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impressivepress · 4 years ago

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The Striking Absence in the Detroit Institute of Arts’s Diego Rivera and Frida Kahlo Blockbuster

“The number of reverberations between then and now becomes horrible, and frightening, and amazing.” So said Detroit Institute of Arts curator Mark Rosenthal last week, at a preview of “Diego Rivera and Frida Kahlo in Detroit.” He’s right, possibly more so than even he knows.

During the Great Depression, the museum almost went under; the storm of publicity surrounding its commission of Diego Rivera’s epic Detroit Industry frescoes in 1932 saved it, inspiring the city to step in to fund DIA. Having just suffered another near-death experience amid Detroit’s recent bankruptcy, DIA is clearly hoping this show focusing on the art-history power couple’s year in Motor City can serve as a symbolic comeback. It will certainly bring crowds. (The show runs through July 12.)

Of course, by now it is Frida, not Diego, who is the main attraction (see Frida Fever: Iconic Photos of Frida Kahlo by Edward Weston and Others at Throckmorton). The Detroit Institute of Arts’s new crowd-pleaser is unlikely to change that gospel; her mordant self-examination just feels more contemporary than his grandiose political allegory.

And yet “Diego and Frida in Detroit” shows the Rivera/Kahlo pairing in a new light for me. There’s a story to be told—and since we are talking about parallels to the present, that should be told—about their art’s relative merits that is less about our changing tastes, and more about the tangled relationship of art and money, art and power.

The show features work from “Before,” “After,” and “During” their sojourn in Detroit in 1932.

In the first category are examples of Rivera’s stately images of flower sellers, as well as Kahlo’s double wedding portrait of the two—he a giant, she tiny—painted while they were visiting San Francisco in 1931 (this picture represents the first time her self-conscious costuming makes an appearance in her art).

“After” features a focused but wide-ranging gathering of canvasses that give a sense of where they each wound up, aesthetically: Rivera’s stylish, willowy Portrait of Ruth Rivera (1949), his daughter from an earlier marriage; Kahlo’s gory true-crime painting A Few Small Nips (1935), showing a man having just butchered his wife.

But the heart of the show clearly resides in the galleries that chronicle the crucial year of 1932: the large-scale cartoons Rivera made to plan Detroit Industry, his meticulous 27-panel cycle depicting scenes from Ford’s River Rouge plant, which surround the DIA’s Rivera Court, and which are widely considered Rivera’s most important mural work in the United States. Also in these galleries are Kahlo’s series of canvasses and drawings showing her sharp turn towards Surrealism.

Detroit’s Agony

When they arrived in Detroit, the 44-year-old Rivera was one of the most celebrated artists in the world. As the key exponent of “Mexican Muralism,” he had built up a level of art fame that is now probably unthinkable. His retrospective at the young Museum of Modern Art was only the institution’s second devoted to a single figure. The first was Matisse.

His wife, 25, was a brash near-unknown. The two had ejected themselves from the Mexican Communist Party in 1929, but were still celebrity radicals, given to blustery anti-capitalist talk and mercurial symbolic gestures. The commission for Detroit Industrywas $20,000 at the height of the Great Depression, more than $300,000 today. It would be paid for by Edsel Ford, the son of Henry and the chief of the Ford Motor Company, the era’s single most emblematic capitalist name.

Detroit, meanwhile, was deep in the throes of the Depression, swollen with the homeless and unemployed. Ford’s River Rouge plant, which Rivera would depict with such muscular bravado in Detroit Industry, had laid off thousands of workers and was operating at reduced capacity. Pay had been slashed for the remaining workers—River Rouge paid more than $181 million in wages in 1929; two years later, just $76 million. Two months before the couple arrived, workers had marched on that very plant, demanding higher pay. Company security and police reacted with violence, killing six. The result came to be known as the “Ford Massacre.”

Rivera’s Compromise

As he had been everywhere he went on his US tour, Rivera was wined and dined in Detroit. He would remember that Henry Ford was a “true poet and artist” and that Edsel had the “simplicity and directness of a workman in his own factories.” Kahlo seems to have been less enthused, resorting to impotent needling of their hosts, asking Henry, a well-known anti-Semite responsible for injecting the Protocols of the Elders of Zion into the public mind, whether he himself was Jewish.

How did Rivera square the circle of his revolutionary beliefs and his arch-capitalist patron in his head? A book could be written about the combination of industrial romanticization (he claimed that during his visit to Russia in 1927-28, he had seen Ford’s image revered alongside Marx and Lenin) and artistic self-delusion (he believed that if he won the Yankee masses to his mural style, he had secured a public for revolutionary art) at play, but there is no doubt that it deeply compromised him, politically and artistically.

Detroit Industry is a heroic and memorable depiction of factory labor, which is not nothing. It has passed deep into Detroit’s civic symbolism. But the striving enfilade of auto workers who form its central image are stolid, impassive—it is a picture of labor peace painted at a time of labor strife. They are also pointedly multiracial, when in fact the Fords kept their plants segregated.

Most importantly, it is, ultimately, a celebration of the boss: Edsel Ford, inserted in a panel at the corner in the manner of Renaissance paintings of patrons, gazes out benignly. It is a bravura work, but it is also an image that could serve in any PR pamphlet emphasizing Ford’s “progressive” corporate values—which is how it has often functioned.

As his final act in Detroit, Rivera wrote to Edsel Ford, asking him to rehire one W.J. Settler, a photographer with whom the artist had worked. In the words of Rosenthal’s catalogue essay, Settler “had been fired from his job with the Ford Company for smoking in his own home, thus violating one of the rules for employees.”

Edsel Ford did not rehire Settler. On some level, Rivera must have known that he had let himself be used.

Indeed, with some of this in mind, the most famous controversy of Rivera’s career—when, in the ensuing months of 1933, he inserted an image of Lenin (and what Rivera would describe as “a night-club scene of the debauched rich” featuring John D. Rockefeller, Sr.) into his Rockefeller Center mural commission in New York, provoking its destruction—appears to be a desperate grab at socialist credibility after a very public cop-out in Detroit.

Kahlo’s Breakthrough

In the lead up to Rivera commencing Detroit Industry, Kahlo became pregnant. On July 4, 1932, she lost the child. (The DIA show’s public text and audio indicate a miscarriage; the catalogue authors suggest that it was a self-induced abortion; I gather the truth is not known.) The emotion of this event, all the more focused as Kahlo felt stranded in a hostile city, knocked her art in a new direction, with lasting effects.

The painting that compresses all this is the compact, devastating Henry Ford Hospital. A bed floats in a barren plane. On it, Kahlo has painted herself, blood staining the sheets. Red threads branch from her abdomen connecting to various floating objects, hieroglyphic representations of trauma: an anatomical model; a crumpled orchid, inspired by the ones that Rivera had brought her in the hospital; a fractured pelvic bone; and so on.

Rivera’s art was seemingly affected by the loss of the child as well, possibly accounting for the most idiosyncratic element of Detroit Industry. He had been planning a tableau of agricultural labor for the main East Panel. Now this section was taken over by an image of an unborn child, cradled in the bulb of a plant, a bit of personal mythology embedded in this very public statement.

But most importantly to me is how Kahlo’s laceratingly personal Henry Ford Hospital can be read as a kind of rebuttal to Rivera’s mythologization of Detroit. On the side of the blood-soaked bed, Kahlo has stamped the title, “Henry Ford Hospital.” Yet she has placed herself not in the interior of the hospital, but outdoors, exposed in public; on the horizon in the background, Detroit’s industrial architecture is arrayed like a collection of castoff toys—the very structures that her husband was researching with a view to glorify. It is as if the painting were saying, “All is not right in the world of Henry Ford.”

Here, then, is an aesthetic hypothesis: If Kahlo’s work strikes us today as more alive, this is not only because social realism has gone out of vogue in favor of the intimate and the psychological. It’s almost the opposite, I think: Because Rivera became trapped in celebrating his host, he had to step back from the painful reality of the world he was depicting; Kahlo’s art, unencumbered by this burden and focusing on her own experience, actually does express some of that missing reality.

In this case, because Kahlo’s work is more personal, it is also more political.

Ford’s Gamble

There’s one final, long footnote on a part of the story of Diego and Frida in Detroit that doesn’t get told correctly.

Part of the legend of Rivera’s Detroit Industry, cementing its reputation as an enduringly subversive work, is the uproar surrounding its opening. Upon its unveiling in early 1933, conservatives protested the murals as atheistic, communist, dangerous. The debate in the press attracted hoards to the opening. There was even a bloc of workers who organized to defend Rivera’s opus.

Edsel Ford is given credit for having put a lid on the fracas by issuing a statement to those alarmed at the specter of the Mexican artist’s socialist politics that declared, “I admire Rivera’s spirit.” A key detail, however, is that this controversy was very possibly trumped up by Edsel Ford in the first place by planting incendiary stories in the papers. According to current DIA director Graham Beal, when Ford’s assistant showed him the attacks on the murals in the papers, the industrialist is said to have told him that “we’d accomplished what he wanted.”

Why? Ford had been personally bankrolling the museum through the Depression. The Rivera controversy attracted popular attention; the popular attention brought in big crowds; and the big crowds convinced the city to raise the museum’s budget, thereby taking a money-suck off his hands.

But there is another, much more important piece of context that doesn’t get nearly enough attention in telling the tale of Detroit Industry: the Detroit Banking Crisis of 1933, a disaster in which Edsel and Henry Ford played a very, very prominent role. To escape his father’s long shadow, Edsel had moved into banking in the 1920s, heading up the Guardian Trust Company. It expanded rapidly and unwisely, gobbling up smaller banks with real estate holdings that went dramatically sour after the stock market crash of 1929.

Throughout the entire period of the commission, creation, and unveiling of Detroit Industry, Edsel Ford would have been principally consumed with the intensifying crisis. He personally had to inject money into Guardian to backstop its escalating losses. Looking over its books, the national bank examiner would describe its operations as “the worst I’d ever seen.” In February, the government desperately tried to broker a rescue—but the deal would have involved Henry Ford freezing his massive deposits. Instead, the elder Ford threatened to remove them, ensuring disaster. “Let the crash come,” said the man Rivera remembered as a poet.

On February 14, 1933 after Ford refused the Feds’ rescue plan, all banks in the state of Michigan were shuttered. Five days later, on February 19, the first cartoons for Detroit Industry were shown at DIA.

This Lehmann Brothers moment—touching off a cascade of panic—was the immediate context of the unveiling of the work. Banks would not open again until March 24; and the Rivera Court, transformed with Rivera’s murals, debuted on March 21.

Perhaps the controversy that roared up around the DIA murals was fueled by their association with Edsel Ford. Indeed, the same right-wing radio preacher who attacked Rivera’s Vaccination panel as sacrilegious had been inveighing relentlessly against “banksters,” provoking alarming deposit withdrawals from his followers on Mondays after his sermons.

Yet one can also imagine that Edsel Ford might actually prefer, at such a moment, having a spotlight on his support of a left-wing artist’s depiction of labor instead of his role as figurehead of a failed company that was unleashing nationwide economic chaos.

Indeed, Ford’s support of Rivera continues to play that role to this day. Consider the catalogue for the present show, which contains an essay by John Dean titled, “‘He’s the Artist in the Family’: The Life, Times and Character of Edsel Ford,” extolling his “love of place, family, hard work, self-reliance, community, capitalism, and competition.” Dean argues that Edsel Ford’s partnership with Rivera makes him an example of the “businessman as artist.” He does not mention his role in one of the most catastrophic incidents of the Great Depression, despite its proximity to the Rivera event.

A little radical art patronage, it seems, buys you a lot of good PR, and for eternity. But it would be a shame to let the allure of art celebrity occlude what should be the larger moral of this show’s story, one that seems very relevant for the present indeed: Ford giveth, and Ford taketh away.

~ Ben Davis · March 16, 2015.

#diego rivera #frida kahlo #painting #exibition review #review #detroit industry murals #artnet

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chrismalcolmhnd2c · 4 years ago

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White shirts

©Alex Franco

©The cloth project

“What lies behind appearance is usually another appearance” Mason Cooley

Research the Narrative

Within your blog/workbook – research Social Portraiture. There will be more task and support within the Contextual Studies Class.

Tell the Story

This brief will form your introduction to the new Covid 19 rules within the studios and the store at COGC and will help you get to know your research/studio group.

Re - familiarise yourself with the equipment available to you in the studio and store. Take note of any new procedures required to keep you and your group safe whilst in the studio.

Make a portrait of one or more of your group.

Demonstrate your understanding of metering within the studio.

The theme for this shoot is very simple. Your sitter/s should wear plain white shirt/s.

Make sure all equipment is cleaned down as per requirements from the store.

Edit and refine: Complete worksheet

Professional practice – Health and safety considerations when working with others.

market awareness – workflow – presentation options.

Colour correction and image optimisation.

Maintaining clean white through white balance.

Submission: 1 Final A3 300ppi jpeg folio ready image. Upload to my city.

Social Portraiture Research

The term “social portraiture”, references the art of capturing a social moment, with careful attention paid to elements such as emotion, personality, as well as a possible representation of the events that led up to that particular moment.

Portraits are effective when they speak to both the informational and the social—showing, telling and inviting the imagination.

A posed or contrived portrait inevitably results in conceptual shallowness. To understand social portraiture, one also has to understand the context (personal, social, political) which led to a particular moment being captured.

Inspirational photographers are largely the ones who mastered the careful balancing act of emotion and information to create portraits which strike a chord with the viewer: Richard Avedon, William Eggleston, Nadav Kander, Milton Rogovin, and Les Krims as examples.

Source: http://jeffemtman.com/jeff-emtman-concentration.pdf

The word “portrait” comes from the Latin “portrahere,” translated as “to drag out, reveal, expose.” (Walker, 16). Wikipedia provides a good example of the common understanding to which these roots have developed. “A portrait is a painting, photograph, sculpture, or other artistic representation of a person, in which the face and its expression is predominant. The intent is to display the likeness, personality, and even mood of the person.” The more rigorous Oxford English Dictionary (OED) gives several distinct definitions for “Portrait,” each with its own variants. The first, and most common, echoes Wikipedia: “A drawing or painting of a person, often mounted and framed for display, esp. one of the face or head and shoulders. Also, an engraving, photograph, etc., in a similar style.” A variant for sculpture also appears: “A statue (full size or as a bust), an effigy.

Source: https://lucian.uchicago.edu/blogs/mediatheory/keywords/portrait/

An important area of "contact" between photography and sociological research, in terms of subject matter, and to some degree, intent (e.g. charting societal change and raising social issues) is "social documentary photography". Current researchers in visual anthropology/sociology are well aware of social documentary photography and the use of the combination of photographs and text in the "documentary photo book”. There is growing interest, at least in Britain, in the history and recent development of forms of social documentary photography, by photographers, cultural critics and galleries, as indicated by publication of both newer and older work. Prominent recent photographic issues have been focused around the connections between photography, surveillance and voyeurism, etc. and the possibilities of street photography in current socio-political contexts. This tradition of social investigation and documentary reportage (PRICE, 2004) can be traced back to RIIS's photographs of the poor in New York in the late 19th century; HINE's images of work people and social conditions (c.f. with the Pittsburgh Survey) in the early 20th century; and the famous work of the Farm Security Administration (FSA) in the US and other documentary in the 1930s, depicting the lives of farm workers and others.

A related documentary form is the "photo-essay" found in the photo-magazine in the inter-war years up to the early 1950s. The "pinnacle" of the "photo-book", which also broke "beyond" the "genre", was AGEE and EVANS's "Let Us Now Praise Famous Men" (originally to be an article for Fortune) based on the lives of three farming families. It is a poetical, biblical, factual, descriptive, radically auto-ethnographic script which veers from the smallest aspects of the life of poor tenant farmers to profound questions of human existence. One very striking feature of the work requires comment: EVANS's photographs (including individual and group portraits) are displayed uncaptioned at the very start of the book. Another "tradition" of the "photo-book" can be identified, leading back (in particular) to the work of BRASSAI on Paris, and BRANDT on the "English", in the 1930s (BROOKMAN, 2007; CAMPANY, 2006; DELANY, 2004; POIRIER, 2005) and surrounded by a broader current of "humanistic realism". This was followed during the mid 1950s, when an ambivalent, alienated, or ironic view of social life (often transgressing photographic conventions) was offered in Robert FRANK's "travelogue" across the U.S. and William KLEIN's view of New York. This work not only pointed to social division and the gap between reality and illusion, it was also a personal account of creativity and experience. It was influential on the growth of "street photography" (with its mix of the "quirky" and "mundane") depicting urban lives, during the 1960s and 1970s. Roy E. STRYKER, who directed the photographic work of the FSA (Farm Security Administration) from 1935, was an economist who had previously made extensive use of photographs.

The work and life of Dorothea LANGE, in particular, is undergoing renewed attention and reassessment—in terms of the "aesthetics" of her photographs (i.e. according to her "realism" and "humanism"), and the "politics" of her photographs and photographic practice. Her "classic" photo-book, "An American Exodus" (1939) (with Paul TAYLOR), and her "reports from the field" are still of interest for social documentarians (e.g. the relation between photographs, and also between photographs and types of text, including quotes, description, and background or "found" materials).

The above areas of photography (social documentary, photo book, street photography, and related areas) are important sources of portraiture since they show people situated within their everyday social situations. To these "genres" can be added, for research purposes, "found" sources such as professional portraiture (in the studio and elsewhere) and informal picture-taking (by friends, families, etc). Finally, at least some mention should be made regarding the "documentary" work oral historians who have long used portrait and other photographs in the study of working lives, communities, health, migration and other areas and more recently have pioneered Web based resources.

Source: https://www.researchgate.net/publication/277219754_Photographic_Portraits_Narrative_and_Memory#pf8

Editing workbook: WHITE SHIRT.

STUDIO CHECKLIST: Health and safety in the studio due to covid 19

Please refer to this before and after all shoots

Activity: White Shirts

Does this activity require the use of a photographic studio?

Lighting, backdrop and flags req.

Are you free of all symptoms attributed to covid – 19?

Are you wearing a face mask? (unless exempt)

Apart from when being the model.

Are you able to maintain a safe social distance of 2m?

Have you made sure it is only you and your studio partner that are in your studio space?

Our group is 3.

Have you access to hand sanitizer?

Is your equipment clean?

If borrowing or lending equipment have you used hand sanitizer before and after use?

PC cord.

If working with studio equipment have you cleaned the work area and kit before and after use?

Have you read the most recent government and college guidelines on social distancing?

Have you effectively pre planned your shoot?

Have you effectively planned your time in the studio, to make the most of your studio day?

NB: If you come across a studio that has been left untidy or see other students not following guidelines, please report immediately and confidentially to your lecturer or guidance tutor.

The “white” part of this brief is vital in the success of the image, consider the ways in which control the white balance of the image, both in shooting and editing to obtain the crispest white you can for the shoot.

White balance

Find a diagram that explains colour temperature, in relation to photography

Source: https://www.shutterstock.com/blog/color-temperature-3-point-lighting-basics

Explain or show diagram of how you correct white balance using your camera.

The best way to obtain the correct white balance is through the “Preset (PRE)” setting. Simply hold a white card in front of the camera lens and press the shutter button. The camera will then read the correct colour temperature of the light that gets reflected from the white card and will use it instead.

The process of changing white balance in a digital camera varies from manufacturer to manufacturer and model to model. For example, most Nikon professional cameras such as Nikon D300s/D700/D3s have a dedicated “WB” button on the top dial, while cameras such as Nikon D90 have a “WB” button on the back of the camera close to the LCD screen. So, in order to change it, all I need to do is hold the WB button with one hand, then rotate the rear dial counter-clockwise. All current Nikon DSLRs also allow you to change white balance through a menu setting.

Source: https://photographylife.com/what-is-white-balance

Explain the difference between colour correction and colour grading.

Colour correction is a technical process that fixes colour issues and makes images appear as natural as possible. The idea is for colours to look clean and real, as human eyes would see them in the real world.

Colour grading is also technical, but it's more of a creative process. The colour grading process adds atmosphere and emotion to shots by colouring images in new, often unnatural ways.

Source: https://www.studiobinder.com/blog/color-grading-vs-color-correction-process/

Explain your editing workflow to correct colour casts.

Method 1

The “Levels Adjustment Layer” tool in Photoshop that can be used to remove and neutralise colour cast.

Method 2

When a colour cast is dominant, the “Match Colour” technique will make the biggest difference and it requires only one click.

· Go to Image -> Adjustments -> Match Colour

· In the window that appears, check the box for Neutralise

· Click OK

Method 3

Use the “Temp” and “Tint” sliders

To remove a colour cast manually, drag the “Temp” slider to the left to cool your photo or drag it to the right to warm it.

If you have a green or magenta tint, use the “Tint” slider to offset it. Drag the tint slider to the left to add green or drag it to the right to add magenta.

Method 4

Use the “White Balance Selector”

· The White Balance Selector, often called the eyedropper tool, can remove a colour cast with one click. Click the eyedropper icon to select the tool. Then click an area in your photo that you think should be neutral grey.

Your own shoot.

Lighting diagram: showing how you set up your studio for the shoot.

For these shots, we first set up a black backdrop with strobes set up as per the diagram above and used an LED ring light positioned first centre and straight on to the model. We also used flags to reduce the light spill from the strobes onto our subject.

For the second half of our shoot, we used a white backdrop and swapped the ring light for a soft box, positioned centre, then left then right.

Four best images

What do you like about this image?

I think this image works well as it has good catchlights (we used a ring light) and I like the defining shadows on the right-hand side of the models face.

What do you like about this image?

I like the viewpoint of this image as it portrays the model in a position of dominance and power. I also think the low-key lighting on the left of the subject’s face works well and adds drama to the shot.

What do you like about this image?

I like the natural pose and composition of this shot. I also think the catchlights work well to engage the viewer.

What do you like about this image?

This shot works well as the focus is sharp on the model’s face, while sightly soft on her hair which helps convey the motion in the image.

BEST IMAGE EDIT: Before

What edits would best optimise this image?

This image would benefit from being colour corrected in Photoshop (I feel it is slightly warm and has too much red, so would reduce the colour temperature to make the image cooler) I would also crop the shot to cut out the small section of hand showing on the right, along with using the “Spot Heal” tool to smooth out some areas around the face and “Dodge” and “Burn” tools to lighten the teeth to make them more white and reduce some of the slightly blown out highlights on the model’s nose and chin. I also plan on adding a very small amount of “Clarity” and increasing the contrast slightly.

BEST IMAGE EDIT: After.

How have your edits improved the whiteness of your shirt?

Yes, I feel the colour of the shirt is a lot more natural looking now and closer to how it appears to the naked eye. I think the other edits, as described above, also enhance and improve the image.

#white

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go-redgirl · 5 years ago

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Diahann Carroll, Pioneering Actress on ‘Julia’ and 'Dynasty,’ Dies at 84

She also landed an historic Tony Award, plus an Oscar nomination for her performance in 'Claudine.'

Diahann Carroll, the captivating singer and actress who came from the Bronx to win a Tony Award, receive an Oscar nomination and make television history with her turns on Julia and Dynasty, has died Friday. She was 84.

Carroll died at her home in Los Angeles after a long bout with cancer, her daughter, producer-journalist Suzanne Kay, told The Hollywood Reporter.

Carroll was known as a Las Vegas and nightclub performer and for her performances on Broadway and in the Hollywood musicals Carmen Jones and Porgy & Bess when she was approached by an NBC executive to star as Julia Baker, a widowed nurse raising a young son, on the comedy Julia.

She didn't want to do it. "I really didn't believe that this was a show that was going to work," she said in a 1998 chat for the website The Interviews: An Oral History of Television. "I thought it was something that was going to leave someone's consciousness in a very short period of time. I thought, 'Let them go elsewhere.' "

However, when Carroll learned that Hal Kanter, the veteran screenwriter who created the show, thought she was too glamorous for the part, she was determined to change his mind. She altered her hairstyle and mastered the pilot script, quickly convincing him that she was the right woman.

Carroll thus became the first African-American female to star in a non-stereotypical role in her own primetime network series. (Several actresses portrayed a maid on ABC's Beulah in the early 1950s.)

Baker, whose husband had died in Vietnam, worked for a doctor (Lloyd Nolan) at an aerospace company; she was educated and outspoken, and she dated men (including characters played by Fred Williamson, Paul Winfield and Don Marshall) who were successful, too.

"We were saying to the country, 'We're going to present a very upper middle-class black woman raising her child, and her major concentration is not going to be about suffering in the ghetto,' " Carroll noted.

"Many people were incensed about that. They felt that [African Americans] didn't have that many opportunities on television or in film to present our plight as the underdog … they felt the [real-world] suffering was much too acute to be so trivial as to present a middle-class woman who is dealing with the business of being a nurse.

"But we were of the opinion that what we were doing was important, and we never left that point of view … even though some of that criticism of course was valid. We were of a mind that this was a different show. We were allowed to have this show."

Julia, which premiered in September 1968, finished No. 7 in the ratings in the first of its three seasons, and Carroll received an Emmy nomination and a Golden Globe for her work.

As the sultry fashionista Dominique Deveraux — the first prominently featured African-American character on a primetime soap opera — Carroll played a much edgier character for three seasons on ABC's Dynasty and its spinoff The Colbys, delightfully dueling with fellow diva Alexis Carrington Colby (Joan Collins).

While recuperating after starring on Broadway in Agnes of God, Carroll had found herself digging Dynasty — "Isn't this the biggest hoot?" she said — and lobbied producer Aaron Spelling for a role on his series.

"They've done everything [on the show]. They've done incest, homosexuality, murder. I think they're slowly inching their way toward interracial," she recalled in a 1984 piece for People magazine. "I want to be wealthy and ruthless … I want to be the first black bitch on television."

Carroll made perhaps her biggest mark on the big screen with her scrappy title-role performance in Claudine (1974), playing a Harlem woman on welfare who raises six children on her own and falls for a garbage collector (James Earl Jones).

The part was originally given to her dear friend, Diana Sands. But when Sands (who had played Julia Baker's cousin on several episodes of Julia) was stricken with cancer, she suggested Carroll take her place.

"The producers said, 'How can she do this role? No one would believe she could do it," Carroll said. "I remember the headline in the paper: 'Would you believe Jackie Onassis as a welfare mother?' … The very coupling of the name Jackie Onassis and Diahann Carroll is very interesting, if you think about it. There question was, how do we make anyone believe that she has [six] children? And to be nominated for an Academy Award, to do that, it was the best, the best."

Carol Diahann Johnson was born in Fordham Hospital in the Bronx on July 17, 1935. Her father, John, was a subway conductor when she was young, and her mother, Mabel, a nurse. She won a scholarship to the High School of Music & Art, where Billy Dee Williams was a classmate.

At 15, she began to model clothing for black-audience magazines like Ebony,Tan and Jett. Her dad disapproved at first, then began to reconsider when she told him she had earned $600 for a session.

Her parents drove her to Philadelphia on many weekends so she could be a contestant on the TV talent show Teen Club, hosted by bandleader Paul Whiteman. And then she won several times on Arthur Godfrey's Talent Scouts program, where she first billed herself as Diahann Carroll.

After enrolling at NYU to study psychology, she appeared on the Dennis James-hosted ABC talent show Chance of a Lifetime in 1953 and won for several weeks. One of her rewards was a regular engagement to perform at the famed Latin Quarter nightclub in Manhattan.

Christine Jorgensen taught her how to "carry" herself onstage, she said, and she moved in with her manager, training and rehearsing every day. She soon was singing in the Persian Room at New York's Plaza Hotel and at other hotspots including Ciro's, The Mocambo and The Cloister in Hollywood, The Black Orchid in Chicago and L'Olympia in Paris.

She soon dropped out of college to pursue performing full-time and was brought to Los Angeles to audition for Otto Preminger's Carmen Jones (1954), landing the role of Myrt opposite the likes of Harry Belafonte and Dorothy Dandridge.

At the end of 1954, she made her Broadway debut as the young star of the Truman Capote-Harold Arlen musical House of Flowers. Walter Kerr in The New York Herald Tribune called her "a plaintive and extraordinarily appealing ingenue."

She was cast to play Clara in Preminger and Rouben Mamoulian's movie adaptation of Porgy and Bess (1959), but her voice was considered too low for her character's Summertime number, so another singer dubbed for her.

She met Sidney Poitier on that film, thus beginning what she described as a "very turbulent" nine-year romance with him. (Carroll then had first non-singing movie role, playing a schoolteacher opposite Poitier, Paul Newman and Joanne Woodward in 1961's Paris Blues).

She would become renowned for her phrasing, partially a result of her studying with Lee Strasberg at the Actors Studio.

In 1963, she earned the first of her four career Emmy noms for portraying a teacher yet again on ABC's gritty Naked City.

Richard Rodgers spotted her during one of her frequent singing appearances on Jack Paar's Tonight Show and decided to compose a Broadway musical for her. After scrapping the idea to have her portray an Asian in 1958's Flower Drum Song, he wrote 1962's No Strings, a love story revolving around an African-American fashion model (Carroll) and a nebbish white novelist (Richard Kiley).

His first effort following the death of longtime collaborator Oscar Hammerstein II, it brought Carroll rave reviews and a Tony Award, the first given to a black woman for best actress in a lead role of a musical.

Soon after hosting a CBS summer replacement variety show in 1976, she retired from show business and moved to Oakland. Landing the role of Dominique — the half-sister of John Forsythe's Blake Carrington — in 1984 put her back on the map in Hollywood.

She told the show's writers: "The most important thing to remember is write for a white male, and you'll have the character. Don't try to write for what you think I am. Write for a white man who wants to be wealthy and powerful. And that's the way we found Dominique Deveraux."

More recently, Carroll had recurring roles as Jasmine Guy's mother on NBC's A Different World, as Isaiah Washington's mom on ABC's Grey's Anatomy and as a Park Avenue widow on USA's White Collar. She also appeared in such films as Eve's Bayou (1997) and on stage as Norman Desmond in a musical version of Sunset Blvd.

She was inducted into the Television Hall of Fame in 2011.

Carroll recorded several albums during her career and wrote the memoirs Diahann, published in 1986, and The Legs Are the Last to Go: Aging, Acting, Marrying, Mothering and Other Things I Learned Along the Way, in 2008.

She was married four times: to Monte Kay, a manager and a casting consultant on House of Flowers; to Freddie Glusman, a Las Vegas clothier (that union lasted just a few weeks); to magazine editor Robert DeLeon (he died in an auto accident in 1977); and to singer Vic Damone (from 1987 until their 1996 divorce). She also had a three-year romance with talk-show host David Frost.

In addition to her daughter, survivors include her grandchildren, August and Sydney.

Duane Byrge contributed to this report.

________________________________________________

OPINION: May Diahann Carroll rest in peace! She was a great actress for many years.🙏

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vintagereveries · 4 years ago

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A Brief History of the St. Louis Municipal Theater Association (as written in 1943)

This entry is part 2 of 13 in the series St. Louis Municipal Opera 1943

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These pages from the 1943 St. Louis Municipal Opera program include the Municipal Opera Productions Directory (from 1919-1942), and a brief history and facts about the Municipal Theatre Association.

Advertisers in these pages included:

Marlboro Cigarettes

Cook’s Champagne and wine

Mrs. Frederick Nussbaum personal training

Oldani’s Restaurant

St. Louis Band Instrument Co

Miss Julia’s Cafeteria

Acme Flower Shop

Karl Bissinger French Confectionaries

Embro Popcorn

New Hussman Stamp Co.

Senor Martinez Beauty Service (at the Congress Hotel)

Castilla

An ad for upcoming performances at the Muny (the rest of the planned shows for the 1943 season)

Rose Exterminator Co.

Krummenmacher’s Vital Food Stores & Russel’s Vital Food Stores (“simple as ABC to make your precious Rationing Units go farther, see our complete line of non-rationed foods”)

Akron Truss Appliances

Kris-Art Letter Service

I’ve posted the scanned pages below, and below that I’ve attempted to extract text with help from the NewOCR.com (the best free online optical character recognition program that I’ve found yet, but excuse any typos that I didn’t catch).

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Municipal Opera Productions Directory (from 1919-1942)

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In 1919: ”Robin Hood,” “Bohemian Girl,” “El Capitan.” “The Mikado,” “Wizard of the Nile,” and “The Chimes of Normandy.”

In 1920: “The Firefly,” ”Robin Hood.” ”The Waltz Dream,” “The Mikado,” ‘Tho Mascot,” “The Gondoliers,” “Babes in Toyland,“ and “Katinka.”

In 1921: ”The Chocolate Soldier,” “Fra Diavolo,” “The Fortune Teller,” “San Toy.” “‘I’he Beggar Student.” ”The Pirates of Penzance,” “The Chimes of Normandy,” and “Sari.“

In 1922: “The Highwayman,“ “Sweethearts,” “Sari,”The Yeoman of the Guard,“ “The Geisha,” “The Spring Maid,” “The Queen’s Lace Handkerchief,” and “Miss Springtime.”

In 1923: “Naughty Marietta,” “Wang,“ “The Fencing Master,” “The Prince of Pilsen,” ”Die Fledermaus.” “Sweethearts,” “The Gypsy Baron,“ “The Merry Widow.” “Gypsy Love,” and “The Spring Maid.”

In 1924: “Princess Chic,” “Firefly,” ”Florodora,” “Chinese Honeymoon,” “Bohemian Girl,” “Prince of Pilsen,“ “Fortune Teller,” “The Lilac Domino,” “Naughty Marietta,“ and “The Beggar Princess.”

In 1925: ”A Night in Venice,” “Mlle. Modiste,“ “Rudigore,“ ”Her Regiment.” “Rob Roy,“ “Dolly Varden,“Erminie,” “Cavalleria Rusticana,” “H. M. S. Pinatore,” “Count of Luxembourg,” “Martha,” ”Naughty Marietta,” and “Mary Widow.“

In 1926: ”Eileen,” “The Red Mill,” “The Chocolate Soldier,” “The Spring Maid,” “The Pink Lady,” “II Trovatore.” “Sweethearts,” “Iolanthe,” “The Count of Luxembourg,” “Woodland,” “Fro Diavola,“ and “Babes in Toyland.”

In 1927: “Robin Hood,“ ”Princess Pat,” “Sari,” ”The Song of the Flame,” “The Red Mill,“ “Rose Marie,” “The Mikado,” “The Dollar Princess,” “Katinha,” ”Serenade,” “Gypsy Love,” and “Tales of Hottman.“

In I928: “The Princess Flevia,“ ”The Merry Widow,” “The Vagabond King,“ ”No, No, Nanette,” “Rose Marie.” “The Student Prince,” “The Lady in Ermine,“ “The Song of the Flame,” “Countess Maritza,” “The Love Song,” “Mary,” and “Aida.”

In I929: “The Love Call,“ “The Student Prince,” Castles in the Air,” “I’he Chocolate Soldier,” “The Bohemian Girl,” “Rose Marie,“ “The Prince of Pilsen,”The Enchantress.” “The Vagabond King,“ “Babes in Toyland,” and “Golden Dawn.”

In I930: “Nina Rosa,” ”The Circus Princess,” “The Desert Song,” “The New Moon,” “Blossom Time.“ ”Alone at Last,” “The Red Robe,“ “Maytime,” ”Madame Pompadour,” “The Student Prince,” and “Show Boat.“

In I931: “Three Little Girls,” “The Street Singer,“ “Music in May,” ”Nina Rosa,” “Rose Marie,” “The Countess Maritza,” “The Three Musketeers,” “A WonderfulNight,” ”Irene,” ”The Circus Princess,” and “Rio Rita.”

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In 1932: “The New Moon.” “The Riviera Girl“ “‘The Last Waltz,” “Blossom Time,“ “T he Desert Song,” “The Rose of Stomboul,” “The Honeymooners,” “The Blue Paradise,” “Sari,” “The Land of Smiles,” “The Love Call,” and “Cyrano de Bergerac.”

In 1933: “Bitter Sweet,” “Florodara.” ”White Lilacs,”Rip Van Winkle,” “Nina Rosa.” “The Student Prince,”The Nightingale,” “Naughty Marietta,” “My Maryland,”Beau Brummell,” “The Cat and the Fiddle,” on: “The Desert Song.”

In 1934: “Sweet Adeline,” “Sweethearts,“ “Cyrano de Bergerac,” ”Yhe Last Waltz,” ”East Wind,” “Mlle. Modiste,” “Music in the Air,“ “Rose of Algeria.” ��Sally.” The New Moon.” and “Show Boat.”

In 1935: “Teresina,” “Rio Rita,” “Madame Sherry,“The Chocolate Soldier,” “Good News,” “The Vagabond King,” ”Sunny,” “The Beloved Rogue,” “The Cat and the fiddle,” “The Desert Song,” “Roberta,“ and ”Whoo-pee.‘

In 1936: ”Kid Boots,“ “The ‘l’hree Musketeers,” “No, No, Nanette,” ”Sons 0‘ Guns,” “The Bohemian Girl,”Oh Boy,“ ”The Merry Widow,” “The New Moon,“ “A Connecticut Yankee,” “Bitter Sweet,” “The Red Mill,” and “Glamorous Night.”

In 1937: “The Great Waltz,” “The Fortune Teller,”Music in the Air,” “Louie the 14th,“ “The Mikado,“Salute to Spring,” “The Prince of Pilsen,” “The Bartered Bride,” “The Pink Lady,” “Robin Hood,“ “Babes in Toyland.” and “Wild Violets.

In 1938: “Gentlemen Unafraid,” ”Of Thee I Sing,“ White Horse Inn,” “Roberta,” “Virginia,” “Lost Waltz,”“Chimes of Normandy,” “Rosalie,” “Knights of Song,”Gingerbread Man,” and “Show Boat.”

In 1939: “Rose Marie,” “Queen High,“ “Lost Waltz,”Katinka,” ”Waltz Dream,” “On Your Toes,” “Firefly.”The Battered Bride,” “Mary,“ “Babette,” “Song of the Flame,” “Victoria and Her Hussar.”

In 1940: “The American Way,“ “Naughty Marietta.”Apple Blossoms,” “Rio Rita,“ “The Chocolate Soldier,“Good News,” “Knickerbocker Holiday,” “Anything Goes,” ”East Wind,” ”Rosalie,” “Babes in Arms,” “The Great Waltz.”

In 1941: “New Orleans,” “Sweethearts.” “Too Many Girls,” “Firefly,” “The Three Musketeers,“ “Irene,” “Nina Sosa,” “The Merry Widow,” “Bitter Sweet,” “The Desert Song,” “The Red Mill,” “Balalaiko.”

In 1942: ”Glamorous Night,” “Sally,” “Song of the Flame,” “Hit the Deck,” “No, No, Nanette.” “New Moon,“Girl Crazy,” “Wildflower,” “Roberta,” “Wizard of Oz,” and “Show Boat.“

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A Brief History of the St. Louis Municipal Theatre Association

St. Louis Municipal Opera history as of 1943

To many it comes as a surprise that the world’s foremost summer theatrical enterprise is not a part of New York’s Broadway. nor even situated in Chicago’s Loop district. It is not to be found in Hollywood. The once-gay population centers of Europe have long since been counted out. To find this. the No. 1 summer footlights venture of all the world. one has but to go to the heart of St. Louis’ spacious and beautiful Forest Park. There Alone in Its Greatness” . . . stands the Municipal Opera.

It is truly the realization of a dream-the cul- mination of years of planning. effort and civic attainment. The sweep and size of the great sky- canopied amphitheater. the vastness of the stage with its panoramic expanse of massive and skillfully wrought settings. the number and size of backstage facilities. the tall and architecturally beautiful towers flanking the stage-all these. and many other aspects of the Municipal Theatre’s physical plant. yield a persuasive clue to the Municipal Opera’s status as an institution meriting such a designation.

Yet physical considerations in themselves do not necessarily imply true greatness. It is upon the loyalty and enthusiasm of the people. and the artistic integrity with which each season’s productions are invested. that the Municipal Theatre has built its reputation as the world’s outstanding starlight sum- mer entertainment. That claim. by and large. has gone unchallenged.

Night after night through the summer. overflow. capacity or near-capacity crowds fill the great amphitheater. Production after production wins the acclaim of critical and popular judgment. And season after season. rolling by with sureness and steadiness inherent to time. leaves the Municipal Opera’s legion of friends with the firm conviction that “this year, the Opera was better than ever before.”

The 1943 season, marking the Municipal Opera’s Silver Jubilee. is certain to be thus received. As befits the twenty-fifth anniversary of any enterprise. this summer’s shows are being contrived with studied effort to excel anything ever achieved in the past. That is a broad statement. especially in light of the fact that the theatre’s past has been so richly successful.

Consider these facts: In the past 24 summers. 13.738.966 persons have witnessed 1.806 perform- ances. In 267 weeks of operation, it has presented 262 separate productions. ranging in scope from grand opera to light musical romance. Among them were eight notable world premieres, and seven American premieres. The productions have been professional in the highest degree. and have fea- tured outstanding stars of the stage. screen and radio.

Let us. then. take a retrospective view of what has gone before:

In 1919. when a group of St. Louisans gathered on a hillside in Forest Park in an incompleted. unused theater. the Municipal Opera was launched- And with that first performance was born a new era in entertainment. one which was destined to be Alone in its Greatness.” From that time on. the beauty and success of subsequent seasons at the Municipal Opera have. in crescendo fashion. blazed the trail for one of the greatest advancements in the history of the theatre. with its fame known throughout the world.

But much has happened. the ambitions of many persons have been tested since that first night in 1919. The years which have passed have enabled the Municipal Opera to equip uniquely the theatre with every resource for brilliant production of re- markahle musical masterpieces.

Ten thousand seats are available nightly at ticket prices within the reach of all. Of these 10.000, 1700 seats at the top of the auditorium are free. This means that almost 150.000 seats are to be available. free of charge, for this season’s 88 performances. Also. approximately 30,000 reserved seats are distributed annually to the underprivileged through more than lOO welfare agencies.

The stage toward which these many thousands look. is 90 by 115 feet. flanked by two 70-foot oak trees which frame a background of sylvan beauty, On either side of the stage are two beautiful archi- tectural towers. illuminated and illuminating. A permanent structure of recessing cubicles provides a reflective surface for indirect lighting.

But these are only a few of the wonders of the Municipal Opera. These are only a few cogs in the wheel which has rolled steadily on since those experimental days in 1919. And experimental days they were. in every sense of the word.

The Municipal Opera was brought into being by a group of civic leaders under a charter which foreswore any possible profit to themselves.

Their decision to undertake the formation of the Municipal Opera was reached because of their experience in leadership during the \Norld War.

Out of those trying days had emerged a compact group of civic, industrial. professional and business leaders who had devoted themselves unsparingly to war work. They recalled that remarkable demon- stration of July 4. 1918. when. in a Pageant of independence created at the request of President Wilson. 1.700 foreign~born St. Louisans had reo dedicated themselves to the United States and its ideals.

That remarkable ceremony had taken place in what is now the Municipal Theater. before an audience which overflowed the hillsides. What had been a great focal point for patriotic endeavor in war time might become a common meeting ground for all St. Louisans. a rallying place for ciwc spirit in times of peace so those leaders thought. And they planned to create a theater where melody and drama and pageantrv and rollicking fun could be made available to all St. Louisans.

A fitting introduction to the glamour that was to follow had been provided in 1914 with the presentation of the epochal. ”St. Louis Masque and Pageant.” on Art Hill with which the city celebrated its 15oth birthday. with a cast of 7.500 and audiences which numbered 180.000 persons.

Out of that civic celebration. which paid its own way and had a surplus. grew the observance of the Shakespeare Tercentenary. when “As You Like It” was presented with a company of distinguished stars.

The success of such enterprises and the en- thusiasm with which they were received by St. Louisans oiiered an impetus to those leaders who on ]une 19. 1919. started the Municipal Theatre Association on its glorious way with the presenta- tion of ”Robin Hood.” That first season. threat- ened by many elements besides a raging river and many rains, finished with a small loss-as has one other Municipal Opera season-~but the guarantors

who had advanced money to make possible the beginning were repaid from the first surpluses there- after.

Never in Municipal Opera’s history has any guaro antor ever lost a single cent by his faith in the Opera and in St. Louis’ appreciation of beauty. Originally in 1919. 60 guarantors put up an aver- age of $462 each to finance the season. Now. however. almost l.000 guarantors put up “00.000 to insure each season against any financial loss that might be incurred.

The guarantors knew. as did St. Louis in gen. eral. that Municipal Opera was something extraoradinary. something of which to be proud. something which would assist in making St. Louis one of the country’s leading centers of beauty and of art. The formation of this enterprise was. in reality. the culmination of several civic traditions-love ol St. Louis for the theater. love of music by its citizenship. and the city’s importance in the de- velopment of Western America which had found its expression in that mammoth masque and pageant in 1914.

So arrangements were made. directors and technical men were contacted. and stars of the stage were hired to join their talents in providing St. Louis with the cream of entertainment. But in spite of everything. that first season found the road was not a smooth one. It was only through executive efficiency that the Municipal Opera was enabled to start on the path to fame. In 1920 its repertory was extended. 32 professionals were brought from New York and a chorus of 40 St. Louis singers was added. Those St. Louis singers performed so well that never again since that time were choristers imported. They performed so well. in fact. that St. Louis determined to secure as rapidly as possible an all-St. Louis chorus.

And in line with the Municipal Opera’s progress. in keeping with the trend of improvement. the 1920 season’s presentations were witnessed by 114.000 persons who paid $139,732.50. to allow a profit of $3,819.25. But the profit. of course. was profit for St. Louisans. for it went back into the theater for improvements. That was its creed. as it is today; that was the code which enabled a growth of al- most inconceivable proportions.

lt is the policy which enabled the erection of the attractive new stone pergolas. and which eventually will provide a completely reconstructed and mod- ernized al fresco theater.

The third season. 1921. showed a profit of 321.312.87. with an increase to 151.363 paid admis» sions. In 1922. the paying attendance was 196.092. The trend was still in progress. And with 1925. grand opera entered into the repertory when Cavalieria Rusticana” was presented in English. with “11 Trovatore” following in 1926. Then in 1928. St. Louisans heralded their success with a tenth anniversary jubilee. But iubilees. even though they be brilliant and colorful and the occasion for hand-shakes all around. were not to make the Municipal Opera feel it had attained its greatness. It was still progressing. Improvements had been made in the assembling of scenery. in the mechanical details on the stage. under the stage. in back and in front of the stage: the seating arrangements had been improved.

Now. however. with the twenty-fourth season here. those improvements are regarded merely as steps toward fame. for from that time on. the Municipal Opera has risen and grown in every manner and means. its greatest advancements having been page when business conditions were at their lowest

Although Nature first designed the auditorium in which the opera is presented. man has added his touch to make the Opera what it is. The .natural hillside in the heart of beautiful Forest Park slopes 253 feet from the top of the colonnade at the rear of the auditorium to the orchestra pit at the foot of the stage. It covers an area 255 by 256 feet. The concrete bowl is arranged in a series of steps of varying levels so that every person has an unobstructed view of the stage. Splendid natural acoustics are reinforced by a flawless system of amplification developed especially for the Municipal Opera.

At both sides and at the rear of the auditorium are the beautiful new pergolas. roofed in to shelter 15.000 persons in case of a summer shower. The huge stage is built to facilitate the moving of massive settings required for Municipal Opera productions. and 8.000 feet added to its area provides a space for action which the audience never sees. It is one of the largest stages in an open air theater anywhere, and in its center is a revolving stage. electrically operated and capable of making an en- tire revolution in ninety seconds.

Beneath the stage and in what was once the river bed before the River des Peres was harnessed under- ground by man, are carpenter shops. paint shops. property studios-all necessary in the spectacular program of productions. Farther back are spacious dressing rooms with showers. required for the more than 100 members of cast and choruses employed in every Municipal Opera production. A roofed-over rehearsal stage is used in preparing the succession of musical triumphs. and a costume studio through which. in the course of a single season. more than 5.000 costumes will pass. is at the rear.

In back of all this is an executive staff without a peer. and guarantors whose faith has been bolstered by the advent of every season. Also there is a Board of Directors. no member of which receives pay for his services. yet which includes some of the most active and able business and financial execu- tives in St. Louis.

The Opera has no ”angel.” It has no subsidies. It doesn’t owe a dollar to anyone. It is entirely divorced from the old aristocratic ideal that a season of musical productions must be supported by gifts from the state. or from the rich. It is truly a people’s theater. a triumph of democratic ideals, the result of St. Louis’ vision and faith.

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A Brief History of the St. Louis Municipal Theater Association (as written in 1943) was originally published on VintageReveries - Vintage Fashion and Ephemera Blog

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avithyssen · 3 years ago

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Week Nine - Industrial Design

Brooks Stevens was born in Milwaukee, and even when he moved away, he was still drawn back. On July 1st, 1935, Stevens opened his first office. While it started with only five staff members, he soon grew to have over fifty. In 1937, he married his wife Alice. Then with Fitzhugh Scott, Jr., they built Stevens and Alice’s first house which is now one of Milwaukee’s most significant examples of modernist architecture. A major piece of history for Milwaukee Industrial Design. Not only did Brooks Stevens build and design for himself, but he also began delivering lectures on “Industrial Design and its Practical Application to Industry.” Through these talks, Stevens would try to share the message with his audience that design would pay for itself many times over.

His legacy did not stop there. During World War II, Stevens executed a few designs with a military application, and converted military manufacturing into civilian consumer products. He also became the only Midwestern founder of the Society of Industrial Designers. He had a show at the Milwaukee Art Institute in 1950, and got a lot of popularity from the press. This was a huge event for the Milwaukee Art Institute. Stevens also created an Auto Museum, which had his design of vehicles on display. In 1954, Stevens was asked to state his favorite design among all of the firms that he had. His response was “none” because every single one would have to be redesigned for the new ideas of tomorrow. This is what makes Brooks Stevens so admirable because he knows that true design is always needing to be adapted and changed.

On January 4th, 1995, Brooks Stevens passed away. Due to Stevens’ love for industrial design, and his fathers crippling illness, Brooks was handed challenges starting at a young age. Fortunately for the history of industrial design of Milwaukee, Brooks Stevens never stopped his love for building and designing. Even when he could have gone to New York, where his profession was starting to take off, he stayed in Milwaukee since he believed that is where the business was. Milwaukee was home.

#brooksstevens

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baileydesignsurvey · 3 years ago

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Week 9

Brooks Stevens opened his first office in 1935. His staff grew to over fifty by 1940. He married his wife, Alice, in 1937 and built their own house in Fox Point which was designed by himself and Fitzhugh Scott, Jr. That building still stands today as one of Milwaukee’s most significant examples of modernist domestic architecture. Stevens began delivering lectures on “Industrial Design and Its Practical Application to Industry.”He stressed his main point being, design would pay for itself many times over. Stevens executed a few designs with a military application, but his real success during WWII was converting military manufacturing into civilian consumer products. He turned the army Jeep into a station wagon.

After the war he argued “an industrial designer in today’s business world should be a businessman, an engineer, and a stylist, and in that direct order.” He sought out high profile commissions and relationships with Milwaukee’s most prominent manufacturers, including Miller Brewing, Allen-Bradley, the Outboard Marine Company, and Harley Davidson. He designed a new train in 1947 called the Olympian Hiawatha which was operated by the Milwaukee Road. There was a glass enclosed observation car which was called the SkyTop Lounge and the train was one of the last “streamliner” trains that went across America.

He also became the only Midwestern founder of the Society of Industrial Designers. He had a show at the Milwaukee Art Institute in 1950 and got a lot of great reviews from the press. This was a huge event for the Institute. He also created an Auto Museum, which had his design of vehicles on display.

After he left school, Brooks Stevens came back to Milwaukee and worked as an inventory manager for a few different places. He worked for a pair of soap companies, and a grocery supply firm. He eventually persuaded the head of the company to let him redesign the product labels. He won a contest to redesign the company logo for Cutler-Hammer, where his dad worked. The opportunities was given were the first step in his career as an industrial designer. He could have gone to New York because that is where this new profession at the time was starting to take off, but he decided to stay in Milwaukee, where he thought the business was.

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ultraozzie3000 · 1 year ago

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Easy Riders

Above: Manhattan auto dealer's window display promoting the 1935 Auburn's appearance at the New York Automobile Show. (Detroit Public Library) Manhattan’s first big event of 1935 was the annual automobile show at the Grand Central Palace, where New Yorkers chased away the winter blues (and the lingering Depression) in a dreamscape crammed with gleaming new cars. January 5, 1935 cover by Rea…

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#Al Frueh #Gardner Rea #James Thurber #Kemp Starrett #New York Auto Show 1935 #Perry Barlow #Wesley Morse

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lawrencedienerthings · 3 years ago

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The brief history of Ducati motorcycles

212 Moto

The brief history of Ducati motorcycles

NEW YORK, NEW YORK, UNITED STATES, Aug 26, 2021 /EINPresswire.com/ – The Brief History of Ducati Motorcycles Ducati Motor Holding SpA is the motorcycle manufacturing division of the Italian company Ducati, headquartered in Bologna, Italy. The company is owned by the German automobile manufacturer Audi through its Italian subsidiary Lamborghini, while Audi is itself owned by the Volkswagen Group.

In 1926 Antonio Cavalieri Ducati and his three sons Adriano, Marcello and Bruno Cavalieri Ducati founded the Società Scientifica Radio Brevetti Ducati in Bologna to manufacture vacuum tubes, condensers and other radio components. In 1935 they were successful enough to allow the construction of a new factory in the city’s Borgo Panigale district. Production continued during World War II, despite the fact that the Ducati factory was a repeated target by Allied bombing. It was eventually destroyed by around 40 Consolidated B-24 Liberators on Thursday, October 12, 1944, as part of the United States Air Force’s Operation Pancake, which flew around 700 aircraft from airfields in Foggia Province.

Meanwhile, Aldo Farinelli started at the small Turin company SIATA (Societa Italiana per Applicazioni Tecniche Auto-Aviatorie) with the development of a small push rod motor for mounting on bicycles. Less than a month after the official liberation of Italy in 1944, SIATA announced its intention to sell this engine called “Cucciolo” (Italian for “puppy”, which means the unmistakable exhaust sound) to the public. The first Cucciolos were only available to be mounted on standard bicycles by the buyer; But soon business people were buying the small engines in large quantities and offering complete motorcycle units for sale.

In 1950, after more than 200,000 Cucciolos had been sold, Ducati finally offered its own Cucciolo-based motorcycle in collaboration with SIATA. This first Ducati motorcycle was a 48 cc motorcycle weighing 98 pounds and a top speed of 40 mph. Ducati Mach 1 As the market moved towards larger motorcycles, Ducati management decided to react and made an impression at a Milan show in early 1952 by introducing its 65TS cycle and the Cruiser (a four-stroke motor scooter). Although the Cruiser was named the most interesting new machine at the 1952 show, it wasn’t a huge hit, and only a few thousand were built over two years before the model ceased production.

In 1953, management split the company into two separate entities, Ducati Meccanica SpA and Ducati Elettronica, in recognition of its distinct motorcycle and electronics product lines. Dr. Giuseppe Montano took over the management of Ducati Meccanica SpA and the Borgo Panigale plant was modernized with state support. By 1954, Ducati Meccanica SpA had increased production to 120 bicycles a day.

In the 1960s, Ducati earned its place in motorcycle history with the manufacture of what was then the fastest 250cc racing bike, the Mach 1. In the 1970s, Ducati began producing large-volume V-twin motorcycles and in 1973 brought a V- Twin with the trademarked desmodromic valve design. In 1985, Cagiva bought Ducati and planned to rename Ducati motorcycles with the name “Cagiva”. When the purchase was complete, Cagiva kept the “Ducati” name on its motorcycles.

Eleven years later, in 1996, Cagiva accepted the Texas Pacific Group’s offer and sold a 51% stake in the company for $ 325 million; In 1998, the Texas Pacific Group bought most of the remaining 49% to become the sole owner of Ducati. In 1999 TPG went public with Ducati shares and renamed the company “Ducati Motor Holding SpA”. TPG sold over 65% of its shares in Ducati, so that TPG remained the majority shareholder. In December 2005, Ducati returned to Italian ownership with the sale of Texas Pacific’s stake (less one share) in Investindustrial Holdings, the mutual fund of Carlo and Andrea Bonomi.

Ducati 899 Panigale In April 2012, the Audi subsidiary of the Volkswagen Group announced that it would buy Ducati for 860 million euros (1.2 billion US dollars). Volkswagen boss Ferdinand Piëch, a motorcycle enthusiast, had long coveted Ducati and regretted missing an opportunity to buy the company from the Italian government in 1984. Analysts questioned a tiny motorcycle maker having a significant impact on a company the size of Volkswagen, commenting that the acquisition “has a trophy feel” and “is fueled by VW’s passion for nameplates rather than industrial or financial logic”. The Italian luxury car brand Lamborghini was strengthened under VW ownership. On July 19, 2012, AUDI AG’s subsidiary Automobili Lamborghini SpA acquired 100 percent of the shares in Ducati Motor Holding SpA for 747 million euros (909 million US dollars).

The chief designer of most Ducati motorcycles in the 1950s was Fabio Taglioni (1920-2001). His designs ranged from the small single-cylinder machines that were successful in the Italian road races to the large-volume twins of the 1980s. Ducati introduced the Pantah in 1979; its engine was updated in the Ducati SuperSport (SS) series in the 1990s. All modern Ducati engines are derivatives of the Pantah, which operates the engine’s valves via a toothed belt. Taglioni used the Cavallino Rampante (identified with the Ferrari brand) on his Ducati motorcycles. Taglioni chose this emblem of courage and daring as a sign of respect and admiration for Francesco Baracca, a heroic WWI fighter pilot who died in an air raid in 1918. Generations of Ducati motorcycles

In 1973 Ducati commemorated its 1972 victory at the Imola 200 with the production model Ducati 750 SuperSport with a green frame. In 1975 the company presented the 860 GT, which was designed by the well-known car stylist Giorgetto Giugiaro. Its angular lines were unique, but the raised handlebars made for an uncomfortable sitting position at high speeds and also caused steering problems. The angular design of the 860GT was a sales disaster, and it was hastily redesigned for the 1976 season with a more rounded fuel tank.

1993 Ducati 907 The Ducati Paso was introduced in 1986 with the Paso 750, followed in 1989 by the Paso 906. The final version came in 1991 with the 907IE (Iniezione Elettronica), now without the name “Paso”. The design comes from Massimo Tamburini, who also designed the Ducati 916 and the MV Agusta F4. The Paso was a typical “you love it, you hate it” bike. At the time, however, it looked like the closed body would be the future for all motorcycles. The Paso design was copied for the Moto Morini Dart 400 and Cagiva Freccia 125. Together with Tambourini’s Bimota DB1, they were enormously formative in terms of style.

The 1990s In 1993, Miguel Angel Galluzzi introduced the Ducati Monster, a naked bike with an exposed grille and motor. Today, the monster makes up almost half of the company’s global sales. The Monster has been the most modified of all motorcycles Ducati has ever produced. In 1993, Pierre Terblanche, Massimo Bordi and Claudio Domenicali designed the Ducati Supermono. A 550 cc single cylinder lightweight “Catalog Racer”. Only 67 were built between 1993 and 1997. In 1994, the company introduced the Ducati 916 model designed by Massimo Tamburini, a water-cooled version that allowed for higher performance and a striking new body with aggressive lines, an exhaust under the seat and a single-sided swing arm. Ducati has since ceased production of the 916, replacing it (and its descendants, the 748, 996 and 998) with the 749 and 999.

The 2000s In 2006 the retro-styled Ducati PaulSmart 1000 LE was launched which, as part of a SportClassic series representing the 750 GT, styling features with the 1973 750 SuperSport (itself a production replica of Paul Smart’s victorious 750 Imola Desmo from 1972) shared 750 Sport and 750 SuperSport Ducati motorcycles. In 2011 Ducati launched a power cruiser, the Diavel. That same year, Valentino Rossi left Yamaha and joined the Ducati MotoGP team, replacing Casey Stoner, who had defected to Honda. Current product range of Ducati motorcycles ● Ducati Hypermotard ● Ducati Desmosedici RR ● Ducati 1098 S Tricolore ● Ducati Multistrada 950 A ● Scrambler desert sled ● Multistrada 950 Multistrada 950S ● Multistrada 1260 ● Multistrada 1260S

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beatricetate89-blog · 4 years ago

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quepelioseriever · 8 years ago

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Sir Charles Spencer «Charlie» Chaplin (Londres, Inglaterra, Reino Unido, 16 de abril de 1889-Corsier-sur-Vevey, Suiza, 25 de diciembre de 1977) fue un actor, humorista, compositor, productor, guionista, director, escritor y editor británico. Adquirió popularidad en el cine mudo gracias a las múltiples películas que realizó con su personaje Charlot. A partir de entonces, se le considera un símbolo del humorismo y del cine mudo. Para el final de la Primera Guerra Mundial, era uno de los hombres más reconocidos de la cinematografía mundial.

Filmografia:

1914

Charlot periodista (Marking a Living).

Carreras sofocantes (Kid Auto Races at Venice).

Aventuras extraordinarias de Mabel (Mabel's Strange Predicament).

Todo por un paraguas (Between Showers).

Charlot y el fuego (A Film Johnnie).

Charlot en el baile (Tango Tangles).

Charlot extremadamente elegante (His Favorite Pastime).

Un amor cruel (Cruel, Cruel Love).

Charlot, huésped ideal (The Star Boarder).

Mabel y el auto infernal (Mabel at the Wheel).

Charlot de conquista (Twenty Minutes of Love).

Charlot camarero (Caught in a Cabaret).

Charlot y la sonámbula (Caught in the Rain).

Charlot sufragista (A Busy Day).

El mazo de Charlot (The Fatal Mallet).

Charlot, ladrón elegante (Her Friend the Bandit).

Charlot, árbitro (The Knockout).

Mabel, vendedora ambulante (Mabel's Busy Day).

Charlot en la vida conyugal (Mabel's Married Life).

Charlot, falso dentista (Laughing Gas).

Charlot "regisseur" (The Property Man).

Charlot pintor (The Face on the Bar-Room Floor) . La pícara primavera (Recreation).

Charlot, artista de cine (The Masquerader).

Nueva colocación de Charlot (His New Profession).

Charlot y Fatty en el café (The Rounders).

Charlot, conserje (The New Janitor).

Jes, rival de Charlot (Those Love Pangs).

Charlot panadero (Dough and Dynamite).

Mabel y Charlot en las carreras (Gentleman of Nerve).

Charlot domina el piano (His Musical Career).

Charlot se engaña (His Trusting Place).

Aventuras de Tillie. El romance de Charlot (Tillie's Punctured Romance).

Charlot tiene una mujer celosa (Getting Acquaninted).

Charlot prehistórico (His Prehistoric Past).

1915

Charlot cambia de oficio (His New Job).

Charlot trasnochador (A Nigth Out).

Un campeón de boxeo (The champion).

Charlot en el parque (In the Park).

Charlot vagabundo (The Tramp).

Charlot en la playa (By the sea).

Charlot trabajando de papelista (Work).

Charlot, perfecta dama (A Woman).

Charlot, portero de banco (The Bank).

Charlot marinero (Shanghaied).

Charlot en el teatro (A Night in the Show).

Carmen (Carmen).

Charlot, licenciado de presidio (Police).

Aventuras de Charlot (Triple Trouble).

La revista de Charlot (The Essanay Chaplin Revue).

1916

Charlot, encargado de bazar (The Floorwalker).

Charlot bombero (The Fireman).

Charlot, músico ambulante (The Vagasond).

Charlot, a la una de la madrugada (One A. M .).

El conde (The Count).

Charlot prestamista (The Pawnshop).

Charlot, tramoyista de cine (Behind the Screen).

Charlot, héroe de patín (The Rink).

1917

Charlot en la calle de la Paz (Easy Street).

Charlot en el balneario (The Cure).

Charlot emigrante (The Immigrant).

El aventurero (The Adventurer).

1918

Vida de perro (A Dog's Life).

¡Armas al hombro! (Shoulder Arms!).

The Bond .

1919

Al sol (Sunnyside).

Un día de juerga (A days pleasure).

1920

El chico (The Kid).

1921

Vacaciones (The Iddle Class).

1922

Día de paga (Pay Day).

El peregrino (The Pilgrim).

1923

Una mujer de París (A Woman of Paris).

1925

La quimera del oro (The Gold Rush).

1927

El circo (The Circus).

1930

Luces de la ciudad (City Lights).

1935

Tiempos modernos (Modern Times).

1940

El gran dictador (The Great Dictator).

1946

Monsieur Verdoux (Monsieur Verdoux).

1952

Candilejas (Limelight).

1956

Un rey en Nueva York (A King in New York).

1966

La condesa de Hong-Kong (A Countess From Hong-Kong).

#charlie chaplin #charlot #cine mudo

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ajl1963 · 5 years ago

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Photograph of the entrance to the French Casino, 1937. Image from ebay.com

1934

By the end of 1934 the former Earl Carroll Theatre found the formula for success, with its conversion into the French Casino. But for most of the second half of the year, it sat empty. In July it looked as though a new enterprise would come to the rescue. The enormous theatre would undergo a conversion into a mixed entertainment venue.

Theatrical Notes, The New York Times, July 9, 1934, Pg. 18. Article from proquest.com.

For reasons now lost to us today, the plan for converting the theatre into the largest radio studio in the world never materialized. Instead a new entertainment trend was beginning. By the time the United States hit the rock bottom depths of the depression in the summer of 1932, many Manhattan theatres sat unused. The election of Franklin Roosevelt created hope and the economy started a very slow recovery. Repeal of prohibition in December of 1933 brought the speakeasy era to and end. Probably the most famous NYC speakeasies turned cafe society nightclubs were, 21 Club, The Stork Club and El Morocco. These typified Manhattan nightclubs, small spaces crammed into basements or brownstones.

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21 Club, circa 1946: Richard Rodgers and his wife, lunching with friends in bar at “21” Club. (Photo by Eileen Darby/The LIFE Images Collection via Getty Images/Getty Images)

1933 postcard showing the main dining room of the Stork Club. Image from wikiwand.com.

Visitors of the night club ‘El Morocco’ in New York celebrate the transition into the New Year 1936). Image from alamy.com.

With the combination of repeal and a seemingly recovering economy, the nightclub industry in New York City started to boom. New and larger venues were needed and empty theatres were perfect for conversion into large nightclubs. And with full stage facilities, providing elaborate shows was easy. In 1933 Continental Music Halls, Inc. took over the Hammerstein Theatre on Broadway and, directly adjacent to it on 54th Street, the Gallo Opera House. The Hammerstein became the Music Hall and the Gallo the Casino de Paris. Showman Billy Rose (1899-1966) oversaw the operations of both nightclubs and produced their shows.

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Billy Rose, circa 1935. Image from britannica.com.

The former Gallo Opera House after its conversion into the Casino de Paris, circa 1934. Image from the book Lost Broadway Theatres.

French Casino producer, Clifford C. Fischer.

Producer Clifford C. Fischer (1882-1951) who staged the Folies Bergeres show at the Century Progress World’s Fair in Chicago was looking for a venue in Manhattan for his revue. The empty Casino / Earl Carroll Theatre proved to be the spot being three times the size of either the Gallo Opera House or the Hammerstein Theatre. The enormous stage facilities were perfect for his elaborate Folies Bergeres show. The New York Times ran this announcement –

The New York Times, November 7, 1934, Pg. 33. Article from proquest.com

Christmas, 1934

Advertisement for the Folies Bergeres, the show that opened the French Casino. New York Herald-Tribune, December 24, 1934, Pg. 4. Image from Proquest.com.

On 10:00 P.M. of Christmas Day, the French Casino opened to the public. The remodeled interior consisted of some decorations applied to the black velvet walls. Tables replaced the seats in the orchestra and balcony. By enlarging and extending the stage into the house it became a dance floor between shows. New staircases extending down from the former box seats allowed guests in the balcony direct access to the dance floor. The enormous lounge under the balcony became a cocktail lounge. A new room length bar completed the space. This new cocktail lounge alone was nearly the size of the average Manhattan nightclub.

French Casino view from under the balcony looking toward the stage. Image from the Folie Parisienne program, collection of the author.

French Casino, view from the stage / dance floor, showing new staircase and wall decorations. Image from the Folie Parisienne program, collection of the author.

The former lounge underneath the balcony converted to a cocktail lounge of the French Casino. On the right is the newly installed bar. Image from the Folie Parisienne program, collection of the author.

The new nightclub and the Revue Folies Bergeres received excellent reviews. The French Casino immediately became the place to go for a night on the town.

Review of the Revue Folies Bergeres, New York Times, December 27, 1934, Pg. 25. Article from proquest.com.

Scenes from the Revue Folies Bergeres

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Image from mcny.org

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Image from mcny.org

1935 – 1937

As the economy continued its slow improvement during the mid-1930s, the French Casino remained a popular night spot. And celebrities were often seen in the audience. Which made the French Casino even more popular with the general public.

John Barrymore and friend at the French Casino. (Photo by NY Daily News Archive via Getty Images)

Mrs. John Jacob Astor 3rd is chatting with Robert Gardiner, and some of their friends at the French Casino here. Photo from Getty Images.

Jack Dempsey, the Mansassa Mauler, and his wife, the former Hannah Williams, singer, are pictured in the French Casino. Soon Jack will open a restaurant of his own. Photo from Getty Images.

Over the next three years, the French Casino presented some of the most continental nightclub shows in Manhattan. Even the French Line’s S.S. Normandie was featured in the show. Folie Parisienne featured scenes at the boat train, on board and at customs on the pier.

Cover of the Folie Parisienne program. From the collection of the author.

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Folie Parisienne revue. Normandie boat train scene. Image from mcny.org

Normandie scene from the revue Folie Parisienne, 1935. Image from the Folie Parisienne program, collection of the author.

The French Casino was such a success that the Clifford C. Fischer expanded the company by opening night clubs in other cities. Over the next couple of years French Casinos opened in Chicago, Miami and a London Casino in that city’s West End theatre district. Then in 1937 two events took place that would effect the fortune of the French Casino. First in August, the slowly recovering economy stalled and the United States slid back into a severe recession. Then less than a month later a new, large night club theatre opened in the heart of Times Square. The International Casino, after many delays, opened on September 17, 1937. It was huge, streamline moderne in design and it offered shows just as lavish and continental as the French Casino.

The International Casino, 1938. Located on the east side of Times Square between 44th and 45th Street.(Photo by Keystone/FPG/Getty Images)

New Year’s Eve 1939-1940 inside the International Casino. Photo from Getty Images.

The combination of the new night spot, a shrinking economy and over expansion from opening night clubs in other cities dealt a death blow to the French Casino. Without any notice the French Casino closed on November 20, 1937.

The New York Herald-Tribune article about the abrupt closing of the French Casino. November 23, 1937, Pg. 17. Article from proquest.com

After almost four years, the former Earl Carroll Theatre sat empty once again. But this was just a temporary situation. Soon into 1938 a new tenant decided to try his luck with the unlucky theatre.

1938

It’s time to welcome Producer Billy Rose back into the story. Rose who started the vogue of the theater/restaurant/nightclub back in 1933 with the Casino de Paris, moved into the former French Casino. In 1935 the success of the French Casino was the direct reason that those first two Billy Rose nightclub/theatres went out of business. Now Rose moved into the white elephant at 7th Avenue and 50th Street. The French Casino became the Casa Manana. For the Texas Centennial in 1936 Billy Rose was hired by Amon G. Carter to produce shows in a 4000 seat, amphitheatre / restaurant, the Casa Manana. It was very successful and popular remaining in operation even after the Centennial had passed. Now Rose decided to bring the Casa Manana to New York City. Just two months after the French Casino’s on January 18, 1938 the Casa Manana opened its doors.

Advertisement for the opening night of the Casa Manana. New York Daily News, January 13, 1938. Clipping from newspapers.com.

The opening night show, Let’s Play Fair spoofed the up coming 1939 World’s Fair. Like the French Casino, the Casa Manana was off to a successful start. It was not unusual to spot celebrities in the audience.

Claire Trevor joins Edward G. Robinson and wife for the opening of the Casa Manana. Image from Getty Images.

Review of the opening of the Casa Manana. New York Daily News, January 19, 1938, Pg.47. Clipping from newspapers.com.

Billy Rose and Aquacade swimming star and the future Mrs. Rose, Eleanor Holm relaxing in the Casa Manana lounge. Image from Getty Images.

Outside of some fresh paint the interior remained basically unchanged.

The Casa Manana stage and dance floor. The proscenium arch was little changed from the days when it was the Earl Carroll Theatre. Image from the Bill Morrison Collection – Shubert Archive.

Casa Manana auditorium. Daily News Collection – Getty Images.

1939

The new year began well for the Casa Manana, with shows generally receiving good reviews and audiences still filling the large nightclub. But with the upcoming World’s Fair and Billy Rose getting his Aquacade ready, the quality of the shows in the spring started to lessen. So the inevitable of course happened. In mid-June Billy Rose closed the Casa Manana. After just a year and a half the large theatre sat vacant once again.

The closing notice for the Casa Manana. New York Daily News, June 13, 1939, Pg. 41. Clipping from newspapers.com.

1939 – 1940

For the rest of 1939 and into 1940 many items appeared in the newspapers about what would happen next to the former Earl Carroll Theatre. George White showed interest in leasing the space to stage another revue of his, but it did not happen. Then, pretty much to everyone’s surprise just before New Year’s 1939/1940 The French Casino moved back into its old home. Song writer / producer Lew Brown reopened the place with a variety show. But this show was nothing like the continental revues that Clifford C. Fischer produced during the French Casino’s heyday.

The French Casino reopens. The New York Daily News, December 27, 1939, Pg. 43. Clipping from newspapers.com

And pretty much to no one’s surprise, it was not long into 1940 that this new version of the French Casino, closed. The owners, Haring and Blumenthal, must have been fed up with show business. By the summer, looking around for a new tenant, they made it known that they would not refuse a commercial business a lease. And that is just what happened.

The New York Daily News, May 23, 1940, Pg. 48. Clipping for newspapers.com.

In preparation for the conversion of the former Earl Carroll Theatre / Casino Theatre / French Casino / Casa Manana into a retail space, the six story building fronting 7th Avenue was demolished in the summer. It would be replaced by a two story “taxpayer”. A “taxpayer” is a small two, or three story building constructed to cover the property taxes.

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Looking east across 7th Avenue, August, 1940. Image from NYPL Digital Collection.

Looking east along 50th Street, summer of 1940. The Roxy Theatre is on the left, and the R.C.A. building can be seen in the background center right. Image from NYPL Digital Collection.

The six story office during demolition. Looking south east down 7th Avenue. Image from NYPL Digital Collection.

On August 28, 1940 Variety ran an article announcing the new tenant for the former Theatre/nightclub.

Variety, August 28, 1940, Pg. 45. Clipping for proquest.com.

Finally Haring and Bluementhal found a successful tenant. Woolworth’s moved in by the end of 1940 and stayed for the next 50 years.

Looking south east along 7th Avenue at the 1940 two floor taxpayer built on the former six story office building site, 1956. Photo from CInema Treasures.

The lobby was completely demolished. But the auditorium partially survived. The orchestra floor and balcony were completely torn out. New walls and a drop ceiling were installed and the stage was blocked off. But above the drop ceiling some of the original 1931 theatre remained. Some black velvet still survived on the walls, the original proscenium light fixtures and the top of the proscenium arch were there. And beyond that, most of the backstage facilities remained intact and unused. The dressing rooms sat empty and abandoned. Some of the black and buff modernistic brick work was still visible on 50th Street.

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The remains of the proscenium arch, 1988. From the book Lost Broadway Theatres.

What was left of the back of the upper auditorium, 1988. From the book Lost Broadway Theatres.

Dressing room, 1988. From the book Lost Broadway Theatres.

Looking east on 50th Street towards the former Earl Carroll Theatre / French Casino. 1980 NYC tax photo.

But nothing in Manhattan is forever. Even Woolworth’s passed from the scene. Finally in 1990, the Woolworth’s at 7th Avenue and 50th Street was demolished and with it what was left the second Earl Carroll Theatre.

The second Earl Carroll Theatre at 7th Avenue & 50th Street. View looking Southeast. Image from Getty Images / New York Historical Society.

Anthony & Chris (The Freakin’, ‘Tiquen Guys)

Sources: Lost Broadway Theatres, New York Times, New York Herald-Tribune, New York Daily News, Variety.

Vanished New York City Art Deco – The French Casino 1934

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isisny · 5 years ago

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Virtual Tour

A virtual tour of galleries was quit different. Definitely not as engaging and up and personal like it would be in a live gallery. The experience isn't the same sitting in a room on a laptop, we don't get the full realistic authentic feel of a piece, but yet still educational and expressive.

This photo really caught my attention on a more personal level, a series called "Mi Barrio: Memories of Home" by Djali Brown-Cepeda with a focus on the photograph "Playing the Pompa. El Barrio, 1980s" a piece submitted by Ashley Soleil and Santos Rodríguez. The focus in this photograph are the three children (2 boys 1 girl) playing with a fire hydrant in New York. The water is splashing out of the hydrant as the foreground while two visible ladies and a van along with the rest of the city are the background. Based on the title of the series. I believe the kids to be related or very close friends. The boy facing his back is playing with the water coming out, the boy on the left of him is taller with a serious expression, while the girl across from him has her leg up with some sort of plate in her hand with a focused stare. Each drenched in water. While they are the focus point, the background is blurred a bit making the city and the ladies clear enough to distinguish. Cepeda seems to take the photograph at the eye level of the children. Mainly placing them as the main focus of the photograph. The photograph is well lit, seems to come from up right. Expressing the joy and innocence of kids being kids. I enjoy this photograph because it reminds me of my childhood in New York. I also would get wet with fire hydrants. It was something the city of New York permitted in the 80s-90s. This photo is relatable towards me on a personal and cultural level. Gives me joy and nostalgia of the enjoyable life I had in New York. The photo seems real and candid, the children are simply doing what they seem to normally do while Cepeda captured it. I think Cepeda did a great job of capturing the Latinx culture in New York, this image conveys this by its authentic colors and shades as well as the style and clothing. https://www.elmuseo.org/nuevayorkinos/

I was drawn by the painting "A Storm in the Rocky Mountains, Mt. Rosalie" by Albert Bierstadt. A landscape of dark gloomy colors and hues. Shapes of mountains, hills, trees, bodies of water and surrounding clouds. This piece of art is positioned in a way of showing the grass, trees and mountains in the foreground while the clouds are in the background. There is an obvious empty space in the center where the body of water is. The image is taken in a low-angle from the bottom left corner representing the artist's point of view. The fact that the mountains are above us is realistic. One thing that really stands out is the light source in this image. Illuminating from behind the foreground mountain and above the right part of the clouds. The light shines mainly in this area and on the water. The light gives me a sense of warmth and hope within the darker shadows in this image. This painting makes me feel thoughtful and also concerned but yet calm. By having the sunlight shining through the dark heavy clouds. The clouds give off the sense of danger and possibly pain. I believe the artist wanted the viewers to feel excitement for what was to come in America. Nevertheless, this image expresses many feelings and thoughts. As others can have an emotional response to the image, Mt. Rosalie who is the person it's named after. Had a personal significance for her. She was to marry Albert Bierstadt after her divorce. Knowing this, gives the image a different meaning and second glance. I can now see the representation of what the clouds can convey. The idea that love doesn't come easy, it sometimes comes at a cost, but if it's meant to be there will be a way as expressed with the light illuminating the water. This piece of work is highly detailed and saturated enough to express the emotions it portrays. https://www.brooklynmuseum.org/opencollection/objects/1558

Last photograph is a modern piece known as “Joe’s Auto Graveyard,” Pennsylvania by Walker Evans. This photo is more relatable to American culture. Right away I see a pile of classic cars as the foreground and an empty field with a few trees in the background. Colors are low in saturation, this an old photo which is shown by the age in the photo through contrast and lack of colors, a gray image. This photo appears to be balanced and symmetrical. With having the cars all on the bottom and empty space above it which is appears to be part of the framing of the image. From the title itself I believe the classic cars appear to be abandoned and left to rot. From this knowledge I have an idea of the representation of this photo. A graveyard is where the dead lay, in this case cars are in the graveyard which can translate as them to be broken “dead”. Graveyards tend to be lonely which is the feeling I get with the empty field behind it. There is nothing there but the cars, the cars are alone. Seems that the image was taken at a low-angle which makes sense, giving that the cars are at the bottom while the field seems to be above them. The dead are underground while the living stay above and alive. Regardless, the photo does appear to be well lit while there is sun shining on the cars from above. The light reduces the feeling of darkness. I think Evans intention for taking this photograph was to engage the viewer into feeling what the cars do. Yes they are immobile objects but still express emotion. Overall, I enjoy this photo and believe it is a good example of abandonment but can also be a good example of new beginnings on the other side expressed by the field. http://www.getty.edu/art/collection/objects/45813/walker-evans-joe%27s-auto-graveyard-pennsylvania-american-1935/?dz=0.5000,0.5000,0.42

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