuleles and showed me how to read the chord block diagrams in a music songbook. I remember the first song I could play was “My Buddy”. My dad also had a small acoustic guitar that he acquired for fifty cents in 1937. When I was five, he converted it to nylon strings and shaved down the bottom of the bridge to lower the action. It played pretty well. This was my first guitar and it now lives in a glass case at the Oklahoma Jazz Hall of Fame, in my hometown, Tulsa.
At eight years old, my dad knew I needed a new teacher in order to keep moving forward. The new teacher was Bill Davis, who taught on Saturdays at Craig’s Music Store in downtown Tulsa. He taught me to read music, and I am so thankful for my early start. We went through five of the books in the popular Mel Bay series and some things in the Oahu method. I was still playing songs with my dad and other people he jammed with. I needed to move on again by the age of ten. Dick Gordon was a very popular full time guitar teacher in Tulsa. He always had tons of students, back to back with thirty-minute lessons. His main method was about learning songs. He also made everyone sing, whether you could sing or not. Fortunately, I also liked singing. I probably knew a hundred songs when I was ten. I started a serious band called Pat and the Panthers when I was thirteen. We played mostly teen dances, live TV shows, and we did some recording in a studio.
In high school, I studied with the great Eldon Shamblin, of Bob Wills and the Texas Playboys fame. Ironically, I never worked on western swing with Eldon. We worked almost exclusively on chord melody playing. I was learning a lot of popular standards such as The Shadow of Your Smile, Misty, Satin Doll, etc. At the same time I was now playing in a nine-piece soul band with guys that were a little older than me. We were playing nightclubs and fraternity parties at different Colleges in the surrounding area.
By the time I was in college, the band had morphed into a band that played a lot of Blood Sweat and Tears and Chicago material. I majored in music composition at the University of Tulsa. There wasn’t much available in those days for guitar performance. In the summers of 1971 and 1972 I attended weeklong workshops with two of my heroes, Howard Roberts, in Hollywood, and Johnny Smith, in Denver. After these experiences I could hardly wait to move to California and go for it.
During my last six months in Tulsa, I played with a jazz quartet at a supper club. We played six nights a week, five hours a night. I decided to go ahead and move west before finishing my degree at TU. With the exception of one lesson with Joe Pass, I never studied with anyone again, but man did I learn a lot from playing with many great musicians. I also constantly studied and explored things on my own.
To answer your initial question about teaching at a high level, I will praise USC for wanting to have experienced professional musicians on the faculty. USC is a private school and can hire teachers based on experience rather than a piece of paper. That is the reason USC has such an amazing roster of high-level players on the faculty. It is a shame that even two-year state-run community colleges will only hire someone with an advanced degree, many who have no playing experience at all. I never applied to teach at USC. I got a call from Richard Smith, who was the guitar department chair at the time, asking me if I would like to teach some private student. I quickly became a big part of the program and was soon awarded a full time position, which only required about eighteen hours of teaching per week. I designed several classes, two specifically for our doctoral students.
It seems kind of funny that a guy with no college degree was designing classes and teaching doctoral music students. I also launched the New West Guitar Group, which was originally a USC guitar ensemble that I coached. I took them to the North Texas State music festival in 2003 and they won the combo division with a four-guitar group with no rhythm section. They are still together and have released a string of CDs over the years.
JGL: Aside from your formal teaching, do you teach privately and if so, how does one go about studying with you? Is there a particular level of student you are looking for?
PK: I do some teaching on Zoom and in person for anyone in my area. I’m comfortable with students on many levels.
JGL: Since this is Jazz Guitar LIFE, were your parent(s) and family members supportive of your musical career choice and how difficult did you find it making a living as a jazz guitar player when you were coming up?
PK: My parents were completely supportive of me making a career in music. I had been playing the guitar nearly everyday of my life and they knew I had the ability, desire, and drive be a professional. I was already a pretty experienced player by the time I moved to California in the early 70s. I’ve never done anything for a living outside of music. From the age of sixteen I played gigs constantly and taught private guitar lessons. I started getting calls for sessions and tours early on in California. I have been very fortunate that things have worked out so beautifully.
JGL: You have been featured in all almost every musical setting imaginable, from solo guitar to large ensembles – like SYMPHONY ORCHESTRA large – to network TV shows and to countless studio sessions (in a variety of genres), film scores and jingles! And while I can imagine that these are all creatively satisfying, I’m curious to know – at the end of the day – are there one or two musical situations that you prefer over all the others?
PK: Some sort of live situation seems to always win out. That could be a concert in front of a live audience or a live band tracking in the studio, as opposed to overdubbing parts separately.
JGL: You have played with a bevy of top-shelf musicians George Benson, Natalie Cole, David Benoit, Ronnie Laws, Hubert Laws, Tom Scott, Al Jarreau, Dave Brubeck, Dave Koz, Jane Monheit, Olivia Newton John, Herb Ellis, John Pisano, Melissa Manchester, Burt Bacharach, Jose Feliciano, to name just a “few”! What are the challenges in garnering a reputation to get to play with such heavy-hitters and are there any take-aways you’d like to share with Jazz Guitar Life readers?
PK: I grew up playing all kinds of music and I think that has helped me fit into some of these experiences. Tulsa was a town that was cloaked in blues and country music also. Earlier in my life, in addition to studying Wes Montgomery, Howard Roberts, and Johnny Smith recordings and learning standards, I played in bands that performed songs from the Ventures, The Beatles, Yardbyrds, Hendrix, Motown, etc. A number of my gigs that you mention here would also be near impossible without some ability to read music. It is of course kind of worn out to say this, but just be a cool person to be with also.
JGL: Of course I would be remiss if I did not ask you about your time with George Benson. Can you talk a little about your association with GB? In some YouTube videos I have seen where you are playing alongside him, he really seems to dig what you’re playing…which I am sure he is! How free are you to put your own stamp on things or is it a strict reading of the charts?
PK: I had a fantastic time playing with George and we got along really well. The band was always stellar. This was not a reading gig. George had very few charts, so I learned all the material from the records before the first concert. Some of the pop tunes, such as Turn Your Love Around, had specific guitar riffs that had become part of the song. I think either Steve Lukather or Lee Ritenour had played the Turn Your Love Around riff on the record. Those parts were obvious when I was learning the songs from the records.
There were also songs that were not specific and I could freely add my touch. George lived on the east coast and most of the band lived on the west coast. My first show with George was in Lisbon Portugal. I had not met George until the sound check of that first show. I had no rehearsals ahead of time. The first time I played with the band was at this sound check. I had played with several members of the band in other situations, and had done tours and recordings with other artists that were also managed by George’s manager. I had already established a reputation that landed me playing with George without an audition.
George was one of my early heroes and it was an experience of a lifetime to be around him. I remember him coming up to me at a sound check and playing some kind of ridiculously great line, then saying that it would be great when he figures out what it works over. He could be quite funny. A famous George quote that went around the band was, “Brother, we’re livin’ like kings and getting paid for it!”
I toured with George for almost five years, touring all over the world. It was my choice to move on to something else and George graciously understood.
JGL: I can imagine that you have enjoyed playing with John Pisano at his Guitar Night – as I have listening to it on the double Mel Bay CD – and that your Overtones For 2 Guitars features a nice selection of duo performances with such luminaries as Bruce Forman, Howard Alden, Peter Bernstein, and Anthony Wilson to name but a few. What was the impetus for this special project and whom else would you love to play with in a two-guitar setting?
PK: John Pisano has become a close friend and his twenty-years of Guitar Night Concerts have been extremely meaningful to me. It fuelled my desire to really concentrate on straight ahead jazz again and these nights contributed mightily to the Los Angeles jazz guitar community. I edited Bob Barry’s wonderful book of Guitar Night photos, which features all the players that appeared on John’s Guitar Night series. I also love playing in the guitar duet format. It seemed natural to record with different guitarists that I also admire. I don’t even want to start naming others to record with in the future because there are too many to name.
JGL: Having mentioned Howard Alden, there seems to be a lot more cats playing 7 and even 8 string Guitar these days. Has this been something you have done or plan to do or are 6 strings more than enough?
PK: I have not had the desire to play a 7 string. I’m still trying to master six. I do enjoy playing my baritone guitar, which is tuned like a guitar, but lower in pitch.
JGL: In June of 2003 you were inducted into the Oklahoma Jazz Hall of Fame and are now among such notables as Charlie Christian, Barney Kessel, Chet Baker, Oscar Pettiford, Dave Brubeck, and Lester Young. That must have been a very special night for you. I realize that you are too young to have known Charile, but did you get to know Barney at all?
PK: It was very special to be recognized while I’m still living. Oklahoma has a rich history of great musicians and great music fans. Unfortunately I never met Barney.
JGL: You have obviously found your stride in this business and have done quite well and I assume will continue to do so. Any “tips or tricks” you can lay on those interested in doing the same? Should we all move to California…lol? 🙂
PK: I’m not so sure it is as important to be in California these days. The world has changed rapidly into a world that can be managed from most anywhere that has the Internet. There are advantages to being in a city such as Los Angeles, New York, or Nashville. Most national tours come out of these places and there are large numbers of high-level players in these cities. Being around great players usually pushes us to take it to the next level.
JGL: Almost every musician, no matter their level and professional stature has their own insecurities to deal with when it comes to the music and playing their instrument. What, if any, insecurities do you/did you face on your instrument and how do you/ did you work at getting over them?
PK: I’m a pretty stress free kind of guy. I’ve always loved playing and I think I have done a good job of enjoying the process without worrying about the end result. I can certainly feel insecure and stress a bit over some of the reading on film dates.
JGL: How do you handle the other side of being a working musician – the business side? Do you find the business side of being a Jazz musician something that should be taught in music schools or should the playing be left to the player and the business side of things be left to managers and agents?
PK: I think it is difficult to leave the business side of things to only a manager. Meeting people is part of the business. Making contacts to widen your circle is something we have to do. The business of getting the music together for my own concert is my personal concern. I do think music schools should offer some training in music business. I would like to see more teaching in the area of managing finances and investments. The music business can be fickle, with good times and bad. If it is a great year, invest for the future rather than buy an expensive car, unless it is a spectacular year, lol.
JGL: If you had to do one thing over again, what would it be and why?
PK: I would stay in contact with those that I have let drift away. Our personal contacts and friends are one of our greatest treasures.
JGL: Have you ever had second thoughts about your choice to have music as a career and if so, what other career path do you think you would have followed had you not been a guitar player.
PK: I don’t really know, but I wouldn’t mind being a pro tennis player or maybe a chef.
JGL: When you’re not on the band stand or in the recording studio, what do you like to do to unwind?
PK: I like to cook healthy food, ride my bicycle, hike, visit National Parks, play tennis, and play the drums.
JGL: Nice! Oh and just for fun…how many hats do you own 🙂
PK: Lol, I’ve lost count. Over the years, as my hair became less exciting, I noticed my photos looking a bit boring. The hats seem to make it more interesting and it kind of gives me a brand. I have quite a collection now.
JGL: What does the future hold for Pat Kelley?
PK: I plan to keep playing for as long as I can. I’m in really good shape and I believe I have quite a few years left. I’m at the top of my game at the moment. I plan to release another CD and mostly do my own thing.
JGL: Thank you Pat for taking the time to chat with Jazz Guitar Life. I wish you much success in all your endeavours!
PK: Thank you, Lyle.
Please consider spreading the word about Pat and Jazz Guitar Life by sharing this interview amongst your social media pals and please feel free to leave a comment. We’d love to hear from you 🙂
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George Bassman
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[
"George Bassman"
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George Bassman. Music Department: Das zauberhafte Land. Composer and songwriter ("I'm Getting Sentimental Over You", the Tommy Dorsey theme), conductor and arranger, he was educated at the Boston Conservatory and studied with Toch and Strelitzer. Between 1931-1934 he arranged for dance orchestras, and then for Andre Kostelanetz and CBS between 1934-1936. He arranged the Broadway musicals "Alive and Kicking" and "Guys and Dolls". Joining ASCAP in 1936, his other popular-song...
|
en
|
IMDb
|
https://www.imdb.com/name/nm0005956/
|
Composer and songwriter ("I'm Getting Sentimental Over You", the Tommy Dorsey theme), conductor and arranger, he was educated at the Boston Conservatory and studied with Toch and Strelitzer. Between 1931-1934 he arranged for dance orchestras, and then for Andre Kostelanetz and CBS between 1934-1936. He arranged the Broadway musicals "Alive and Kicking" and "Guys and Dolls". Joining ASCAP in 1936, his other popular-song compositions include "You've Got Something", "The Bicycle Song", "Dangerous", "Forgotten", "Again and Again", and "I Didn't Have the Heart to Tell You".
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https://ballstatesports.com/sports/football/roster/anthony-winbush/5099
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en
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Anthony Winbush - Football
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Anthony Winbush (98) Defensive End - Awards and Honors:
2017 All-Mid-American Conference First Team
2017 Ball State John Magnabosco Award (most outstanding player)
MAC
|
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/images/logos/site/site.png
|
Ball State University Athletics
|
https://ballstatesports.com/sports/football/roster/anthony-winbush/5099
|
2017 Football Roster
Choose a Player:
Ball State University Creative Services
Michael Hickey
Paul Ferrer
Ricky Bassman
Ricky Bassman
Kyle Crawford
Tim Cowie Photography
Kyle Crawford
Justin Casterline
98 Anthony Winbush
Position Defensive End
Ht./Wt. 6-1 / 240
Class Redshirt Senior
Hometown Indianapolis, Ind.
Prev School Warren Central HS
Major Professional Selling
Bio
Related
Stats
Historical
Biography
Awards and Honors:
2017 All-Mid-American Conference First Team
2017 Ball State John Magnabosco Award (most outstanding player)
MAC West Defensive Player of the Week (Sept. 4, 2017)
2016 All-Mid-American Conference Third Team
2017 (R-Sr.): Started all 12 games and recorded at least one sack in seven contests … career-high three sacks at Illinois on Sept. 2 … equaled the Ball State career record for sacks (25) on Nov. 16 versus Buffalo … ranked among the national leaders in sacks (11.5 – 4th), forced fumbles (5 – 1st) and tackles for loss (16.5 – 19th) … finished fourth on the squad with 51 tackles … notched a career-high seven tackles in three games – at Illinois (Sept. 2), versus Tennessee Tech (Sept. 16) and versus Central Michigan (Oct. 21) … recorded six stops, 1.5 sacks and two forced fumbles in the win over UAB on Sept. 9 … wrapped up his Ball State career with five stops, a tackle for loss and two quarterback hurries against Miami on Nov. 21.
2016 (R-Jr.): Played in all 12 games with 11 starts at defensive end … led the team and ranked third in the MAC with 8.5 sacks … concluded the season with a then personal-high 2.5 sacks at Miami (Ohio) on Nov. 22 … recorded multiple sacks in three other contests – at Indiana on Sept. 10, versus Eastern Kentucky on Sept. 17 and at Central Michigan on Oct. 8 … tallied a season-high five stops, including 1.5 tackles for loss, in the win at Florida Atlantic on Sept. 24 … forced and recovered a fumble on the same play in the opener at Georgia State.
2015 (R-So.): Saw action in 11 games at defensive end … led the team with five sacks … ranked third on the team with 5.5 tackles for loss … was involved in a tackle for loss in six contests … notched a strip sack and recovered the fumble in the third quarter at No. 16 Texas A&M on Sept. 12 … tallied a 14-yard sack in the fourth quarter against Georgia State on Oct. 17 that forced a punt … finished with a season-high three tackles at Ohio on Nov. 17.
2014 (R-Fr.): Played in 10 games to earn first letter … season-high four tackles versus Akron … registered at least one tackle in six games … tallied first career tackle in his collegiate debut at Iowa … forced first career fumble versus Eastern Michigan.
2013 (Fr.): Took a redshirt season.
HIGH SCHOOL: Earned two letters in football for coach Steve Tutsie at Warren Central High … helped team to a 33-8 overall record in career … helped the Warriors reach the Indiana High School state championship game in 2010 and 2011 … all-state and all-conference as a senior … Warren Central's Defensive Lineman of the Year as a senior … team captain as a senior … tallied 10 sacks and six knockdowns as a senior … also competed in track … won the sectional and placed in the regional in the discus as a junior.
PERSONAL: Son of George Winbush and Nicole Williams … born Dec. 18, 1994, in Indianapolis … five brothers and two sisters … full name is Anthony Winbush … earned his Ball State bachelor’s degree in December 2017.
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Statistics
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Historical Player Information
98
2013Freshman
Defensive Line
6'1" 207 lbs
98
98
2014Freshman
Defensive Line
6'1" 216 lbs
98
98
2015Sophomore
Defensive Line
6'1" 228 lbs
98
98
2016Junior
Defensive End
6'1" 225 lbs
98
98
2017Redshirt Senior
Defensive End
6'1" 240 lbs
98
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en
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Hyde Park Live [DVD] : The Rolling Stones, Heather Hoyland, Georgia Stark, James R. Hulse, Carl Stephan, Carl M. 'Kayo' Erickson, Charlie Watts, Mick Jagger, Charles Irwin, Clarence C. 'Major Mite' Ho
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Amazon.co.jp: Sweet Summer Sun - Hyde Park Live [DVD] : The Rolling Stones, Heather Hoyland, Georgia Stark, James R. Hulse, Carl Stephan, Carl M. 'Kayo' Erickson, Charlie Watts, Mick Jagger, Charles Irwin, Clarence C. 'Major Mite' Hower, Alta M. Stevens, Henri Jaffa, George E. Stoll, Keith Richards, Adrian, Ron Wood, Herbert Stothart, Lois January, Gladys W. Allison, Harold Strickling, Nick Angelo, J.D. Jewkes, Robert W. Stringer, Lois Johansen, Arthur Appell, Virgil Johanson, George Suchsie, Leo Arnaud, Ralph Sudam, John Ballas, Natalie Kalmus, Josefine Balluck, Robert Kanter, Charlotte V. Sullivan, Viola Banks, Charles E. Kelley, Betty Tanner, Jessie E. Kelley, Norman Taurog, George Bassman, Carol Tevis, Chris Bayz, Joan Kenmore, Frank Kikel, Lynn Tigar, Charles Becker, 'Willi' Koestner, William Tuttle, Charley Becker, Arnold Vierling, Emma Koestner, Busby Berkeley, Pat Walshe, Mitzi Koestner, Freda Besky, Bobbie Koshay, Clara Blandick, Bobby Watson, Billy Bletcher, Joe Koziel, Gus Wayne, Jack Weatherwax, Dolly Kramer, Henry Boers, Keith Weeks, Theodore Boers, Emil Kranzler, Nita Krebs, Victor Wetter, Ray Bolger, Bert Lahr, Robert Bradford, Frank Whitbeck, Hilda Lange, Grace G. Williams, Kevin Braun, Harvey B. Williams, Noel Langley, Irving Brecher, Lorraine Bridges, Mervyn LeRoy, Edwin B. Willis, Gladys V. Wolff, Johnny Leal, Harlan Briggs, Mitchell Lewis, Buster Brody, Murray Wood, Tyler Brooke, Matt Linder, Prince Ludwig, A.W. Brown, Christie Buresh, Dominick Magro, Eddie Buresh, Herman J. Mankiewicz, Lida Buresh, Carlos Manzo, Howard Marco, Billie Burke, Jerry Maren, Stafford Campbell, William H. Cannon, Paul Marquardt, Mickey Carroll, Harry Master, Patsy May, Adriana Caselotti, Louis B. Mayer, Colonel Casper, Felix Mendelssohn-Bartholdy, Lois Clements, Walter Miller, Pinto Colvig, George Ministeri, Bobby Connolly, Jack Mintz, Nona Cooper, Tommy Cottonaro, Abraham Mirkin, Pricilla Montgomery, Elizabeth Coulter, Harry Monty, Chris Crowell, Frank H. Cucksey, Frank Morgan, George Cukor, Lee Murray, Billy Curtis, Modest Mussorgsky, Ogden Nash, Murray Cutter, Betty Danko, Nels P. Nelson, Warren Newcombe, Ken Darby, Margaret C.H. Nickloy, Allen M. Davey, George Noisom, Eugene S. David Jr., Franklin H. O'Baugh, Eulie H. David, William H. O'Docharty, Jack Dawn, Hildred C. Olson, Sid Dawson, Frank Packard, Sandy DellaMarie, Ethel W. Denis, Nicky Page, Prince Denis, Leona M. Parks, Johnny Pizo, Hazel I. Derthick, Lillian Porter, Howard Dietz, Abe Dinovitch, Meinhardt Raabe, Margie Raia, Gracie Doll, Matthew Raia, Tiny Doll, Major Doyle, Vivian Reed, Daisy Earles, Gertrude H. Rice, Hazel Rice, Harry Earles, Nikolai Rimsky-Korsakov, Roger Edens, Zari Elmassian, Elvida Rizzo, Rad Robinson, Herbert Fields, Victor Fleming, Ruth Robinson, Chris Flynn, Sandor Roka, Fern Formica, Betty Rome, Addie E. Frank, Jimmy Rosen, Harold Rosson, Arthur Freed, Mark Freund, Charley F. Royale, Helen J. Royale, Thaisa L. Gardner, Stella A. Royale, Judy Garland, Albert Ruddinger, Jackie Gerlich, George Gervan, Florence Ryerson, Conrad Salinger, Richard Gervan, Sawhorse, Cedric Gibbons, William A. Giblin, Robert J. Schiffer, Charles H. Schram, Jack Glicken, Carolyn E. Granger, Robert Schumann, Si Seadler, Charley Grapewin, Blanche Sewell, Sydney Guilaroff, Rasha Shalaby, Jack Haley, Margaret Hamilton, Douglas Shearer, E.Y. Harburg, Al Shenberg, Valerie Shepard, Maureen Healy, Charles Silvern, Joseph Herbst, Andy Hervey, Sid Silvers, Leo Singer, Jakob Hofbauer, Samuel Hoffenstein, Oliver Smith, William A. Horning, Ruth E. Smith, Shep Houghton, Elmer Spangler, Carl Spitz, Helen M. Hoy, Marguerite A. Hoy, Harry Stanton, The Rolling Stones, Paul Dugdale, Tim Ries, Darryl Jones, Ronnie Wood, Charlie Watts, Chuck Leavell, Bernard Fowler, Bobby Keys, Mick Jagger, Lisa Fischer, Mick Taylor, Keith Richards, Jim Parsons: DVD
|
en
|
https://www.amazon.co.jp/-/en/Rolling-Stones/dp/B00F0JG7E4
|
Limited four disc (Blu-ray + DVD + two CDs) edition. The Rolling Stones' historic and triumphant return to Hyde Park was without doubt the event of the summer. Over 100,000 delirious fans of all ages packed into the park for two spectacular outdoor concerts to watch Mick Jagger, Keith Richards, Charlie Watts and Ronnie Wood do what they do best. The Stones delivered a five star performance that had both fans and critics singing their praises. The set packed in hit after hit and saw the band joined by former guitarist Mick Taylor for a special guest appearance on two songs. This stunning concert film is the perfect way to celebrate the return of The Rolling Stones back where they truly belong: live on stage in their hometown.
|
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8916
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dbpedia
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https://www.amazon.com/Sweet-Summer-Sun-Blu-ray-Combo/dp/B00F0JG7E4
|
en
|
Amazon.com
|
[
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[
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en
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Enter the characters you see below
Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
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8916
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dbpedia
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2
| 53
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https://www.fender.com/articles/fender-performances/not-fade-away-the-legend-and-legacy-of-buddy-holly
|
en
|
Not Fade Away: The Legend and Legacy of Buddy Holly
|
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[
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[
"Alex Baker"
] |
2022-08-09T18:39:06.742000+00:00
|
The unlikely rock and roll star was the first in a long line of fabled Stratocaster players.
|
en
|
https://www.fender.com/articles/fender-performances/not-fade-away-the-legend-and-legacy-of-buddy-holly
|
Among early rock and rollers, Buddy Holly was an anomaly.
Tall, bespectacled, with a gawkiness he never lived to outgrow, he was no Elvis Presley, at least in terms of dangerous sex appeal. But Holly was a true rock and roll star, the first cool geek, opening the door for generations of glasses-wearing rockers like John Lennon, Roy Orbison, Elton John, Elvis Costello and Rivers Cuomo.
He was also a trailblazing innovator whose remarkably short careerâhe spent just 18 months at the topâleft a legacy that endures to this day.
While Elvis and other stars of the era had their hits penned by professional tunesmiths, Holly wrote his own material. With his band the Crickets, he pioneered the two guitar, bass, drums and vocals format for rock bands that would be adopted by the British beat groups and is still in use today.
He was also the first high-profile rock and roller to adopt the Fender Stratocaster as his guitar of choice.
Holly got his first Strat in 1955, at Adair Music in his hometown of Lubbock, TX after his older brother Larry loaned him the money. At the time, Strats were more popular with country musicians; which may have been part of what attracted Holly to the guitar, as his fingerpicking and twangy lead style owed a debt to his country-and-western musical roots.
With his band the Crickets, Holly pioneered a distinct guitar style that deftly merged rhythm with lead, and at times, seemed to parrot his hiccupping vocals.
He used techniques like sweep pickingâusing a downward pick stroke to push through three strings and an upstroke for the fourth noteâand would muffle his strings or toggle his pickups to create the exciting dynamics that made his records leap out of the speakers.
If there was one thing that really distinguished Hollyâs playing, it was his unconventional strumming technique. He used down strokes exclusively, keeping his wrist locked to achieve the furious, driving rhythm heard on early Crickets recordings. While he was a capable soloist, he often spurned the incendiary lead style deployed by the likes of Chuck Berry in favor of rhythmic, chord-based solos like the one on âPeggy Sue.â
With his Stratocaster plugged into Magnatone Custom 280 and later a Fender Bassman, Hollyâs guitar sound was stripped down and simple. But it was louder than most at the time, with the Stratâs full sound lending itself to the chunky rhythms that drove Hollyâs recordings.
Along with his thick-framed black glasses, the Stratocaster was also an enormous component of Hollyâs image, particularly in England, where few (if any) Fender Strats had been seen before.
As Frank Allen, guitarist of the Searchers told the Independent, âWhile we were skiffling away trying to find a fourth chord, Buddy was giving us the opening bars of âThatâll Be the Day,â with unbelievable expertise and on an instrument that was the equivalent of a bullet-finned â59 Cadillac. He looked gangly and geekish with those glasses but that guitar made him unbelievably cool.â
While he was a major star at home, Holly resonated with English audiences in a way few of his contemporaries, perhaps not even Elvis, managed to do. Itâs telling that the Beatles adopted their moniker because they wanted an insect name like the Crickets, and that the Stonesâ first top 10 hit was a cover of Hollyâs âNot Fade Away.â
âListen to the songs on the first three Beatles albums,â said John Mellencamp to Rolling Stone. âTake their voices off and itâs Buddy Holly.â
Hollyâs untimely death in the plane crash that also claimed the lives of Ritchie Valens and the Big Bopperâknown colloquially as "The Day the Music Died"â was a tragedy on a great many levels. Mainly the loss to his wife, Maria Elena Santiago, who was so stricken she couldnât attend her husbandâs funeral.
But putting personal tragedy aside, itâs tantalizing to imagine what Buddy Holly might have achieved had he survived into the â60s. Rock and rollâs first real singer/songwriter/guitarist, Holly was living in Greenwich Village at the time of his death, exploring recording techniques and had spoken to his wife about opening a studio in London.
Holly was always an unlikely figure for a â50s rock star. But the â60s would seemingly have suited him. His guitar chops, songwriting ability and curiosity about the recording process suggest he wouldâve weathered the turn of the decade better than many his early rock and roll contemporaries did. He would also have looked cool with Dylan hair and Lennon specs.
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dbpedia
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1
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https://www.ancestry.com/1940-census/usa/California/Robert-W-Bassman_2j0psw
|
en
|
Robert W Bassman in the 1940 Census
|
[
"https://www.ancestrycdn.com/ui-static/i/logo/ancestry.svg"
] |
[] |
[] |
[
""
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View Robert W Bassman's 1940 US census record to find family members, occupation details & more. Access is free so discover Robert W Bassman's story today.
|
en
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Ancestry.com
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https://www.ancestry.com/genealogy/records/results?firstName=robert&lastName=bassman
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8916
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dbpedia
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| 10
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https://www.instagram.com/theconsciouslee/reel/C7jyK7gMUKW/
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en
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Instagram
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[] |
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0
| 70
|
https://lux.collections.yale.edu/view/text/3e7ee547-7ef5-45b9-bfa4-0c732a931762
|
en
|
LUX: Yale Collections Discovery
|
[] |
[] |
[] |
[
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Explore Yale University's cultural heritage collections
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en
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https://lux.collections.yale.edu/favicon.ico
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https://lux.collections.yale.edu
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8916
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https://ancestors.familysearch.org/en/LM1Z-S3X/george-casper-bassman-1876-1967
|
en
|
FamilySearch.org
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[] |
[] |
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[
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Discover your family history. Explore the world’s largest collection of free family trees, genealogy records and resources.
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https://ancestors.familysearch.org/en/LKVH-M7M/henry-george-bassman-1906-1958
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en
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FamilySearch.org
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[] |
[] |
[] |
[
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[] | null |
Discover your family history. Explore the world’s largest collection of free family trees, genealogy records and resources.
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en
| null | |||||||
8916
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dbpedia
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https://lux.collections.yale.edu/view/text/3e7ee547-7ef5-45b9-bfa4-0c732a931762
|
en
|
LUX: Yale Collections Discovery
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
Explore Yale University's cultural heritage collections
|
en
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https://lux.collections.yale.edu/favicon.ico
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https://lux.collections.yale.edu
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dbpedia
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https://www.amazon.com/Cabin-Sky-Soundtrack-George-Bassman/dp/B00003L27P
|
en
|
Amazon.com
|
[
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[] |
[] |
[
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[] | null |
en
| null |
Enter the characters you see below
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|||||||
8916
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dbpedia
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1
| 60
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https://bandcamp.com/hrbassman
|
en
|
hrbassman's collection
|
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[] |
[] |
[
""
] | null |
[] | null |
Washington, D.C. • Ambient • 417 collection items • 13 followers
|
en
|
Bandcamp
|
https://bandcamp.com/hrbassman
|
No matching results
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|||||
8916
|
dbpedia
|
3
| 79
|
https://www.kuvo.org/stories-of-standards-on-green-dolphin-street/
|
en
|
Stories of Standards: "On Green Dolphin Street"
|
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[] |
[] |
[
""
] | null |
[] |
2017-02-28T20:49:41+00:00
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Since 1985, KUVO has provided a rare blend of music & news. We broadcast the best in Jazz, Latin Jazz & Blues in addition to 17 locally produced, culturally diverse programs.
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en
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KUVO
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https://www.kuvo.org/stories-of-standards-on-green-dolphin-street/
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Tune in to First Take with Lando and Chavis – weekdays from 6-9 am MT – for Stories of Standards to hear our favorite versions of this song all week long!
“On Green Dolphin Street” was the main theme of the 1947 MGM movie “Green Dolphin Street”, based on the Elizabeth Gouge’s 1944 book “Green Dolphin Country”. John Douglas Eames said of the film “It had everything, i.e. too much for a single movie: a glorious wallow in family conflict, triangle romance, Maori uprising in old New Zealand, earthquake, tidal wave, pathos and bathos.” Audiences loved it; it was the top box office draw of the year and won Academy Awards for sound and visual effects. Oddly enough, the song didn’t become a hit until Miles Davis recorded it in 1959. (?)
Bronislau Kaper (1902 – 1983) was born in Warsaw, Poland, studied at the Warsaw Conservatory of Music, and worked as a composer and conductor in Warsaw, Berlin, Vienna, London and Paris before an offer from MGM led to his emigrating to the United States in 1935. Here he worked for Hollywood and Broadway and was best known for “Someone to Care for Me” (1937), “On Green Dolphin Street” (1947) and “Hi-Lili, Hi-Lo” (1953). He was a member of the Los Angeles Philharmonic Association’s Board of Directors for 15 years, and the Bronisław Kaper Awards For Young Artists, held annually by the Los Angeles Philharmonic and alternating between piano and strings instrumental categories, were named for him.
Ned Washington (1901-1976) started his career in vaudeville as an emcee and actors’ agent before focusing on composition. With George Bassman he wrote “I’m Getting Sentimental Over You”, which became Tommy Dorsey’s theme song in 1932. After moving to Hollywood he won two Oscars (Best Score and Best Song) with Leigh Harline for “When You Wish Upon a Star” (1940). Other collaborations produced “High Noon (Do Not Forsake Me) in 1952, the theme song from “Rawhide” and “Stella by Starlight” (1944).
Stories of Standards is sponsored by ListenUp – If you love music, you’ll love ListenUp.
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8916
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dbpedia
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0
| 7
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https://www.wikitree.com/wiki/Bassman-7
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en
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John George Bassman (1850-1872)
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1850-05-12T00:00:00
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Is this your ancestor? Explore genealogy for John George Bassman born 1850 St Louis, MO died 1872 Jefferson City, MO including parents + more in the free family tree community.
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en
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/favicon.ico
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https://www.wikitree.com/wiki/Bassman-7
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WIKITREE HOME | ABOUT | G2G FORUM | HELP | SEARCH
IMPORTANT PRIVACY NOTICE & DISCLAIMER: YOU HAVE A RESPONSIBILITY TO USE CAUTION WHEN DISTRIBUTING PRIVATE INFORMATION. WIKITREE PROTECTS MOST SENSITIVE INFORMATION BUT ONLY TO THE EXTENT STATED IN THE TERMS OF SERVICE AND PRIVACY POLICY.
© 2008 - 2023 INTERESTING.COM, INC. CONTENT MAY BE COPYRIGHTED BY WIKITREE COMMUNITY MEMBERS.
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8916
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dbpedia
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3
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https://music.apple.com/ca/artist/george-bassman/201183
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en
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âGeorge Bassman
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Listen to music by George Bassman on Apple Music. Find top songs and albums by George Bassman, including Main Title / The Contract for Gold / The Trek Begins / Elsa's Mad Dash Arrival / Elsa's Long Gown / Heck Tempts Elsa / The Boys Reminisce / Love in the Way / The Bigot / The Trek Continues / Philosophy of Life (From "Ride the High Country" Soundtrack), So Long Partner (From 'Riding the High Country') and more.
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en
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/assets/favicon/favicon-180.png
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Apple Music - Web Player
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https://music.apple.com/ca/artist/george-bassman/201183
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Main Title / The Contract for Gold / The Trek Begins / Elsa's Mad Dash Arrival / Elsa's Long Gown / Heck Tempts Elsa / The Boys Reminisce / Love in the Way / The Bigot / The Trek Continues / Philosophy of Life (From "Ride the High Country" Soundtrack) - E - EPâ·â2014
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8916
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https://soundcloud.com/ericrich/gettin-sentimental-over-you-george-bassman-ned-washingtonarr-eric-richards-big-band
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en
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GETTIN' SENTIMENTAL OVER YOU (George Bassman & Ned Washington/arr. Eric Richards) - BIG BAND by Eric Richards Music
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Stream GETTIN' SENTIMENTAL OVER YOU (George Bassman & Ned Washington/arr. Eric Richards) - BIG BAND by Eric Richards Music on desktop and mobile. Play over 320 million tracks for free on SoundCloud.
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en
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https://a-v2.sndcdn.com/assets/images/sc-icons/favicon-2cadd14bdb.ico
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SoundCloud
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https://soundcloud.com/ericrich/gettin-sentimental-over-you-george-bassman-ned-washingtonarr-eric-richards-big-band
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published on 2024-01-06T17:28:03Z
GETTIN' SENTIMENTAL OVER YOU George Bassman & Ned Washington arranged by Eric Richards The USAF Airmen of Note Rick Lillard, trombone I wrote this arrangement in the summer of 1983 while sitting on the aft deck of the S.S. Norway enjoying the view of St. Thomas, using a little Casio keyboard to check voicings! Playing on the S.S. Norway Orchestra that summer kept my ears immersed in a lot of Latin-flavoured music and I wrote this to feature the ship's Bandleader, Chip Hoehler. One of my arranging heroes was the late, great Rob McConnell and this arrangement clearly pays homage to his work. I was so grateful to learn that the USAF Airmen of Note included it on one of their recordings back in the 90's and featured another one of my "heroes", the amazing Rick Lillard on trombone.
Genre
Jazz & Blues
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8916
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https://artblart.com/tag/helen-levitt-new-york/
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en
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Helen Levitt New York – Art Blart
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"Author Dr Marcus Bunyan"
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2023-07-22T08:43:28+00:00
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Posts about Helen Levitt New York written by Dr Marcus Bunyan
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Art Blart _ art and cultural memory archive
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https://artblart.com/tag/helen-levitt-new-york/
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Exhibition dates: 29th March – 30th July 2023
Curator: Dr. Josie R. Johnson, Capital Group Foundation Curatorial Fellow for Photography at the Cantor Arts Center
Edward Weston (American, 1886-1958)
Cypress Root and Rock, Seventeen Mile Drive
1929
Gelatin silver print
The Capital Group Foundation Photography Collection at Stanford University
Cantor Arts Center Collection
On November 18, 1929, Edward Weston drove north from his home in Carmel to traverse the scenic coastal route of Seventeen Mile Drive. He made nine photographs of cypress roots and rocks that day, including this image. Less than three weeks earlier, the stock market had crashed, setting off a panic that plunged the United States into the Great Depression. Money troubles plagued Weston throughout his life, but on this November day, he was completely enthralled with the landscape. He wrote in his daybooks soon after that these photographs were “among the best seen and most brilliant technically I have yet done.”
Wall label from the exhibition
Transcending reality
While I admire the clever recontextualisation of the work of American photographers from the 1930s in this exhibition – into the sections Natural Wonders, Divine Figures, Everyday Splendors, Living Relics, The World of Tomorrow, Street Theater and Surreal Encounters – I am unsure that those photographers would ultimately see their work as a fusion of reality and dream, their documentary photographs “being both real and dream-like” that the concept of this exhibition proposes.
While all photographers use their imagination to visualise and take their photographs, to then extrapolate that these images are both reality-dream is, to my mind, a theoretical fancy that takes a kernel of the truth and views the images through a contemporary lens. Nothing wrong with that I hear you say and as the photographer Richard Misrach observes, “Photographs, when they’re made, can shift meaning with time, and often do.” And I agree that the meaning of photographs changes over time, is an ever fluid and shifting feast.
But can you imagine any of the Farm Security Administration (FSA) photographers out in the field saying to themselves, “Oh! let’s take a dreamscape of these poor travelling people trying to survive the deprivations of hunger, poverty and joblessness”. It just wouldn’t happen. They didn’t think like that because it was a different era. They were concerned with representing with clarity and focus, with compassion and imagination not the melding of reality and dream, but the visceral feeling of the life being lived under the most trying of circumstances.
Following on from thoughts on the stunning landscape photographs of Ansel Adams in the last posting, one has to agree with Dr Isobel Crombie, Senior Curator of Photography at the National Gallery of Victoria, Melbourne when she says that,
“The term “landscape” can be ambiguous and is often used to describe a creative interpretation of the land by an artist and the terrain itself. But there is a clear distinction: the land is shaped by natural forces while the artist’s act of framing a piece of external reality involves exerting creative control. The terms of this ‘control’ have be theorised since the Renaissance and, while representations of nature have changed over the centuries, a landscape is essentially a mediated view of nature.”1
All photographs are a mediated view of reality, captured through the imagination of the artist and (usually) the gaze of the camera lens… but that does not necessarily mean that they are a melding of reality and dream: of course they can be – but in the context of 1930s American photography what is more likely is that the artists where attempting to create something that transcends the moment. As that fantastic American landscape photographer Robert Adams observes,
“At our best and most fortunate we make pictures because of what stands in front of the camera, to honor what is greater and more interesting than we are. We never accomplish this perfectly, though in return we are given something perfect – a sense of inclusion. Our subject thus redefines us, and is part of the biography by which we want to be known.”2
To my mind American photographers of the 1930s took photographs not only to document but also to honor what was greater and more interesting than they were. Not as a melding of reality-dream as this exhibition proposes, but as an exploration of what is possible through the interface of the image and imagination, the interface as Ansel Adams put it “between the reality of the world and the reality of yourself.”
Finally, the unknown to me photographs of Wright Morris are superb because of their very capricious fidelity.
Dr Marcus Bunyan
1/ Isobel Crombie. Stormy Weather. Contemporary Landscape Photography (exhibition catalogue). Melbourne: National Gallery of Victoria, 2010, p. 15
2/ Robert Adams. Why People Photograph. New York: Aperture Foundation, 1994, p. 179
Many thankx to the Cantor Arts Center for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
In the fall of 1930, Stanford biology professor Laurence Bass-Becking used a curious phrase to describe the photography of his friend Edward Weston: “Reality makes him dream.” Few people today would associate dreaminess with the Great Depression, yet Bass-Becking penned this statement one year into the economic turmoil that would last until the nation’s entry into World War II. This exhibition of over 100 photographs, periodicals, and photobooks offers an alternative understanding of 1930s photography in the US by taking Bass-Becking’s phrase as its point of departure.
The work of five photographers featured in the Capital Group Foundation Photography Collection at the Cantor Arts Center – Ansel Adams, John Gutmann, Helen Levitt, Wright Morris, and Edward Weston – comprises the core of the exhibition. Woven into this display is a diverse selection of photographs by their contemporaries that present new narratives about artists and images, from the iconic to the overlooked. Against the typical history of 1930s photography that views the work of this period as primarily documentary, this exhibition contends that a key goal for artists of this period was to use photography to ignite the imagination.
“If you have a conscious determination to see certain things in the world you are a potential propagandist; if you trust your intuition as the vital communicative spark between the reality of the world and the reality of yourself, what you tell in the super-reality of your art will have greater impact and verity. … without the elements of imaginative vision and taste the most perfect technical photograph is a vacuous shell.”
Ansel Adams. “Exhibition of Photographs” (1936), reproduced in Andrea Gray. Ansel Adams: An American Place, 1936. Tucson: Center for Creative Photography, University of Arizona, 1982, p. 38 quoted in Josie R. Johnson. “Reality Makes Them Dream: American Photography, 1929-1941,” in Josie R. Johnson. Reality Makes Them Dream: American Photography, 1929-1941. Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, 2023, p. 17.
The present exhibition [exhibition of contemporary photography in November 1930 at Harvard University] attempts to prove that the mechanism of the photograph is worthy and capable of producing creative work entirely outside the limits of reproduction or imitation. … Photography exists in the contemporary consciousness of time, surprising the passing moment out of its context in flux, and holding it up to be regarded in the magic of its arrest. It has the curious vividness and unreality of street accidents, things seen from a passing train, and personal situations overheard or seen by chance – as one looks from the window of one skyscraper into the lighted room of another forty stories high and only across the street.
Lincoln Kirstein, introductory note, Photography 1930. Cambridge, MA: Harvard Society for Contemporary Art, 1930, n.p. quoted in Josie R. Johnson. “Reality Makes Them Dream: American Photography, 1929-1941,” in Josie R. Johnson. Reality Makes Them Dream: American Photography, 1929-1941. Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, 2023, p. 26.
Dorothea Lange (American, 1895-1965)
Migrant Mother, California
1936
Gelatin silver print
Gift from the Alinder Collection
Cantor Arts Center Collection
The Cantor Arts Center is pleased to present Reality Makes Them Dream: American Photography, 1929-1941, an exhibition featuring over 100 photographs, periodicals, and photobooks. This material collectively pushes against the typical history of 1930s photography that views the work of this period as primarily documentary, and instead illustrates that artists of this era frequently used photography to ignite the imagination. The exhibition and the expansive art historical narratives it illuminates result from Dr. Josie R. Johnson’s study over the past three years of the Cantor’s Capital Group Foundation (CGF) Photography Collection – a major gift of over 1,000 twentieth-century American photographs.
Currently serving as the museum’s CGF Curatorial Fellow for Photography, Johnson comments: “The Cantor’s holdings of American photography from the 1930s are especially rich, and the generous terms of the Capital Group Foundation Fellowship enabled me to delve deeply into this fascinating chapter of photo history. Sifting through these prints allowed me to set aside what I thought I knew about this material and take a fresh look, giving me a new appreciation for the novel approaches these artists developed in the midst of a profoundly difficult historical moment.”
The work of five photographers from the CGF Collection – Ansel Adams, John Gutmann, Helen Levitt, Wright Morris, and Edward Weston – comprises the core of the exhibition. Its conceit draws from a curious phrase by Stanford biology professor Laurence Bass-Becking about the photography of his friend Edward Weston: “Reality makes him dream.” Though few people today would associate dreaminess with the Great Depression, Bass-Becking penned this statement in the fall of 1930, one year into the economic turmoil that would last until the nation’s entry into World War II. Reality Makes Them Dream exemplifies the spirit of experimentation that Bass-Becking describes by highlighting an undercurrent of artistic practices in the United States that were sometimes more akin to those of Surrealism taking place concurrently in Europe.
To tease out these under-examined connections, and de-emphasise the association of American photography of the 1930s with the unbiased documentation of real people and events, works by the five core CGF artists are interwoven with a diverse selection of photographs by their contemporaries, both iconic and overlooked, such as Walker Evans, Hiromu Kira, and Dorothea Lange. Edward Weston’s bold experimentation with forms both natural and man-made – exemplified by highly evocative works such as Pepper No. 35 (1930) and Egg Slicer (1930) that inspired Bass-Becking’s comment – blends harmoniously with contemporary prints from the community of Japanese-American photographers in Los Angeles that often supported Weston’s work. Examples of fashion and editorial photography, including colour images by Toni Frissell and Paul Outerbridge, draw connections across the galleries with photographs of airplanes, household items, and tourist sites made by seasoned artists and amateur hobbyists alike. Helen Levitt’s surreal tableaux on the streets of New York echo Berenice Abbott‘s studies of the metropolis with multiple layers of history jumbled into the same block. Ansel Adams’s pristine images of the Sierra Nevada hang alongside little-known photographs by Seema Weatherwax, his darkroom assistant in the late 1930s who was similarly enchanted with nature but developed a vision all her own. Despite gaining the respect of not only Adams, but also Weston, Lange, and Imogen Cunningham, Weatherwax shared her own work publicly for the first time in 2000 at the age of 95. Her photographs evidence her technical abilities and, not unlike her peers on view in this exhibition, find beauty in the everyday. Altogether, these photographs effectively illustrate Johnson’s three year exploration of the collection which revealed that despite the very real financial, political, and cultural challenges of the Great Depression, certain photographers chose not to focus on the camera’s cold mechanical precision, but rather used it as a medium to spark their imaginations – fusing reality and dream into one. …
The first exhibition curated by a CGF fellow, Reality Makes Them Dream is accompanied by a fully-illustrated catalogue. It features an essay by Johnson and contributions from the community of photography scholars at Stanford University – Kim Beil, associate director of the ITALIC arts program for undergraduates; Yechen Zhao (PhD in art history ’22); Anna Lee, photography curator for special collections at the Stanford Libraries; Rachel Heise Bolten (PhD in English ’22); Altair Brandon-Salmon (PhD candidate in art history); Marco Antonio Flores (PhD candidate in art history); and Maggie Dethloff, PhD, assistant curator of photography and new media at the Cantor.
Press release from the Cantor Arts Center
Wright Morris (American, 1910-1998)
Gano Grain Elevator, Western Kansas
1940, printed 1979-1981
Gelatin silver print
The Capital Group Foundation Photography Collection at Stanford University
Cantor Arts Center Collection
In Dr. Josie R. Johnson’s exhibition … Johnson interweaves the Capital Group Foundation Collection images with additional works by other artists, building narratives that nuance our understanding of American photography in the 1930s. Her essay pushes against longstanding narratives that overemphasise the purity of straight photography and the veracity of documentary photography in this decade. Her research reveals instead that many artists used the medium of photography to fuse reality and dream into one.
Johnson divides Reality Makes Them Dream into seven sections exploring subjects commonly photographed in the 1930s as being both real and dream-like. Looking beyond well-traveled approaches to photographs captured in the decade defined by the Great Depression, “Natural Wonders” features awe inspiring organic forms from still life and nature photography. “Divine Figures” presents methods of elevating the human figure to the status of a god-like being in portraiture, nude studies, dance photography, and photographs of modern labourers. “Everyday Splendors” explores the transformation of commonplace scenes and objects into vibrant masses of shapes and textures. The portraits, architectural photographs, and still life images in “Living Relics” exemplify the tendency of these photographers to depict emblems of a purer and more noble past that they hoped to reclaim. “The World of Tomorrow” considers the opposite end of the temporal spectrum, where photographers captured glimpses of a futuristic, machine-driven utopia in urban or industrial scenes. “Street Theater” encompasses street photography and urban architectural studies that approach their subjects as if they are actors and stage sets in their own make-believe world. Finally, “Surreal Encounters” highlights Surrealist strands in the work of American photographers as they emphasised the uncanny and fantastical in the physical world around them.
Veronica Roberts, Director of the Cantor Arts Center
Ansel Adams (American, 1902-1984)
Sculptor’s Tools, San Francisco, California
1930, printed c. 1974
Gelatin silver print
Gift from the Alinder Collection
Cantor Arts Center Collection
In 1930, a meeting with the photographer Paul Strand inspired Ansel Adams to abandon the use of soft-focus camera settings and textured printing papers in pursuit of “absolute realism.” However, Adams did not renounce the photograph’s capacity to convey an artist’s imaginative vision; instead, he launched a crusade for photography to be recognised as a “pure art form.” This image of the tools belonging to the San Francisco sculptor Ralph Stackpole stages Adams’s main argument at the time: Photography is no less a form of art than sculpture, so long as the artist’s tools (a camera or a hammer and chisel) are employed directly, without imitating another medium.
Wall label from the exhibition
Berenice Abbott (American, 1898-1991)
Sumner Healy Antique Shop
1936
Gelatin silver print
Gift of Judge Leonard Edwards
Cantor Arts Center Collection
Helen Levitt (American, 1913-2009)
New York
c. 1938
Gelatin silver print
The Capital Group Foundation Photography Collection at Stanford University
Cantor Arts Center Collection
Woven into this exhibition is a diverse selection of photographs by their contemporaries, adding breadth to this survey of American photography of the 1930s and presenting new narratives about artists and images, from the iconic to the overlooked. This project interprets the term “American” loosely, encompassing photographers who lived in the United States for extended periods but who did not necessarily hold citizenship, as well as locations including Alaska and Hawaii, which were then still US territories. Thirteen of the forty-two photographers featured in this catalogue were born outside the United States, reflecting diasporic patterns that brought Japanese immigrants in the early 1900s and European immigrants – especially Jews fleeing antisemitism – in the 1910s and mid-1930s.7 Many turned to photography as a way to earn a living, and their photographs often expressed their enchantment with the dramatic natural landscapes or unfamiliar cultural practices they encountered in their newly adopted nation.
Together, this material demonstrates that Bass-Becking’s idea [Bass-Becking used a curious phrase to describe the photography of his friend Edward Weston: “Reality makes him dream”] offers an interpretive lens for a much wider swath of photography than either he or Weston might have realized. Against the typical history of 1930s photography that views the work of this period as primarily documentary in style and purpose , this project contends that a key goal for artists of this period was to use photography to ignite the imagination, even while pursuing an increasingly transparent approach that mirrored the world as they saw it. From the delicate curve of a seashell to the jostle of a crowded city street, reality made the photographers and their audiences dream.
Footnote 7. Another ten were second- and/or third-generation immigrants.
Josie R. Johnson. “Reality Makes Them Dream: American Photography, 1929-1941,” in Josie R. Johnson. Reality Makes Them Dream: American Photography, 1929-1941. Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, 2023, p. 11.
Natural Wonders
Ansel Adams (American, 1902-1984)
Dogwood, Yosemite National Park, California
1938
Gelatin silver print
The Capital Group Foundation Photography Collection at Stanford University
Cantor Arts Center Collection
Ansel Adams is best known today for the majestic landscape photographs he made throughout his life, but in the 1930s he gravitated toward tightly framed images of a more intimate scale. This photograph of dogwood blossoms exemplifies Adams’s close looking at nature from this period. Even among the grand vistas of Yosemite, he often turned his lens to humbler sights while retaining the same density of detail across the picture plane, illuminating multitudes in a patch of moss or a pile of pine needles. Adams explained at the time: “Honest simplicity and maximum emotional statement suggests the basis of a critical definition of photography as an Art Form – that is, as a means of more than factual statement.”
Wall label from the exhibition
Cedric Wright (American, 1889-1959)
Wildflowers
1930s-1940s
Gelatin silver print
Gift from the Alinder Collection
Cantor Arts Center Collection
George Cedric Wright (April 13, 1889 – 1959) was an American violinist and a wilderness photographer of the High Sierra. He was Ansel Adams’s mentor and best friend for decades, and accompanied Adams when three of his most famous photographs were taken. He was a longtime participant in the annual wilderness High Trips sponsored by the Sierra Club. …
In an article published in 1957, which included eight full-page photographs, Wright described his thoughts about how high mountain beauty resembles great music: “Beauty haunts the high country like a majestic hymn, sings in cold sunny air, the brilliant mountain air – makes of sunlight a living thing – floats in cloud forms – filters changing floods of light ever clothing the mountains anew. Beauty arrives in deep voice of river and wind through forest, swelling the chorus, giving sonority universal proportions.”[Wright, Cedric. “Trail Song: An Artist’s Profession of Faith” Sierra Club Bulletin. San Francisco: Sierra Club. 42 (6): 50-53]. He dedicated these words to Sierra Club leader William Edward Colby, and they became part of the introduction to Wright’s posthumous book, Words of the Earth.
Text from the Wikipedia website
Bradford Washburn (American, 1910-2007)
Mount La Perouse
c. 1933
Gelatin silver print
Courtesy of Department of Special Collections, Stanford Libraries
Bradford Washburn became a well-known mountaineer and aerial photographer while still in college. In the early 1930s, he climbed and surveyed multiple peaks in the Fairweather Range of southeastern Alaska, including Mount La Perouse. Although Washburn’s photographs functioned as topographical records and route maps, he also displayed them in artistic contexts, where they elicited deeply poetic and emotional responses from viewers. In the 1940 issue of U.S. Camera Magazine, an editor wrote of Washburn’s Alaskan photography: “Sea and mountain and plain, join island and cape and bay in a beauty that is the true setting for the fantasy of northern lights and midnight sun. … Here is an America that is no more a last frontier or hinterland, but a fruitful part of America, present – a glowing promise to America, future.”
Wall label from the exhibition
Henry Bradford Washburn Jr. (June 7, 1910 – January 10, 2007) was an American explorer, mountaineer, photographer, and cartographer. He established the Boston Museum of Science, served as its director from 1939-1980, and from 1985 until his death served as its Honorary Director (a lifetime appointment). Bradford married Barbara Polk in 1940, they honeymooned in Alaska making the first ascent of Mount Bertha together.
Washburn is especially noted for exploits in four areas.
1/ He was one of the leading American mountaineers in the 1920s through the 1950s, putting up first ascents and new routes on many major Alaskan peaks, often with his wife, Barbara Washburn, one of the pioneers among female mountaineers and the first woman to summit Denali (Mount McKinley).
2/ He pioneered the use of aerial photography in the analysis of mountains and in planning mountaineering expeditions. His thousands of striking black-and-white photos, mostly of Alaskan peaks and glaciers, are known for their wealth of informative detail and their artistry. They are the reference standard for route photos of Alaskan climbs.
3/ He was responsible for creating maps of various mountain ranges, including Denali, Mount Everest, and the Presidential Range in New Hampshire.
4/ His stewardship of the Boston Museum of Science.
Text from the Wikipedia website
Hy Hirsh (American, 1911-1961)
Untitled
Late 1930s
Gelatin silver print
Dennis and Annie Reed Collection
Hyman Hirsh (October 11, 1911, Philadelphia, Pennsylvania – November 1961, Paris, France), was an American photographer and experimental filmmaker. He is regarded as a visual music filmmaker, as well as one of the first filmmakers to use electronic imagery (filmed oscilloscope patterns) in a film. …
Photography style
Hirsh’s early photographs were influenced by California photography movement Group f/64, who had first exhibited in 1932 at the de Young Museum where Hirsh later worked. In 1932. Hirsh’s photo work from that period used sharply focused black and white renderings and little manipulation in their process. Hirsh was then influenced by the social documentary of the Farm Security Administration [FSA] photographers who recorded the impact of the Great Depression on displaced workers and their families. Hirsh followed suit, exploring social issues through visages of vacant lots, rusted machinery, and other images of urban decay. Recognition for these photographs led to seven exhibitions in Los Angeles and San Francisco from 1935 to 1955. A 1936 group show entitled “Seven Photographers” at L.A.’s Stanley Rose Gallery put him alongside the leading figures of West Coast photography, including Ansel Adams, Edward Weston and Brett Weston. Hirsh also appeared in the publication U.S. Camera in 1936, 1937 and 1939.
In 1943 San Francisco Museum of Art featured Hirsh in a solo exhibition. By now Hirsh had moved away from the straight-ahead aesthetic of Ansel Adams and Group f64, and his artistic photography took more cues from the world of experimental film. He made surrealist self-portraits by superimposing negatives of himself with broken sheets of glass. Later in Paris, as a study for one of his films, he shot colour slides of old wall posters that were peeling, exposing layers of posters underneath.
Text from the Wikipedia website
Edward Weston (American, 1886-1958)
Bananas
1930
Gelatin silver print
Dennis and Annie Reed Collection
Despite his many accolades, Edward Weston struggled to support himself throughout his career as a photographer. He found an important group of patrons in Los Angeles’s Little Tokyo, where several artist groups sustained a lively community of photographers in the 1920s and ’30s. The play of light, movement, and space in Shinsaku Izumi’s The Shadow (below) exemplifies their experimental ethos. In this context, the photographer Toyo Miyatake (1895-1979) organised three exhibitions of Weston’s photography between 1925 and 1931. At the final exhibition, he purchased this print (above) from Weston, perhaps because he shared Weston’s excitement for the pictorial possibilities of the rhythms and textures in a bunch of bananas.
Wall label from the exhibition
Marion Post Wolcott (American, 1910-1990)
Cornshocks and fences on farm near Marion, Virginia
1940
Gelatin silver print
Gift of Michael and Sheila Wolcott
Cantor Arts Center Collection
Marion Post Wolcott (June 7, 1910 – November 24, 1990) was an American photographer who worked for the Farm Security Administration during the Great Depression documenting poverty, the Jim Crow South, and deprivation. …
Post trained as a teacher, and went to work in a small town in Massachusetts. Here she saw the reality of the Depression and the problems of the poor. When the school closed she went to Europe to study with her sister Helen. Helen was studying with Trude Fleischmann, a Viennese photographer. Marion Post showed Fleischmann some of her photographs and was told to stick to photography.
Career
While in Vienna she saw some of the Nazi attacks on the Jewish population and was horrified. Soon she and her sister had to return to America for safety. She went back to teaching but also continued her photography and became involved in the anti-fascist movement. At the New York Photo League she met Ralph Steiner and Paul Strand who encouraged her. When she found that the Philadelphia Evening Bulletin kept sending her to do “ladies’ stories”, Ralph Steiner took her portfolio to show Roy Stryker, head of the photography division of the Farm Security Administration, and Paul Strand wrote a letter of recommendation. Stryker was impressed by her work and hired her immediately.
Post’s photographs for the FSA often explore the political aspects of poverty and deprivation. They also often find humour in the situations she encountered.
In 1941 she met Leon Oliver Wolcott, deputy director of war relations for the U. S. Department of Agriculture under Franklin Roosevelt. They married, and Marion Post Wolcott continued her assignments for the FSA, but resigned shortly thereafter in February 1942. Wolcott found it difficult to fit in her photography around raising a family and a great deal of traveling and living overseas.
In the 1970s, a renewed interest in Post Wolcott’s images among scholars rekindled her own interest in photography. In 1978, Wolcott mounted her first solo exhibition in California, and by the 1980s the Smithsonian and the Metropolitan Museum of Art began to collect her photographs. The first monograph on Marion Post Wolcott’s work was published in 1983. Wolcott was an advocate for women’s rights; in 1986, Wolcott said: “Women have come a long way, but not far enough. … Speak with your images from your heart and soul” (Women in Photography Conference, Syracuse, N.Y.).
Text from the Wikipedia website
Edward Weston (American, 1886-1958)
Pepper No. 35
1930, printed 1952-1955 by Brett Weston
Gelatin silver print
The Capital Group Foundation Photography Collection at Stanford University
Cantor Arts Center Collection
Ansel Adams (American, 1902-1984)
High Country Crags and Moon, Sunrise, Kings Canyon National Park, California
c. 1935, printed 1979
Gelatin silver print
The Capital Group Foundation Photography Collection at Stanford University
Cantor Arts Center Collection
Divine Figures
Peter Stackpole (American, 1913-1997)
Overview of the City
1935
Gelatin silver print
Gift of Ayleen Ito Lee
Cantor Arts Center Collection
In 1935, 25 of Stackpole’s bridge photographs were shown at the San Francisco Museum of Art.
Peter Stackpole (1913-1997) was an American photographer. Along with Alfred Eisenstaedt, Margaret Bourke-White, and Thomas McAvoy, he was one of Life Magazine‘s first staff photographers and remained with the publication until 1960. He won a George Polk Award in 1954 for a photograph taken 100 feet underwater, and taught photography at the Academy of Art University. He also wrote a column in U.S. Camera for fifteen years. He was the son of sculptor Ralph Stackpole.
Text from the Wikipedia website
Peter Stackpole (American, 1913-1997)
Mother and Daughter
1934
Gelatin silver print
Cantor Arts Center Collection
Gordon Parks (American, 1912-2006)
Langston Hughes, Chicago, Illinois, 1941
1941, printed 2002-2003
Gelatin silver print
The Capital Group Foundation Photography Collection at Stanford University
Cantor Arts Center Collection
Barbara Morgan (American, 1900-1992)
Martha Graham – Ekstasis (Torso)
1935
Gelatin silver print
Given in memory of Belva Kibler by Barbara Morgan
Cantor Arts Center Collection
Barbara Morgan first attended a performance by Martha Graham’s modern dance company in 1935. The experience so deeply impressed her that she began photographing Graham and her fellow dancers regularly, becoming a recognised expert in the genre within a few years. Morgan typically captured a dancer’s entire body, but for Graham’s solo in Ekstasis, she explained: “When by moving a light which cast a certain shadow I suddenly felt a heroic scale evoked. … The torso expressed it all, and I felt as if I were on a lonely shore between Egypt and archaic Greece discovering a forgotten Venus.”
Wall label from the exhibition
John Gutmann (American born Germany, 1905-1998)
Class, Olympic High Diving Champion, Marjorie Gestring
1937
Gelatin silver print
The Capital Group Foundation Photography Collection at Stanford University
Cantor Arts Center Collection
Marjorie Gestring, a future Stanford undergraduate from Los Angeles, won the 1936 Olympic gold medal in women’s springboard diving at age 13. John Gutmann photographed Gestring the following spring at a diving exhibition held as part of the weeklong festivities for the opening of the Golden Gate Bridge. For Gutmann, the “rigid geometry” of her dives struck him as an “absolutely modern machine style.” More broadly, his image of Gestring soaring through the air captures the ethos of a moment when, having just completed the longest suspension bridge in the world, humans seemed capable of any accomplishment.
Wall label from the exhibition
Edward Weston (American, 1886-1958)
Nude (Charis) Floating
1939, printed 1952-1955 by Brett Weston
Gelatin silver print
The Capital Group Foundation Photography Collection at Stanford University
Cantor Arts Center Collection
Herbert Matter (American born Switzerland, 1907-1984)
Untitled
1940
Gelatin silver print
Courtesy of Department of Special Collections, Stanford Libraries
Herbert Matter (April 25, 1907 – May 8, 1984) was a Swiss-born American photographer and graphic designer known for his pioneering use of photomontage in commercial art. Matter’s innovative and experimental work helped shape the vocabulary of 20th-century graphic design. …
As a photographer, Matter won acclaim for his purely visual approach. A master technician, he used every method available to achieve his vision of light, form and texture. Manipulation of the negative, retouching, cropping, enlarging and light drawing are some of the techniques he used to achieve the fresh form he sought in his still lifes, landscapes, nudes and portraits. As a filmmaker, he directed two films on his friend Alexander Calder: “Sculptures and Constructions” in 1944 and “Works of Calder” (with music by John Cage) for the Museum of Modern Art in 1950.
Text from the Wikipedia website
Russell Lee (American, 1903–1986)
Jim Norris and wife, homesteaders, Pie Town, New Mexico
1940
Dye transfer print
Committee for Art Acquisitions Fund
Cantor Arts Center Collection
Chao-Chen Yang (Chinese-American, 1910-1969)
Chief Owasippe
1939
Gelatin silver print
The Michael Donald Brown Collection, made possible by the William Alden Campbell and Martha Campbell Art Acquisition Fund and the Asian American Art Initiative Acquisitions Fund
Cantor Arts Center Collection
Chao-Chen Yang came to the United States in 1934 to work at the Chinese Consulate in Chicago. He photographed in his spare time, regularly submitting prints like this one to the national circuit of photography salons. At first glance, this photograph might appear to be a portrait of the man named in the title. In fact, “Owasippe” references a legend about a Potawatomi chief who died waiting for his sons to return from a journey. The story originated in Michigan around the turn of the 20th century; by the 1930s, it had been popularised around the Midwest by the Boy Scouts of America. Yang likely heard the tale in Chicago and photographed a model whose true identity remains unknown. Although the headdress was familiar to settler audiences as a shorthand for “Native,” the one in this photograph references different cultural traditions than those of the Potawatomi. Reality thus became fodder for a fantasy that captured the interest of many viewers in the late 1930s, when Yang’s photograph won multiple awards from camera club juries across the country.
Wall label from the exhibition
Chao-Chen Yang (1910-1969) was a Chinese American photographer based in Seattle, Washington. Born Hangchow, China, Yang received degrees in foreign relations and art education from the University of Hwin-Hwa, Shanghai, and became the director of the Department of Art at the Government Institute in Nanking. Coming to the United States in 1934 to work at the Chinese Consulate in Chicago, he took night courses in art at the Art Institute of Chicago from 1935 to 1939. He was transferred to Seattle as Deputy Consul and founded the Seattle Photographic Society in 1941. He served as director of the Northwest Institute of Photography and concentrated in colour photo printing processes.
Text from the Smithsonian website
Lit dramatically from above, the face of the “chief” emerges stoically from beneath a feathered headdress, the sartorial signifier of “Indianness” lifted by white Americans from the Oceti Sakowin Oyate of the Northern Plains (plate 27 [here above]). Concentrating on some distant point beyond the frame, he squints as if staring into the sun, but the nondescript background suggests that the photograph was likely made in a studio setting. All the better to decontextualize and generalize its subject, because the aim is not to reproduce the specificity of an Indigenous person, but to practice the visual shorthand popularized decades earlier by the photographer Edward S. Curtis and his North American Indian portfolios (fig. 2).1 The stereotyping function of this picture is reinforced by its title: “Chief Owasippe” is not Oceti Sakowin Oyate, but an invented leader of the Potawatomi, whose name continues to adorn the oldest Boy Scout camp in the United States, founded in 1911 in Michigan by a group of businessmen from Chicago.
Yet this reductive representation of the “vanishing Indian” – whose authenticity and natural purity came from his exteriority to the temporal and societal boundaries of modernity – was produced by a recent arrival to the United States with no personal connection to the politics of Indigenous assimilation, domination, and expropriation that underpinned this representational type. Chao-Chen Yang, employee at the Chinese consulate in Chicago, made this picture while enrolled in night classes at the Art Institute of Chicago. The photograph is his attempt to speak a foreign language: not English per se but the dialect of American identity, which is so filled with fantasy and contradiction that it feels right, with the theme of this exhibition in mind, to call it a language of dreams. What fluencies must the photographer possess to move freely within another person’s dream?
By the time Yang took this photograph, American artists’ fetishistic valorization of Indigenous culture had turned away from the Plains tribes from which the chief’s feather headdress originates and toward the southwestern tribes in New Mexico. In the 1920s, writers and artists including D. H. Lawrence, Mabel Dodge Luhan, John Sloan, and Marsden Hartley projected an “authenticity” onto Pueblo visual culture, which justified their appropriation of its subject matter and form to create a native modernist aesthetic.2 Many photographers did the same, including Ansel Adams and Wright Morris (plates 47 and 48). For its time, Yang’s photograph spoke a dated form of Indigenous appropriation, but the numerous exhibition stamps on the version of the print held by his estate reveal that this image was widely received by photography clubs across America – New York, Denver, all the way to Seattle, where Yang would become deputy consul in 1941.
Vexingly, the racist exoticization and flattening of Indigenous identity performed by the photograph also demonstrate its creator’s fluency with the visual language of artistic-minded amateur photographers in America…
Yechen Zhao. “Photographic Fluency (Its Pleasures and Pains): Kyo Koike and Chao-Chen Yang,” in Josie R. Johnson. Reality Makes Them Dream: American Photography, 1929-1941. Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, 2023, p. 55.
Everyday Splendors
Shinsaku Izumi (Japanese-American, 1880-1941)
The Shadow
c. 1931
Gelatin silver print
Dennis and Annie Reed Collection
In The Shadow (c. 1931, above), Izumi plays with the late-afternoon light, picturing a man riding a bike. In the upper-right-hand corner of the image, we see part of the front wheel; the entire rear wheel; the bicycle seat; and the cyclist’s feet, perfectly balanced and planted on pedals, riding past our line of vision. The rest of the image shows the bike traveling past a rectangular manhole cover, on the left side; and, on the right, the front wheel appears prominently as it casts a long shadow, with the individual spokes disappearing with each rotation. Against the brushed surface of the street, hard and soft patterns of gray emerge diagonally across the image…
The Shadow [is] a study of motion, light, and shadow, and, on another level, a metaphysical commentary on “the fugitive, fleeting beauty of present-day life.”
Susette Min. “Speculative Frameworks: Approaching the Interwar Years Work of Shinsaku Izumi and Nakaji Yasuim,” in Trans-Asia Photography Volume 5, Issue 1: Photography and Diaspora, Guest Edited by Anthony W. Lee, Fall 2014
Marion Post Wolcott (American, 1910-1990)
One of the Wilkins family making biscuits for dinner on cornshucking day at Mrs. Fred Wilkins’ home near Tallyho, Granville County. North Carolina
1939
Gelatin silver print
Gift of Judith Hochberg and Michael Mattis
Cantor Arts Center Collection
Sonya Noskowiak (American, 1900-1975)
Washing, San Francisco, California
1937
Gelatin silver print
San Francisco Museum of Modern Art, The United States General Services Administration, formerly Federal Works Agency, Works Projects Administration (WPA), allocation to the San Francisco Museum of Modern Art
Sonya Noskowiak (25 November 1900 – 28 April 1975) was a 20th-century German-American photographer and member of the San Francisco photography collective Group f/64 that included Ansel Adams and Edward Weston. She is considered an important figure in one of the great photographic movements of the twentieth century. Throughout her career, Noskowiak photographed landscapes, still lifes, and portraits. Her most well-known, though unacknowledged, portraits are of the author John Steinbeck. In 1936, Noskowiak was awarded a prize at the annual exhibition of the San Francisco Society of Women Artists. She was also represented in the San Francisco Museum of Art’s “Scenes from San Francisco” exhibit in 1939. Ten years before her death, Noskowiak’s work was included in a WPA exhibition at the Oakland Museum in Oakland, California.
Photography
Noskowiak primarily focused on landscapes and portraits between the 1930s and 1940s. Noskowiak embraced straight photography and used it as a tool to give newer meaning to her photographs. She emphasized the forms, patterns, and textures of her subject, to enrich the documentation of it.
Her earliest works reflect the work of photographers of her period and their thoughts on Pictorialism. In her earliest works, such as City Rooftops, Mountains in Distance (the 1930s), there is a graphic quality to how she abstracted the piece. There is the dark, strong industrial structure that contrasts with the light sky. There are almost no logs seen on the buildings, as if they are they are blurred beyond readability. This is an example of the ‘New Objectivity’ movement, which focused on a harder, documentary approach to photography.
Noskowiak often composed her photographs to intersect her subjects, which gave a more dynamic feel to her photographs. Examples of these are provided by her works Kelp (1930) and Calla Lily (1932). The composition crops the boundaries of the kelp plant and flower and draws the viewer’s eye to the texture of the plants. The kelp is so abstracted that if not for the title it would be unrecognisable. In Calla Lily, her use of chiaroscuro gives a luminous, almost floating feeling to the photograph.
Her photograph Agave (1933) is an intimate viewing of the cactus plant – another example of a composition separating the object from what is made visible shown and emphasising the plant’s beautiful pattern.
Noskowiak utilised the same technique of straight photography in her pictorial portraits and commercial works. The same intimacy shown in Agave can be seen in portrait works such as John Steinbeck (1935) and Barbara (1941). In both, she creates an intimate atmosphere, in which the viewer feels as though they are there interacting with the subjects. Even in her more commercial works, Noskowiak’s style and technique still remained important. In her untitled 1930s photograph, you have a model with a broad-brimmed hat that conceals her face. The composition of the piece relieves viewers from thinking about the photograph as an advertisement. The cropping and position of the model offers closeness, and viewers get the feeling of being in the moment with the model more than simply responding to the photo as an advertisement.
Text from the Wikipedia website
Edward Weston (American, 1886-1958)
Cement Worker’s Glove
1936, printed 1952-1955 by Brett Weston
Gelatin silver print
The Capital Group Foundation Photography Collection at Stanford University
Cantor Arts Center Collection
Imogen Cunningham (American, 1883-1976)
Junk
1934
Gelatin silver print
Gift of Florence Alston Swift
San Francisco Museum of Modern Art, The Henry Swift Collection
Seema Weatherwax (Jewish-American, 1905-2006)
Yosemite
1940
Gelatin silver print
Courtesy of Department of Special Collections, Stanford Libraries
Seema Aissen Weatherwax was a photographer and social activist who was part of the Film and Photo League, worked with Ansel Adams in Yosemite, and shot Woody Guthrie and migrant workers at a California FSA camp. …
Emigrating from Tsarist Russia with her parents in 1913 to escape persecution and the conscription act, Seema Aissen graduated from high school and began studying science courses in Leeds, England. A few years after her father’s death, her mother took the three daughters to Boston to join relatives, and Seema became involved in photography. She moved to Southern California in 1929, lived in Tahiti for a year, and upon returning to Los Angeles joined the Film and Photo League in 1934. Ansel Adams asked her to run his darkroom in Yosemite in 1938. The following year she assisted Adams with the first Camera Workshop in Yosemite. In 1941 Seema met the writer Jack Weatherwax, and together with folk singer Woody Guthrie visited the Shafter Farm Security Administration Camp, managed by noted civil rights advocate Fred Ross. At Shafter she photographed Dust Bowl refugees and their surroundings. The Weatherwaxes moved to Santa Cruz, California in 1984. Following the death of her husband, Seema continued her activism, including working with the NAACP and the Women’s International League for Peace and Freedom, and at the age of 95 organized the first exhibition of her work. She passed away in 2006, two months shy of her 101st birthday.
Text from the Online Archive of California website
Prints made by Seema at Yosemite reveal a photographer whose confidence in her technical abilities allows her to pursue photography in daunting weather conditions7 and to render transcendent beauty through everyday forms, both natural and man-made. Her work from this period focuses not only on postcard-ready vistas but also on the physical structures that locate and organise human experiences within these natural surroundings: like a slush-covered road impressed by tire tracks, or a fawn viewed through a gridded windowpane. 8 In one winter scene from 1940, titled simply Yosemite, tall wooden utility poles with triple cross-arms anchor a dozen snow-coated cables (plate 38 [above]). Set amidst dark tree trunks laced with white boughs, these power lines are resplendent in the snow. They stream down the vertical axis of the scene, indelible reminders of a Yosemite modernised for tourism – reminders that Adams typically left out of his artistic work. Seema’s prints from the 1940s are variously signed “Seema,” “Seema Aissen,” and later “Seema Weatherwax,” reflecting the surname she adopts upon marrying writer and political activist Jack Weatherwax in 1942.
Anna Lee. “Seema (Sophie) Aissen Weatherwax: Photographer,” in Josie R. Johnson. Reality Makes Them Dream: American Photography, 1929-1941. Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, 2023, p. 72.
Living Relics
Wright Morris (American, 1910-1998)
Meeting House, Southbury, Connecticut
1940
Gelatin silver print
Gift from the Alinder Collection
Cantor Arts Center Collection
Wright Morris developed a personal practice of pairing his photographs with texts, publishing the first of many of these combination projects in 1940. The page-long text paired with a variation of this photograph does not describe an observed scene but rather a scene imagined by the narrator, who sits “like a man caught in a spell” seeing “what nobody’d seen before.” By presenting this text with his photograph of an unidentified, weather-worn wooden building, Morris vaguely evokes a moment from the past, but leaves its meaning open to interpretation. As with memories and daydreams, the viewer’s impressions are subjective and imprecise, if not total figments of the imagination.
Wall label from the exhibition
Wright Morris (1910-1998) was a renowned writer and affective photographer. Pairing photographs with his own writing, Morris pioneered a new tradition of “photo-texts” in the 1940s that proved highly influential to future photographers. Devoid of figures, his photographs depict everyday objects and atmosphere. Morris’s poetic images exist in a fictional narrative, but reference documentary style.
Born in Nebraska, Morris attended Pomona College in Claremont, California. After graduation he traveled throughout Europe, purchasing his first camera in Vienna. Morris returned to California in 1934 determined to become a writer, but also continued to photograph. In 1935, he bought a Rolleiflex camera and began photographing extensively. Morris first exhibited his photo-texts in 1940, at the New School for Social Research in New York. This same year the Museum of Modern Art purchased prints for their collection and New Directions published images that would become his first book.
In 1942, Morris received the first of his three Guggenheim Fellowships, funding the completion of The Inhabitants. Published by Scribners, The Inhabitants (1946) documented domestic scenes of the South, Midwest, and Southwest and although visually influential enjoyed little financial success. His second photo-text book, The Home Place (1948) was a visual novel, with short fictional prose accompanying each photograph. Although groundbreaking, it remained unmarketable and after its publication Morris invested in his more successful career as a writer. In 1956, Morris won the National Book Award for his tenth book, the unillustrated A Field of Vision. Morris continued to write and publish while teaching English and creative writing from 1962-1974 at San Francisco State University, San Francisco, California. Morris’s acclaimed novel, Plains Song won American Book Award for Fiction 1981.
The Museum of Modern Art proved supportive of Morris throughout his career, both exhibiting and purchasing his work. MoMA curator John Szarkowski prompted a reconsideration of Wright Morris with the publication of God’s Country and My People (1968), widely considered Morris’s most successful photo-text book. Morris’s exhibition career burgeoned in his later years with many shows including Wright Morris: Origin of a Species, a 1992 retrospective at the San Francisco Museum of Modern Art, and following his death, Distinctly American: The Photography of Wright Morris at Stanford’s Cantor Center of Art in 2002.
Anonymous. “Wright Morris,” on the Center for Creative Photography website Nd [Online] Cited 04/07/2023
Wright Morris (American, 1910-1998)
House in Winter, near Lincoln, Nebraska
1941, printed 1979-1981
Gelatin silver print
The Capital Group Foundation Photography Collection at Stanford University
Cantor Arts Center Collection
Edward Weston (American, 1886-1958)
Wedding Cake House, Kennebunkport, Maine
1941, printed 1952-1955 by Brett Weston
Gelatin silver print
The Capital Group Foundation Photography Collection at Stanford University
Cantor Arts Center Collection
Edward Weston (American, 1886-1958)
Eroded Plank from Barley Sifter
1931, printed 1952-1955 by Brett Weston
Gelatin silver print
The Capital Group Foundation Photography Collection at Stanford University
Cantor Arts Center Collection
Alma Lavenson (American, 1897-1989)
Eucalyptus Leaves
1933
Gelatin silver print
Gift from the Alinder Collection
Cantor Arts Center Collection
The next year Lavenson made her own picture specimen, titled Eucalyptus Leaves, a forking branch against white ground (plate 49 [above]). The leaves are rounded, almost gingko-like, the stems slender and bending, a young plant or newer shoot, likely blue or silver dollar gum. It is hard to make sense of the light, which comes from the left, above, and the right – which is to say that there is an unnatural quality to the photograph. This looks like a studio picture, though Lavenson rarely worked indoors. But there are ways the photograph is in conversation with others made during this period, after she met Weston in 1930. It is a graceful picture, attentive to form and surface. Almost a decade later Lavenson would write, “In all my work – whether shacks or flowers or landscapes – I aim for perfection of texture and fineness of detail.”2 Up close the silver gelatin print has a lithographic quality, in its etched shadows and shining branch, the velvet opacity of the leaves.
Footnote 2. Alma R. Lavenson. “Virginia City: Photographing a ‘Ghost Town,'” in U.S. Camera Magazine 10 (June-July 1940), 66, quoted in Audrey Goodman. A Planetary Lens: The Photo-Poetics of Western Women’s Writing. Lincoln: University of Nebraska Press, 2021, p. 75.
Rachel Heise Bolten. “Eucalyptus Leaves,” in Josie R. Johnson. Reality Makes Them Dream: American Photography, 1929-1941. Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, 2023, p. 87.
The World of Tomorrow
Akira Furukawa (American born Japan, 1890-1968)
Cargo
1929
Bromoil
Dennis and Annie Reed Collection
Edward Weston (American, 1886-1958)
Egg Slicer
1930, printed 1952-1955 by Brett Weston
Gelatin silver print
The Capital Group Foundation Photography Collection at Stanford University
Cantor Arts Center Collection
Ruth Bernhard (American born Germany, 1905-2006)
Kitchen Music
1930-1933
Gelatin silver print
Gift from the Alinder Collection
Cantor Arts Center Collection
Hiromu Kira (American, 1898-1991)
The Thinker
c. 1930
Gelatin silver print
Dennis and Annie Reed Collection
Margaret Bourke-White (American, 1904-1971)
Drilling Rig, The Texas Co.
1937
Gelatin silver print
Elizabeth K. Raymond Fund
Cantor Arts Center Collection
Lou Stoumen (American, 1917-1991)
Times Square in the Rain
1940
Gelatin silver print
Gift from the Alinder Collection
Cantor Arts Center Collection
Lou Stoumen began photographing Times Square when he first moved to New York City at age 21. Decades later, he still recalled the day he made this photograph, when he rode an elevator to the top of the Times Building, then waited to snap the shutter until the rain “turned the great X of Broadway and Seventh Avenue into silvery rivers.” Stoumen continued photographing this famed stretch of the city for nearly half a century, but he remembered the years around 1940 as special: “Those days Manhattan was the center of the world, and Times Square was its heart.”
Wall label from the exhibition
It was raining in New York. Streets slick as oil, people hurrying past the trams and buses in Times Square with their umbrellas up. September 1940: the penultimate year of peace for America. An ocean away, bombs were falling on London, nightly. But here, for now, people could still think of it as a European war.
Some of the crowds in Lou Stoumen’s photograph Times Square (plate 59 [above]) might have come to catch Gone with the Wind, Wallace Beery’s new western Wyoming, or Busby Berkeley’s latest musical spectacular Strike Up the Band, starring Judy Garland and Mickey Rooney. Times Square: Here are the cinemas and the burning neon lights and the billboards for cigarettes and automobiles and cold, fizzy drinks. All the things you can buy and see during an autumn in New York.
Lou Stoumen was 23 when he made the photograph: The elevator at 1475 Broadway took him up the first 19 stories and then he took the stairs up the final six flights, to the top, and walked out onto the roof ledge.1 From there he pointed his camera out at 46th Street and Broadway capturing the TIMES sign from behind. The building had once been the home of the New York Times, but the newspaper had departed in 1913 and now the sign stood as an announcement of a location, a cry too, an exclamation of the times. …
Margaret Bourke-White photographed Drilling Rig, The Texas Co. (1937) (plate 56) within the oil well’s tower, looking up at the vertiginous pipes that pumped petroleum from beneath the ground. The cutting shadows cast by the latticework of the rig patterns the image with a rigorous geometry, all forms reduced to a series of rectangles and triangles. Humanity has disappeared from view, to be replaced by science and engineering, unchallengeable, mathematically correct.
Bourke-White had begun working for the newly established Life magazine a year earlier, already one of America’s most prominent news photographers.5 Yet she had been fascinated with shooting machinery since the late 1920s, claiming that “the beauty of industry lies in its truth and simplicity; every line is essential therefore beautiful.”6 The drilling rig is undoubtedly elegant; shorn of context, it becomes impossible to establish its scale or relationship to its environment. It stands as an autonomous creation, a pure distillation of form as function. Irresistibly, its towering pipes and metal superstructure, disappearing into the distance at the top of the photograph, recall the skyscrapers of Stoumen’s New York. Their symbiosis is more than coincidence: It is the drilling rig that enables the tower block. This is the stuff that the World of Tomorrow is built upon.
1/ William A. Ewing. Ordinary Miracles: The Photography of Lou Stoumen. Los Angeles: Hand Press, 1981, p. 22.
5/ Stephen Bennett Phillips. Margaret Bourke-White: The Photography of Design, 1927-1936. Washington, DC: Phillips Collection, in association with Rizzoli, New York, 2002, p. 83.
6/ Margaret Bourke-White in 1930, quoted in Theodore M. Brown. Margaret Bourke-White: Photojournalist. Ithaca, NY: Andrew Dickson White Museum of Art, Cornell University, 1972, p. 31.
Altair Brandon-Salmon. “Sign of the Times,” in Josie R. Johnson. Reality Makes Them Dream: American Photography, 1929-1941. Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, 2023, pp. 101-102.
John Gutmann (American born Germany, 1905-1998)
“Switch to Dodge,” An American Altar, Detroit
1936
Gelatin silver print
The Capital Group Foundation Photography Collection at Stanford University
Cantor Arts Center Collection
Street Theater
Walker Evans (American, 1903-1975)
Corrugated Tin Façade
1936
Gelatin silver print
Gift of Dr. J. Patrick and Patricia A. Kennedy
Cantor Arts Center Collection
Berenice Abbott (American, 1898-1991)
Warehouse, Water and Dock Streets
1936
Gelatin silver print
Gift of Daniel Mattis
Cantor Arts Center Collection
Wright Morris (American, 1910-1998)
Powerhouse and Palm Tree, near Lordsburg, New Mexico
1940, printed 1979-1981
Gelatin silver print
The Capital Group Foundation Photography Collection at Stanford University
Cantor Arts Center Collection
Marion Post Wolcott (American, 1910-1990)
Center of town. Woodstock, Vermont. “Snowy night”
1940
Gelatin silver print
Gift of Michael and Sheila Wolcott
Cantor Arts Center Collection
Marion Post Wolcott made this photograph halfway through her three-year appointment as a photographer for the Farm Security Administration. Though most of her work (and that of the FSA overall) was understood at the time as “documentary” or factual in nature, this is one of several photographs by Post that tended to stir the imagination. For instance, Sherwood Anderson reproduced this photograph in his 1940 book on rural America, Home Town, to illustrate his metaphor for New England winters as times of peaceful slumber.
Wall label from the exhibition
Aaron Siskind (American, 1903-1991)
Untitled from St. Joseph’s House
c. 1938
Gelatin silver print
Vincent Bressi Fund
Cantor Arts Center Collection
Robert Disraeli (American born Germany, 1905-1988)
Sunday – After Church
1933
Gelatin silver print
Cantor Arts Center Collection
Committee for Art Acquisitions Fund
Wright Morris (American, 1910-1998)
Untitled
1940
Gelatin silver print
Gift from the Alinder Collection
Cantor Arts Center Collection
Helen Levitt (American, 1913-2009)
New York
c. 1940
Gelatin silver print
The Capital Group Foundation Photography Collection at Stanford University
Cantor Arts Center Collection
Helen Levitt avoided the descriptive or symbolic titles favoured by the previous generation of photographers, preferring instead to leave her photographs untethered to specific people or locations within New York. The viewer is thus given free rein to make associations or compose narratives from the streetscapes in each photograph, just as the shoe shiner in this image may have conjured his own daydream from the action unfolding on the street.
Wall label from the exhibition
Surreal Encounters
John Gutmann (American born Germany, 1905-1998)
Monster on Broadway, New York City
1936
Gelatin silver print
The Capital Group Foundation Photography Collection at Stanford University
Cantor Arts Center Collection
John Vachon (American, 1914–1975)
Girl on Lobster, Washington, D.C.
1938
Gelatin silver print
Gift of R. Joseph and Elaine R. Monsen
Cantor Arts Center Collection
By the early 1930s, discussions about Surrealism had spread from the art world into the mainstream, even if few Americans subscribed to, or even understood, its main tenets. Not long after, Americans began to use the words “surreal” and “surrealistic” to describe anything bizarre or dreamlike. Each of these three photographs could have fit this unofficial classification; by locating the extraordinary among the ordinary – a monster in the city, a woman riding a lobster, and another woman enacting the text on the magazine in her hands – each image is thoroughly uncanny.
Wall label from the exhibition
John Gutmann (American born Germany, 1905-1998)
Monument to the Chicken Center of the World, Petaluma, California
1936
Gelatin silver print
The Capital Group Foundation Photography Collection at Stanford University
Cantor Arts Center Collection
After photographing the town of Petaluma, north of San Francisco, John Gutmann sent dozens of prints to his agent in New York. He explained: “This little town of 9,000 inhabitants and its surrounding ranches is today one of the greatest, if not the greatest poultry center in the world. … Thousands and thousands of little chicken houses, covering the country, the low built hatcheries, the many signs and symbols, trucks fully loaded with poultry or eggs give a very unique character to this district.” Gutmann photographed this roadside monument several times, likely noticing the traces of past vandalism visible in this image.
Wall label from the exhibition
Edward Weston (American, 1886-1958)
Hot Coffee, Mojave Desert
1937, printed 1977 by Cole Weston
Gelatin silver print
Gift from the Alinder Collection
Cantor Arts Center Collection
Although Edward Weston regarded his photography with the utmost seriousness, his writings and accounts from friends reveal a spirited sense of humour. This photograph offers a rare example of this playful side. According to Charis Wilson, Weston’s travel companion at the time, they were struck by the absurdity of the hot coffee advertisement in the middle of the desert; the fact that the location bore the name “Siberia” added a second layer of irony.
Wall label from the exhibition
Clarence John Laughlin (American, 1905-1985)
The Repulsive Bed
1941
Gelatin silver print
Gift from the Alinder Collection
Cantor Arts Center Collection
In the summer of 1941, Edward Weston visited Louisiana with Clarence John Laughlin as his guide. Before driving to the same building that Walker Evans had photographed six years earlier, they visited another antebellum plantation house where Laughlin photographed a friend among the ruins. Weston shared Laughlin’s fascination with the ornate architecture, laden with history as it slowly deteriorated back into swampy earth. Yet Laughlin understood these forces as an embodiment of Surrealism. For him, New Orleans was a place “unparalleled in its violence of decay” but also where “the human spirit reached a singular flowering” in the face of this destruction.
Wall label from the exhibition
Dubbed “The Father of American Surrealism,” Clarence John Laughlin (American, 1905-1985) was the most important Southern photographer of his time and a singular figure within the burgeoning American school of photography. Known primarily for his atmospheric depictions of decaying antebellum architecture that proliferated his hometown of New Orleans, Laughlin approached photography with a romantic, experimental eye that diverged heavily from his peers who championed realism and social documentary.
Referring to his own fraught relationships with women, Laughlin described this ethereal photograph of a woman lounging atop a collapsed, tattered bed in a decaying house as an “Image of those who endure marriage, without love, because of convention. [The] marriage bed becomes repulsive, and part of it turns into a monster head.” The veil across the woman’s face gives her a haunting look, as if she is fading away along with the house around her. The cracks in the wall reinforce the idea of a fractured, failing marriage, while the shadows envelop her in darkness.
Text from the High Museum of Art website
Walker Evans (American, 1903-1975)
Breakfast Room at Belle Grove Plantation, White Chapel, Louisiana
1935, printed 1974
Gelatin silver print
Gift of Dr. J. Patrick and Patricia A. Kennedy
Cantor Arts Center Collection
Walker Evans admired the photography of Eugène Atget (1857-1927), a French photographer whose images of Paris caught the interest of a new generation of photographers shortly before his death. Though neither photographer self-affiliated with Surrealism, Evans recognised that “in some of his work [Atget] places himself in a position to be pounced upon by the most orthodox of surrealists.” Evans occasionally emulated Atget’s style, as in this image of an empty Louisiana plantation house, leading some American critics to describe Evans’s photography in a manner befitting a Surrealist. One 1938 review stated, “In some miraculous way [Evans’s] objects or persons acquire a super-reality, the implications of which echo across the years to startle and haunt, to jolt and to enchant.”
Wall label from the exhibition
Nathan Lerner (American, 1913-1997)
Uncommon Man
1936, printed 1983
From Nathan Lerner – Fifteen Photographs: 1935-1978
Gelatin silver print
Gift of the Mattis Family
Cantor Arts Center Collection
Frederick Sommer (American, 1905-1999)
Jack Rabbit
1939
Gelatin silver print
Gift of Lisa and John Pritzker
San Francisco Museum of Modern Art
Sommer’s Jack Rabbit (1939) was one of the first 100 negatives the artist made with his new 8 x 10 inch view camera recommended by his friend Edward Weston.1 Living in the arid climate of Arizona to protect his lungs against the recurrence of tuberculosis, the casualties of the desert – rabbits, horses, coyotes – became some of Sommer’s signature photographic subjects.2 Weston, too, had a penchant for photographing dead things. Weston’s preference was for the corpses of birds, often those of shore birds near his coastal California home.3 Photo historian Robin Kelsey has made an excellent comparison of the two artists’ “rival” treatments of deceased animals, grounded in their diametrically opposed aesthetic concerns. As in Jack Rabbit, Sommer used evenly dispersed light to create a visual field that privileged no one thing above the rest,4 reflecting both an aesthetic and a philosophical orientation concerned with the essential oneness of the world.5 On the other hand, Weston treated his dead birds in the same manner as his nudes or his peppers, expressing what he termed “the universality of basic form.”6 Using light to emphatically trace the contours of the birds’ forms, Weston visually separated them from their backgrounds and transformed them into abstract objects. Aligned with their concerns, the two artists typically chose different moments of death and decay to capture: For Sommer it was desiccated or decaying bodies and for Weston it was stripped bones or newly deceased bodies.
Although Weston’s Dead Man, Colorado Desert (1937) similarly focuses on the clearly defined form of a newly deceased body,7 there are crucial distinctions in its composition. Whereas Weston’s birds are photographed from above, aiding in their abstraction, the dead man is photographed from an angle to the side, which emphasizes both his human features and the bramble-filled space that he occupies (plate 83 [below]). His waist, legs, and one arm continue outside the frame to the top right. This makes Dead Man fundamentally different from Weston’s birds, because the man exists not as an abstract form, but as a body in space, a space that we can imagine Weston and his wife and collaborator Charis Wilson sharing and a space that we can imagine inhabiting ourselves.
Maggie Dethloff. “Violable Edges: Frederick Sommer’s and Edward Weston’s Photographs of Death in the Desert,” in Josie R. Johnson. Reality Makes Them Dream: American Photography, 1929-1941. Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, 2023, p. 131.
Edward Weston (American, 1886-1958)
Dead Vulture, Mojave Desert
1937
Edward Weston (American, 1886-1958)
Dead Man, Colorado Desert
1937
Gelatin silver print
The Capital Group Foundation Photography Collection at Stanford University
Cantor Arts Center Collection
While traveling through the Colorado Desert on a photography excursion for his Guggenheim Fellowship, Edward Weston came across the corpse of a recently deceased man. He had apparently become ill and stranded while traversing the harsh landscape. Despite the unexpected, and certainly disturbing, nature of this encounter, Weston seamlessly fit the subject into his photography practice. He made two photographs, one of which Life magazine published alongside a short narrative by Weston titled “Desert Tragedy.” In the text Weston explained: “He must have died that day. But whatever aid he got came too late, hunger and privation had wasted his body and the merciless sun had dried him up. But he was quite beautiful in death.”
Wall label from the exhibition
Cantor Arts Center
328 Lomita Drive at Museum Way
Stanford, CA
Phone: 650-723-4177
Opening hours:
Wednesday – Sunday, 11.00am – 5.00pm
Cantor Arts Center website
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Exhibition dates: 31st October, 2021 – 30th January, 2022
Curator: The exhibition is curated by Andrea Nelson, associate curator in the department of photographs, National Gallery of Art, Washington.
Marvin Breckinridge Patterson (American, 1905-2002)
Frontier Nursing Service, Kentucky
1937
Gelatin silver print
Sheet (trimmed to image): 24.2 x 18.8cm (9 1/2 x 7 3/8 in.)
Frame: 50.8 x 40.64cm (20 x 16 in.)
Frame (outer): 53.34 x 43.18cm (21 x 17 in.)
National Gallery of Art, Washington, Gift of Marvin Breckinridge Patterson
The first of a humungous three-part posting on this archaeological exhibition.
Combined with the posting I did on this exhibition when it was on view at The Metropolitan Museum of Art, this three-part posting will include over 160 new images from the exhibition… meaning a combined total over the four postings of over 200 images with biographical information.
This has been a mammoth effort to construct these postings but so worthwhile!
I will make comment on the exhibition in part 3 of the posting.
Dr Marcus Bunyan
Many thankx to the National Gallery of Art for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
Helen Levitt (American, 1913-2009)
New York
c. 1942
Gelatin silver print
Sheet (trimmed to image): 18.6 x 24.8cm (7 5/16 x 9 3/4 in.)
Frame: 35.56 x 45.72cm (14 x 18 in.)
Frame (outer): 38.1 x 48.26cm (15 x 19 in.)
National Gallery of Art, Washington, Gift of William H. Levitt
© Helen Levitt Film Documents LLC. All rights reserved
Courtesy of Thomas Zander Gallery
Renata Bracksieck (German, 1900-1992)
Karnevalslichter (Carnival Lights)
1920s-1930s
Gelatin silver print sheet (trimmed to image): 23.8 x 17.8cm (9 3/8 x 7 in.)
Frame: 50.8 x 40.64cm (20 x 16 in.)
Frame (outer): 55.25 x 45.09cm (21 3/4 x 17 3/4 in.)
National Gallery of Art, Washington, Patrons’ Permanent Fund
Renata Bracksieck (German, 1900-1992) was trained as a fashion designer at Christoph Drecoll’s in Berlin, and afterwards ran her own successful fashion studio in Bremen. She started taking photographs in 1929, but had been experimenting with and assisting her close friend and future husband Werner Rohde before. Her photographs were featured in the international exhibition Das Lichtbild in Munich in 1930. In 1937 she married Werner Rohde and subsequently was called Renata Bracksieck-Rohde. After he returned from a POW camp in 1945, they moved to the artist colony Worpswede near the city of Bremen, where they continued to live until their deaths.
Text from the Kicken Berlin website
Lotte Jacobi (American, 1896-1990)
Lieselotte Felger, die Wespentaille in dem Tanz, der Kreisel, Berlin (Lieselotte Felger as “Die Wespentaille” in the Dance “Der Kreisel,” Berlin)
1931
Gelatin silver print sheet (trimmed to image): 25.2 x 20.2cm (9 15/16 x 7 15/16 in.)
Frame: 50.8 x 40.64cm (20 x 16 in.)
Frame (outer): 53.34 x 43.18cm (21 x 17 in.)
National Gallery of Art, Washington, Patrons’ Permanent Fund
Lotte Jacobi (August 17, 1896 – May 6, 1990) was a leading American portrait photographer and photojournalist, known for her high-contrast black-and-white portrait photography, characterised by intimate, sometimes dramatic, sometimes idiosyncratic and often definitive humanist depictions of both ordinary people in the United States and Europe and some of the most important artists, thinkers and activists of the 20th century.
Read a fuller biography on the Wikipedia website
Yva (Else Ernestine Neuländer-Simon) (German, 1900-1944)
Ohne Titel (Schmuck) (Untitled (Jewellery))
c. 1930
Gelatin silver print
Image/sheet: 22.7 x 16.2 cm (8 15/16 x 6 3/8 in.)
Frame: 45.72 x 35.56 cm (18 x 14 in.)
Frame (outer): 50.17 x 40.01 cm (19 3/4 x 15 3/4 in.)
National Gallery of Art, Washington, Patrons’ Permanent Fund
Yva (26 January 1900 – 31 December 1944) was the professional pseudonym of Else Ernestine Neuländer-Simon who was a German Jewish photographer renowned for her dreamlike, multiple exposed images. She became a leading photographer in Berlin during the Weimar Republic.
When the Nazi Party came to power, she was forced into working as a radiographer. She was deported by the Gestapo in 1942 and murdered, probably in the Majdanek concentration camp during World War II.
Read a fuller biography on the Wikipedia website
Yva (Else Ernestine Neuländer-Simon) (German, 1900-1944)
Ohne Titel (Schmuck) (Untitled (Jewellery))
c. 1930
Gelatin silver print
Image: 19.05 x 15.24cm (7 1/2 x 6 in.)
Frame: 45.72 x 35.56cm (18 x 14 in.)
Frame (outer): 50.17 x 40.01cm (19 3/4 x 15 3/4 in.)
National Gallery of Art, Washington, Corcoran Collection
Gift of the Women’s Committee of the Corcoran Gallery of Art, Brenda and Robert Edelson Collection
Ilse Bing (German, 1899-1998)
Study for “Salut de Schiaparelli” (Lily Perfume), Paris
1934
Gelatin silver print
Overall: 28.2 x 22.3cm (11 1/8 x 8 3/4 in.)
Frame: 50.8 x 40.64cm (20 x 16 in.)
Frame (outer): 53.34 x 43.18cm (21 x 17 in.)
National Gallery of Art, Washington, Gift of Ilse Bing Wolff
During the 1920s, the iconic New Woman was splashed across the pages of magazines and projected on the silver screen. As a global phenomenon, she embodied an ideal of female empowerment based on real women making revolutionary changes in life and art. Featuring more than 120 photographers from over 20 countries, the groundbreaking exhibition, The New Woman Behind the Camera, explores the diverse “new” women who embraced photography as a mode of professional and personal expression from the 1920s to the 1950s. The first exhibition to take an international approach to the subject, it examines how women brought their own perspectives to artistic experimentation, studio portraiture, fashion and advertising work, scenes of urban life, ethnography, and photojournalism, profoundly shaping the medium during a time of tremendous social and political change. Accompanied by a fully illustrated catalogue, this landmark exhibition will be on view from October 31, 2021 through January 30, 2022, in the West Building of the National Gallery of Art, Washington. It was previously on view at The Metropolitan Museum of Art, New York, from July 2 through October 3, 2021.
In an era when traditional definitions of womanhood were being questioned, women’s lives were a mix of emancipating and confining experiences that varied by country. Many women around the world found the camera to be a means of independence as they sought to redefine their positions in society and expand their rights. This exhibition presents a geographically, culturally, and artistically diverse range of practitioners to advance new conversations about the history of modern photography and the continual struggle of women to gain creative agency and self-representation.
“This innovative exhibition reevaluates the history of modern photography through the lens of the New Woman, a feminist ideal that emerged at the end of the 19th century and spread globally during the first half of the 20th century,” said Kaywin Feldman, director, National Gallery of Art. “The transnational realities of modernism visualised in photography by women such as Lola Álvarez Bravo, Berenice Abbott, Claude Cahun, Germaine Krull, Dorothea Lange, Niu Weiyu, Tsuneko Sasamoto, and Homai Vyarawalla offer us an opportunity to better understand the present by becoming more fully informed of the past.”
About the exhibition
This landmark exhibition critically examines the extraordinary impact women had on the practice of photography worldwide from the 1920s to the 1950s. It presents the work of over 120 international photographers who took part in a dramatic expansion of the medium propelled by artistic creativity, technological innovation, and the rise of the printed press. Photographers such as Berenice Abbott, Ilse Bing, Lola Álvarez Bravo, Madame d’Ora, Florence Henri, Elizaveta Ignatovich, Germaine Krull, Dorothea Lange, Dora Maar, Niu Weiyu, Eslanda Goode Robeson, Tsuneko Sasamoto, Gerda Taro, and Homai Vyarawalla, among many others, emerged at a tumultuous moment in history that was profoundly shaped by two world wars, a global economic depression, struggles for decolonisation, and the rise of fascism and communism. Against the odds, these women were at the forefront of experimentation with the camera and produced invaluable visual testimony that reflects both their personal experiences and the extraordinary social and political transformations of the era.
Organised thematically in eight galleries, The New Woman Behind the Camera illustrates women’s groundbreaking work in modern photography, exploring their innovations in the fields of social documentary, avant-garde experimentation, commercial studio practice, photojournalism, ethnography, and the recording of sports, dance, and fashion. By evoking the global phenomenon of the New Woman, the exhibition seeks to reevaluate the history of photography and advance new and more inclusive conversations on the contributions of female photographers.
Known by different names, from nouvelle femme and neue Frau to modan gāru and xin nüxing, the New Woman was easy to recognise but hard to define. Fashionably dressed with her hair bobbed, the self-assured cosmopolitan New Woman was arguably more than a marketable image. She was a contested symbol of liberation from traditional gender roles. Revealing how women photographers from around the world gave rise to and embodied the quintessential New Woman even as they critiqued the popular construction of the role, the exhibition opens with a group of compelling portraits and self-portraits. In these works, women defined their positions as professionals and artists during a time when they were seeking greater personal rights and freedoms.
For many women, the camera became an effective tool for self-determination as well as a source of income. With better access to education and a newfound independence, female photographers emerged as a major force in studio photography. From running successful businesses in Berlin, Buenos Aires, London, and Vienna, to earning recognition as one of the first professional female photographers in their home country, women around the world, including Karimeh Abbud, Steffi Brandl, Trude Fleischmann, Annemarie Heinrich, Eiko Yamazawa, and Madame Yevonde, reinvigorated studio practice. A collaborative space where both sitters and photographers negotiated gender, race, and cultural difference, the portrait studio was also vitally important to African American communities which sought to represent and define themselves within a society that continued to be plagued by racism. Photography studios run by Black women, such as Florestine Perrault Collins and Winifred Hall Allen, thrived throughout the United States, and not only preserved likenesses and memories, but also constructed a counter narrative to the stereotyping images that circulated in the mass media.
With the invention of smaller lightweight cameras, a growing number of women photographers found that the camera’s portability created new avenues of discovery outside the studio. In stunning photographs of the city, photographers such as Alice Brill, Rebecca Lepkoff, Helen Levitt, Lisette Model, Genevieve Naylor, and Tazue Satō Matsunaga used their artistic vision to capture the exhilarating modern world around them. They depicted everyday life, spontaneous encounters on the street, and soaring architectural views in places like Bombay (now Mumbai), New York, Paris, São Paulo, and Tokyo, revealing the multiplicity of urban experience. Many incorporated the newest photographic techniques to convey the energy of the city, and the exhibition continues with a gallery focused on those radical formal approaches that came to define modern photography. Through techniques like photomontage, photograms, sharp contrasts of light and shadow, extreme cropping, and dizzying camera angles, women including Aenne Biermann, Imogen Cunningham, Dora Maar, Tina Modotti, Lucia Moholy, and Cami Stone pushed the boundaries of the medium.
Women also produced dynamic pictures of the modern body, including innovative nude studies as well as sport and dance photography. Around the world, participation in spectator and team sports increased along with membership in fitness and hygiene reform movements. New concepts concerning health and sexuality along with new attitudes in movement and dress emphasised the body as a central site of experiencing modernity. On view are luminous works by photographers Laure Albin Guillot, Yvonne Chevalier, Florence Henri, and Jeanne Mandello who reimagined the traditional genre of the nude. Photographs by Irene Bayer-Hecht and Liselotte Grschebina highlight joyous play and gymnastic exercise, while Charlotte Rudolph, Ilse Bing, Trude Fleischmann, and Lotte Jacobi made breathtaking images of dancers in motion, revealing the body as artistic medium.
During the modern period, a growing number of women pursued professional photographic careers and traveled widely for the first time. Many took photographs that documented their experiences abroad and interactions with other cultures as they engaged in formal and informal ethnographic projects. The exhibition continues with a selection of photographs and photobooks by women, mainly from Europe and the United States, that reveal a diversity of perspectives and approaches. Gender provided some of these photographers with unusual access and the drive to challenge discriminatory practices, while others were not exempt from portraying stereotypical views. Publications by Jette Bang, Hélène Hoppenot, Ella Maillart, Anna Riwkin, Eslanda Goode Robeson, and Ellen Thorbecke exemplify how photographically illustrated books and magazines were an influential form of communication about travel and ethnography during the modern period. Other works on display include those by Denise Bellon and Ré Soupault, who traveled to foreign countries on assignment for magazines and photo agencies seeking ethnographic and newsworthy photographs, and those by Marjorie Content and Laura Gilpin, who worked on their own in the southwestern United States.
The New Woman – both as a mass-circulating image and as a social phenomenon – was confirmed by the explosion of photographs found in popular fashion and lifestyle magazines. Fashion and advertising photography allowed many women to gain unprecedented access to the public sphere, establish relative economic independence, and attain autonomous professional success. Producing a rich visual language where events and ideas were expressed directly in pictures, illustrated fashion magazines such as Die Dame, Harper’s Bazaar, and Vogue became an important venue for photographic experimentation by women for a female readership. Photographers producing original views of women’s modernity include Lillian Bassman, Ilse Bing, Louise Dahl-Wolfe, Toni Frissell, Toni von Horn, Frances McLaughlin-Gill, ringl + pit, Margaret Watkins, Caroline Whiting Fellows, and Yva.
The rise of the picture press also established photojournalism and social documentary as dominant forms of visual expression during the modern period. Ignited by the effects of a global economic crisis and growing political and social unrest, numerous women photographers including Lucy Ashjian, Margaret Bourke-White, Kati Horna, Elizaveta Ignatovich, Kata Kálmán, Dorothea Lange, and Hansel Mieth engaged a wide public with gripping images. So-called soft topics such as “women and children,” “the family,” and “the home front” were more often assigned to female photojournalists than to their male counterparts. The exhibition asks viewers to question the effect of having women behind the camera in these settings. Pictures produced during the war, from combat photography by Galina Sanko and Gerda Taro to images of the Blitz in London by Thérèse Bonney and the Tuskegee airmen by Toni Frissell, are also featured. At the war’s end, haunting images by Lee Miller of the opening of Nazi concentration camps and celebratory images of the victory parade of Allied Forces in New Delhi by Homai Vyarawalla made way for the transition to the complexities of the postwar era, including images of daily life in US-occupied Japan by Tsuneko Sasamoto and the newly formed People’s Republic of China by Hou Bo and Niu Weiyu.
The New Woman Behind the Camera acknowledges that women are a diverse group whose identities are defined not exclusively by gender but rather by a host of variable factors. It contends that gender is an important aspect in understanding their lives and work and provides a useful framework for analysis to reveal how photography by women has powerfully shaped our understanding of modern life.
Exhibition catalog
Published by the National Gallery of Art, Washington and distributed by DelMonico Books | D.A.P., this groundbreaking, richly illustrated 288-page catalog examines the diverse women whose work profoundly marked the medium of photography from the 1920s to the 1950s. The book – featuring over 120 international photographers, including Lola Álvarez Bravo, Elizaveta Ignatovich, Germaine Krull, Dorothea Lange, Tsuneko Sasamoto, and Homai Vyarawalla – reevaluates the history of modern photography through the lens of the iconic New Woman. Inclusive scholarly essays introduce readers to these important photographers and question the past assumptions about gender in the history of photography. Contributors include Andrea Nelson, associate curator in the department of photographs, National Gallery of Art; Elizabeth Cronin, assistant curator of photography in the Miriam and Ira D. Wallach Division of Art, Prints, and Photographs, New York Public Library; Mia Fineman, curator in the department of photographs, Metropolitan Museum of Art; Mila Ganeva, professor of German in the department of German, Russian, Asian, and Middle Eastern languages and cultures, Miami University, Ohio; Kristen Gresh, Estrellita and Yousuf Karsh Senior Curator of Photographs, Museum of Fine Arts, Boston; Elizabeth Otto, professor of modern and contemporary art history, University at Buffalo (The State University of New York); and Kim Sichel, associate professor in the department of the history of art and architecture at Boston University; biographies of the photographers by Kara Felt, Andrew W. Mellon postdoctoral fellow in the department of photographs, National Gallery of Art.
Press release from the National Gallery of Art
Olga Máté (Hungarian, 1878-1961)
Horgász-stég (Fisherman’s Dock)
c. 1930
Gelatin silver print
Overall: 22.38 x 17.46cm (8 13/16 x 6 7/8 in.)
Frame: 45.72 x 35.56cm (18 x 14 in.)
Frame (outer): 48.26 x 38.1cm (19 x 15 in.)
National Gallery of Art, Washington, Patrons’ Permanent Fund
Olga Máté (1878-1961) was one of the first women Hungarian photographers, most known for her portraits. She was known for her lighting techniques and used lighted backgrounds to enhance her portraits and still life compositions. In 1912 she won a gold medal in Stuttgart at an international photography exhibit. Perhaps her best-known images are portraits she took of Mihály Babits and Margit Kaffka. She was also an early suffragist in Hungary and during the Hungarian White Terror assisted several intellectuals in their escapes.
Read a fuller biography on the Wikipedia website
Kata Kálmán (Hungarian, 1909-1978)
Weisz Ernö 23 éves gyári munkás, Budapest (Ernö Weisz, 23-Year-Old Factory Worker, Budapest)
1932, printed before 1955
Gelatin silver print image: 24.2 x 17.6cm (9 1/2 x 6 15/16 in.)
Frame: 45.72 x 35.56cm (18 x 14 in.)
Frame (outer): 48.26 x 38.1cm (19 x 15 in.)
National Gallery of Art, Washington, Patrons’ Permanent Fund
Marianne Brandt (German, 1893-1983)
Ohne Titel (Untitled)
1930
Photomontage on paper
Overall: 65 x 50.1cm (25 9/16 x 19 3/4 in.)
Frame: 89.22 x 73.98 x 4.13cm (35 1/8 x 29 1/8 x 1 5/8 in.)
National Gallery of Art, Washington, Gift of Pepita Milmore Memorial Fund, R. K. Mellon Family Foundation, and Thomas Walther
Marianne Brandt (1 October 1893 – 18 June 1983) was a German painter, sculptor, photographer, metalsmith, and designer who studied at the Bauhaus art school in Weimar and later became head of the Bauhaus Metall-Werkstatt (Metal Workshop) in Dessau in 1927. Today, Brandt’s designs for household objects such as lamps, ashtrays and teapots are considered timeless examples of modern industrial design. She also created photomontages. …
Brandt is also remembered as a pioneering photographer. She created experimental still-life compositions, but it is her series of self-portraits which are particularly striking. These often represent her as a strong and independent New Woman of the Bauhaus; other examples show her face and body distorted across the curved and mirrored surfaces of metal balls, creating a blended image of herself and her primary medium at the Bauhaus. Brandt was one of few women at Bauhaus who distanced herself from the fields considered more feminine at the time such as weaving or pottery.
Read a fuller biography on the Wikipedia website
Rosalie Gwathmey (American, 1908-2001)
Tobacco Picker, Rocky Mount, North Carolina
1943
Gelatin silver print
Image: 25.56 x 34.13cm (10 1/16 x 13 7/16 in.)
Frame: 40.64 x 50.8cm (16 x 20 in.)
Frame (outer): 43.18 x 53.34cm (17 x 21 in.)
National Gallery of Art, Washington, Gift of Mary and Dan Solomon and Patrons’ Permanent Fund
Rosalie Gwathmey or Rosalie Hook (September 15, 1908 – February 12, 2001) was an American painter and photographer known for her photos of black southern communities around her hometown of Charlotte, North Carolina. …
Her photography was known for capturing the lives of residents of Southern African American communities. She focused on black life in her home of Charlotte and Rocky Mount, North Carolina. She photographed many of the black sharecroppers and southern townscapes that became the basis of her husband’s paintings. While Rosalie’s social documentary photographs offer no stylistic revolution, her life and art reflect significant issues relating to politics and race relations in the United States during the 1940s. While in the Photo League, she worked with many radical photographers of the era: Paul Strand, Aaron Siskind, Sid Grossman, Dorothea Lange, Bernice Abbott, Lizette Modell, Walter Rosenblum, Dan Weiner, and Lou Stettner.
Text from the Wikipedia website
Marjorie Content (American, 1895-1984)
Adam Trujillo and His Son Pat, Taos
Summer 1933
Gelatin silver print
Image: 11.5 x 14.2cm (4 1/2 x 5 9/16 in.)
Frame: 35.56 x 45.72cm (14 x 18 in.)
Frame (outer): 38.1 x 48.26cm (15 x 19 in.)
National Gallery of Art, Washington, Purchased as the Gift of the Gallery Girls
© Estate of Marjorie Content
Marjorie Content (American, 1895-1984)
Marjorie Content (1895-1984) was an American photographer from New York City active in modernist social and artistic circles. Her photographs were rarely published and never exhibited in her lifetime. Since the late 20th century, collectors and art historians have taken renewed interest in her work. Her photographs have been collected by the Metropolitan Museum of Art and the Chrysler Museum of Art; her work has been the subject of several solo exhibitions.
She was married several times, including for a short period to Harold Loeb, a writer and the editor of the avant-garde journal, Broom. Her marriage to writer Jean Toomer in 1934 lasted more than 30 years, to his death. …
Photographic years (1926-1935)
Content began serious photography while married to her second husband, the painter Michael Carr. She used a 3+1⁄4 × 4+1⁄4 inch Graflex, and, after 1932, a 5×7 inch Graflex as well. Despite reports that Stieglitz taught her developing techniques, some scholars believe it was her friend Consuelo Kanaga. Content sometimes worked in Kanaga’s darkroom.
Her travels in the West and Southwest with painter Gordon Grant influenced her style toward a more formalist aesthetic. She briefly worked for the Bureau of Indian Affairs photographing rural Native American life. She married a third time, to Leon Fleischman.
In the 1930s Content was also close to painter Georgia O’Keeffe. In 1933 she traveled with her to Bermuda to nurse her through a depression. The following year, she drove with her to New Mexico, where O’Keefe had settled. Other close friends of this period included Stieglitz, Ridge, Sherwood Anderson, Paul Rosenfeld, and Margaret Naumburg, at whose Walden School in New York City both of her children were educated.
Read a fuller biography on the Wikipedia website
Madame d’Ora (Austrian, 1881-1963)
Mariette Pachhofer (later Mariette Lydis)
1921
Gelatin silver print image: 21.9 x 13.9cm (8 5/8 x 5 1/2 in.)
Mount: 38.7 x 26.4cm (15 1/4 x 10 3/8 in.)
Frame: 40.64 x 50.8cm (16 x 20 in.)
Frame (outer): 44.45 x 54.61cm (17 1/2 x 21 1/2 in.)
National Gallery of Art, Washington, Robert B. Menschel and the Vital Projects Fund and the R. K. Mellon Family Foundation
Madame d’Ora (Austrian, 1881-1963)
Dora Philippine Kallmus (20 March 1881 – 28 October 1963), also known as Madame D’Ora or Madame d’Ora, was an Austrian fashion and portrait photographer.
Dora Philippine Kallmus was born in Vienna, Austria, in 1881 to a Jewish family. Her father was a lawyer. Her sister, Anna, was born in 1878 and deported in 1941 during the Holocaust. Although her mother, Malvine (née Sonnenberg), died when she was young, her family remained an important source of emotional and financial support throughout her career.
She became interested in the photography field while assisting the son of the painter Hans Makart, and in 1905 she was the first woman to be admitted to theory courses at the Graphische Lehr- und Versuchsanstalt (Graphic Training Institute). That same year she became a member of the Association of Austrian photographers. At that time she was also the first woman allowed to study theory at the Graphischen Lehr- und Versuchsanstalt, which in 1908 granted women access to other courses in photography.
In 1907, she established her own studio with Arthur Benda in Vienna called the Atelier d’Ora or Madame D’Ora-Benda. The name was based on the pseudonym “Madame d’Ora”, which she used professionally. D’ora and Benda operated a summer studio from 1921 to 1926 in Karlsbad, Germany, and opened another gallery in Paris in 1925. She was represented by Schostal Photo Agency (Agentur Schostal) and it was her intervention that saved the agency’s owner after his arrest by the Nazis, enabling him to flee to Paris from Vienna.
Her subjects included Josephine Baker, Coco Chanel, Tamara de Lempicka, Alban Berg, Maurice Chevalier, Colette, and other dancers, actors, painters, and writers.
Text from the Wikipedia website
Alma Lavenson (American, 1897-1989)
Self-Portrait
1932
Gelatin silver print
Image: 17.9 x 24.5cm (7 1/16 x 9 5/8 in.)
Frame: 40.64 x 50.8cm (16 x 20 in.)
Frame (outer): 43.18 x 53.34cm (17 x 21 in.)
National Gallery of Art, Washington, Robert B. Menschel and the Vital Projects Fund, Diana and Mallory Walker Fund, New Century Fund, and the Eugene L. and Marie-Louise Garbáty Fund
© Alma Lavenson Archives, All Rights Reserved, 2020
Courtesy Susan Ehrens
Alma Ruth Lavenson (May 20, 1897, in San Francisco – September 19, 1989 in Piedmont, California) was an American photographer of the early 20th century. She worked with and was a close friend of Ansel Adams, Imogen Cunningham, Edward Weston and other photographic masters of the period.
Rogi André (French born Hungary, 1900-1970)
Dora Maar
1941
Gelatin silver print
Image: 17 x 11.9cm (6 11/16 x 4 11/16 in.)
Mount: 28 x 20cm (11 x 7 7/8 in.)
Frame: 45.72 x 35.56cm (18 x 14 in.)
rame (outer): 49.53 x 39.37cm (19 1/2 x 15 1/2 in.)
National Gallery of Art, Washington, Robert B. Menschel and the Vital Projects Fund
Rogi André (born Rozsa Klein, 10 August 1900, Budapest – 11 April 1970, Paris) was a Hungarian-born French photographer and artist. She was the first wife of André Kertész. …
In 1935, the photographer and theoretician of photography Emmanuel Sougez, writing in the journal Arts et Métiers Graphique compared the photography of Rogi André and that of Laure Albin Guillot, and criticised the former for posing her subjects in their environment. Some critics have noted in her portraits an influence of Cubism, for example in the portrait of Dora Maar (c. 1940) in which she creates a geometric composition using the play of shadows and lights.
What a life she had!
Read a fuller biography on the Wikipedia website
Anna Barna (Hungarian, 1901-1964)
Leskelodo (Onlooker)
1930s
Gelatin silver print
Image: 22.6 x 16.9cm (8 7/8 x 6 5/8 in.)
Frame: 45.72 x 35.56cm (18 x 14 in.)
Frame (outer): 48.26 x 38.1cm (19 x 15 in.)
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[] |
[] |
[
"US Army Field Band",
"Airmen of Note",
"Jazz Ambassadors",
"\"UNC Jazz Lab Band I\"",
"\"Gene Aitken\""
] | null |
[] | null |
en
|
../../favicon.ico
|
http://www.ericrichards.com/bio/selected-recordings/index.html
|