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The Strawfoot

Category Archives: Media and Web 2.0

Passchendaele 1917-2017

31 Monday Jul 2017

Posted by Keith Muchowski in Governors Island, Great War centennial, Media and Web 2.0, Memory

≈ 3 Comments

I mentioned in a post the other day that American surgeon Dr. Robert D. Schrock worked for several weeks in the hospitals during the Battle of Passchendaele, or Third Ypres. Schrock and his colleagues were still at Governors Island at this point 100 years ago, but the Battle of Passchendaele began on 31 July 1917. It lasted well into November. It may be difficult for Americans to grasp the significance that the battles in Flanders have for the people of Great Britain, along with the Canadians, Aussies, and others who fought alongside them. It is analogous to Antietam and Gettysburg for Americans. I was watching some of the footage over the weekend and saw that Prince William and his wife attended the ceremonies in Flanders; today his father Prince Charles will be present. My brother took me to Belgian about ten years ago. We went to Cloth Hall and stayed not far from the Menin Gate. Britain’s Ministry of Defence made this short video to mark the 100th anniversary of the battle.

Thinking of Mr. Donini in a post-fact world

05 Sunday Feb 2017

Posted by Keith Muchowski in Media and Web 2.0, Writing

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Harlem newsstand, 1939

Harlem newsstand, 1939

Sometimes a teacher says something that he forgets before lunchtime but that stays with a student for a lifetime. This can be true even if the impressionable young person does not understand the gravitas of the statement for years. Three plus decades ago my best friend and I were sitting in our 11th grade English class when our instructor, Mr. Donini, said in passing that when we the class reached full-blown middle age newspapers as we know them would be obsolete. He was referring to the move from print to digital, and it was an extraordinarily prescient comment for a person to make in the early 1980s.

Changing the subject a little, I will point out that much of the content here on this blog comes from historical newspapers, themselves originally in print but now digitized and available online. One newspaper upon which I rely heavily is the original Brooklyn Daily Eagle, which happened to have been across the street from where I work today in Downtown Brooklyn. It was one of the great American dailies from the mid-nineteenth through mid-twentieth centuries. Last semester my colleague and I took our class on a tour of the Brooklyn Public Library, where among other things our guide took us down to see the BDE morgue, the rows and rows of file cabinets filled with yellowing clips of stories organized and classified with great attention to detail.

The reason I say all this is because in the post-truth world we live in today facts and details matter. It seems that supporting the first draft of history is more important than ever. Otherwise how will the people of the late-twenty-first and early-twenty-second centuries–our children and grandchildren–make sense of our own life and times after we are gone? How will we make sense of it? For that reason I subscribed this morning to the digital version of the Washington Post. My primary reason is to keep up more closely with current affairs, but it’s not all for that. I love DC–my grandparents lived there for a decade during the Depression and WW2, and my mother was born there–and so I registered for the National Digital + DC Edition. In this way I can keep up with the goings-on at the various museums as well as Washington Nationals baseball. Spring training does start in just a few weeks. That said, my real reasons are to better understand our current moment and to support the expensive and hard work that journalism entails.

We have become accustomed over the past 10-15 years to receiving our music, our journalism and our podcasts for free. This complacency is dangerous. I am hardly the first one to be saying this in these times, but we need to reexamine our assumptions and think harder about supporting those things that keep us plugged into our world.

(image/New York Public Library)

The Unknown Soldier

07 Monday Nov 2016

Posted by Keith Muchowski in Great War centennial, Media and Web 2.0

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Here is a little something to get your week off to a good start, especially with it now getting dark so early. The other day I received a group email from the folks at the World War One Centennial Commission with a brief preview of a film coming out this Friday, Veterans Day. The film was produced by the WW!CC in cooperation with C-SPAN 3. The film premiers at 10:00 am and airs again at 10:00 pm Eastern Time that night before showing a few times over the weekend.

 

 

The Lost Sketchbooks interview, part 2

17 Friday Apr 2015

Posted by Keith Muchowski in Interviews, Libraries, Media and Web 2.0

≈ 2 Comments

Here is the second and concluding part of the Rex Passion interview. Yesterday’s installment brought Edward Shenton up to the Armistice.

#122 Germans at  Haumont

The 28th Division remained in France for six months and as the weeks passed, there was less and less for the soldiers to do and more and more time for Ed to draw. He was in the villages of Vignuelles, Uruffe, Colombey-les-Belles and Le Mans sketching everything he saw before he finally boarded the ship for home.

#134 Railway Gun

#144 Side Show#143 Hospital Train Attendant

 

 

 

 

 

 

 

 

On April 20, 1919 the engineers of Company B boarded the SS Finland and sailed back home They marched in a parade down the streets of Philadelphia and celebrated a job well done.

#150 Comin Home

The Strawfoot: What were the conditions under which he made the sketches?

Rex Passion: Before he left for training camp, Ed bought several canvas-bound sketchbooks from Wanamaker’s department store in Philadelphia, along with pencils, graphite sticks and a water color set. In both Camp Meade and Camp Hancock evenings and Sundays were his own and he had a good deal of time to draw. He was able to store his art supplies in a foot locker so he could use the larger (9” x 10 ¾”) sketchbooks and he could also paint with watercolors. All this changed when he shipped overseas.

#22 Meade Sketchbook Cover

#67 Mostly Billets Sketchbook

Once he landed in Calais, he was ordered to store his personal effects and limit his kit to what he could carry on his back. One of the things Ed did was to cut his 6” x 9” sketchbooks in half. I suspect this was to be able to keep them inside his helmet where they would be protected from the weather and especially the mud. The first two drawings in this sketchbook were cut when the book was cut, the others were drawn to fit the smaller pages.

Some of Ed’s wartime sketchbooks were mailed home to his father in Philadelphia and have his address on the cover. Some of the drawings in these books have place names obscured by the sensor
Many of the images from Ed’s time in combat are drawn on larger sheets of loose paper (13 ½” x 9 ¼”). The captions are carefully drawn in ink, but the drawings are done in pencil. There are a couple of instances where sketches in a cut-down sketchbook are very similar to those on a larger sheet. It appears that the sketchbook images were re-drawn at a later date on larger sheets. Perhaps this was even done once Ed was back home.

There are, however, many images on larger sheets for which there is not a corresponding one in a canvas-bound sketchbook. Also, there are no drawings from his trip from the US to France in 1918; all the sea drawings were done on the return trip. Ed would have had a great deal of time to draw on the boat trip over, and many new things to see. Are these sketchbooks still missing? Continue reading →

The Lost Sketchbooks interview, part 1

16 Thursday Apr 2015

Posted by Keith Muchowski in Interviews, Libraries, Media and Web 2.0

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Recently I posted about Rex Passion’s new book The Lost Sketchbooks: A Young Artist in the Great War. Rex has performed a labor of love in preserving the voluminous corpus of work Shenton left behind. A few weeks back I sent Rex the link to an article about The Sketchbook Project, a Brooklyn-based library of 33,000+ sketchbooks from around the world. I believe Rex sent them a copy of his new book for their collection. The visual history of the Civil War–Winslow Homer, Alfred Waud, and their contemporaries–has been so well documented. It seems we don’t fully appreciate the visual culture of the First World War to anywhere near the same degree. I am hoping that changes during the Great War Centennial. The public needs to know of the work of such solider/artists as Ed Shenton, John W. Thomason and their counterparts from across the globe who lived and fought in the trenches of 1914-18.

The Strawfoot: Tell us about Edward Shenton and his experience in the First World War.

Rex Passion: At the time the U.S. declared war on Germany, Edward Shenton was in his second year as a full-time art student at the Pennsylvania Museum and School of Industrial Art in Philadelphia. He had just gotten through a very trying and depressing winter and the decision to join the army seems to have cleared away some of the dark clouds.

#20 Mug Wamp

#21 Mugwamp goes to war

Ed and fifteen of his high-school friends joined the Pennsylvania National Guard at the armory in Philadelphia and Ed was assigned to Company apt, 103rd Engineers, which was later attached to the 28 Division. After several weeks of drill and training at the armory, Company B moved to Camp Meade between Baltimore and Washington. The land for the camp had been purchased by the government only weeks before so Ed was present with his sketchbooks as the camp was being built. He kept up his art school habit of drawing what he saw every day.

12.14 shovel

The new recruits spent the spring at Camp Meade then moved to Camp Hancock near Augusta, Georgia where their training intensified. They learned the building and demolition techniques of a combat engineer, but also the craft of an infantry soldier.

#30 pick and shovel gang

#40 Shooting Silhouettes

In addition to the soldiers’ training the men of Company B had various camp chores but still found time for a bit of rest and recreation.

2.6

#31 the gamblers

Finally, after nearly a year of training, Ed Shenton and his friends embarked for France and the war.

4.12 life boat row

On the first of June they arrived in Calais and after an additional three weeks of training moved toward the front.

#66 Calais Rest Camp

The engineers’ first taste of combat was near the town of Charly-sur-Marne. They lived at a chateau near the river and marched to and from a place called la Canarderie (the duck farm) amid cannon fire and aerial combat. During this period Ed was building trenches all day and only had time to draw after a long days’ work.

#75 The Third Billet, an Old Chateau

On July 14, the engineers were hastily withdrawn from Charly-sur-Marne and redeployed to the east near the town of Condé-en-Brie. On the night of the 15th they marched to a hillside above the town of St. Agnan and the next morning relieved the 109th Infantry, which had been decimated by the advancing Prussian Guard.

#81 Engineers in the Front Line, St. Agnan About noon the advancing Germans started shooting at the Americans and the engineers returned their fire. An hour or two later the Germans started shelling the shallow trench where Ed and his fellows were crouched. Many were wounded and some killed and Ed Shenton had his baptism of fire. Continue reading →

Rainy Sunday coffee

18 Sunday Jan 2015

Posted by Keith Muchowski in Film, Sound, & Photography, Great War centennial, Interpretation, Media and Web 2.0

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It is a rainy Sunday here in Brooklyn. My gosh, has it been a full seven days since the last post? It has been a busy week.

I noted with pleasure on Monday that Dan Carlin just released part v of Blueprint for Armageddon. I am listening to the fourth hour of the broadcast as I type this. If you have not heard Carlin’s series on the Great War, I can testify that this is an extraordinary work of interpretation. I stumbled upon the series when the centennial began last summer and listened to them over a weeks-long period going into the fall. I cannot imagine how much time it takes to put these together. It is extraordinarily thoughtful and shows what a passionate generalist can bring to a subject.

Though the United States has not yet entered the fray, the Americans play a larger role in Part v than they do in i-iv. There is an eloquent breakdown of Woodrow Wilson and his role in the leader-up to American involvement. Fittingly Carlin’s Wilson is inscrutable, neither saint nor scapegoat. Carlin understands that history is complicated.

Blueprint requires a significant time commitment–three to five hours apiece–but the reward is high. If you think of how much time you spend on other internet and television content though, it is not that much. One can find them on iTunes and elsewhere too. I usually listen in 30-45 minute chunks when I’m doing something else. As you are stuck inside this January-March, make Blueprint for Armageddon part of your winter.

The Grey Lady’s technicolor Christmas

23 Tuesday Dec 2014

Posted by Keith Muchowski in Great War centennial, Media and Web 2.0

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The Times understood the significance of the Monvel prints and advertised them heavily in the weeks prior to their release.

The Times understood the significance of the Monvel prints and advertised them heavily in the weeks prior to their release.

As you can see from the advertisement above the New York Times published a special Christmas supplement in early December 1914. What made it so special was the inclusion of several full color plates from artist Louis Boutet de Monvel’s Joan of Arc series. Monvel (1851-1913) had done numerous commissions about The Maid of Orléans over the years. Most famously these projects included a best selling children’s book and a ten panel masterwork in the church of the heroine’s hometown of Domrémy. Illness forced Monvel to abandon the latter project when it was twenty percent complete. The images published in the Times were reproductions of six much smaller panels Monvel had completed for Senator William A. Clark just before Monvel died. Clark hung them in his Fifth Avenue home.

Monvel published the children book in 1895. The 15th century French soldiers depicted here look suspiciously like the zouave units of Monvel's time. French soldiers first started wearing these in the mid nineteenth century and continued through the first months of the Great War.

Monvel published the children’s book in 1895. The 15th century French soldiers depicted here look suspiciously like the zouave units of Monvel’s time. French soldiers first started wearing these uniforms in the mid nineteenth century and some continued through the first months of the Great War.

For the prints to be in the New York Times was a big deal. No one knew this more than the New York Times. The article accompanying the supplement describes the project as “The finest single issue of a newspaper ever seen in the world.” That is some serious hyperbole, but it has a ring of truth to it. The public snapped up 335,000 issues of the special edition, and would have bought at least 40,000 more if the printing presses could have handled the demand. Gushing letters of praise poured in from curators and directors at the National Academy of Design, the Metropolitan Museum of Art, and what would eventually become the Brooklyn Museum of Art. People wrote in from as far away as Indiana.

The inserts were indeed beautiful, but there was more to the intense public demand than that. By December 1914 the Great War had settled into a stalemate on the Western Front. The war that everyone had thought would be over by Christmas now a muddy stalemate. Joan of Arc, that heroine of the Hundred Years War, was emerging as a potent symbol of Gallic resolve.

War as it is. This is one of the panels Monvel painted for Clark just a few years prior to the Great War. It is easy to see why readers in December 1914 would have been intrigued by the series.

War as it is. This is one of the panels Monvel painted for Clark just a few years prior to the Great War. It is easy to see why readers in December 1914 would have been moved and inspired by the series.

It is unfortunate that the Times did not do something with these prints for the Great War Centennial. Indeed it is not even clear if the plates they commissioned a century ago–and paid a small fortune to reproduce–still exist. Thankfully the six panels from which they originated are still here. Senator Clark died in 1925 and bequeathed them to the Corcoran Gallery in Washington.

437px-Joan_of_Arc_WWI_lithograph2

The Great War took all of France’s human resources. Among the poilus were Monvel’s son Roger and at least one descendent of Joan of Arc herself.

 

 

The Great War week-by-week

18 Thursday Dec 2014

Posted by Keith Muchowski in Film, Sound, & Photography, Great War centennial, Media and Web 2.0

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Today is Thursday, which means there is a new posting from Indy Neidell and the crew at The Great War. In case you have not seen or heard of this, Neidell and his colleagues are chronicling the First World War week by week as it happened one hundred years earlier. The series began on 28 July and has been going ever since. Yours truly learned about it in mid-November and spent most of Thanksgiving weekend catching up. One thing I like about the series is that it is covering the war from a truly world wide perspective. There is especially a great deal of coverage of the war in Eastern Europe. Neidell has an interesting perspective; he is an American currently living in Sweden.

Mediakraft Networks, the production outfit behind the series, has a unique relationship with British Pathé to use the latter’s extensive library of moving imagery. The film clip up top is the introduction from this past July. One may or may not want to watch the entire series–and it is running through November 2018–but here is a link to the entire run so far. It is worth ten minutes a week.

Archiving the Great War

04 Monday Aug 2014

Posted by Keith Muchowski in Libraries, Media and Web 2.0, Memory, WW1

≈ 2 Comments

00046rI received confirmation late last week that the Library of Congress will be preserving The Strawfoot as part of the LOC’s Web Archiving initiative for the World War I Centennial. The Library of Congress’s goal is to collect and preserve materials born digitally during the Centennial. So much of what is online seems transitory and impermanent. I am very excited about the 100th anniversary of the Great War and think it offers all kinds of interpretive and other possibilities. That the blog will be included in the endeavor means a lot to me. Working on the website these past 3 1/2 years has been a labor of love, with equal emphasis on both words: love and labor. It was a lifestyle change. Writing the blog has its rewards; the site might not get the traffic that some others do but it does have a regular readership.

Longtime followers may have noticed a shift of emphasis in recent weeks and months. It may seem that way but to me it is all cut from the same cloth. I have never thought of myself as strictly a Civil War guy, though the events of 1861-65 have always been a source of interest and fascination for me. I have always been more interested  in the causes and consequences of the war; what came just before and after is equally important. That is why I have found volunteering at the Theodore Roosevelt Birthplace these past ten months rewarding. The Roosevelts–both side of the extended family–offer so many intellectual opportunities.

I am still plugging away on the Theodore Roosevelt Senior and Joseph Hawley biographies, still volunteering at Governors Island over the summers, still writing the content for the TRB social media platforms. There are more connections than might be apparent. For starters, General/Senator Hawley and Theodore Roosevelt knew and admired each other. I find it fascinating that the young Franklin Delano Roosevelt lost a power struggle with his boss, the unreconstructed Secretary of the Navy Josephus Daniels, over the naming of a new ship in 1917. Instead of Roosevelt’s choice, the destroyer was christened in honor of Confederate naval officer Matthew Maury. These types of things fall under what we now call Memory Studies, which I suppose is broader and more encompassing than just historiography. More of these types of things are going to come out here at The Strawfoot in the coming months.

(image: Theodore Roosevelt at Washington’s Union Station during the First World War, LOC)

Four degrees of the Tonight Show

03 Thursday Apr 2014

Posted by Keith Muchowski in Media and Web 2.0

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Johnny Carson in 1970 publicity still

Johnny Carson in a 1970 publicity still

The other day I was doing a bibliographic instruction session with an English literature class when we digressed into a brief discussion about late night talk shows. I mentioned that when Jimmy Fallon became host of The Tonight Show he changed the subtitle to Starring Jimmy Fallon. The preposition is important. When Leno took over in 1992 he called it The Tonight Show with Jay Leno. Conan O’Brien kept the “with” as well.

Without drawing much attention to it Leno and O’Brien were paying tribute to their predecessor. For three decades it was always The Tonight Show Starring Johnny Carson. The class, most of whom were not born when Carson went off the air in May 1992, grasped my point. I am sure Jimmy Fallon will do a good job hosting Tonight and I don’t care what he calls his show. I just found the title change curious and was wondering how and why the decision was made to go back to the show name as it was from 1962-1992.

Carson was on my mind because I had just finished Henry Bushkin’s memoir of his years as the talk show host’s attorney, tennis partner, and all-around fixer. Bushkin’s story, good as it is, does not change the basic outline of the Carson story. Everyone knew he was a mean drunk, cold with his three sons & four wives, and increasingly demanding and petty as the years went by. When Carson died after a few months illness he was virtually alone. There was no funeral.

Still the details make for startling reading. It is all the more jarring because the Bombastic Bushkin–whom Carson fired after nearly twenty years service–seems to have no ax to grind.  All memoirs, especially tell all memoirs, are self-servicing but Bushkin’s story seemed for the most part a credible read.

What was so amazing was the way he could turn it off and on when the studio light went on and curtain parted. My theory about people like Carson is that they have only a finite amount of energy with which to use their talents. Sinatra was much the same way. On stage with a microphone he was fine as long as he stuck to the songs and spared the audience his cringe inducing monologues. Both men could also be charming and generous, albeit on their own terms. Always though, one never knew when the hammer might fall. And when it did . . .

Forced to choose between family and career many of the most talented individuals choose the latter. It is part of their greatness. We think it is easy because they make it look so.

The reason Carson will always be my favorite of the late night hosts was the way he conducted the show irony free. One of the wort trends in our culture today is the unrelenting irony and the arch “knowingness” that many seem to employ. Sincerity and genuine curiosity seem to have gotten lost. It is one of the worst aspects of our contemporary culture.

 

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