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Category Archives: Film, Sound, & Photography

The photographers’ Great Depression

12 Saturday Oct 2019

Posted by Keith Muchowski in Film, Sound, & Photography, Franklin Delano Roosevelt, Memory, New Deal

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Okies in Farm Security Administration (FSA) emergency migratory labor camp, Calipatria, Imperial Valley, February 1939. This image was taken by Dorothea Lange, a colleague of Arthur Rothstein whose images are included in the current exhibit at Roosevelt House.

I’m sorry about the lack of posts recently. I have spent much of the past several weeks finishing the draft of a project that proved more difficult and time-involved that I had imagined. I submitted the draft the other day. We’ll see if comes to pass toward the end of the year. People were asking me at work yesterday what I intended to do over the three-day weekend; when they did I answered with a negative: “not writing and editing.”

Last night I went to Roosevelt House on East 65th Street for the opening of the exhibit “A Lens on FDR’s New Deal: Photographs by Arthur Rothstein, 1935-1945.” Rothstein was one of the great visual chroniclers of Depression Era America. It is not going too far to say that he, his friend and colleague Dorothea Lange, and others shaped our awareness and memory and of what the country was enduring in the 1930s and early 1940s. Part of the reason the Roosevelt Administration created the initiative to photograph the severity of the economic crisis to begin with was to press the need for its New Deal programs.

Rothstein was the son of refugees from Eastern Europe. Like so many immigrants and first-generation Americans, he was eager to make his contribution. Born in 1915, Rothstein attended Columbia University at fifteen and in the mid-1930s, just a young man in his early 20s, found himself driving across the country on dirt roads, sleeping in his car, eating off a hot plate, and shooting 80,000 images in migrant camps, farming communities, and elsewhere.

Rothstein’s daughter, Dr. Annie Segan, put the exhibition together in with her husband and the Roosevelt House historian. With over 125 photographs it is the biggest exhibit of Rothstein images to go on display in more than a quarter century. Other photographers are included as well. Many of the images were taken from tiny negatives. Rothstein’s daughter in her talk called them “picture stories.” Incredibly the trove of 175,000 images taken by Rothstein and the nearly twenty other photographers working for the Resettlement Administration (RA) and Farm Security Administration (FSA) were nearly discarded by indifferent bureaucrats in the years after the Second World War. Thankfully they were saved and are available to the public at the Library of Congress and online.

The exhibit runs into January 2020.

(image/Library of Congress)

 

 

Sunday morning coffee

28 Sunday Apr 2019

Posted by Keith Muchowski in 77th Division, Film, Sound, & Photography, Memory, Style

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Lieutenant Adrian C. Duff, aka The Camera Kid, took this image of two French peasants greeting a pair of infantrymen of the 77th Division in the final week of the war.

A few moments ago I hit “send” on a piece that should see the light of day in a week or so. I don’t want to give away too many details, but it relates to the 77th Division. In my research I came across this extraordinary image of two infantrymen from “New York’s Own” being welcomed by a French couple. History even remembers the couple’s names; they are Monsieur and Madame Baloux of Brieulles-sur-Bar, France. The image was taken on November 6, 1918 after the town was liberated from German occupation. The photograph was taken by a Lieutenant Adrian C. Duff, who the internet tells us served in the U.S. Signal Corps. I get the impression that Lieutenant Duff probably took many images of American troops on the Texas-Mexico Border during the Punitive Expedition and then in France during the Great War that are part of our iconography of those conflicts. His nickname was “The Camera Kid.” The image first appeared in the February 4, 1919 Albuquerque, New Mexico Evening Herald, on page one no less, adjacent to troubling news from Eastern Europe about the Czechs and Poles.

I wrote the first draft yesterday in a coffee shop in Brooklyn while waiting for a particular store to open. I’m trying to clear the decks of a few small projects like this as spring break winds down and I prepare for the final month of the semester. The next few weeks will be intense, but I’m looking forward to it. Alas I will not get to wear it for about six months and it gets cool again, but yesterday after leaving the coffee shop I headed down to my destination, where I bought a beautiful vintage, grey, tweed, herringbone suit. Being tweed, the suit is by definition less formal; nonetheless, it is quite understated and stunning in detail with patch pockets and a high rise to the trousers. Come fall I’m going to make suits part of my almost-daily arsenal.

Today I’m going to do laundry and prepare for the hectic week ahead. Enjoy your Sunday.

(image by Lieutenant Adrian C. Duff via Wikimedia Commons)

 

The presidents of Charles Addams

30 Wednesday Jan 2019

Posted by Keith Muchowski in Film, Sound, & Photography, Franklin Delano Roosevelt, Museums, Writing

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The first 37 presidents as drawn by New Yorker cartoonist Charles Addams in 1972

This past August, almost six months ago now, a friend and I visited the Morris-Jumel Mansion in Upper Manhattan. Among other things, on display at the time was an exhibit of the works of cartoonist Charles Addams. The artist was the originator of The Addams Family, which he based on his real life family much in the way Matt Groening later based The Simpsons on his own family. I have no doubt that Groening knew the history of Addams’s work when starting out in the late 1980s, around the time Charles Addams died of a heart attack in 1988. Addams had begun working for the New Yorker in 1935 during what we know see was a golden age of magazine writing and drawing. His contemporaries include such figures as Rea Irvin, Norman Rockwell, and J. C. Leyendecker. The item that struck me the most that day at the Morris-Jamel house was this image we see here of the presidents, which Addams created for the June 3, 1972 New Yorker cover. This would have been the summer of the McGovern vs Nixon presidential race.

The photo is not the best because the drawing was behind a pane of glass. I told my friend on that hot August day that I would post this come late January on what would have been Franklin Delano Roosevelt’s birthday. FDR was born on this day in 1882. We see him here in the top row, fourth from the left, standing tall with his characteristic big grin.

The Atlantic Telegraph Jubilee, September 1, 1858

01 Saturday Sep 2018

Posted by Keith Muchowski in Film, Sound, & Photography, Media and Web 2.0, New York City, Philately

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In the mid 1980s your humble writer, fresh out of high school, had a job for a year or so working in a survey crew in West Texas laying out the routes for fiber optic cable lines through the desert. Running parallel to these new lines were old ones consisting of copper coaxial cables, some of which remained and some of which got extricated to make make for the new digital. This all came back to me when reading the other day of the Atlantic Telegraph Jubilee of September 1, 1858. One hundred and sixty years ago today New Yorkers turned out by the thousands to celebrate the laying of the first cable crossing that ocean span. The work was that of Cyrus W. Field, owner of the Atlantic Telegraph Company. The first official transatlantic communication (after a test run to make certain things were in working order) had been sent two weeks earlier, when on August 16 Queen Victoria in London messaged President Buchanan, the former U.S. Ambassador to the Court of St. James’s, in Washington. There had been several attempts in the days before this that had failed for technical reasons.

A somewhat forgotten event today, the Atlantic Telegraph Jubilee was held in New York City on September 1, 1858. Transatlantic telegraphy did not come into its own until after the American Civil War and would be part of daily life well into the twentieth century.

Everyone understood the significance of the transatlantic cable. York City, for one, had only had running water for sixteen years at this point and was not unique in its lack of infrastructure and public utilities. Letters still took weeks to cross the ocean. The initial rate in August and early September 1858 to send a transatlantic message was $5 per word. By comparison: the average working man earned between $1-$2 per day. It took seventeen hours to transmit Queen Victoria’s fourteen-word message to Buchanan. Thousands turned out for the Atlantic Telegraph Jubilee but the event seems to have been largely forgotten over the ensuing decades and up to the present time. That is probably because the cable broke with a few short weeks and was essentially inoperable by early fall. Such failures are not unusual in these types of projects. Transatlantic communication did not come to full fruition until after the American Civil War. In 1866 Field managed to build the first true, permanent cable. By then, message time was down to about eight to fifteen words per minute.

The United States Post Office held the First Day Cover ceremony for the transatlantic cable centenary stamp at the Farley Post Office in Manhattan on Friday August 15, 1958. George Giusti, an Italian who fleed Europe in 1939 during the Second World War, was the designer.

The transatlantic cable was hugely important well into the twentieth century. By 1908, fifty years after the first cable massage, there were at least six companies and over a dozen lines crossing the ocean. Rates were down to four cents per word. Even with that there was much public talk about high rates and unfair trade practices. One way was to make it cheaper to send messages at night, just like cell phone companies encourage us today to use our phones on evenings and weekends by making calls less expensive. Consolidation soon followed. Transatlantic communication was hugely important during the Great War. Alexander Graham Bell invented the telephone in 1876, and indeed there was some telephone communication in the First World War, but like the airplane it was still in its infancy. Thus telegraphy’s continued significance.

Albeit anomalously, cable messaging continued even into the twenty-first century. It was not until February 2006 that Western Union sent its last telegram. I remember saying that to a class of technology students the day after that happened and the students responding with virtually no reaction.

(images/top, NYPL; bottom, U.S. Post Office)

 

The funeral of General Ted Roosevelt, July 14, 1944

14 Saturday Jul 2018

Posted by Keith Muchowski in Film, Sound, & Photography, Quentin Roosevelt, Theodore (Ted) Roosevelt, WW2

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General Theodore Roosevelt funeral, July 14, 1944

For reasons that I and others have discussed today, July 14 is an important date in Roosevelt family history. Less well-known than the fact that Quentin was killed in France on Bastille Day 1918 is that General Ted Roosevelt was buried on this day in 1944. General Theodore Roosevelt died of a heart attack in France on July 12, five weeks after landing on the beaches of Normandy. I would go more into the story of General Roosevelt’s burial but we already have the narrative as told by the photographer who took the images we see above and below. PFC Sidney Gutelewitz happened to have his camera on his person when he saw Omar Bradley, George Patton and at least four more (other article say at least eight more) generals marching solemnly in the funeral. As Gutelewitz tell it, he did not know it was the funeral of General Roosevelt for another decade. Thankfully the images survived. The photographer turned them over to the United States Army Center of Military History.

General Omar Bradley attends the funeral of General Theodore Roosevelt, July 14, 1944. The Brooklyn Daily Eagle said: “The funeral procession was awe-inspiring for its solemnity and military simplicity.”

One note: many articles discussing Mr. Gutelewitz and his photographs have the funeral as happening in July 13, 1944, To the best of my knowledge–and I researched it pretty closely to check the discrepency–that is almost certainly incorrect. All of the contemporary accounts I read and watched have the funeral as happening on the evening of July 14. It is a lesson in always checking these types of details and not taking them at face value. Apparently twenty-six images of the funeral exist. I have only seen 5-6 online. Maybe next year they will do more with this for the seventy-fifth anniversary of General Roosevelt’s death.

(images/US Army Pfc. Sidney Gutelewitz)

JP Mitchel’s funeral, July 11, 1918

11 Wednesday Jul 2018

Posted by Keith Muchowski in Film, Sound, & Photography, John Purroy Mitchel, New York City, Theodore Roosevelt Jr (President), Woodrow Wilson

≈ 2 Comments

Here is some stunning footage of John Purroy Mitchell’s funeral at St. Patrick’s one hundred years ago today. Note Theodore Roosevelt and, I believe, Charles Evans Hughes, who ran against Wilson in 1916, walking behind the casket as the pallbearers take Mitchel into the cathedral.

Cocaine and Rhinestones

08 Friday Jun 2018

Posted by Keith Muchowski in Film, Sound, & Photography, Jazz

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Ernest Tubb played Carnegie Hall in 1947.

When Charlie Parker hung out in the bars he was well known for putting his dimes in the jukebox and listening to country music. Because he was Bird, none of his fellow jazzmen dared try to stop him; if Yardbird Parker wanted to listen to country music, then that’s what was going to happen. When they asked incredulously why he spent his time listening to that genre, his answer was always the same: “Listen to the stories, man.” A great artist–and make no mistake, Charlie Parker is on the shortlist of great artists of the twentieth century–understands that inspiration can come from anywhere and through anyone, whether that be Louis Armstrong, Shostakovich or Hank Williams. The reason I say all this is to highlight a podcast that has been preoccupying me for much of the past week: Tyler Mahan Coe’s Cocaine and Rhinestones.

Tyler Mahan Coe is the son of outlaw country musician David Allan Coe. Tyler spent his childhood years on his father’s tour bus, partying and listening to the stories as he heard them coming from the stage and the back of the bus. Father and son had a falling out somewhere along the way and apparently are estranged today. As Coe points out, everyone in country music is a historian because the music references its antecedents much more than most other styles. Plus, musicians have a great deal of time on their hands and spend a great deal of it swapping stories of what they have seen and heard along the way. Cocaine and Rhinestones wrapped up its first season of fourteen episodes earlier this year. So far I have listened to about 1/3 of those, starting with episode one about Ernest Tubb but skipping around after that. One of the things I like most about Coe’s sensibility is that he states explicitly that there is no purity test for what is and is not country music. Race, region, economic status, educational level: none of these are barriers for who is and is not a “country” artist. The only litmus test is sincerity.

He did an extraordinary job breaking down Loretta Lynn’s mid-1970s hit “The Pill,” explaining the sexism and hypocrisy that went into why more than sixty radio stations across the country banned it. Another episode explores Merle Haggard’s “Okie from Muskogee.” The degrees to which Haggard is parodying and/or paying tribute to Richard Nixon’s Silent Majority has been lost on less reflective listeners for the half century since the song’s release in July 1969. Coe’s conclusions about Haggard’s “Okie” are surprising, and I for one found his argument convincing. I felt Coe was unduly harsh on Herbert Hoover in the early part of this episode however, where he describes the early years of the Depression and the flight of the Okies from Oklahoma and its neighboring states to California. Hoover didn’t cause the Depression and he wasn’t the ogre people made him out to be. Every good story deserves a villain and Hoover was, then and today, the ideal scapegoat for Depression Era America.

Americans in that decade after the First World War began buying radios in record numbers, which transformed our culture much like the internet has transformed our own time. Without the radio there would have been no Babe Ruth as we know him today. The same goes for the music people listened to and shared. Someone, I believe it was Kris Kristofferson, once said that he never worries about country music, that its death has been greatly exaggerated and that it will always be here and move forward. Tyler Mahan Coe does a good job putting the music into historical and cultural contexts and explaining that the music business has always been . . . wait for it . . . a business. Greed, lust, abuse in its many forms, envy, shallowness and vindictiveness have intertwined with moments of great generosity, clarity and understanding within various artists and producers to create the canon that is country music. It’s a human tale, as old as Adam. One would be wise to listen to the stories.

(image/Library of Congress)

A walk past the Newark Paramount

20 Sunday May 2018

Posted by Keith Muchowski in Film, Sound, & Photography, Memory, Museums, Ulysses S. Grant (General and President)

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I am having my Sunday coffee and listening to Yusuf Lateef. With the semester in its final few days, it’s going to be a working Sunday. I have already sent a few emails and will tie up various loose ends over the course of the day. Yesterday a friend and I braved the rain and crossed the river to visit the Newark Museum of Art. I had not been there in 6-7 years and can say that officials there have been doing great work maintaining what has always been an outstanding cultural institution. If you live in New York City and are ever looking for a place to visit, I can attest that the Newark Museum is very easy to get to. Top it off with lunch or dinner in The Ironbound, as we did, and you’ve had a good day.

Paramount Theater, Newark, New Jersey

I took this photo of the Newark Paramount theater on the way to the museum. Some readers may know of the old Paramount Theater in Midtown Manhattan that they tore down decades ago. The reason there was “another” Paramount in Newark is because the movie studios owned their own theaters until losing a major antitrust case in 1948, after which Paramount and others had to divest themselves of their movie houses. As you can see, the Newark Paramount now stands empty. If my memory serves, the last time I was in the vicinity this was a storefront in which Rastafarians were selling oils and incense. Some rudimentary internet searching informs me that this opened as a vaudeville theater in 1886. To put that in perspective, that was the year after Ulysses S. Grant died.

The space in Newark came under new management and was expanded in 1916. Expansion in this period makes sense; in 1916 with the Great War raging in Europe there was a great deal of activity in Essex County, New Jersey. The docks were teeming and it makes sense that there would be entertainment options such as this. During and immediately after the First World War this would have meant live stage entertainment, and starting in the late 1920s moving pictures.

Last night on the train home I sent this photo to a friend who was born in the early 1960s and lived in this area until the mid-70s, when his family moved to a Sunbelt State. This led to a philosophical discussion over text messaging about loss and memory. My friend mentioned how this all seemed like eons in the past. The Newark Paramount closed as a movie theater in April 1986–itself now a lifetime ago–and while my friend in all likelihood never saw a film there, it is a good bet his mother and father did in their own early years.

I have a yen for these old theaters, having in the 1990s worked for a large chain bookstore based in old art deco move house that in the 2010s because a Trader Joe’s. The race seems to be on to save the Newark Paramount. A society cannot let things lie literally in ruins just for the sake of holding on to the past, but hopefully some vestige of this old treasure can be incorporated into Newark’s future as things continue to move forward. We’ll see how things develop, no pun intended.

 

Saturday morning coffee

05 Saturday May 2018

Posted by Keith Muchowski in Eleanor Roosevelt, Film, Sound, & Photography, Franklin Delano Roosevelt, Great War centennial

≈ 3 Comments

Lewis Hine image of Cantigny battlefield, April 1919

I’m wrapping up my coffee before heading to work to teach my last bibliographic instruction class of the semester. A friend and I were looking at these Lewis Hine images that The Atlantic posted this week and I thought I would share on this weekend morning. Apparently the American Red Cross commissioned Hine to take these images as a means of drumming up support back home for the Red Cross’s important work attending the sick, the wounded, and the hungry. We actually used the one above in the film we made last fall. It is hard to believe that we are now almost four years into the Great War centennial. I suppose it is difficult to comprehend from an American perspective because we did not join the war until April 1917 and really did not become fully involved until Spring 1918. The Battle of Cantigny, where the First Infantry Division fought so tenaciously, was in May 1918. Hine took the photo above almost a full year later.

Franklin and Eleanor Roosevelt sailed for Europe on January 1, 1919, around the time Hine was taking the images that The Atlantic published this week as part of a series over the course of the centennial. It was not the first time Eleanor or Franklin had been on the Continent. Now in their 30s, the Assistant Secretary of the Navy and his wife were already well-traveled and had seen much of the world. Still, they were shocked at what they saw in those months after the Armistice. Eleanor wrote at the time that “I never saw anything like Paris. The scandals going on would make many a woman at home unhappy. It is not place for the boys [the impressionable doughboys], especially the younger ones . . . All the women in the restaurant look to me exaggerated, some pretty, all chic, but you wonder if any are ladies.”

Though given the subject matter I don’t know if one can “enjoy” the photographs, they are indeed poignant and striking. Here they are one more time.

(Image/Lewis Wickes Hine, Library of Congress)

Sunday morning coffee

29 Sunday Apr 2018

Posted by Keith Muchowski in Film, Sound, & Photography, Great War centennial, New Yorkers in Uniform: From World War One to Today (film)

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Hudson River from Metro North train, 28 April 2018

We had a great time in Yonkers yesterday for the film showing and discussion about our documentary New Yorkers in Uniform: From World War One to Today. I do not have any pictures of the event itself right now, but I believe a few of the others took some still photographs and possibly even some film footage. If so, I will share when I have. The subject of our film, Thomas Michael Tobin, was born in Yonkers in 1886 and died there in 1966. I have only been to Yonkers three times now: for the on location film shooting in March 2017, the showing this past December, and now again yesterday for the one at the historical society. The city has come to mean a lot to me. I took the photo you see above aboard the train on the way up yesterday morning. As you can see, even though it is late April the foliage has not yet begun here in the Greater New York area.

After the program a small group of us ended up at the Yonkers Brewing Company across the street from the train station for dinner. I don’t want to discuss the details too much right now, but we have some interesting plans that we believe will bring our film project to full fruition between now and the 100th anniversary of the Armistice in November. Ideally we will go back to Yonkers in the fall but we are not 100% certain. We’ll see how it goes.

Doing the event yesterday at the Yonkers Historical Society was a great treat. There were many interesting people involved in some fascinating projects that they told me about during the after party. The doing of local history helps keep the stories alive in immediate and direct ways. I was glad to see there were some young people in attendance as well. I will keep everyone up to date on how things develop over the spring and summer.

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