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Category Archives: Film, Sound, & Photography

Sunday morning coffee

25 Sunday Sep 2022

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

≈ 4 Comments

I was doing a class this past Thursday in which the students were high schoolers taking one or two college classes to get a leg up on future course credits. They would have been born in the mid-2000s. Their regular instructor had sent me a list of topics selected by the students for their upcoming assignment. One of the students had selected artistic futurism. With that in mind I took two record albums from our library collection to show the students, one by Duke Ellington and the other by Miles Davis. My main purpose was to show the evolving nature of media itself, but I also wanted to make the point that what we think of as “traditional” was “modern” in its own time. What is more, we often regard some things as remaining modern even after they have long entered the canon; whereas other things come to be seen as staid and conservative. A century later the Cubism of Georges Braque and Pablo Picasso is still considered avant-garde, but the music created by Ellington and Louis Armstrong at more or less the same time is perceived by many as nostalgia.

Above is the actual record set I showed the students, sides 1-2 of “This is Duke Ellington” released on RCA Victor in the early 1970s. Many had never seen an actual album, and so I took the record out of its sleeve and passed it around like the Rosetta Stone.

Baseball enters the Roaring Twenties

05 Thursday Aug 2021

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

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Forbes Field, circa 1910. Harold Arlin broadcast the first MLB radio broadcast here on August 5, 1921. / Library of Congress

About six weeks ago I was visiting a historic site with a friend when we had the opportunity to meet someone affiliated with the institution. We had no idea upon arriving that this would happen and were pleased as punch that it did. Back in the day our host had spent thirty years doing radio in the Midwest before changing careers. Hearing his mellifluous voice and gift of gab, I immediately understood why he would have been drawn to that calling. I have no doubt either that the was very good at it. The uses and misuses of communications technology have justifiably been in the news a lot lately. Today, August 5, 2021, however marks a technology anniversary of a happier note: it was one hundred years ago today that the first Major League Baseball game was broadcast on the radio. To say it was an experiment would be an understatement. Harold Arlin of Pittsburgh’s KDKA purchased a ticket like every other attendee that afternoon at Forbes Field, set himself up along the first base line, and called the play-by-play into what radio men referred to at the time as “the tomato can,” a reference to the unwieldy microphones in use at the time. The Pirates defeated the Phillies 8-5.

No one knew how the broadcast would would go. Westinghouse, which owned KDKA, certainly had nothing to lose in what was very much an experiment. It all makes sense though. If you manufacture and sell radios for a living you have to show people why they might want to buy a radio and what they might do with it. How many of us knew that we “needed” a smart phone or tablet until Steve Jobs and others convinced us fifteen or so years ago that we did? Westinghouse was naturally determined to see what radio might do. The previous fall KDKA had scored another first when on November 2, 1920 it transmitted the first commercial broadcast, of the presidential election that put Harding in the White House. Franklin Delano Roosevelt was the losing vice-residential candidate but certainly grasped where the future was heading. Then again Mussolini and Hitler soon understood radio’s possibilities as well.

Fred C. Reed of the Smithsonian holds the “tomato can” microphone used by Harold Arlin to broadcast the results of the November 2, 1920 election between Warren G. Harding and James M. Cox. Arlin used a similar device the following year when broadcasting the first-ever Major League Baseball radio transmission. Westinghouse/KDKA donated this microphone to the Smithsonian in 1938, when this image was taken. / Library of Congress

The retired radio man I was describing at the top of this post has been over 270 major and minor league ballparks across the decades and had the memorabilia scattered across his apartment to show for it. Our conversation could not help but go to baseball and we agreed that the game is best consumed via the wireless as opposed to the telly. For one thing the ball is in play so little in baseball, allowing for conversation in a way not possible over the airwaves in hockey, basketball, and other sports. The best radio men–Bob Uecker, thankfully still going strong at 87 comes to mind–weave a narrative as they bring you each pitch and at bat. They tell a story, which itself gets bigger as the games pass and the season moves along.

How did I learn that today was the one hundredth anniversary of Harold Arlin’s KDKA radio broadcast? I was listening to the Mets-Marlins game on the MLB App earlier this afternoon when the radio guys started talking about.

Sunday morning coffee

21 Sunday Feb 2021

Posted by Keith Muchowski in Film, Sound, & Photography, Heritage tourism, Jazz, Museums

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Mahalia Jackson, April 1962

Last night I finished watching the new PBS documentary “The Black Church.” Over these past several evenings I watched each of the four one-hour installments over four nights. I got into something of a routine where when each episode concluded I would email a friend who was also watching and we would compare notes, if you will, with our impressions. I can’t recommend the film highly enough. One of the things I like the most about Henry Louis Gates as a documentarian is the way he listens without judgment and lets the interviewee tell their story. One need not agree with everyone all of the time, or even any of the time, to respectfully let them have their say. The Black Church, like all human institutions, is a flawed—one might say fallen—institution whose stirring triumphs exist within the complexities and ambiguities inherent in human existence. Gates and his team capture that. It is hard to image an America without the Black Church and everything it has given over the centuries not just to its followers but to the country as a whole.

Last night the same friend sent me this article asking if I had heard of the recent opening in Nashville of the National Museum of African American Music. Almost twenty-five years ago now this same friend and I took in a great exhibit about jazz at the African American Museum of Dallas. I had not seen the opening of this new museum, or even heard of its creation. With the pandemic still very much on this is a tough time for a museum to open. Hopefully it can weather these crazy times until the world opens up again. I would love to visit this place some day.

(image/photographers Carl Van Vechten via Library of Congress)

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

≈ Comments Off on The Atlantic Telegraph Jubilee, September 1, 1858

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)

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