Portraits taken by Sacha Goldberger at Super Flemish
Superheroes, as you may have noticed, are serious moneymakers these days. It started when Tim Burton rescued Batman from Adam West’s campy clutches, pouring him into a butch black rubber suit that is of a piece with a leaner, meaner Batmobile. Previously unthinkable digital special effects quickly replaced all trace of Biff! Pow!! Whammo!!! Franchise opportunities abounded as the entire Justice League went on the block.
Having looked at it from both sides now, I can only conclude that something’s lost…
…but something’s gained in the portraits of Sacha Goldberger, a photographer who harnesses the power of 17th century Flemish school portraiture to restore, nay, reveal these icons’ humanity.
The softer fabrics and Vermeer-worthy lighting of his Super Flemish project give his powerful subjects room to breathe and reflect.
Same goes for us, the viewers.
It’s much easier to dwell on the existential nature of these mythic beings when the White House isn’t exploding in the background. There are times when tights need the ballast that only a pair of pumpkin pants can provide.
Goldberger — whose previous forays into both superheroes and Flemish portraiture feature his ever-game granny — helps things along by casting models who closely resemble their cinematic counterparts. But it’s not just the bone structure. All of his sitters display a knack for looking thoughtful in a ruff. In the artist’s vision, they are “tired of having to save the world without respite, promised to a destiny of endless immortality, forever trapped in their character.”
Image via YouTube, 1959 interview with Mike Wallace
I recently happened upon the Modern Library’s “100 Best Novels” list and noticed something interesting. The list divides into two columns—the “Board’s List” on the left and “Reader’s List” on the right. The “Board’s List” contains in its top ten such expected “great books” as Joyce’s Ulysses (#1) and William Faulkner’s The Sound and the Fury (#6). These are indeed worthy titles, but not the most accessible of books, to be sure, though Ulysses does appear at number eleven on the “Reader’s List.” At the very top of that more popular ranking, however, is a book the literati could not find more worthy of contempt: Ayn Rand’s Atlas Shrugged. Just below it is Rand’s The Fountainhead, and at numbers seven and eight, respectively, her Anthem and We the Living. (Also in the top ten on the “Reader’s List,” three novels by L. Ron Hubbard.)
One obvious takeaway… masses of ordinary people really like Ayn Rand. Which is odd, because Ayn Rand seemed to positively hate the masses of ordinary people. As Michael O’Donnell writes in Washington Monthly, “Rand… lived a life of contempt: for people, for ideas, for government, and for the very concept of human kindness.”
Perhaps her most sympathetic reader, economist Ludwig von Mises, summed up the overarching theme of her life’s work in one very tidy sentence: “You have the courage to tell the masses what no politician told them: you are inferior and all the improvements in your conditions which you simply take for granted you owe to the effort of men who are better than you.” This is apparently a message that a great many people are eager to hear. (And if any fiction is “message driven,” it is Rand’s.)
But imagine, if you will, that you are not a reader of Ayn Rand, but a family member. Not by blood, but marriage, but connected, nonetheless. You are Ayn Rand’s niece—Rand’s husband Frank O’Connor’s sister’s daughter, to be precise. Your name is Connie Papurt, you are 17, and you have written Auntie Ayn to ask for $25 for a new dress. Have you done this simply to be cheeky? You do know, Connie, how deeply your Aunt Ayn despises moochers, do you not? No matter—we have neither Connie’s letter, nor a window into her motivations. We do have, however, Rand’s replies, plural, from May 22, 1949, then again—in response to Connie’s follow-up—from June 4 of that same year. The initial request prompted some earnest sermonizing from Rand on the value of hard work, and of being a “self-respecting, self-supporting, responsible, capitalistic person.” Etcetera.
Now, to Rand’s credit, the first reply letter contains some common sense advice, and describes some situations in which other close connections apparently took advantage of her generosity. She seems to have cause for leeriness, as, granted, do we all in these situations. Borrowing from family is very often a tricky business. As was her wont, however, Rand seized upon the occasion not only to dispense wisdom on personal responsibility, but also to moralize on the worthlessness of people who fail her test of character. As The Toast comments, the letter is “30% very good advice, 50% unnecessary yelling, and 20% nonsense.” First, Rand lays out for Connie an installment plan:
Here are my conditions: If I send you the $25, I will give you a year to repay it. I will give you six months after your graduation to get settled in a job. Then, you will start repaying the money in installments: you will send me $5 on January 15, 1950, and $4 on the 15th of every month after that; the last installment will be on June 15, 1950—and that will repay the total.
Are you willing to do that?
Notice, Rand assesses no interest—a kindness, indeed. And yet,
I want you to understand right now that I will not accept any excuse—except a serious illness. If you become ill, then I will give you an extension of time—but for no other reason. If, when the debt becomes due, you tell me that you can’t pay me because you needed a new pair of shoes or a new coat or you gave the money to somebody in the family who needed it more than I do—then I will consider you as an embezzler. No, I won’t send a policeman after you, but I will write you off as a rotten person and I will never speak or write to you again.
According to her 2012 obituary, Connie went on to became a local Cleveland actress and nurse, a person “dedicated to making the lives of others better.” According to her aunt, she should have nothing better to do—for anyone—but to pay back her debt, should she wish to remain in the good graces of the great Objectivist. We do not know if Connie accepted the terms, but she apparently wrote back in such a way as to leave quite an impression on Rand, whose June 4 reply is “damn charming!”
I must tell you that I was very impressed with the intelligent attitude of your letter. If you really understood, all by yourself, that my long lecture to you was a sign of real interest on my part, much more so than if I had sent you a check with some hypocritical gush note, and if you understood that my letter was intended to treat you as an equal—then you have just the kind of mind that can achieve anything you choose to achieve in life.
The letter goes on in very kindly, even sentimental, terms. In fact, it may convince you that O’Donnell is dead wrong to single out contempt as Rand’s defining quality. And yet, he argues, her biographers show that “she happily accepted help from others while denouncing altruistic kindness” (and those who accept it), espousing “an individualism so extreme that it does not merely ignore others, but actually spits in their faces.” While Connie managed to escape her wrath, such as it was, most others, through their own failings of true capitalistic character or the cruelty of circumstances beyond their control, did not.
Levi Bettwieser runs the Rescued Film Project, which salvages undeveloped rolls of film from around the world, all shot somewhere between the 1930s and the late 1990s. They have the ability “to process film from all eras. Even film that has been degraded by heat, moisture, and age. Or is no longer manufactured.” And why do they take on these projects? Because, at some point, every image was special for someone. “Each frame captured, reflects a moment that was intended to be remembered.”
Above you can watch Bettwieser processing 31 rolls of film shot by an American soldier during World War II. According to Petapixel, the rolls were found at an Ohio auction in late 2014, and they “were labeled with various location names (i.e. Boston Harbor, Lucky Strike Beach, LaHavre Harbor).” But other than that, Bettwieser knows nothing more about the vet who took these shots.
The rescue operation and the photographs it yielded are all featured in a nicely crafted, 10-minute video.
Charlie Watts’s first love has always been jazz. While his Rolling Stones band mates spent their youth listening to the Blues, Watts listened to Miles Davis and John Coltrane. And something about that seems to have stuck. Mick Jagger and Keith Richards defined what a rock star should look like in the late 60s – disheveled and flamboyant. Watts always seemed to carry himself with a jazzman’s sense of cool.
Back in 1960, when he was working as a graphic designer and doing drumming gigs on the side, Watts found another way to show off his love for jazz. He wrote a children’s book. Ode to a Highflying Bird is about alt sax legend Charlie Parker, rendered in doodle-like fashion as a bird in shades. The hand-drawn text details Parker’s life story: “Frustrated with what life had to offer him in his hometown, he packed his whistle, pecked his ma goodbye and flew from his nest in Kansas City bound for New York.”
The book was originally done as a portfolio piece but, in 1964, after Watts became a member of the Stones, the book was published. As Watts recalled, “This guy who published ‘Rolling Stones Monthly’ saw my book and said ‘Ah, there’s a few bob in this!’”
This wasn’t the only ode to Bird that Watts made over his long career. In 1992, his jazz band, The Charlie Watts Quintet, released an album called From One Charlie… which, as the title suggests, pays homage to Parker and his other bee-bop gods. “I don’t really love rock & roll,” as he toldRolling Stone magazine. “I love jazz. But I love playing rock & roll with the Stones.”
A few old copies of Ode to a Highflying Bird can be found on Amazon and on Abe Books.
Jonathan Crow is a Los Angeles-based writer and filmmaker whose work has appeared in Yahoo!, The Hollywood Reporter, and other publications. You can follow him at @jonccrow. And check out his blog Veeptopus, featuring lots of pictures of badgers and even more pictures of vice presidents with octopuses on their heads. The Veeptopus store is here.
Edgar Allan Poe was born on this day 206 years ago. BoingBoing suggests celebrating Poe’s birthday with these Vincent Price wines. But seeing that the 2012 Raven Cabernet Sauvignon runs $75.00, we’re going to steer you toward something free. If you revisit our post from October, you can download Poe’s complete works as ebooks and free audio books. Lots of great stories in one bundle. And it won’t cost you a dime. You’d have to think that Poe, who died penniless, would approve.
Find lots more literary freebies in our twin collections:
Yes, it’s been over 20 years now since Nirvana played their last show, and if you’re old enough to have been there, go ahead and take a moment of silence to mourn your lost youth. Given the relative paucity of raw, authentic-sounding guitar rock these days, it’s tempting to romanticize the nineties as halcyon days, but that kind of nostalgia should be tempered by an honest accounting of the tedious flood of grunge-like also-rans the corporate labels released upon us after Nirvana’s mainstream success. In a certain sense, the demise of that band and death of its leader marks the end of so-called “alternative” rock (whatever that meant) as a genuine alternative. After Nirvana, a deluge of growly, angsty, and not especially listenable bands took over the airwaves and festival circuits. Before them—well, if you don’t know, ask your once-hip aunts and uncles.
And yet, there is another narrative—one that holds up the band as rock redeemers who broke through the corporate mold and, like the Stooges or the Ramones twenty years earlier, brought back authentic anger, danger, and intensity to rock ‘n’ roll. That Nirvana became the corporate mold is not necessarily their doing, and not a turn of events that sat at all well with the band. Their last show, in Munich, 1994 (see it in part above), “was anything but immaculate,” writes Consequence of Sound, a fact “almost tragically fitting.” As if presaging its leader’s decline, Nirvana’s final concert went from strained to worse, as Cobain’s voice faltered due to bronchitis, and the venue temporarily lost power. “Undeterred, they continued acoustically, but ended up cutting what would’ve been the seventh song, ‘Smells Like Teen Spirit,’” the track that launched a million grunge garage bands three years earlier. With tongues in cheeks, they open—at the top—with The Cars’ “My Best Friend’s Girl” (and a few bars of their “Moving in Stereo”). Surely both an homage to a great ‘80s band and a punk deconstruction of major label radio rock of the previous decade.
In a foreboding remark after the power went out, bassist Krist Noveselic quips, “We’re not playing the Munich Enormodome tonight. ‘Cos our careers are on the wane. We’re on the way out. Grunge is dead. Nirvana’s over.” The remainder of the tour was canceled, and Cobain went to Rome, where he overdosed on Rohypnol and champagne and temporarily fell into a coma. One month later, after a failed rehab stint, he was dead. Almost immediately afterward, a cult of Cobain sprung up around his memory—as much a triumph of marketing as an act of mourning. T‑shirts, posters, tribute albums… the usual mass culture wake when a rock star dies young. What saddened me as a child of the era is not that the band’s last tour petered out, or even that Cobain fell apart under the familiar pressures of fame and addiction, but that in death he was turned into what he hated most—an idol. But if the worshipful merch of twenty years ago seemed tacky, it was nothing compared to t‑shirts selling just weeks ago with Cobain’s suicide note printed on them. (These have since been pulled due to complaints.) And while we may someday hear the demos of Cobain’s planned solo record, we might also have been treated to something else—“our next record’s going to be a hip-hop record,” joked Noveselic. Now that would have been a novelty. Instead we got these guys.
The lists are in. By overwhelming consensus, the buzzword of 2014 was “vape.” Apparently, that’s the verb that enables you to smoke an e‑cig. Left to its own devices, my computer will still autocorrect 2014’s biggest word to “cape,” but that could change.
Hopefully not.
Hopefully, 2015 will yield a buzzword more piquant than “vape.”
With luck, a razor-witted teen is already on the case, but just in case, let’s hedge our bets. Let’s go spelunking in an era when buzzwords were cool, but adult…insouciant, yet substantive.
If only every amateur lexicographer were foxy enough to set his or her definitions to music, and creep them out like the shadow, as Calloway does above. The complete list is below.
What a blip!
By my calculation, we’ve got eleven months to identify a choice candidate, resurrect it, and integrate it into everyday speech. With luck some fine dinner whose star is on the rise will beef our word in public, preferably during a scandalous, much analyzed performance.
It’s immaterial which one we pick. Gammin’? Jeff? Hincty? Fruiting? Whatever you choose, I’m in. Let’s blow their wigs.
Bust your conks in the comments section. I’m ready.
HEPSTER’S DICTIONARY
A hummer (n.) — exceptionally good. Ex., “Man, that boy is a hummer.”
Ain’t coming on that tab (v.) — won’t accept the proposition. Usually abbr. to “I ain’t coming.”
Alligator (n.) — jitterbug.
Apple (n.) — the big town, the main stem, Harlem.
Armstrongs (n.) — musical notes in the upper register, high trumpet notes.
Barbecue (n.) — the girl friend, a beauty
Barrelhouse (adj.) — free and easy.
Battle (n.) — a very homely girl, a crone.
Beat (adj.) — (1) tired, exhausted. Ex., “You look beat” or “I feel beat.” (2) lacking anything. Ex, “I am beat for my cash”, “I am beat to my socks” (lacking everything).
Beat it out (v.) — play it hot, emphasize the rhythym.
Beat up (adj.) — sad, uncomplimentary, tired.
Beat up the chops (or the gums) (v.) — to talk, converse, be loquacious.
Beef (v.) — to say, to state. Ex., “He beefed to me that, etc.”
Bible (n.) — the gospel truth. Ex., “It’s the bible!”
Black (n.) — night.
Black and tan (n.) — dark and light colored folks. Not colored and white folks as erroneously assumed.
Blew their wigs (adj.) — excited with enthusiasm, gone crazy.
Blip (n.) — something very good. Ex., “That’s a blip”; “She’s a blip.”
Blow the top (v.) — to be overcome with emotion (delight). Ex., “You’ll blow your top when you hear this one.”
Boogie-woogie (n.) — harmony with accented bass.
Boot (v.) — to give. Ex., “Boot me that glove.”
Break it up (v.) — to win applause, to stop the show.
Bree (n.) — girl.
Bright (n.) — day.
Brightnin’ (n.) — daybreak.
Bring down ((1) n. (2) v.) — (1) something depressing. Ex., “That’s a bring down.” (2) Ex., “That brings me down.”
Buddy ghee (n.) — fellow.
Bust your conk (v.) — apply yourself diligently, break your neck.
Canary (n.) — girl vocalist.
Capped (v.) — outdone, surpassed.
Cat (n.) — musician in swing band.
Chick (n.) — girl.
Chime (n.) — hour. Ex., “I got in at six chimes.”
Clambake (n.) — ad lib session, every man for himself, a jam session not in the groove.
Chirp (n.) — female singer.
Cogs (n.) — sun glasses.
Collar (v.) — to get, to obtain, to comprehend. Ex., “I gotta collar me some food”; “Do you collar this jive?”
Come again (v.) — try it over, do better than you are doing, I don’t understand you.
Comes on like gangbusters (or like test pilot) (v.) — plays, sings, or dances in a terrific manner, par excellence in any department. Sometimes abbr. to “That singer really comes on!”
Cop (v.) — to get, to obtain (see collar; knock).
Corny (adj.) — old-fashioned, stale.
Creeps out like the shadow (v.) — “comes on,” but in smooth, suave, sophisticated manner.
Crumb crushers (n.) — teeth.
Cubby (n.) — room, flat, home.
Cups (n.) — sleep. Ex., “I gotta catch some cups.”
Cut out (v.) — to leave, to depart. Ex., “It’s time to cut out”; “I cut out from the joint in early bright.”
Cut rate (n.) — a low, cheap person. Ex., “Don’t play me cut rate, Jack!”
Dicty (adj.) — high-class, nifty, smart.
Dig (v.) — (1) meet. Ex., “I’ll plant you now and dig you later.” (2) look, see. Ex., “Dig the chick on your left duke.” (3) comprehend, understand. Ex., “Do you dig this jive?”
Dim (n.) — evening.
Dime note (n.) — ten-dollar bill.
Doghouse (n.) — bass fiddle.
Domi (n.) — ordinary place to live in. Ex., “I live in a righteous dome.”
Doss (n.) — sleep. Ex., “I’m a little beat for my doss.”
Down with it (adj.) — through with it.
Drape (n.) — suit of clothes, dress, costume.
Dreamers (n.) — bed covers, blankets.
Dry-goods (n.) — same as drape.
Duke (n.) — hand, mitt.
Dutchess (n.) — girl.
Early black (n.) — evening
Early bright (n.) — morning.
Evil (adj.) — in ill humor, in a nasty temper.
Fall out (v.) — to be overcome with emotion. Ex., “The cats fell out when he took that solo.”
Fews and two (n.) — money or cash in small quatity.
Final (v.) — to leave, to go home. Ex., “I finaled to my pad” (went to bed); “We copped a final” (went home).
Fine dinner (n.) — a good-looking girl.
Focus (v.) — to look, to see.
Foxy (v.) — shrewd.
Frame (n.) — the body.
Fraughty issue (n.) — a very sad message, a deplorable state of affairs.
Freeby (n.) — no charge, gratis. Ex., “The meal was a freeby.”
Frisking the whiskers (v.) — what the cats do when they are warming up for a swing session.
Frolic pad (n.) — place of entertainment, theater, nightclub.
Fromby (adj.) — a frompy queen is a battle or faust.
Front (n.) — a suit of clothes.
Fruiting (v.) — fickle, fooling around with no particular object.
Fry (v.) — to go to get hair straightened.
Gabriels (n.) — trumpet players.
Gammin’ (adj.) — showing off, flirtatious.
Gasser (n, adj.) — sensational. Ex., “When it comes to dancing, she’s a gasser.”
Gate (n.) — a male person (a salutation), abbr. for “gate-mouth.”
Get in there (exclamation.) — go to work, get busy, make it hot, give all you’ve got.
Gimme some skin (v.) — shake hands.
Glims (n.) — the eyes.
Got your boots on — you know what it is all about, you are a hep cat, you are wise.
Got your glasses on — you are ritzy or snooty, you fail to recognize your friends, you are up-stage.
Gravy (n.) — profits.
Grease (v.) — to eat.
Groovy (adj.) — fine. Ex., “I feel groovy.”
Ground grippers (n.) — new shoes.
Growl (n.) — vibrant notes from a trumpet.
Gut-bucket (adj.) — low-down music.
Guzzlin’ foam (v.) — drinking beer.
Hard (adj.) — fine, good. Ex., “That’s a hard tie you’re wearing.”
Hard spiel (n.) — interesting line of talk.
Have a ball (v.) — to enjoy yourself, stage a celebration. Ex., “I had myself a ball last night.”
Hep cat (n.) — a guy who knows all the answers, understands jive.
Hide-beater (n.) — a drummer (see skin-beater).
Hincty (adj.) — conceited, snooty.
Hip (adj.) — wise, sophisticated, anyone with boots on. Ex., “She’s a hip chick.”
Home-cooking (n.) — something very dinner (see fine dinner).
Hot (adj.) — musically torrid; before swing, tunes were hot or bands were hot.
Hype (n, v.) — build up for a loan, wooing a girl, persuasive talk.
Icky (n.) — one who is not hip, a stupid person, can’t collar the jive.
Igg (v.) — to ignore someone. Ex., “Don’t igg me!)
In the groove (adj.) — perfect, no deviation, down the alley.
Jack (n.) — name for all male friends (see gate; pops).
Jam ((1)n, (2)v.) — (1) improvised swing music. Ex., “That’s swell jam.” (2) to play such music. Ex., “That cat surely can jam.”
Jeff (n.) — a pest, a bore, an icky.
Jelly (n.) — anything free, on the house.
Jitterbug (n.) — a swing fan.
Jive (n.) — Harlemese speech.
Joint is jumping — the place is lively, the club is leaping with fun.
Jumped in port (v.) — arrived in town.
Kick (n.) — a pocket. Ex., “I’ve got five bucks in my kick.”
Kill me (v.) — show me a good time, send me.
Killer-diller (n.) — a great thrill.
Knock (v.) — give. Ex., “Knock me a kiss.”
Kopasetic (adj.) — absolutely okay, the tops.
Lamp (v.) — to see, to look at.
Land o’darkness (n.) — Harlem.
Lane (n.) — a male, usually a nonprofessional.
Latch on (v.) — grab, take hold, get wise to.
Lay some iron (v.) — to tap dance. Ex., “Jack, you really laid some iron that last show!”
Lay your racket (v.) — to jive, to sell an idea, to promote a proposition.
Lead sheet (n.) — a topcoat.
Left raise (n.) — left side. Ex., “Dig the chick on your left raise.”
Licking the chops (v.) — see frisking the whiskers.
Licks (n.) — hot musical phrases.
Lily whites (n.) — bed sheets.
Line (n.) — cost, price, money. Ex., “What is the line on this drape” (how much does this suit cost)? “Have you got the line in the mouse” (do you have the cash in your pocket)? Also, in replying, all figures are doubled. Ex., “This drape is line forty” (this suit costs twenty dollars).
Lock up — to acquire something exclusively. Ex., “He’s got that chick locked up”; “I’m gonna lock up that deal.”
Main kick (n.) — the stage.
Main on the hitch (n.) — husband.
Main queen (n.) — favorite girl friend, sweetheart.
Man in gray (n.) — the postman.
Mash me a fin (command.) — Give me $5.
Mellow (adj.) — all right, fine. Ex., “That’s mellow, Jack.”
Melted out (adj.) — broke.
Mess (n.) — something good. Ex., “That last drink was a mess.”
Meter (n.) — quarter, twenty-five cents.
Mezz (n.) — anything supreme, genuine. Ex., “this is really the mezz.”
Mitt pounding (n.) — applause.
Moo juice (n.) — milk.
Mouse (n.) — pocket. Ex., “I’ve got a meter in the mouse.”
Muggin’ (v.) — making ‘em laugh, putting on the jive. “Muggin’ lightly,” light staccato swing; “muggin’ heavy,” heavy staccato swing.
Nicklette (n.) — automatic phonograph, music box.
Nickel note (n.) — five-dollar bill.
Nix out (v.) — to eliminate, get rid of. Ex., “I nixed that chick out last week”; “I nixed my garments” (undressed).
Nod (n.) — sleep. Ex., “I think I’l cop a nod.”
Ofay (n.) — white person.
Off the cob (adj.) — corny, out of date.
Off-time jive (n.) — a sorry excuse, saying the wrong thing.
Orchestration (n.) — an overcoat.
Out of the world (adj.) — perfect rendition. Ex., “That sax chorus was out of the world.”
Ow! — an exclamation with varied meaning. When a beautiful chick passes by, it’s “Ow!”; and when someone pulls an awful pun, it’s also “Ow!”
Pad (n.) — bed.
Pecking (n.) — a dance introduced at the Cotton Club in 1937.
Peola (n.) — a light person, almost white.
Pigeon (n.) — a young girl.
Pops (n.) — salutation for all males (see gate; Jack).
Pounders (n.) — policemen.
Queen (n.) — a beautiful girl.
Rank (v.) — to lower.
Ready (adj.) — 100 per cent in every way. Ex., “That fried chicken was ready.”
Ride (v.) — to swing, to keep perfect tempo in playing or singing.
Riff (n.) — hot lick, musical phrase.
Righteous (adj.) — splendid, okay. Ex., “That was a righteous queen I dug you with last black.”
Rock me (v.) — send me, kill me, move me with rhythym.
Ruff (n.) — quarter, twenty-five cents.
Rug cutter (n.) — a very good dancer, an active jitterbug.
Sad (adj.) — very bad. Ex., “That was the saddest meal I ever collared.”
Sadder than a map (adj.) — terrible. Ex., “That man is sadder than a map.”
Salty (adj.) — angry, ill-tempered.
Sam got you — you’ve been drafted into the army.
Send (v.) — to arouse the emotions. (joyful). Ex., “That sends me!”
Set of seven brights (n.) — one week.
Sharp (adj.) — neat, smart, tricky. Ex., “That hat is sharp as a tack.”
Signify (v.) — to declare yourself, to brag, to boast.
Skins (n.) — drums.
Skin-beater (n.) — drummer (see hide-beater).
Sky piece (n.) — hat.
Slave (v.) — to work, whether arduous labor or not.
Slide your jib (v.) — to talk freely.
Snatcher (n.) — detective.
So help me — it’s the truth, that’s a fact.
Solid (adj.) — great, swell, okay.
Sounded off (v.) — began a program or conversation.
Spoutin’ (v.) — talking too much.
Square (n.) — an unhep person (see icky; Jeff).
Stache (v.) — to file, to hide away, to secrete.
Stand one up (v.) — to play one cheap, to assume one is a cut-rate.
To be stashed (v.) — to stand or remain.
Susie‑Q (n.) — a dance introduced at the Cotton Club in 1936.
Take it slow (v.) — be careful.
Take off (v.) — play a solo.
The man (n.) — the law.
Threads (n.) — suit, dress or costuem (see drape; dry-goods).
Tick (n.) — minute, moment. Ex., “I’ll dig you in a few ticks.” Also, ticks are doubled in accounting time, just as money isdoubled in giving “line.” Ex., “I finaled to the pad this early bright at tick twenty” (I got to bed this morning at ten o’clock).
Timber (n.) — toothipick.
To dribble (v.) — to stutter. Ex., “He talked in dribbles.”
Togged to the bricks — dressed to kill, from head to toe.
Too much (adj.) — term of highest praise. Ex., “You are too much!”
Trickeration (n.) — struttin’ your stuff, muggin’ lightly and politely.
Trilly (v.) — to leave, to depart. Ex., “Well, I guess I’ll trilly.”
Truck (v.) — to go somewhere. Ex., “I think I’ll truck on down to the ginmill (bar).”
Trucking (n.) — a dance introduced at the Cotton Club in 1933.
Twister to the slammer (n.) — the key to the door.
Two cents (n.) — two dollars.
Unhep (adj.) — not wise to the jive, said of an icky, a Jeff, a square.
Vine (n.) — a suit of clothes.
V‑8 (n.) — a chick who spurns company, is independent, is not amenable.
What’s your story? — What do you want? What have you got to say for yourself? How are tricks? What excuse can you offer? Ex., “I don’t know what his story is.”
Whipped up (adj.) — worn out, exhausted, beat for your everything.
Wren (n.) — a chick, a queen.
Wrong riff — the wrong thing said or done. Ex., “You’re coming up on the wrong riff.”
Yarddog (n.) — uncouth, badly attired, unattractive male or female.
Yeah, man — an exclamation of assent.
Zoot (adj.) — exaggerated
Zoot suit (n.) — the ultimate in clothes. The only totally and truly American civilian suit.
Just over a year ago, we featured John Milton’s Paradise Lost as illustrated by William Blake, the 18th- and 19th-century English poet, painter, and printmaker who made uncommonly full use of his already rare combination of once-a-generation literary and visual aptitude. Blake may have had an obsession with Paradise Lost, as Josh Jones pointed out in that post, but it hardly kept him from illustrating other texts. Today we have his artistic accompaniment to that text that has gone under the hands of Salvador Dalí, Gustave Doré, Alberto Martini, Sandro Botticelli, and Mœbius, to name a few: Dante Alighieri’s Divine Comedy.
Blake never completed the full set of engravings commissioned, but only because death itself cut the project short. Still, he managed to complete several watercolors and a handful of engraving proofs, all of which have drawn praise not just for the way they evoke the different environments of the Inferno, Purgatorio, and Paradiso, but for how they cast a sometimes critical eye on the theological and moral sensibilities of Dante’s original work.
(“Every thing in Dantes Comedia shews That for Tyrannical Purposes he has made This World the Foundation of All & the Goddess Nature & not the Holy Ghost,” Blake once wrote to himself in a piece of marginalia often cited by scholars of this particular project.)
Yet Blake and Dante had common ground. “Blake was drawn to the project because, despite the five centuries that separated them, he resonated with Dante’s contempt for materialism and the way power warps morality — the opportunity to represent these ideas pictorially no doubt sang to him,” writes Maria Popova at Brain Pickings, who tells more of the story surrounding Blake’s Divine Comedy. He stopped only when just about to step off this mortal coil, a moment in which history has remembered him saying to his wife, “Keep just as you are — I will draw your portrait — for you have ever been an angel to me.” That portrait didn’t survive, but what he completed of his Dante illustrations did, granting them the status of William Blake’s final work — and, given the post-life nature of its subject matter, a suitable status indeed.
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