Kurt Vonnegut’s Recipes in Deadeye Dick: Polka-Dot Brownies, Linzer Torte & Haitian Banana Soup

in Books, Food & Drink, Literature | August 11th, 2021

Author Kurt Vonnegut incorporated several recipes into his 1982 novel Deadeye Dick, inspired by James Beard’s American Cookery, Marcella Hazan’s The Classic Italian Cook Book, and Bea Sandler’s The African Cookbook.

He writes in the preface that these recipes are intended to provide “musical interludes for the salivary glands,” warning readers that “no one should use this novel for a cookbook. Any serious cook should have the reliable originals in his or her library anyway.”

So with that caveat in mind…

Early on, the narrator/titular character, née Rudy Waltz, shares a recipe from his family’s former cook, Mary Hoobler, who taught him “everything she knew about cooking and baking”:

MARY HOOBLER’S CORN BREAD

Mix together in a bowl half a cup of flour, one and a half cups of yellow corn-meal, a teaspoon of salt, a teaspoon of sugar, and three teaspoons of baking powder.

Add three beaten eggs, a cup of milk, a half cup of cream, and a half cup of melted butter.

Pour it into a well-buttered pan and bake it at four hundred degrees for fifteen minutes.

Cut it into squares while it is still hot. Bring the squares to the table while they are still hot, and folded in a napkin.

Barely two paragraphs later, he’s sharing her barbecue sauce. It sounds delicious, easy to prepare, and its placement gives it a strong flavor of Slaughterhouse-Five’s “so it goes” and “Poo-tee-weet?” — as ironic punctuation to Father Waltz’s full on embrace of Hitler, a seeming non sequitur that forces readers to think about what comes before:

When we all posed in the street for our picture in the paper, Father was forty-two. According to Mother, he had undergone a profound spiritual change in Germany. He had a new sense of purpose in life. It was no longer enough to be an artist. He would become a teacher and political activist. He would become a spokesman in America for the new social order which was being born in Germany, but which in time would be the salvation of the world.

This was quite a mistake.

MARY HOOBLER’S BARBECUE SAUCE

Sauté a cup of chopped onions and three chopped garlic cloves in a quarter of a pound of butter until tender.

Add a half cup of catsup, a quarter cup of brown sugar, a teaspoon of salt, two teaspoons of freshly ground pepper, a dash of Tabasco, a tablespoon of lemon juice, a teaspoon of basil, and a tablespoon of chili powder.

Bring to a boil and simmer for five minutes.

Rudy’s father is not the only character to falter.

Rudy’s mistake happens in the blink of an eye, and manages to upend a number of lives in Midland City, a stand in for Indianapolis, Vonnegut’s hometown.

His family loses their money in an ensuing lawsuit, and can no longer engage Mary Hoobler and the rest of the staff.

Young Rudy, who’s spent his childhood hanging out with the servants in Mary’s cozy kitchen, finds it “easy and natural” to cater to his parents in the manner to which they were accustomed:

As long as they lived, they never had to prepare a meal or wash a dish or make a bed or do the laundry or dust or vacuum or sweep, or shop for food. I did all that, and maintained a B average in school, as well.

What a good boy was I!

EGGS À LA RUDY WALTZ (age thirteen)

Chop, cook, and drain two cups of spinach.

Blend with two tablespoons of butter, a teaspoon of salt, and a pinch of nutmeg.

Heat and put into three oven-proof bowls or cups.

Put a poached egg on top of each one, and sprinkle with grated cheese.

Bake for five minutes at 375 degrees. Serves three: the papa bear, the mama bear, and the baby bear who cooked it—and who will clean up afterwards.

By high school, Rudy’s heavy domestic burden has him falling asleep in class and reproducing complicated desserts from recipes in the local paper. (“Father roused himself from living death sufficiently to say that the dessert took him back forty years.”)

LINZER TORTE (from the Bugle-Observer)

Mix half a cup of sugar with a cup of butter until fluffy.

Beat in two egg yolks and half a teaspoon of grated lemon rind.

Sift a cup of flour together with a quarter teaspoon of salt, a teaspoon of cinnamon, and a quarter teaspoon of cloves. Add this to the sugar-and-butter mixture.

Add one cup of unblanched almonds and one cup of toasted filberts, both chopped fine.

Roll out two-thirds of the dough until a quarter of an inch thick.

Line the bottom and sides of an eight-inch pan with dough.

Slather in a cup and a half of raspberry jam.

Roll out the rest of the dough, make it into eight thin pencil shapes about ten inches long. Twist them a little, and lay them across the top in a decorative manner. Crimp the edges.

Bake in a preheated 350-degree oven for about an hour, and then cool at room temperature.

A great favorite in Vienna, Austria, before the First World War!

Rudy eventually relocates to the Grand Hotel Oloffson in Port au Prince, Haiti, which is how he manages to survive the — SPOILER — neutron bomb that destroys Midland City.

Here is a recipe for chocolate seafoams, courtesy of one of Midland City’s fictional residents:

MRS. GINO MARTIMO’S SPUMA DI CIOCCOLATA

Break up six ounces of semisweet chocolate in a saucepan.

Melt it in a 250-degree oven.

Add two teaspoons of sugar to four egg yolks, and beat the mixture until it is pale yellow.

Then mix in the melted chocolate, a quarter cup of strong coffee, and two tablespoons of rum.

Whip two-thirds of a cup of cold, heavy whipping cream until it is stiff. Fold it into the mixture.

Whip four egg whites until they form stiff peaks, then fold them into the mixture.

Stir the mixture ever so gently, then spoon it into cups, each cup a serving.

Refrigerate for twelve hours.

Serves six.

Other recipes in Rudy’s repertoire originate with the Grand Hotel Oloffson’s most valuable employee, headwaiter and Vodou practitioner Hippolyte Paul De Mille, who “claims to be eighty and have fifty-nine descendants”:

He said that if there was any ghost we thought should haunt Midland City for the next few hundred years, he would raise it from its grave and turn it loose, to wander where it would.

We tried very hard not to believe that he could do that.

But he could, he could.

HAITIAN FRESH FISH IN COCONUT CREAM

Put two cups of grated coconut in cheesecloth over a bowl.

Pour a cup of hot milk over it, and squeeze it dry.

Repeat this with two more cups of hot milk. The stuff in the bowl is the sauce.

Mix a pound of sliced onions, a teaspoon of salt, a half teaspoon of black pepper, and a teaspoon of crushed pepper.

Sauté the mixture in butter until soft but not brown.

Add four pounds of fresh fish chunks, and cook them for about a minute on each side.

Pour the sauce over the fish, cover the pan, and simmer for ten minutes. Uncover the pan and baste the fish until it is done—and the sauce has become creamy.

Serves eight vaguely disgruntled guests at the Grand Hotel Oloffson.

HAITIAN BANANA SOUP

Stew two pounds of goat or chicken with a half cup of chopped onions, a teaspoon of salt, half a teaspoon of black pepper, and a pinch of crushed red pepper. Use two quarts of water.

Stew for an hour.

Add three peeled yams and three peeled bananas, cut into chunks.

Simmer until the meat is tender. Take out the meat. What is left is eight servings of Haitian banana soup.

Bon appétit!

The recipe that closes the novel is couched in an anecdote that’s equal parts scatology and epiphany.

As a daughter of Indianapolis who was a junior in high school the year Deadeye Dick was published, I can attest that Polka-Dot Brownies would have been a hit at the bake sales of my youth:

POLKA-DOT BROWNIES

Melt half a cup of butter and a pound of light-brown sugar in a two-quart saucepan. Stir over a low fire until just bubbly.

Cool to room temperature.

Beat in two eggs and a teaspoon of vanilla.

Stir in a cup of sifted flour, a half teaspoon of salt, a cup of chopped filberts, and a cup of semisweet chocolate in small chunks.

Spread into a well-greased nine-by-eleven baking pan.

Bake at two hundred and thirty-five degrees for about thirty-five minutes.

Cool to room temperature, and cut into squares with a well-greased knife.

Enjoy, in moderation of course.

I was wearing my best suit, which was as tight as the skin of a knackwurst. I had put on a lot of weight recently. It was the fault of my own good cooking. I had been trying out a lot of new recipes, with considerable success. — Rudy Waltz

Watch a Sweet Film Adaptation of Kurt Vonnegut’s Story, “Long Walk to Forever”

The Recipes of Iconic Authors: Jane Austen, Sylvia Plath, Roald Dahl, the Marquis de Sade & More

Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine. Follow her @AyunHalliday

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Watch Venice’s New $7 Billion Flood Defense System in Action

in Architecture, Nature, Technology | August 11th, 2021

There are capitals unlikely to be much afflicted by rising sea levels — Indianapolis, say, or La Paz — but Venice looks set for a much more dire fate. Still, there is hope for the Floating City, a hope held out by large-scale engineering projects like the one profiled in the Tomorrow’s Build video above. Called MOSE (an acronym standing for MOdulo Sperimentale Elettromeccanico), the system consists of “78 gates, each 20 meters wide, that rise up out of the water when flooding is imminent.” This sounds like just the ticket for a city that, “built in the middle of a lagoon,” has “been susceptible to a natural phenomenon known as acqua alta, or ‘high water,’ since its founding in the fifth century.”

MOSE is now “finally up and running, eighteen years after construction began” — and a decade after its original completion deadline. This was too late, unfortunately, to spare Venice from the 2019 flood that ranked as its worst in 50 years, leaving 80 percent of the city underwater.

“The good news is, it passed the first major test,” successfully protecting the city in October of last year “from a 1.3‑meter high tide, and it’s performed multiple times since. But this doesn’t mean that flooding’s been stopped entirely. In December, it was unable to prevent an unexpectedly high tide from sweeping in and drenching the city once again.” Technically, that incident wasn’t MOSE’s fault: “Weather forecasters underestimated how high the water would get, so authorities kind of didn’t think to switch it on.”

This speaks to the difficulty of not just designing and installing a complex mechanical defense mechanism, but also of getting it to work in concert with the other systems already performing functions of their own (and at various levels of reliability). At a cost of over €6 billion (or $7 billion), MOSE has become “far more expensive than first predicted,” and thus faces that much higher a burden of self-justification, especially given the cloud of “corruption, environmental opposition, and questions about its long-term effectiveness” hanging over it. Seen in action, MOSE remains an unquestionably impressive work of engineering, but its associated headaches have surely converted some to the position on Venice once advanced by no less a scholar and lover of that storied city than Jan Morris: “Let her sink.”

via Kottke

Huge Hands Rise Out of Venice’s Waters to Support the City Threatened by Climate Change: A Poignant New Sculpture

The Venice Time Machine: 1,000 Years of Venice’s History Gets Digitally Preserved with Artificial Intelligence and Big Data

Watch City Out of Time, a Short Tribute to Venice, Narrated by William Shatner in 1959

Venice in a Day: From Daybreak to Sunset in Timelapse

Venice is Way Under Water…

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.

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Hear Vincent Price Star in a Classic Radio Adaptation of George Orwell’s 1984

in Books, Literature, Politics | August 10th, 2021

Here are some things you may not know about Vincent Price:

He was once a young man.

Before becoming a horror icon in the 1950s, he was a successful character actor. “Only a third of his movies that he made were actually horror films,” says his daughter, Victoria Price. “He made 105 films. People don’t realize he had an extensive career in theater and radio.”

He came from a wealthy St. Louis family and harbored early anti-semitic views and a misguided admiration for Hitler in the 1930s.

He completely changed his views after moving to New York and was placed on Sen. Joseph McCarthy’s “Premature Anti-Nazi Sympathizer list” in the 1950s, along with Eleanor Roosevelt, notes Susan King at the L.A. Times, a list that “raised questions about those who had been against the Nazis before the U.S. went to war with Germany.”

He was a gourmet cook, had a degree in art history, and worked for nine years in the sixties as an art consultant for Sears….

He was blacklisted for being anti-Nazi too early….

After being denied work for almost a year, as Price’s daughter writes in her 1999 memoir, Vincent Price: A Daughter’s Biography, he chose to sign a “secret oath” offered by the FBI to salvage his career. Perhaps not coincidentally, he took a radio part soon afterward in Australia, as a split narrator/Winston Smith in a 1955 Lux Radio Theater adaptation of George Orwell’s 1984, perhaps fearful of a future in which secret oaths became the norm.

Orwell himself had made it perfectly clear what he feared. “Radical in his politics and in his artistic tastes,” Lionel Trilling wrote in a New Yorker review the year the book came out, “Orwell is wholly free of the cant of radicalism”; his talent as a writer of fiction is to make “common sense” political observations serve plot and character. Perhaps the most chilling of these arrives in the first few paragraphs of 1984:

In the far distance a helicopter skimmed down between the roofs, hovered for an instant like a bluebottle, and darted away again with a curving flight. It was the police patrol, snooping into people’s windows. The patrols did not matter, however. Only the Thought Police mattered.

We may be reminded of the distinctions between what “Orwellian” means and what it does not, as Noah Tavlin describes in a recent explainer: if someone’s “talking about mass surveillance and intrusive government, they’re describing something authoritarian, but not necessarily Orwellian.” Authoritarianism is pure brute force. The Orwellian requires a constant misuse of language, a violent twisting of conscience, a perpetual shouting of lies as truth until the two are indistinguishable. No one is served by this but nihilistic oligarchs, Trilling writes:

The rulers of Orwell’s State know that power in its pure form has for its true end nothing but itself, and they know that the nature of power is defined by the pain it can inflict on others. They know, too, that just as wealth exists only in relation to the poverty of others, so power in its pure aspect exists only in relation to the weakness of others, and that any power of the ruled, even the power to experience happiness, is by that much a diminution of the power of the rulers.

Orwellian societies exist solely to spread hatred and misery, even to their detriment, a point Price made at the end of another radio broadcast, a 1950 episode of NBC’s The Saint, in which the actor denounced racism and religious prejudice. Not long afterward, his name appeared on McCarthy’s list.

Price learned that the government could deprive him of his happiness unless he swore fealty to an insanely nonsensical political morality. His daughter offers the experience as one reason for his love of playing villains. “Most of the villains that he played had been wronged in some way. There was a reason for their villainy.”

Huxley to Orwell: My Hellish Vision of the Future is Better Than Yours (1949)

George Orwell Explains in a Revealing 1944 Letter Why He’d Write 1984

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

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Benedict Cumberbatch Reads Kurt Vonnegut’s Letter of Advice to People Living in the Year 2088

in History, Letters, Literature | August 10th, 2021

A few years ago we posted Kurt Vonnegut’s letter of advice to humanity, written in 1988 but addressed, a century hence, to the year 2088. Whatever objections you may have felt to reading this missive more than 70 years prematurely, you might have overcome them to find that the author of Slaughterhouse-Five and Breakfast of Champions single-mindedly importuned his fellow man of the late 21st century to protect the natural environment. He issues commandments to “reduce and stabilize your population” to “stop preparing for war and start dealing with your real problems,” and to “stop thinking science can fix anything if you give it a trillion dollars,” among other potentially drastic-sounding measures.

Commandment number seven amounts to the highly Vonnegutian “And so on. Or else.” A fan can easily imagine these words spoken in the writer’s own voice, but with Vonnegut now gone for well over a decade, would you accept them spoken in the voice of Benedict Cumberbatch instead?

First commissioned by Volkswagen for a Time magazine ad campaign, Vonnegut’s letter to 2088 was later found and republished by Letters of Note. The associated Letters Live project, which brings notable letters to the stage (and subsequently internet video), counts Cumberbatch as one of its star readers: he’s given voice to wise correspondence by the likes of Sol LeWitt, Albert Camus, and Alan Turing.

Cumberbatch even has experience with letters by Vonnegut, having previously read aloud his rebuke to a North Dakota school board that allowed the burning of Slaughterhouse-Five. Vonnegut’s work makes clear that he didn’t suffer fools gladly, and that he considered book-burning one of the infinite varieties of folly he spent his career cataloging. In light of his letter to 2088, the same went for humanity’s poor stewardship of their planet. Vonnegut may not have been a conservationist, exactly, but nor, in his view, was nature itself, a force that needs “no help from us in taking the planet apart and putting it back together some different way, not necessarily improving it from the viewpoint of living things.” This is, of course, the personifying view of a novelist, but a novelist who never forgot his sense of humor — nor his tendency to play the prophet of doom.

The Graphic Novel Adaptation of Kurt Vonnegut’s Slaughterhouse-Five

Benedict Cumberbatch Reads a Letter Alan Turing Wrote in “Distress” Before His Conviction For “Gross Indecency”

Benedict Cumberbatch Reads Albert Camus’ Touching Thank You Letter to His Elementary School Teacher

“Stop It and Just DO”: Benedict Cumberbatch Reads Advice on Overcoming Creative Blocks, Written by Sol LeWitt to Eva Hesse (1965)

Benedict Cumberbatch, Margaret Atwood, Stephen Fry & Others Read Letters of Hope, Love & Support During COVID-19

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.

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How Pulp Fiction ’s Dance Scene Paid Artistic Tribute to the Classic Dance Scene in Fellini’s 8½

in Film | August 10th, 2021

An auteur makes few compromises in bringing his distinctive visions to the screen, but he also makes no bones about borrowing from the auteurs who came before. This is especially true in the case of an auteur named Quentin Tarantino, who for nearly thirty years has repeatedly pulled off the neat trick of directing large-scale, highly individualistic movies that also draw deeply from the well of existing cinema — deeply enough to pull up both the grind-house “low” and art-house “high.” Tarantino’s first big impact on the zeitgeist came in the form of 1994’s Pulp Fiction, which put the kind of common, sensationalistic material suggested by its title into cinematic forms picked up from the likes of Jean-Luc Godard and Federico Fellini.

Few clips of Tarantino’s work could distill this inspirational polarity as well as Pulp Fiction’s twist contest at Jack Rabbit Slim’s. In a film almost wholly composed of memorable scenes, as I wrote when last we featured it here on Open Culture, this one is quite possibly the most memorable.

Tarantino has explained his intent to pay tribute to dancing as it occurs in films like Godard’s Bande à part, the namesake of Tarantino’s production company. “My favorite musical sequences have always been in Godard because they just come out of nowhere,” he once said. “It’s so infectious, so friendly. And the fact that it’s not a musical but he’s stopping the movie to have a musical sequence makes it all the more sweet.”

But as these comparison videos reveal, Godard isn’t the only midcentury European auteur to whom Pulp Fiction’s dance scene owes its effectiveness. “This scene is a direct steal from Fellini’s 8½ and there’s no real effort to hide it,” writes No Film School’s Jason Hellerman. “Aside from the location change, the moves and camera angles are almost the same.” In 8½ the dancers are Marcello Mastroianni’s besieged filmmaker Guido and his estranged wife Luisa, played by Anouk Aimée. This occurs in another of the precious few pictures in cinema history comprising memorable scenes and memorable scenes only; the others include vivid spectacles outlining the middle-aged Guido’s artistic struggle and voyages of memory back into his prelapsarian childhood.

Childhood, writes poet James Fenton, was “a time of pure inventiveness” when “everything we did was hailed as superb.” (In this sense, a young filmmaker who makes his first Hollywood hit enjoys a second childhood, albeit usually a brief one.) In Fenton’s words, Washington Post art critic Sebastian Smee finds a key to the elaborate and enrapturing but at times bewildering 8½. With growth, alas, comes “the primal erasure, when we forget all those early experiences, and it is rather as if there is some mercy in this, since if we could remember the intensity of such pleasure it might spoil us for anything else. We forget what happened exactly, but we know that there was something, something to do with music and praise and everyone talking, something to do with flying through the air, something to do with dance.”

Federico Fellini Introduces Himself to America in Experimental 1969 Documentary

Fellini’s Fantastic TV Commercials

Fellini + Abrams = Super 8½

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.

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Take a Journey Through 933 Paintings by Salvador Dalí & Watch His Signature Surrealism Emerge

in Art, History | August 9th, 2021

Salvador Dalí made over 1,600 paintings, but just one has come to stand for both his body of work and a major artistic current that shaped it: 1931’s The Persistence of Memory, widely known as the one with the melting clocks. By that year Dalí had reached his late twenties, still early days in what would be a fairly long life and career. But he had already produced many works of art, as evidenced by the video survey of his oeuvre above. Proceeding chronologically through 933 of his paintings in the course of an hour and a half, it doesn’t reach The Persistence of Memory until more than seventeen minutes in, and that after showing numerous works a casual appreciator wouldn’t think to associate with Dalí at all.

It seems the young Dalí didn’t set out to paint melting clocks — or flying tigers, or walking villas, or any of his other visions that have long occupied the common conception of Surrealism. And however often he was labeled an “original” after attaining worldwide fame in the 1930s and 40s, he began as nearly every artist does: with imitation.

Far from premonitions of the Surrealist sensibility with which he would be forever linked in the public consciousness, dozens and dozens of his early paintings unabashedly reflect the influence of Renaissance masters, Impressionists, Futurists, and Cubists. Of particular importance in that last group was Dalí’s countryman and idol Pablo Picasso: it was after they first met in 1926 that the changes in Dalí’s work became truly dramatic.

Viewers may be less surprised that Dalí did so much before The Persistence of Memory than that he did even more after it. Though he would never return to the relatively straightforward depictions of reality found among his work of the 1920s, the dreamscapes he realized throughout the last half-century of his life are hardly all of a piece. (This in addition to plenty of work on the side, including a tarot deck, a cookbook, and even television commercials.) To appreciate the variations he attempted in his art even after becoming popular culture’s idea of an “almost-crazy” Surrealist requires not just seeing his work in context, but spending a proper amount of time with it. Not to say that fans of The Persistence of Memory — especially fans in a suitable state of mind — haven’t spent hours at a stretch in fruitful contemplation of those melting clocks alone.

The Most Complete Collection of Salvador Dalí’s Paintings Published in a Beautiful New Book by Taschen: Includes Never-Seen-Before Works

When Salvador Dalí Created a Surrealist Funhouse at New York World’s Fair (1939)

Salvador Dalí’s Tarot Cards, Cookbook & Wine Guide Re-Issued as Beautiful Art Books

When Salvador Dalí Created Christmas Cards That Were Too Avant Garde for Hallmark (1960)

Salvador Dalí Explains Why He Was a “Bad Painter” and Contributed “Nothing” to Art (1986)

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.

by Colin Marshall | Permalink | Make a Comment ( None ) |

What Makes Picasso’s Guernica a Great Painting?: Explore the Anti-Fascist Mural That Became a Worldwide Anti-War Symbol

in Art | August 9th, 2021

A painting is not thought out and settled in advance. While it is being done, it changes as one’s thoughts change. And when it’s finished, it goes on changing, according to the state of mind of whoever is looking at it. — Pablo Picasso

In a famous story about Guernica, Pablo Picasso’s wrenching 1937 anti-war mural, a gestapo officer barges into the painter’s Paris studio and asks, “did you do that?”, to which Picasso acerbically replies, “you did.” The title refers to the 1937 bombing of a Basque town during the Spanish Civil War, carried out by Spanish Nationalists and the Luftwaffe. Whether or not the anecdote about Picasso and the Nazi ever happened is unimportant; it encapsulates the artist’s disgust and outrage over the atrocities of war and the takeover of his country by Franco’s Nationalists, unyielding sentiments found not only in the painting but also its path through the world.

“Guernica had this really unique relationship with Picasso and his life,” says art historian Patricia Failing. “In a way it was his alter ego.” This is a bold claim considering that during most of his career, “Picasso generally avoids politics,” notes PBS, “and disdains overtly political art.” After the mural’s exhibition at the Spanish Pavilion of the 1937 Paris World’s Fair, however, the painting was sent on tours of Europe and North America “to raise consciousness about the threat of fascism.”

In 1939, after the fall of Madrid, the artist declared, “The painting will be turned over to the government of the Spanish Republic the day the Republic is restored in Spain!” Then, almost 30 years later,

In a surprisingly ironic turn, Franco launched a campaign in 1968 for repatriation of the painting, assuring Picasso that the Spanish Government had no objection to the controversial subject matter. One can only imagine how incredulous Picasso must have been. Through his lawyers, Picasso turned the offer down flat, making it clear that Guernica would be turned over only when democracy and public liberties were restored to Spain.

Picasso died in 1973 and never saw his country free from fascism. Franco died two years later. The painting was not exhibited in Spain until 1981 — not a “return,” but a restoration, perhaps, of an international icon that had endured 44 years of exile, had become a potent anti-war symbol during the Vietnam War, and had survived a vandal attack the year after the artist’s death.

In the Great Art Explained video above, James Payne “looks at some of the more acknowledged interpretations along with techniques, composition and artistic inspiration,” as the video’s description notes. “We all know that Art is not truth,” Picasso said, consistently discouraging tidy interpretations of Guernica as a straightforward protest painting. “Art is a lie that makes us realize truth.” What do we realize when we stand before the mural — all 11 by 25 feet of it? It depends upon our state of mind, the artist might say, as he engulfs viewers in an allegorical nightmare standing in for a very real horror.

Guernica: Alain Resnais’ Haunting Film on Picasso’s Painting & the Crimes of the Spanish Civil War

The Mystery of Picasso: Landmark Film of a Legendary Artist at Work, by Henri-Georges Clouzot

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

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A Charlie Watts-Centric View of the Rolling Stones: Watch Martin Scorsese’s Footage of Charlie & the Band Performing “Jumpin’ Jack Flash” and “All Down the Line”

in Music | August 9th, 2021

Update: Two weeks after bowing out of the upcoming Rolling Stones tour, Charlie Watts has sadly passed away at age 80.

According to Charlie Watts — the Rolling Stones’ drummer and rock’s best dressed man — his playing is nothing special. “I sit there, and I hear what’s going on, and if I can make it, that’s fine,” he said in 1973. There are no false notes in his modesty. “You have to be a good drummer to play with the Stones,” he later remarked in 2000, “and I try to be as good as I can.” But he admits he’s not a technical player; it’s all about the feel. “It’s terribly simple what I do, actually…. I play songs.”

According to the rest of the band, Watts is indispensable, one of a kind, the “engine” of the Rolling Stones, says Ronnie Wood. He’s the only white drummer who can swing, Keith Richards swears: “Charlie’s always there, but he doesn’t want to let everybody know. There’s very few drummer’s like that. Everybody thinks Mick and Keith are the Rolling Stones. If Charlie wasn’t doing what he’s doing on drums, that wouldn’t be true at all. You’d find out that Charlie Watts IS the Stones.”

Audiences of the band’s upcoming tour will find out, since Watts announced he’s sitting this one out to recover from a medical procedure, to be temporarily replaced by understudy Steve Jordan. Watts is probably “not bothered,” Wayne Blanchard writes at Drum Magazine. He’s had a decades-long love-hate relationship with touring life. (Watts has made drawings of every hotel room he’s ever stayed in to stave off boredom). In the studio, “as long as a track gets recorded and sounds great, Charlie doesn’t seem to care who is on the drums.”

Other drummers have played on several key Stones tracks, including Faces drummer Kenney Jones on “It’s Only Rock ‘N’ Roll” and Stones producer Jimmy Miller on “Happy,” “Tumbling Dice,” “You Can’t Always Get What You Want,” and “Shine a Light.” None of this means, however, that Watts is replaceable or that the Rolling Stones would try to carry on without him. He has not only been the band’s engine, but its anchor, ballast, maybe, its quiet captain. “When Charlie plays,” said drummer Steve White, “it looks to me that he knows who runs the band on stage, despite what the singer might think.”

Watts resists talk of his importance to the Stones. “We have a huge crowd of people who like us,” he said in 1998, because “they just love looking at Keith Richards and looking at Mick wiggling his arms. They’ve been doing it for 30 years.” But he is just as much a draw as the other Stones who have made up the core trio of the band since its inception in 1962. Here’s hoping he recovers well. In the meanwhile, we can see the Stones play “Jumpin’ Jack Flash” and “All Down the Line,” further up, from Charlie’s calm, cool point of view, as shot by Martin Scorsese in 2006 at New York’s Beacon Theatre.

The footage shows “how Watts has quietly served as the backbone of The Rolling Stones for the past 58 years,” Andy Greene writes at Rolling Stone. And it provides a rare look at rock’s most understated drummer. “The only time I love attention is when I walk onstage,” Watts once said, “but when I walk off, I don’t want it.” In the video just above, he’s in especially rare form — joking on camera about a wiggly dance he does before he goes on, a demonstration of the rituals and in-jokes that have knit rock’s longest-running band together for over half a century. When they’ve all finally quit for good, says Keef, “I want to be buried next to Charlie Watts.”

via Rolling Stone

Watch the Rolling Stones Play “You Can’t Always Get What You Want” While Social Distancing in Quarantine

The Story of the Rolling Stones: A Selection of Documentaries on the Quintessential Rock-and-Roll Band

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

by Josh Jones | Permalink | Make a Comment ( 4 ) |

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