Seminal Image #744

Applause
(Rouben Mamoulian; 1929)
An Ongoing Series of Cultural and Personal Observations;
by Tom Sutpen, Stephen Cooke, Richard Gibson, Kimberly Lindbergs and Greg Ferrara

She begins talking about Edie Sedgwick, an early heroine -- "It's funny how heroine and heroin are very similar . . . " -- from the days when Patti first hit New York, and suddenly her voice becomes less assertive. She uses even more 'ya knows' than usual. "Half of Blonde On Blonde was written about her and, uhm . . . she just burned herself out. She was a deb, a socialite . . . I just met her . . . I was a fan of hers . . . I just met her once . . . I thought she was really wonderful." Behind the RayBans the shadows of her eyes have stopped darting. "She was like traveling with Warhol and I used to see her at art exhibits and I wrote a couple of poems about her because I thought she had so much abandon and she was such a fantastic . . . it was the days of like discotheques and the Peppermint Lounge and stuff and she was like, she wore these mini-skirts and had platinum hair and black eyebrows and she was gorgeous, ya know, really American, like rich, ya know, especially like she was upper-class and I was lower-class, I had this sort of like fascination for her . . she was really, totally in tune with her body, all her movements and, ya know, she was really like a rock'n'roll Salome and I really dug that." You get an image of Patti, the gawky girl grown to gawky late-adolescence, watching Edie and getting the germ of an idea....maybe it's alright to be weird...
© Bart Bull, 1976
(This excerpt from an interview with the always demure Patti Smith appeared in the December, 1976 issue of Sounds, and was generously supplied by its author, a just and righteous man of letters named Bart Bull. Señor Bull's blog, which achieves in prose what we seek to achieve with images here, is heartily endorsed by this corner of the Gunslinger quadrangle, for whom it has become a favorite among favorites)
Committed to Parkview
(Porter Wagoner; 2007)
Second only to Kinky Friedman's 'Sold American' in its limning of Country music dissipation and madness, 'Committed to Parkview' was written and recorded by Johnny Cash for his 1976 Columbia LP One Piece at a Time. And no better song could have been chosen to represent what turned out to be Porter Wagoner's welcome, but cruelly brief, career revival.

All of North America awakens this morning to very sad news of the passing of Porter Wagoner, who succumbed to lung cancer last evening at the age of 80. Variously known to multitudes as leader of the Wagonmasters; the duet partner of Norma Jean, then Dolly Parton; as The Thin Man from West Plains, Missouri, and someone who could wear a spangled, rhinestone-studded Nudie jacket like no man alive, he should perhaps best be remembered as author and singer of some of the finest (and some of the most gloriously deranged) Country music ever committed to record.
For what it's worth, I always preferred his recording of "Settin' the Woods On Fire" to Hank Williams' original.
That's my heresy for today; all in his honor.
More about his life and work can be found in the following Obits:
CMT.com
The People's Daily (China)
The Washington Post

Clara Bow, Jean Harlow and Jean Arthur join forces for The Saturday Night Kid.

Ann Harding
No. 24 in a series of 50 from Player's Navy Cut Cigarettes
Ann Harding, who was christened Dorothy Gatley, was born in Fort Sam Houston, Texas, on August 7th, 1904. The daughter of an army officer, she began to earn her living in an insurance office, and in her spare time read manuscripts for a film company. Then she joined a group of amateur theatrical players, subsequently appearing professionally in stock companies. This led her to the Broadway stage, and later to Hollywood, where she was persuaded to try screen work while on holiday. Paris Bound was her first film, later productions including Gallant Lady, The Right to Romance and The Life of Vergie Winters.

Cab Calloway, Chu Berry and Tyree Glenn have fun with some local kids in Durham, N.C. circa 1940

Hart Crane
This was posted by Kimberly Lindbergs
for the series:
Poets are both clean and warm
On November 23, 1903, while dalmations and palookas in firehouses across America smoldered with envy, American Mutoscope & Biograph Co. cameraman F.S. Armitage was present as Pawtucket, Rhode Island's crack Fire Department unveiled its new, state-of-the-art firefighting equipment before a stunned citizenry.

Thomas Carr, Roy Cohn, Sen. Joseph R. McCarthy (R-WI) and G. David Schine

Backstage with Sands manager Jack Entratter, Joey Bishop and friends wait for their cue.
Read the obituary here.

Today's Adventure: Emile Griffith sends World Welterweight Champion
Benny 'The Kid' Paret to the canvas (1961)

Today's Adventure: George Stevens directs Montgomery Clift and Elizabeth Taylor
to turn up the heat on the set of A Place in the Sun (1951)
This was posted by Kimberly Lindbergs
for the series:
Adventures in American Filmmaking

Sonnie Hale
No. 23 in a series of 50 from Players Navy Cut cigarettes
Born in London on May 1st, 1902, Sonnie Hale is the brother of Binnie Hale. After being educated at Beaumont College, he made his first stage appearance at the age of nineteen in the chorus of Fun of the Fayre at the London Pavilion, and soon became famous in musical comedy. It was in Germany that he made his film debut, and it was not until after he had made three films there--Happy Ever After, Tell Me To-night and Early to Bed that he appeared in British Pictures. Among his latest are Wild Boy, Evergreen and My Song for You. His real name is John Robert Hale-Monro; he is married to Jessie Matthews.

Today's Adventure: Everyone on the set of La Dolce vita casts their eyes in a different direction (1960)

"Miller is a writer out of the ordinary, worth more than a single glance; and after all, he is a completely negative, unconstructive, amoral writer, a mere Jonah, a passive acceptor of evil, a sort of Whitman among the corpses."
-- George Orwell (on Henry Miller)

Today's Adventure: Alain Resnais lets Delphine Seyrig look through his viewfinder on the set of Last Year in Marienbad (1961).
This was posted by Kimberly Lindbergs
for the series:
Adventures in European Filmmaking

A stall selling spare parts for motor cars and motor cycles. It was said that at one stall it was possible to buy a complete motor car in parts!
This was posted by Richard Gibson
for the series:
Through the Lens of Cyril Arapoff

Commuting in reverse: None of the daily pushing and shoving here, the frantic search for a vacant seat, the uncomfortable journey. They can pick and choose where to sit, stretch out their legs and travel in style. And there is an abundance of seats on these 'wrong-way' trains for others to do just the same. The trick is, of course, to organise your work - or have it organised for you - so that it takes place outside of Central London.
This was posted by Richard Gibson
for the series:
From the Southern Travellers Handbook for 1965/66
This was posted by Richard Gibson
for the series:
From the Sketch Book of Lawson Wood

Bette Davis and Joan Crawford endure one another's proximity in this publicity
still for the Warner Bros. release, What Ever Happened to Baby Jane? (1962)

Jane Asher
This was posted by Kimberly Lindbergs
for the series:
A Who's Who of Swinging London
Cake Walking Babies from Home
(Judith Durham and The Hottest Band in Town; 1974)
Judith Durham has unfortunately become better known to posterity as lead vocalist for an Australian Folk-Rock act called The Seekers, but anyone who has sampled her later recordings (in particular her phenomenal 1974 Pye LP, 'Judith Durham and The Hottest Band in Town') knows her for what she truly is: one of the great latter-day Traditional Jazz singers on earth.
Those who might have believed, with some justice, that the defining word on 'Cake Walking Babies from Home' was wrought by Clarence Williams and His Blue Five way way back in their 1925 recording for Gennett Records may want to give a listen to this powerhouse reading from 1974; introduced by the late Benny Hill.

Miles Davis helps Jeanne Moreau develop her embouchure
(vast thanks to Pietro Meroni for this image)

Elizabeth Bishop

Departure yard at C&NW RR's Proviso yard at twilight
(Chicago, IL; December, 1942)
(big and brawny thanks to Abraham Hyatt for this image)