#paul e. stinson

[lookcaitlin]

[weirdlookindog]

Paul E. Stinson - The Torching

[sandmandaddy69]

Paul E. Stinson

[greenparakeetwantsbananas]

[burlveneer-music]

Dwight Trible - Ancient Future - new album on Gearbox Records with a sweet guest list

Today, the inimitable jazz vocalist, activist, and nominal godfather of the LA jazz scene, Dwight Trible, returns with the announcement of his new album “Ancient Future”. Out 17th March via London jazz aficionados and analog specialists Gearbox Records , the new record follows his critically acclaimed album “Mothership”, which was released in 2019 and saw him collaborate with the likes of Kamasi Washington, Mark de Clive-Lowe, Miguel Atwood-Ferguson, and more. On “Ancient Future”, Trible collaborates once again with Kamasi Washington (saxophone), as well as lauded LA multi-instrumentalist Georgia Anne Muldrow (vocals), who is signed to Brianfeeder and has previously worked with the likes of Madlib, Denzel Curry, Mos Def, Blood Orange, and Brittany Howard. Elsewhere, the record also features double Grammy winning pianist, John Beasley; Kamaal Williams touring drummer Greg Paul; gospel bassist André Gouché; percussionist and backing vocalist Megashia Jackson; LA guitarist G. E. Stinson; and percussionist Rene Fisher. A key figurehead in the LA jazz scene, Dwight Trible is a legend in waiting. With an incredible career spanning decades, he has played a pivotal role in creating as much jazz history through his work and inspiration in the new wave of US jazz, as he should be noted for in his undoubtable vocal and songwriting talent. He is the vocalist for the Pharoah Sanders Quartet and has collaborated with a huge variety of artists such as Kamasi Washington (singing on ‘The Epic’ and ‘Heaven and Earth’), J Dilla, Life Force Trio, Carlos Nino, John Beasley, Bobby Hutcherson, Charles Lloyd, and is also the vocal director for the Horace Tapscott Pan Afrikan Peoples Arkestra - a Los Angeles institution with a history stretching back forty years and an active engagement in the city's Black community since the Watts Uprising. Trible has also been on the forefront of the US jazz resurgence, working as executive director of the hugely crucial arts space The World Stage - a vital component to Leimert Park, which has been the epicentre of African-American art and culture in Los Angeles since the late 1960s. Artists such as Kamasi Washington and Terrace Martin have credited the venue as having helped to shape their sounds and the sense of community surrounding the scene, whilst also being an essential influence to the likes of Kendrick Lamar and Biz Markey, as well as number of artists from LA tastemaker label Brainfeeder and more. An avid and passionate activist, an enabler of the local scene and a figurehead in the LA jazz community, Trible’s focus is rarely self-seeking, always facing outward his focus is largely centred on giving, inclusion and teaching, whilst also inspiring others and expressing himself both on-stage on-record behind the scenes. Dwight Trible; vocals John Beasley; piano and keyboards André Gouché; electric bass guitar Greg Paul; drums and percussion G. E. Stinson; electric guitar Megashia Jackson; percussion and background vocals on ‘African Drum’ Rene Fisher; percussion on ‘African Drum’ Kamasi Washington; tenor saxophone on ‘African Drum’ Georgia Anne Muldrow; vocals on ‘Black Dance’ All tracks composed by Dwight Trible, John Beasley, André Gouché, Greg Paul and G. E. Stinson All lyrics written by Dwight Trible and Megashia Jackson

[rjalker]

fuck it I'm removing the reader's corner from the master document. they're annoying. I'm not editing all of them en masse.

here's one at random since I had to highlight it to delete it anyways. tumblr can do with the formatting whatever it likes IDC.

The Readers' Corner, August, 1930

To the Rescue

Dear Editor:

I hope you can see fit to print this letter in the July issue of Astounding Stories. This letter is written in defence of Ray Cummings and in reply to the letter of C. Harry Jaeger, 2900 Jordan Road, Oakland, California.

Following is an extract of Mr. Jaeger's letter: "Also I like my authors to make an original contribution to whatever theory of science they develop fictionally. This, Ray Cummings does not do in his very interesting story, "Phantoms of Reality." His beginning is palpably borrowed from Francis Flagg's story, "The Blue Dimension," which appeared in a Science Fiction magazine in 1927." Another paragraph is devoted to explaining his claim. He claims that Cummings' method of transporting his characters from one dimension or planet to another is practically copied from Flagg's story. The method, that is, not the narration. I hope to prove that if any borrowing was done, it was done by Flagg. Incidentally, Flagg's story "The Blue Dimension" was printed in 1928, not 1927, as Mr. Jaeger says.

I have in my possession a story by Ray Cummings named "Into the Fourth Dimension" and published in another magazine during the last month of 1926 and first ones of 1927. And in this story—printed two years before Flagg's story—Cummings uses almost the same apparatus of passing from one dimension to another as is used in "Phantoms of Reality." I will not discuss whether this procedure is to be approved or not.

This letter is not to be construed as an attack on Mr. Jaeger, or Mr. Flagg, or on either of the two stories under discussion.

If Mr. Jaeger will let me know I will send him Ray Cumming's story "Into the Fourth Dimension," as clipped from the magazines.

I write this letter to the magazine, instead of Mr. Jaeger, so that if any one was misled by Mr. Jaeger's well meant but mistaken criticism they will be straightened out.—Donald Coneyon, Petoskey, Michigan.

A Wish for Success

Dear Editor:

I have read both of your first issues. I am writing to say that I wish you success with your new magazine, which I know will succeed.

Also to say I wish you would get more of the "Carnes and Dr. Bird Stories" by Captain S. P. Meek, for I think everybody, including myself, likes them. I also enjoyed "Creatures of the Light."—Thomas D. Taylor, 415 So. 7th St., Boise, Idaho.

No Kick Any More

Dear Editor:

I have been a reader of Astounding Stories ever since you started it, and I guess I'm getting too particular as I don't get the kick out of it any more that I did out of the first issues. That is, I don't get the kick out of ALL of the stories as I did at first. However, "Murder Madness" sure is a hot one. Why not print a story by Sax Rohmer, H. G. Wells, or some of them?—H. Elsworth Jones, Box 340, R. R. 6, Battle Creek, Mich.

Via Postcard

Dear Editor:

Astounding Stories is an astounding magazine. It has really astounding stories. It couldn't be better. There's hardly room for improvement. May Astounding Stories be more astounding yet. I like it!—Monroe Hood Stinson, 1742, 12th Ave., Oakland, California.

Only Fiction!

Dear Editor:

I have just finished a story in the February, 1930, issue of Astounding Stories entitled "Into Space," by Sterner St. Paul.

I would like to know if it is a true story, if the actions described in it really happened, or is it merely a story of fiction.—Dan S. Scherrer, Shawneetown, Ill.

Perhaps—Soon

Dear Editor:

I have just finished reading your new magazine, Astounding Stories. It is the best magazine I have ever read. Keep up the good work and you will find me a constant reader. I have only one suggestion to make: Let Astounding Stories come out every other Thursday.—Harold Kulko, 433 Palmer E., Detroit, Michigan.

More Preferences

Dear Editor:

I have read with great interest the second issue of Astounding Stories and note your invitation for readers to express themselves.

I enjoyed the whole magazine, finding the literary quality surprisingly high. Especially good were "Spawn of the Stars," and "Creatures of the Light." Harl Vincent's tale was the best of his I have read; and Captain Meek's are always good. "The Corpse on the Grating," however, was merely Poe's "Fall of the House of Usher" done over, and not half so well.

As for the sort of tales I like, here they are in order of preference:

1. Tales of weird mystery—Merritt's "Moon Pool" and his others; Taine's "White Lily."

2. Interplanetary Adventure—"A Columbus of Space," by Serviss; "The Skylark of Space," by Smith.

3. "Different stories," that defy classification, based on new ideas of science—most of Wells' short stories are examples. 4. Detective, Fourth Dimension, and air adventure—only well done.—Jack Williamson, Box 661 Canyon, Texas.

A Brick or Two

Dear Editor:

For the last three years we have been reading any and all of the various Science Fiction magazines which have appeared upon the market. We therefore feel that we are as well qualified as anyone to offer the criticism and advice that follows.

First, the stories. We feel that it would be a good idea to get your stories from the same authors whose work has been and is being accepted by the other magazines in this field. In one case you have already done this, and I consider his stories to be the best in each issue. I believe that you will be forced to do this eventually, anyhow, because the people who read this magazine will naturally be readers of the others also, and will therefore, be used to the standards set by those publications. Then, you should have someone who is well qualified to pass upon the science in the stories.

Second, the cover design and the pictures at the beginning of each story. Up to this time the cover and inside pictures have contained many mistakes. The cover of the March issue was especially atrocious. In the first place a voyager in outer space would find it jet black and studded with stars, instead of blue and apparently empty, except for a few tremendously oversize planets, a moon with entirely too many craters, and a total eclipse of the sun with a very much distorted corona visible beside the earth. Illustrations by your cover artist also appear in another publication, but these are much superior to the ones in Astounding Stories. Here also a scientific advisor would be welcome.

Third, I think it would be a good idea to have a department in which readers could write their opinions of the stories and suggest improvements in the conduct of the magazine.

Fourth, I think there should be a scientific editorial in each issue by some eminent scientist. This is also a feature in the other magazines.

We hope that you take these criticisms and suggestions, as they were offered, in good faith. We also hope that the circulation will increase as the magazine becomes better.—George L. Williams and Harry Heillisan, 5714 Howe St., Pittsburgh, Pa.

"Wonderful"

Dear Editor:

I received your magazine last week, Astounding Stories, and I think it is wonderful. I am very glad that I subscribed for it. I can hardly wait to get the latest one which I hoped to receive to-day and was very much disappointed when it did not arrive. I hope you will consider a quarterly or at least an annual in the near future.

I wish you success with this magazine, and hope you will forgive my writing you so often in reference to your magazine—Louis Wentzler, 1935, Woodbine St., Brooklyn, New York.

—But We Made Our Bow Only Last January!

Dear Editor:

Last month my boy brought one copy of this magazine home, and I want to ask you if you would send me the copies from last January, 1929, up to December, 1929. If you charge no more than $3.00 would you send them C. O. D.? Do you have the issues for 1928, too?

I never knew there was a magazine like that on the market. I never bought one because most of them are no good, and when one has children one has to be doubly careful.

But this magazine is just right. No silly love stories and mushy stuff in them. It sure keeps your mind from unpleasant things. We can get them from the newsstand but I would like to subscribe for them.

Keep up the good work and please send me the last year's copies and let me know if I could get 1928, too.—Mrs. M. Ristan, 4684, No. Broadway, Denver, Colorado.

"Best One Yet"

Dear Editor:

The April issue is the best one you have put out yet. Arthur J. Burks is GOOD. I hope to see much of him in the future. "Brigands of the Moon," by Ray Cummings, is getting better with each instalment. The stories of Dr. Bird are always interesting. I would like to see one in each issue, if you could arrange for it.

As long as the other readers like the size of Astounding stories, I will, too, but please cut all edges smooth like the latest issue of Five Novels Monthly. I would like to see a full-page illustration with each story, and if possible by Wesso.

I am glad that you are starting another serial in the May issue of Astounding Stories. I like serials and I hope that you will always have two in each issue.

Your schedule for the May issue looks good, and I'm sure it will be, with such authors as Murray Leinster, Victor Rousseau, Ray Cummings, Harl Vincent and Sewell P. Wright.

I am still waiting for a different colored cover.—Jack Darrow, 4225, N. Spaulding Ave., Chicago, Illinois.

An Enthusiastic Reader

Dear Editor:

As a reader of long standing of Science Fiction I feel I am qualified to make some remarks and give my opinion of the wonderful Astounding Stories magazine lately put out. Although I read three other Science Fiction magazines none of them have aroused in me such a wonderful enthusiasm as Astounding Stories. Before I forget it I want to mention that I read two quarterlies also.

The reason, or rather reasons, for my enthusiasm I will now enumerate. (1) The stories are wonderful. (2) The binding is very strong and efficient. (3) The print is just right, and soothing to the eyes of one who reads much. The paper is good, and the size and price of the magazine is just right. The covers are excellent, and with the addition of "The Readers' Corner" the magazine becomes absolutely perfect. Truly a wonderful start. See that it is kept up. The only thing that can still spoil the magazine is poor stories. Science Fiction stories that contain no science.

In "Vampires of Venus" the plot was rather weak. Even if the Venerians knew nothing of entomology, they should have brains enough to get rid of the vampires the way Leslie Larner did without having to call an Earthman to help them. Another thing: the Venerians kept only insects that were not harmful to the crops. On Earth there are such insects who help the farmer by eating harmful insects. If the harmful insects were exterminated—an almost impossible and gigantic task—the harmless insects would change their diet and become harmful too. And it seems funny, too, that such a highly civilized planet as Venus should still depend on domesticated animals for food, drink and clothing instead of manufacturing what they need synthetically.

The April cover on your magazine was wonderful.

Before I close I wish to say a word about the Science Correspondence Club of which I am a proud member. There is little to say, however, after reading Conrad Ruppert's letter in the April issue. The membership has increased to over 300 now, numbering among them quite a number of famous scientists and authors. All I can say is that I hope every scientifically inclined person of whatever nationality, creed, color or sex they may be, will join this wonderful and rapidly progressing club. I will now close thanking the publishers of Astounding Stories for issuing such a wonderful magazine—Stan Osowski, E2, Railroad St., Central Falls, R. I.

But—Conniston Was An Impostor!

Dear Editor:

I read with interest Mr. Ray Cummings' story, "Brigands of the Moon," in the March number of Astounding Stories. The tale was a worthy one from the pen of so clever a writer. I do think, however, that the author might have left out the point about Sir Arthur Conniston, an English gentleman, turning traitor. This sort of thing is hardly calculated to bring about a friendly feeling between England and America, the two greatest countries in the world. I have the greatest admiration for the United States, and though we may have a little fun at each other's expense, there is no ill feeling meant, but I really hope you will not publish any other story like that one.—An Englishman, Montreal, Canada.

Likes the Romance

Dear Editor:

I have just finished my second copy of Astounding Stories and I wish to say I have enjoyed every story.

For some time I have been a reader of Science Fiction, but none will compare to Astounding Stories. These stories seem to have the proper amount of romance in them to make them really interesting, and it adds the proper touch.

I have no criticism to make. May I wish you a great success with this magazine—Frank I. Sontag, 825 Prescott Ave., Scranton, Pa.

High Praise

Dear Editor:

Allow me to congratulate you upon the establishment of "The Readers' Corner." I do not know which was the first issue of your delightful magazine, but I have been buying it regularly for quite a few months.

I may not be an experienced critic, but it can be easily seen by anyone that this magazine is one of the best on sale. I, for one, enjoy your stories more than any other stories I have ever read.

I have just finished the second part of the four-part serial entitled "Brigands of the Moon." I thing Ray Cummings is the best author I have ever met up with in stories. The drawings are fine, the print is excellent, but I think the paper could be improved. But by no means change the size of your little magazine. The size is just right.

In your April issue I read in "The Readers' Corner" about a Science Correspondence Club. Believe me when I say I'm sending immediately for an application blank. I think the idea of this club is excellent.

Truly you have contributed a great gift to Science Fiction readers in offering this magazine to the receptive public.—Theodore L. Page, 2361 Los Angeles Ave., Pittsburgh, Pa.

"Don't Do It!"

Dear Editor:

This afternoon I saw Astounding Stories for the first time and immediately grabbed a copy, as I have read others of the Clayton group, and moreover am a Science Fiction fan.

The newsstand has no back numbers, and I simply must have the March 1930 issue, as I wish to read "Brigands of the Moon," so here is 25¢, in stamps to cover purchase price and cost of mailing me a copy of that issue.

Have you a complete file since Vol. 1, No. 1? If so, what is the cost including charges? I'm sorry that I missed this magazine before, but you can rest assured that I'll miss no more.

In the "Readers' Corner" I notice a call from Stephen Takacs for a change in size. DON'T DO IT! The size and shape are O. K., and to make it the awkward size of most magazines (including two of the Science Fiction magazines that I am now a confirmed reader of), would not improve it a bit.

You have two of my favorite authors in the April number; no, I see it is three—Burks, Cummings and Meek. They are O. K., but don't forget a few others, such as Burroughs, Verrill, Hamilton, Coblentz, Keller, Quinn, Williamson, Leinster, Repp, Vincent, Flagg—oh, why continue; you certainly know all the good authors of OUR kind of fiction; try them all. Of course, the other Science Fiction magazines that I take are full of stories by my favorites, but you can get stories by them too.

From this one issue that I have read I can see only praise for your publication. Here's to a long life and a happy one.

Don't forget to send me the March issue as fast as the mail can get it here—Robert J. Hyatt, 1353 Kenyon St., N. W., Washington D. C.

"Worst Ever Read"

Dear Editor:

Since you invite criticism as well as praise, I am impelled to state that by far the worst story I ever read in any Science Fiction magazine was "Vampires of Venus," by Anthony Pelcher, which appeared in your April issue. It was so idiotic, so flat and inane, that it might have passed for a burlesque rather than a straight story, were it not painfully evident that the author was serious. The yarn was unworthy of Astounding Stories and did not belong in this magazine.

The other stories, except for an amateurish attempt called "The Man Who Was Dead," were deeply engrossing and of unusual merit.—Sears Langell, 1214 Boston Road, New York.

"The Readers' Corner"

All Readers are extended a sincere and cordial invitation to "come over in 'The Readers' Corner'" and join in our monthly discussion of stories, authors, scientific principles and possibilities—everything that's of common interest in connection with our Astounding Stories.

Although from time to time the Editor may make a comment or so, this is a department primarily for Readers, and we want you to make full use of it. Likes, dislikes, criticisms, explanations, roses, brickbats, suggestions—everything's welcome here; so "come over in 'The Readers' Corner'" and discuss it with all of us!

—The Editor.

and another

The Readers' Corner

A Meeting Place for Readers of Astounding Stories

From Australia

Dear Editor:

I am taking the privilege of writing to you in an endeavor to show my appreciation of your magazine Astounding Stories.

Although I am an inveterate reader I must say that I have never read any book or magazine to come up to the above, and confess that though I am ignorant of the intricacies of science (and lacked interest in same prior to my reading your first issue) same is described so plainly that I have no trouble in fully understanding exactly what the author conveys. I must thank you for this other interest in the monotony of life.

Have pleasure of informing you that through my enthusiasm have created several subscribers, and on occasions when adopting the age old custom of placing my foot upon the rail and bending the elbow, have entered into many a conversation and discussion re the different stories included in your magazine.

I assure you of my whole-hearted support in the furthering of the popularity of your enjoyable and unique work in my country, and wish you every success in your venture.—M. B. Johnston, 237 Flinders Lane, Melbourne, Australia.

Mr. Neal's Favorites

Dear Editor:

The other day I saw Astounding Stories on one of the newsstands. I purchased it, and after reading "Brigands of the Moon", I eagerly finished the rest of the magazine. I did not like "Out of the Dreadful Depths." In my opinion it should not be in a Science Fiction magazine. The only thing the matter with your magazine is that it is too small. I would like to read some stories in "our" magazine by Ed Earl Repp, David H. Keller, M. D., Miles J. Brewer, M. D., and Stanton Coblentz—Francis Neal, R. R. 4, Box 105, Kokomo, Ind.

No Ghost Stories

Dear Editor:

I received your April issue and I think it is the best yet. I have but one complaint to make, and that is your magazine seems to print some good science stories, but also has some stories which do not belong in a Science Fiction magazine. They might come under the name of weird tales. Is your magazine devoted to pure 100 per cent. Science Fiction? If so, I think you ought to leave out the ghost stories.—Louis Wentzler, 1933 Woodbine St., Brooklyn, N. Y.

From the Other Sex

Dear Editor:

You'll be surprised to hear from a girl, as I notice only boys wrote to praise your new magazine. I tried reading some of the Science Fiction magazines my brother buys every month but I'd start reading a story only to leave it unfinished. But your magazine is different. When I picked it up to read it I thought I'd soon throw it down and read something else, but the moment I started to read one of the stories of your new magazine I read it to the finish. I never read such vivid and exciting stories. Even my brother who loves all kinds of Science Fiction magazines couldn't stop praising your new magazine. He said Astounding Stories beats them all.

Some of our readers criticized your new magazine, and I haven't anything but disagreement for them. Yet, who am I, to judge persons who have read and know all about Science Fiction?

Will recommend your new magazine to all my friends.—Sue O'Bara, 13440 Barley Ave., Chicago, Illinois.

January Issue Was First

Dear Editor:

I have just finished reading the April issue of "our" magazine. Can mere words describe my feelings? I am classing the stories as follows: A—excellent; B—very good; C—good; D—passable; E—poor.

A—"Monsters of Moyen," "Vampires of Venus," "The Ray of Madness," "The Soul-Snatcher."

B—"The Man Who Was Dead."

C—None. D—None. E—None.

"Brigands of the Moon" is getting more and more interesting. Can you please tell me which month's issue was the first one, as I didn't procure the first two copies and should like to do so?—Eli Meltzer, 1466 Coney Island Ave., Brooklyn, N. Y.

"Eclipses All"

Dear Editor:

Just as soon as your new magazine came out I espied it. It eclipsed all the other magazines on the stand. As a cub magazine I couldn't ask for more.

I am going to comment on your stories now because I know you want me too, for I know you would like to know what sort of stories your readers like.

I have a lot to say about Ray Cummings. He is the best writer I have ever seen. His stories couldn't be beat. "Phantoms of Reality" was a corking good story, but I believe his new serial, "Brigands of the Moon," is going to be better. Captain S. P. Meek is a very good writer also. I take immense joy in his Dr. Bird stories. And we must not forget that great writer, Murray Leinster. His stories are really good.

I congratulate you on your new magazine, Mr. Editor.—Albert Philbrick, 117 N. Spring St., Springfield, Ohio.

"A Unique Magazine"

Dear Editor:

I've been trying to write your magazine for a long time, so here goes.

I've bought every copy from the first issue and sure think it is a good magazine. In fact I should say a unique magazine; there are but few magazines in its class among Science Fiction magazines. The stories come up to the standards of good Science Fiction, and some go far above it. A few stories I did not like were: "The Man Who Was Dead," "The Soul Snatcher," "The Corpse on the Grating" and "The Stolen Mind." The science in all these stories was very poor. But your magazine became better in my eyes when you published "Phantoms of Reality," "Tanks," "Old Crompton's Secret," "Brigands of the Moon," "Monsters of Moyen," and all of Captain S. P. Meek's stories. These were extraordinarily good stories.

Wesso's drawings are very good, and I hope you keep him. I have seen his drawings in another magazine for quite a time. I don't like the illustrations of your other artist. Could you, by chance, secure an artist by the name of Leo Morey or Hugh Mackay? They both illustrate for other Science Fiction magazines and are about as good as Wesso. Please keep the latter. And why don't you have him to do all of your illustrating?

Sorry to seem such a grouch, but I don't like your grade of paper either. And why not enlarge the magazine to about 11" x 9" by 1/2", and charge 25 cents for your thoroughly good magazine, apart from the defects I have mentioned.

About your authors. They are, for the most part, good. But they are mostly amateurs at writing Science Fiction stories. I am delighted to see such expert writers of Science Fiction as Harl Vincent, Ray Cummings, Victor Rousseau and Captain S. P. Meek writing for your magazine, but couldn't you include in your staff of authors A. Hyatt Verrill, Dr. Miles J. Breuer, Dr. David H. Keller, R. F. Starzl, and a few more such notable authors? I hope to see these authors in your magazine soon.—Linus Hogenmiller, 502 N. Washington St., Farmington, Mo.

The Star System!

Dear Editor:

One star means fairly good, two stars, good; three stars, excellent; four, extraordinary; no stars—just another story.

I give "Brigands of the Moon," by Ray Cummings, three stars; "The Atom-Smasher," by Victor Rousseau, three stars; "Murder Madness," by Murray Leinster, two stars; "Into the Ocean Depths," by S. P. Wright, two stars, and "The Jovian Jest," by L. Lorraine, no stars. It was short and sweet.

Wesso sure can draw. I would like to see a full page illustration for each story by him.

My favorite type of stories are interplanetary, and, second favorite, stories of future wars. Will you have many of them in the future? I like long stories like the novelette in the May issue of Astounding Stories—Jack Darrow, 4225 N. Spaulding Ave., Chicago, Illinois.

We Expect Not To

Dear Editor:

While going over your "The Readers' Corner" of the April issue, I noticed in your answer to one of the letters that you will avoid reprints. Now many of your readers have not read the older classics of Science Fiction. Would it not be a good idea to publish a reprint at least once a year? One of the suggestions given was Merritt's "Through the Dragon Glass." Another very interesting story, and one that I am sure almost all of your followers have not read, is "The Blind Spot," by Homer Flint.

I like the idea of having three members to a volume, as it will be much easier to bind. Now, starting with the April issue, I think that the best story in there is "Monsters of Moyen." "The Ray of Madness" was up to the usual standard of Capt. S. P. Meek's stories. "The Man Who Was Dead" was fairly good; average, I would say. I did not like "Vampires of Venus."

I say that the May issue was the best of the Astounding Stories. I was satisfied with every story in it. "Into the Ocean Depths" was the best story, "The Atom Smasher" being a close second. I like the way the story "Into the Ocean Depths" ended; a slight trace of sadness and not at all like the "and they lived happily ever after" ending. A real story.

I was disappointed in not finding any story concerning Dr. Bird in the April issue. Will any more be printed soon?

Before I close I would like a definite answer to this question: Will you ever, or in the near future, reprint any of the genre of Science Fiction, stories by the late master Garret P. Serviss, or from the pen of A. Merritt and H. G. Wells?—Nathan Greenfeld, 313 E. 70th St., New York City.

Again Reprints

Dear Editor:

Although I am a reader of six Science Fiction magazines, I was more than glad to see the latest one out, Astounding Stories. Because the stories are all interesting. I consider Astounding Stories superior to most of the Science Fiction periodicals on the newsstands to-day.

My favorite stories are those of interplanetary voyages and other worlds. My favorite authors are: Ray Cummings, A. Merritt, Victor Rousseau, Murray Leinster, Arthur J. Burks and Harl Vincent. I hope that you will soon have stories by Edmond Hamilton and David H. Keller.

Now here is something I hope you will give some thought and consideration. I noticed that many of the readers wrote in, requesting reprints. I am one of those who would like to see you publish some reprints, especially stories by Edgar Rice Burroughs, A. Merritt and Ray Cummings. These authors have written many masterpieces of Science Fiction. It is very difficult, if not impossible, for a person to get these stories. They could be made available easily if Astounding Stories would reprint them.

Most of the readers who object to reprints do so because they would hate to see a story by H. G. Wells or Jules Verne. I, myself, do not like these authors as they are too dull. But if you have only reprints by the three authors I mentioned and a few other popular writers, I am sure all the readers would welcome them. At least you could have a vote and see how they stand on reprints—Michael Fogaris, 157 Fourth St., Passaic, N. J.

Likes "The Readers' Corner"

Dear Editor:

Your "The Readers' Corner" interests me very much. It surely does show how your magazine pleases its readers. You cannot get too much science in your stories to suit me. Chemistry and physics more than anything else.

I surely enjoyed reading "Mad Music" and "The Thief of Time." I don't like long stories. They are too interesting to have to wait a month for the next part.

I hope that your magazine continues to have as "astounding" stories as it has in the past.—Vern L. Enrich, R. F. D. 1, Casey, Illinois.

From Master Weiner

Dear Editor:

One day coming home from school I saw your magazine. That night I bought it and have since been an ardent reader.

But why not give us a change? I prefer stories of the Sargasso Sea, the Maelstrom, and about invasions of the Earth.—Milton Weiner, age 12, 2430 Baker St., Baltimore Maryland.

High Praise

Dear Editor:

Enclosed you will find twenty cents in stamps for the first copy of Astounding Stories.

I have just finished the May issue of Astounding Stories and the rating of the stories is: 1—"Brigands of the Moon"—Excellent! 2—"The Atom Smasher"—Marvelous! 3—"Murder Madness"—Perfect. 4—"Into the Ocean's Depths"—Good. 5—"The Jovian Jest"—Pretty Good.

The cover design by H. Wesso is good. Don't lose him.

I would like more stories by Victor Rousseau and Ray Cummings. Where are some stories by H. G. Wells, Stanton Coblens, Gawain Edwards, Francis Flagg, Henrik Jarve and Dr. Keller? My favorite stories are interplanetary stories.

Here are some things that may improve your magazine (though I must say that your magazine is about perfect as it is): More pictures in long stories; about two novelettes in each issue; about two short stories in each issue; more interplanetary novels and novelettes; about one serial in one issue; smoother paper.—Isidore Horowitz, 1161 Stratford Avenue, New York City.

"Fairly Good Satire"

Dear Editor:

I have read your two issues of Astounding Stories and I feel they will fill a very much needed place in literature.

I am especially interested in the stories like the "Vampires of Venus" and the "Brigands of the Moon." The "Vampires of Venus" can be classed as a fairly good satire on Earth beings; I consider that story one with a moral. It reminds one of Voltaire's Micromegas, and it's taking us to another planet to show us our faults at home will stimulate interest in social improvement.

I have kept tab on Edgar Rice Burroughs' writings because he teaches evolution in a way that makes it easy for the ordinary reader to grasp.

You have a great field, if you can keep up the interplanetary stories and mix some evolutionary stories with them.

The true stories are playing a valuable part in stimulating people to take a deeper view of life, and you have a field in Astounding Stories almost without a competitor.—J. L. Stark, 530 Sutcliffe Ave., Louisville, Kentucky.

He is H. W. Wessolowski

Dear Editor:

Since I have read every copy of Astounding Stories since it was inaugurated I feel well qualified to contribute a few bouquets and also some criticism. The cover illustrations are wonderful but I cannot find the artist's name on it. So good an artist should put his "moniker" on his productions. I am glad to see that the words "Super-Science" are on the top of the cover in bright red letters; some other Science Fiction magazines seem desirous of disguising the contents of their magazines for some obscure and mysterious reason.

And now a brickbat. It is my humble opinion that the science should be examined more carefully before the stories are printed in this excellent magazine. The stories should be not only astounding, but should contain some science information that will be remembered after the fiction is forgotten. "The Man Who Was Dead" is an excellent ghost story or weird tale, but is out of place in "our" magazine. (I take the liberty to call it "our" magazine since a department is given over to the readers and we express our choice of the kind of stories that are printed.) However, taken all together, our magazine is steadily improving; each issue up to now has been distinctly better than the one before.

I have graded the stories in the April and May copies as follows: Excellent—"Vampires of Venus," "The Ray of Madness," "Brigands of the Moon," "Murder Madness," "Into the Ocean's Depths" and "The Jovian Jest." Good—"Monsters of Moyen," "The Atom Smasher" and "The Soul Searcher." Poor—"The Man Who Was Dead."

My favorite authors are Dr. David H. Keller, Harl Vincent, Lillith Lorraine, Anthony Pelcher, Capt. S. P. Meek, Dr. Miles J. Breuer and Ray Cummings. I can hardly wait a month for my next copy.—Wayne D. Bray, Campbell, Missouri.

Story Says Cro-Magnons Fled to Europe

Dear Editor:

Ever since I was first introduced to Astounding Stories by a cousin I have been a steady reader. I have not missed a single issue so far.

I hope you will have stories by Hyatt Verril, Edgar Rice Burroughs, Edmond Hamilton, Leslie Stone, Stanton A. Coblentz and Francis Flagg.

The stories I like best in each issue (not counting serials) are: "Phantoms of Reality," "Spawn of the Stars," "Vandals of the Stars," "Vampires of Venus" and "The Atom Smasher." In "The Atom Smasher" it says that all Europeans descended from the Atlanteans. Now when the hero killed them all with the disintegrating ray, would he not have affected their birth?

Wesso is some artist. I saw a mistake on the cover of the March issue. The color of space is a deep black, not blue, because the blue color of the heavens when viewed from the earth is due to the reflection of light by the atmosphere.—George Brande, 141 South Church St., Schenectady, N. Y.

"The Readers' Corner"

All Readers are extended a sincere and cordial invitation to "come over in 'The Readers' Corner'" and join in our monthly discussion of stories, authors, scientific principles and possibilities—everything that's of common interest in connection with our Astounding Stories.

Although from time to time the Editor may make a comment or so, this is a department primarily for Readers, and we want you to make full use of it. Likes, dislikes, criticisms, explanations, roses, brickbats, suggestions—everything's welcome here; so "come over in 'The Readers' Corner'" and discuss it with all of us!

[rufatto]

Replacements, Tim (Let it Bleed edition)

(e uma pequena reflexão sobre o desejo de consertar os erros do passado.)

A primeira coisa que precisa ser escrita aqui é que o Replacements é minha banda favorita no mundo, em todas essas décadas de música popular e que “Tim” é um dos discos que mais amo nesta vida. Dito isso, tudo abaixo deste paragrafo é carregado de amor e empatia por aqueles que no final da adolescência me ofereceram um lugar quentinho para acomodar as coisas esquisitas que eu sentia e todas as inadequações para com o mundo real.

No final de setembro ocorreu o lançamento de uma nova versão de “Tim”, álbum de 1985 do Replacements e o primeiro pela gravadora Sire – a mesma que havia contratado Madonna dois anos antes e era bancada com o dinheiro de um pilar do entretenimento americano, a Warner Bros. “Tim” era o sucessor de “Let it be”, de 1984, um álbum extraordinário lançado por um pequeno selo (twin/tone) e que continua sendo tratado como o melhor disco da banda e um dos melhores discos dos anos oitenta. A historia nos conta que o álbum de estreia pela grande gravadora fracassou nas vendas, o guitarrista Bob Stinson foi demitido e a banda tomou outras direções sobrevivendo por mais três discos até acabar em 1990.

Ironicamente apelidado de “Let it bleed”, a nova versão do álbum mixada por Ed Stasium busca corrigir os lendários equívocos realizados pelo produtor original, Tommy Ramone. Os erros foram tantos que muitas vezes se sobressaiam sobre a importância do álbum, basicamente a péssima mixagem só encontra dois rivais na historia da música pop: Raw Power produzido por David Bowie, Let it be produzido pelo Phil Spector. Ambos ganharam novas mixagens para corrigir os erros originais.

A nova mixagem de Stasium é brilhante, viva e literalmente reveladora no sentido que finalmente conseguimos ouvir coisas que haviam sido gravadas, mas que estavam soterradas por efeitos. Os exemplos mais significativos estão nos vocais de Paul Westerberg, que antes eram corroídos pelo eco e agora são claros (e ásperos); no surgimento de backing vocals onde antes não havia nada; as guitarras de “little Mascara”, que eram cortadas no clímax da canção, escondiam quase um minuto a mais de canção e um final sensacional; no piano e os sintetizadores em “here comes a regular” que antecipava em dez anos o som que o Wilco teria em 1995. Estava tudo ali, mas simplesmente não conseguíamos ouvir porque assim a vida quis que fosse por quase quarenta anos, é historia.

“Let it bleed” despertou em mim um processo de reflexão sobre um desejo intimo do ser humano: a possibilidade de viajar no tempo e mudar a historia, consertar os erros do passado. Por quatro décadas os fãs da banda conviveram com a pergunta: como teria sido o mundo se o Replacements tivesse tomado outras atitudes e direções musicais mais comerciais? Essa questão diz muito mais sobre seus fãs do que sobre a banda ou o mundo. Seus fãs (eu) amariam tanto a banda e dedicariam tanto a cultua-la se os caras tivessem seguido o caminho do REM, tornando a banda profissional e angariando uma multidão de fãs nos anos noventa?

Apesar tudo que foi feito errado na mixagem original de 1985, “Tim” tornou-se um álbum cultuado pela força das canções que eram boas demais para serem estragadas. “Left of the Dial”, “Bastard of Young”, “Hold my life”, “Swingin Party” e “Here Comes a Regular” sempre serão documentos sobre ser jovem e cheio de expectativas que não se cumprem. É significativo que estas canções estejam no álbum que poderia ter tornado o Replacements “grande”, mas que vendeu quase nada, 75 mil cópias no ano em que foi lançado. O fracasso de “Tim” é parte de toda a confusão existencial e autosabotagem que marca a mitlogia da banda, assim como a implicância com os vídeos para MTV e os programas de televisão. “Let it Bleed” é lindo, maravilhoso, cinco estrelas, mas infelizmente é ficção de fã. Nesta nova versão ouvimos uma banda idealizada, um Replacements livre de seus conflitos musicais e pessoais, aceitando o poder oferecido pela maquina de uma grande gravadora e rumo a um sucesso merecido que sabemos que nunca aconteceu.

[weirdlandtv]

Pillars of Salt (1979) cover art by Paul E. Stinson.

[70sscifiart]

Paul E. Stinson

[art-of-illlustration]

Paul E. Stinson - A Charmed Life, 1984.

[rolloroberson]

The Replacements’ legendary SNL performance on January 18, 1986 after which they were banned by Lorne Michaels.

(From Far Out Magazine UK): The Replacements performed ‘Kiss Me on the Bus’ whilst being completely out of their mind on drink and who knows what and then played ‘Bastards of Young‘—playing it entirely out-of-tune—during which frontman Paul Westerberg yells out a swear. If the band hadn’t already tarnished their TV reputation with the knowingly tough Michaels with their performances when Westerberg yelled “come on fucker” the nail was in the coffin for the NBC bosses. To make things even worse they returned to stage wearing mismatched iterations of each other’s clothing.

In a 2015 interview recorded for the Archive of American Television, G. E. Smith recalled that although the band had performed well for the early evening pre-taped dress rehearsal performance, one of their crew then smuggled alcohol into their dressing room and they spent the next few hours drinking (with the guest host, Harry Dean Stanton) while taking drugs.

According to Smith, by the time of the late-night live broadcast, the band were so entirely intoxicated that on their way to the stage to perform, Bob Stinson tripped in the corridor, fell over onto his guitar and broke it—a fumble that led to Smith loaning him one of the SNL house band’s spare instruments.

[lookcaitlin]

[weirdlookindog]

Paul E. Stinson - A Charmed Life

[sandmandaddy69]

Paul E. Stinson

[westerberg]

tagged by @officialglenntilbrook 😘💞💖❤️🥂

1. what is the first song you remember hearing? Oh man uhh... i remember my my dad playing the video for... oops i did it again I think? by britney spears and i was very obsessed with it. if i saw the video I would know but i don’t feel like doing that. hard to say if that is my earliest memory of music tho. i remember listening to the R.E.M. In Time greatest hits in the car late at night and feeling weird out of body as Man on the Moon came on. i like that story better but I have no idea when that memory is from. i also feel like i heard my mom singing along with Sarah McLaughlin or Norah Jones a lot when i was very young.

2. what is the first band you got into? hmm... i  really loved Bon Jovi when I was very young but i didn’t like. have any knowledge of them or their discography I just liked slippery when wet and their greatest hits. and also thats embarrassing so i am trying to think of an out... probably the first real musical obsession i had was lana del rey when I was 14 /15 but thats also not great. just take the L buddy... i didnt actually get into music i would now consider very good until about 16.

3. do you collect any physical music? during quar i started trolling ebay and other similar sites for cheap cds and I have gotten a pretty good collection! you would be shocked the number of people who just really do not want to have their R.E.M. albums anymore. I have a few vinyls- a couple of cheap Joni records, Station to Station, the mats Dead Mans Pop boxset thing, and the R.E.M. single So. Central Rain. Oh and I have a very cool cd single of beastie boys body movin’. I also have a collection of cassettes that used to belong to my mom- she passed 5 yrs ago so they are very special to me! she had some R.E.M., U2, Eurythmics, Squeeze, Crowded House, Indigo Girls, and I recently dug up a bootlegged Tracy Chapman tape! she might have some more at her childhood home and if I find a tape of murmur i’ll like blackout. the sad thing is that now I really like all these musicians my mom apparently liked but i was not into them when she was alive so :/ figuring things out feels like archeology. was listening to In Time greatest hits the other day and was like she definitely skipped E-Bow the Letter every time it came on lol bc i did not hear this song until like last year.

4. what is your favourite piece of music memorabilia? do you know that picture of R.E.M. where they are all holding roses like they are all going to the prom together? i scored a poster of that off Ebay for the incredible deal of $50!! a deal at any price :) I don’t have much that is like legit valuable lol. But here you have to see the picture

5. what's your favourite concert you've ever been to? hmm i havent really been to any truly mindblowing concerts I don’t think. I got to see Tommy Stinson play an acoustic set at 7th street entry in 2019 which was very cool. I feel crazy saying thats my favorite but it was incredibly special.

6. if you could see one artist who is no longer alive in concert, who would it be? If you ask right now I would probably have to say Replacements with Bob Stinson. Prince would be a close one

7. have you met any musicians? almost! when i went to see tommy stinson, afterwards he was hanging in a bar next to the club and was taking selfies with people. i kept thinking about getting in line and eventually i decided to just do it. when i finally went to go look for him he was deep in a conversation with someone and I also realized i had nothing intelligent to say, so i sat and stared at him talking for a bit until i left and went back to the show.

8. what is your go to album when you're feeling sad? Tim by the mats! i think i maybe listened to this album every day my senior year of high school. it is legitimately strange how I feel as if this album just knows me very well. everyone says this about the mats but every song feels like it’s about me and my life. I think a perk of being a lower middle class Minnesotan with an alcoholic father is just really really getting the replacements. but i guess it depends on the kind of sad I am. If i’m just looking to be cheered up i might go with Lifes Rich Pageant or Green by R.E.M. because invariably by the end of Tim I will be bummed out !

9. what is your go to album when you're feeling happy? somehow this is a very hard question. Radio City by Big Star was a big one for me when i was still on campus. maybe an obvious one but rubber soul is a good being happy album

10. what is one music documentary you love? the doc Every Everything about Grant Hart from Hüsker Dü is a favorite. it’s just all interview with him and he’s a fascinating guy. I’ve never watched an interview with him where i wasn’t like woah u’re smart :0... the director of that also did a good replacements doc but at certain point with mats journalism im just like well i could’ve just read trouble boys.

11. what is one concert DVD you love? I think I only own one concert DVD, Prince’s Lovesexy show which i was very obsessed with back in high school.

12. do you prefer listening to playlists or albums? i prefer albums usually, sometimes i’m in the mood for a playlist but albums are def superior

13. do you prefer to listen to albums in order or on shuffle? in order !!!! What am i a psychopath

14. what is your favourite deep cut song by your favourite artist? Portland by the mats is a top ten song of theirs. very in character for it to be a b-side i’m not even mad

15. what is your favourite cd/cassette/vinyl you own in terms of packaging? I love the inner sleeve of my Grandpaboy cd which is just Paul Westerberg’s doodles and scribblings. sometimes when i buy stuff off of ebay it comes with notes and stuff too which is my favorite. my copy of suicaine gratifaction came with a very sweet note of how much the previous owner loved it. and my copy of mbv’s loveless has this very hard to read note which i can maybe make out half of. if you can read it please translate for me.

i love being tagged but if you do not want to answer 15 long questions do not feel pressured! i shall tag @the-replacemints @pattismithgender @myfcukingrat @willemdafoeplscallmemynumberis @little-rimbaud @milesofsmiles97 @electrofolk 🤙😜💘

[blackkudos]

Elizabeth Catlett

Elizabeth Catlett (April 15, 1915 – April 2, 2012) was an American and Mexican graphic artist and sculptor best known for her depictions of the African-American experience in the 20th century, which often focused on the female experience. She was born and raised in Washington, D.C. to parents working in education, and was the grandchild of freed slaves. It was difficult for a black woman in this time to pursue a career as a working artist. Catlett devoted much of her career to teaching. However, a fellowship awarded to her in 1946 allowed her to travel to Mexico City, where she worked with the Taller de Gráfica Popular for twenty years and became head of the sculpture department for the Escuela Nacional de Artes Plásticas. In the 1950s, her main means of artistic expression shifted from print to sculpture, though she never gave up the former.

Her work is a mixture of abstract and figurative in the Modernist tradition, with influence from African and Mexican art traditions. According to the artist, the main purpose of her work is to convey social messages rather than pure aesthetics. Her work is heavily studied by art students looking to depict race, gender and class issues. During her lifetime, Catlett received many awards and recognitions, including membership in the Salón de la Plástica Mexicana, the Art Institute of Chicago Legends and Legacy Award, honorary doctorates from Pace University and Carnegie Mellon, and the International Sculpture Center's Lifetime Achievement Award in contemporary sculpture.

Early life

Catlett was born and raised in Washington, D.C. Both her mother and father were the children of freed slaves, and her grandmother told her stories about the capture of their people in Africa and the hardships of plantation life. Catlett was the youngest of three children. Both of her parents worked in education; her mother was a truant officer and her father taught at Tuskegee University, the then D.C. public school system. Her father died before she was born, leaving her mother to hold several jobs to support the household.

Catlett's interest in art began early. As a child she became fascinated by a wood carving of a bird that her father made. In high school, she studied art with a descendant of Frederick Douglass.

Education

Catlett completed her undergraduate studies at Howard University, graduating cum laude, although it was not her first choice. She was also admitted into the Carnegie Institute of Technology but was refused admission when the school discovered she was black. However, in 2007, as Cathy Shannon of E&S Gallery was giving a talk to a youth group at the August Wilson Center for African American Culture in Pittsburgh, PA, she recounted Catlett's tie to Pittsburgh because of this injustice. An administrator with Carnegie Mellon University was in the audience and heard the story for the first time. She immediately told the story to the school's president, Jared Leigh Cohon, who was also unaware and deeply appalled that such a thing had happened. In 2008, President Cohon presented Catlett with an honorary Doctorate degree and a one-woman show of her art was presented by E&S Gallery at The Regina Gouger Miller Gallery on the campus of Carnegie Mellon University.

At Howard University, Catlett's professors included artist Lois Mailou Jones and philosopher Alain Locke. She also came to know artists James Herring, James Wells, and future art historian James A. Porter. Her tuition was paid for by her mother's savings and scholarships that the artist earned, and she graduated with honors in 1937. At the time, the idea of a career as an artist was far-fetched for a black woman, so she completed her undergraduate studies with the aim of being a teacher. After graduation, she moved to her mother's hometown of Durham, NC to teach high school.

Catlett became interested in the work of landscape artist Grant Wood, so she entered the graduate program of the University of Iowa where he taught. There, she studied drawing and painting with Wood, as well as sculpture with Harry Edward Stinson. Wood advised her to depict images of what she knew best, so Catlett began sculpting images of African-American women and children. However, despite being accepted to the school, she was not permitted to stay in the dormitories, therefore she rented a room off-campus. One of her roommates was future novelist and poet Margaret Walker. Catlett graduated in 1940, one of three to earn the first masters in fine arts from the university, and the first African-American woman to receive the degree.

After Iowa, Catlett moved to New Orleans to work at Dillard University, spending the summer breaks in Chicago. During her summers, she studied ceramics at the Art Institute of Chicago and lithography at the South Side Community Art Center. In Chicago, she also met her first husband, artist Charles Wilbert White. The couple married in 1941. In 1942, the couple moved to New York, where Catlett taught adult education classes at the George Washington Carver School in Harlem. She also studied lithography at the Art Students League of New York, and received private instruction from Russian sculptor Ossip Zadkine, who urged her to add abstract elements to her figurative work. During her time in New York, she met intellectuals and artists such as Gwendolyn Bennett, W. E. B. Dubois, Ralph Ellison, Langston Hughes, Jacob Lawrence, Aaron Douglas, and Paul Robeson.

In 1946, Catlett received a Rosenwald Fund Fellowship to travel with her husband to Mexico and study. She accepted the grant in part because at the time American art was trending toward the abstract while she was interested in art related to social themes. Shortly after moving to Mexico that same year, Catlett divorced White. In 1947, she entered the Taller de Gráfica Popular, a workshop dedicated to prints promoting leftist social causes and education. There she met printmaker and muralist Francisco Mora, whom she married later that same year. The couple had three children, all of whom developed careers in the arts: Francisco in jazz music, Juan Mora Catlett in filmmaking, and David in the visual arts. The last worked as his mother's assistant, performing the more labor intensive aspects of sculpting when she was no longer able. In 1948, she entered the Escuela Nacional de Pintura, Escultura y Grabado "La Esmeralda" to study wood sculpture with José L. Ruíz and ceramic sculpture with Francisco Zúñiga. During this time in Mexico, she became more serious about her art and more dedicated to the work it demanded. She also met Diego Rivera, Frida Kahlo, and David Alfaro Siqueiros.

In 2006, Kathleen Edwards, the curator of European and American art, visited Catlett in Cuernavaca, Mexico and purchased a group of 27 prints for the University of Iowa Museum of Art (UIMA). Catlett donated this money to the University of Iowa Foundation in order to fund the Elizabeth Catlett Mora Scholarship Fund, which supports African-American and Latino students studying printmaking. Elizabeth Catlett Residence Hall on the University of Iowa campus is named in her honor.

Activism

Catlett worked with the Taller de Gráfica Popular (TGP) from 1946 until 1966. However, because some of the members were also Communist Party members, and because of her own activism regarding a railroad strike in Mexico City had led to an arrest in 1949, Catlett came under surveillance by the United States Embassy. Eventually, she was barred from entering the United States and declared an "undesirable alien." She was unable to return home to visit her ill mother before she died. In 1962, she renounced her American citizenship and became a Mexican citizen.

In 1971, after a letter-writing campaign to the State Department by colleagues and friends, she was issued a special permit to attend an exhibition of her work at the Studio Museum in Harlem.

Later years

After retiring from her teaching position at the Escuela Nacional de Artes Plásticas, Catlett moved to the city of Cuernavaca, Morelos in 1975. In 1983, she and Mora purchased an apartment in Battery Park City, NY. The couple spent part of the year there together from 1983 until Mora's death in 2002. Catlett regained her American citizenship in 2002.

Catlett remained an active artist until her death. The artist died peacefully in her sleep at her studio home in Cuernavaca on April 2, 2012, at the age of 96. She is survived by her 3 sons, 10 grandchildren, and 6 great-grandchildren.

Career

Very early in her career, Catlett accepted a Public Works of Art Project assignment with the federal government for unemployed artists during the 1930s. However, she was fired for lack of initiative, very likely due to immaturity. The experience gave her exposure to the socially-themed work of Diego Rivera and Miguel Covarrubias.

Much of her career was spent teaching, as her original intention was to be an art teacher. After receiving her undergraduate degree, her first teaching position was in the Durham, NC school system. However, she became very dissatisfied with the position because black teachers were paid less. Along with Thurgood Marshall, she participated in an unsuccessful campaign to gain equal pay. After graduate school, she accepted a position at Dillard University in New Orleans in the 1940s. There, she arranged a special trip to the Delgado Museum of Art to see the Picasso exhibit. As the museum was closed to black people at the time, the group went on a day it was closed to the public. She eventually went on to chair the art department at Dillard. Her next teaching position was with the George Washington Carver School, a community alternative school in Harlem, where she taught art and other cultural subjects to workers enrolled in night classes. Her last major teaching position was with the Escuela Nacional de Artes Plásticas at the National Autonomous University of Mexico (UNAM), starting in 1958, where she was the first female professor of sculpture. One year later, she was appointed the head of the sculpture department despite protests that she was a woman and a foreigner. She remained with the school until her retirement in 1975.

When she moved to Mexico, Catlett's first work as an artist was with the Taller de Gráfica Popular (TGP), a famous workshop in Mexico City dedicated to graphic arts promoting leftist political causes, social issues, and education. At the TGP, she and other artists created a series of linoleum cuts featuring prominent black figures, as well as posters, leaflets, illustrations for textbooks, and materials to promote literacy in Mexico. Catlett’s immersion into the TGP was crucial for her appreciation and comprehension of the signification of “mestizaje”, a blending of Indigenous, Spanish and African antecedents in Mexico, which was a parallel reality to the African American experiences. She remained with the workshop for twenty years, leaving in 1966. Her posters of Harriet Tubman, Angela Davis, Malcolm X and other figures were widely distributed.

Although she had an individual exhibition of her work in 1948 in Washington, D.C., her work did not begin to be shown regularly until the 1960s and 1970s, almost entirely in the United States, where it drew interest because of social movements such as the Black Arts Movement and feminism. While many of these exhibitions were collective, Catlett had over fifty individual exhibitions of her work during her lifetime. Other important individual exhibitions include Escuela Nacional de Arte Pláticas of UNAM in 1962, Museo de Arte Moderno in 1970, Los Angeles in 1971, the Studio Museum in Harlem in New York in 1971, Washington, D.C. in 1972, Howard University in 1972, Los Angeles County Museum of Art in 1976, Miller Gallery at Carnegie Mellon University in 2008, and the 2011 individual show at the Bronx Museum. From 1993 to 2009, her work was regularly on display at the June Kelly Gallery.

Catlett's work can be found in major collections such as those of the Museum of Modern Art, Metropolitan Museum of Art, Library of Congress, Minneapolis Institute of Arts, National Museum in Prague, the Toledo Museum of Art, the Clark Atlanta University Art Galleries, the Palacio de Bellas Artes in Mexico, the Instituto Politécnico Nacional, Carnegie Mellon University, the University of Iowa, the June Kelly Gallery and the Schomburg Center for Research in Black Culture in New York.

The Legacy Museum, which opened on April 26, 2018, displays and dramatizes the history of slavery and racism in America, and features artwork by Catlett and others.

Awards and recognition

During Catlett's lifetime she received numerous awards and recognitions. These include First Prize at the 1940 American Negro Exposition in Chicago, induction into the Salón de la Plástica Mexicana in 1956, the Distinguished Alumni Award from the University of Iowa in 1996, a 1998 50-year traveling retrospective of her work sponsored by the Newberger Museum of Art at Purchase College, a NAACP Image Award in 2009, and a joint tribute after her death held by the Salón de la Plástica Mexicana and the Instituto Politécnico Nacional in 2013. Others include an award from the Women's Caucus for Art, the Art Institute of Chicago Legends and Legacy Award, Elizabeth Catlett Week in Berkeley, Elizabeth Catlett Day in Cleveland, honorary citizenship of New Orleans, honorary doctorates from Pace University and Carnegie Mellon, and the International Sculpture Center's Lifetime Achievement Award in contemporary sculpture. The Taller de Gráfica Popular won an international peace prize in part because of her achievements . She received a Candace Award from the National Coalition of 100 Black Women in 1991.

Art historian Melanie Herzog has called Catlett "the foremost African American woman artist of her generation." By the end of her career, her works, especially her sculptures, sold for tens of thousands of dollars.

In 2017, Catlett's alma mater, the University of Iowa, opened a new residence hall that bears her name.

Catlett was the subject of an episode of the BBC Radio 4 series An Alternative History of Art, presented by Naomi Beckwith and broadcast on March 6, 2018.

Artistry

Catlett is recognized primarily for sculpting and print work. Her sculptures are known for being provocative, but her prints are more widely recognized, mostly because of her work with the Taller de Gráfica Popular. Although she never left printmaking, starting in the 1950s, she shifted primarily to sculpture. Her print work consisted mainly of woodcuts and linocuts, while her sculptures were composed of a variety of materials, such as clay, cedar, mahogany, eucalyptus, marble, limestone, onyx, bronze, and Mexican stone (cantera). She often recreated the same piece in several different media. Sculptures ranged in size and scope from small wood figures inches high to others several feet tall to monumental works for public squares and gardens. This latter category includes a 10.5-foot sculpture of Louis Armstrong in New Orleans and a 7.5-foot work depicting Sojourner Truth in Sacramento.

Much of her work is realistic and highly stylized two- or three-dimensional figures, applying the Modernist principles (such as organic abstraction to create a simplified iconography to display human emotions) of Henry Moore, Constantin Brancusi and Ossip Zadkine to popular and easily recognized imagery. Other major influences include African and pre-Hispanic Mexican art traditions. Her works do not explore individual personalities, not even those of historical figures; instead, they convey abstracted and generalized ideas and feelings. Her imagery arises from a scrupulously honest dialogue with herself on her life and perceptions, and between herself and "the other", that is, contemporary society's beliefs and practices of racism, classism and sexism. Many young artists study her work as a model for themes relating to gender, race and class, but she is relatively unknown to the general public.

Her work revolved around themes such as social injustice, the human condition, historical figures, women and the relationship between mother and child. These themes were specifically related to the African-American experience in the 20th century with some influence from Mexican reality. This focus began while she was at the University of Iowa, where she was encouraged to depict what she knew best. Her thesis was the sculpture Mother and Child (1939), which won first prize at the American Negro Exposition in Chicago in 1940.

Her subjects range from sensitive maternal images to confrontational symbols of Black Power, and portraits of Martin Luther King, Jr., Malcolm X, Harriet Tubman, Rosa Parks, and writer Phyllis Wheatley, as she believed that art can play a role in the construction of transnational and ethnic identity. Her best-known works depict black women as strong and maternal. The women are voluptuous, with broad hips and shoulders, in positions of power and confidence, often with torsos thrust forward to show attitude. Faces tend to be mask-like, generally upturned. Mother and Child (1939) shows a young woman with very short hair and features similar to that of a Gabon mask. A late work Bather (2009) has a similar subject flexing her triceps. Her linocut series The Black Woman Speaks, is among the first graphic series in Western art to depict the image of the American black woman as a heroic and complex human being. Her work was influenced by the Harlem Renaissance movement and the Chicago Black Renaissance in the 1940s and reinforced in the 1960s and 1970s with the influence of the Black Power, Black Arts Movement and feminism. With artists like Lois Jones, she helped to create what critic Freida High Tesfagiorgis called an "Afrofemcentrist" analytic.

The Taller de Gráfica Popular pushed her to adapt her work to reach the broadest possible audience, which generally meant balancing abstraction with figurative images. She stated of her time at the TGP, "I learned how you use your art for the service of people, struggling people, to whom only realism is meaningful."

Critic Michasel Brenson noted the "fluid, sensual surfaces" of her sculptures, which he said "seem to welcome not just the embrace of light but also the caress of the viewer's hand." Ken Johnson said that Ms. Catlett "gives wood and stone a melting, almost erotic luminosity." But he also criticized the iconography as "generic and clichéd."

However, Catlett was more concerned in the social messages of her work than in pure aesthetics. "I have always wanted my art to service my people – to reflect us, to relate to us, to stimulate us, to make us aware of our potential." She was a feminist and an activist before these movements took shape, pursuing a career in art despite segregation and the lack of female role models. "I don't think art can change things," Catlett said: "I think writing can do more. But art can prepare people for change, it can be educational and persuasive in people's thinking."

Catlett also acknowledged her artistic contributions as influencing younger black women. She relayed that being a black woman sculptor "before was unthinkable. ... There were very few black women sculptors – maybe five or six – and they all have very tough circumstances to overcome. You can be black, a woman, a sculptor, a print-maker, a teacher, a mother, a grandmother, and keep a house. It takes a lot of doing, but you can do it. All you have to do is decide to do it."

Artist statements

No other field is closed to those who are not white and male as is the visual arts. After I decided to be an artist, the first thing I had to believe was that I, a black woman, could penetrate the art scene, and that, further, I could do so without sacrificing one iota of my blackness or my femaleness or my humanity.

"Art for me must develop from a necessity within my people. It must answer a question, or wake somebody up, or give a shove in the right direction — our liberation."

Selected works

Students Aspire

"For My People" portfolio, published 1992 by Limited Editions Club, New York

"Ralph Ellison Memorial", Manhattan

"Torso", created in 1985, is a carving in mahogany modeled after another of Catlett's pieces, Pensive (b. 1946) a bronze sculpture. The mahogany carving is in the York College, CUNY Fine Art Collection (dimensions: 35' H x 19' W x 16' D). The exaggerated arms and breasts are prominent features of this piece. The crossed arms are broad, with simple geometric shapes and ripples to indicate a shirt with rolled-up sleeves, along with a gentle ridge along the neck. The hands are carved larger than what would be in proportion to the torso. The figure's eyes are painted with a calm, yet steady gaze that signifies confidence. Catlett evokes a strong, working-class black woman similar to her other pieces that she created to portray women's empowerment through expressive poses. Catlett favored materials such as cedar and mahogany because these materials naturally depict brown skin.

Selected collections

Miami-Dade Public Library System, Miami-Dade County, FL

Minneapolis Institute of Art, Minneapolis, MN

Detroit Institute of Arts, Detroit, MI