"San Francisco Bay Blues" in Queens without Fotdella

Steve Suffet performing "San Francisco Bay Blues" by Jesse Fuller at the Kew Gardens Music Festival in Queens, New York City. March 7, 2009
The fotdella was an instrument invented and constructed by Jesse "The Lone Cat" Fuller, an American one-man-band musician, who needed an accompaniment instrument beyond the usual high-hat (foot-operated cymbal) or bass drum favored by street musicians. Dreaming it up in the early 1950s, while lying in bed, he set about constructing a foot-operated bass instrument. It ended up as a large upright box with a rounded top, vaguely shaped like the top of a double bass, with a short neck on top. Six bass strings were attached to the neck and stretched over the body.

To play the instrument, there was a homemade set of foot pedals, each one bringing a padded hammer to strike a string when depressed, like the action of a piano. With these six bass notes, Fuller could accompany himself on the 12-string guitar in several keys.
The name "fotdella" was given to the instrument by Fuller's wife, who took to calling it a "foot-diller" (as in the then-current expression, "killer-diller", meaning exceedingly good); later, it became shortened to just fotdella.

Kin-Dza-Dza! A Russian Steampunk Epic Кин-дза-дза!

At first glance, Kin-Dza-Dza!, a science fiction epic about two Soviet men transported to a desert world, seems anything but subtle. Stranded in a world where everyone can read minds but the local language has only a few words (a dozen or so technical terms plus "kew" - a curse word and "koo" - every other word), where a single sulfur match is worth a fortune, and where wearing yellow pants is a sign of great status, the two must survive by learning to hang a bell in their noses and to squat the appropriate number of times when a superior walks by. This is a scenario that would have been easy to mishandle, to say the least.

The script by Georgi Daneliya and Revaz Gabriadze is masterful, however. At times biting, at times gentle, it pushes the surface plot forward relentlessly while each scene, each conversation, each exchange rings with hidden truths. Reserved direction and dry-yet-deep performances by such superstars of Russian cinema as Stanislav Lyubshin, Yuri Yakovlev and Yevgeni Leonov combine to result in a film of unexpected poignancy.

This film, with all its outlandish props and crude special effects, is chock-full of insights into society and human nature. It's also one of the funniest films I have ever seen, even if the laughter sometimes hurts.

Слово «ку» совпадает с португальским непристойным словом «cu», которое можно перевести как «задница». Интересно, что комедия «Кин-дза-дза!», где это слово употребляется весьма часто, участвовала в показах на кинофестивалях как раз в португалоязычных странах (Бразилии и Португалии), где, несмотря ни на что, (а может — именно по этой причине) получила призы.
A large number of quotes from the film have instant recognizability throughout the former Soviet Union even today. Western viewers may miss some of the humor (and some of the hurt) by having never lived in the USSR, but that is no excuse to pass up this gem.(read more...)

From Heebster to Hipster

The first dictionary to list the word is the short glossary "For Characters Who Don't Dig Jive Talk," which was included with Harry Gibson's 1944 album, Boogie Woogie In Blue. The entry for "hipsters" defined it as "characters who like hot jazz."[5] Initially, hipsters were usually middle-class white youths seeking to emulate the lifestyle of the largely-black jazz musicians they followed(From Wikipedia, the free encyclopedia)

The song was "Handsome Harry the Hipster," and the performer was Harry 'The Hipster' Gibson. Harry sang of things I had vaguely heard discussed by my ex-hipster elders - "chicks," "mellowness" (being stoned), and of that mysterious thing called "jive." That's the way I had been told that "vipers" (drug users) talk. "Handsome Harry" - described in the song not only as a "hipster" but as a "flipster" and a "clipster" - "digs those mellow kicks." He's a gangsta who'll "hype you for your gold," is "the ball with all the chicks," and is "frantic and fanatic, with jive he's an addict." And with an addict's natural evasiveness, Harry ended each verse with a shrug and verbal denial: "Well, I don't know, I
was only told."



I learned later that Harry, like my own relatives, was a Jewish New Yorker who discovered and melded with the jazz-fueled world of hipsterdom. His guide into that alternate reality was supposedly saxophone great Eddie "Lockjaw" Davis, who played with such greats as Basie, Louis Armstrong, Cootie Williams, and Lucky Millinder. Harry started playing piano at a speakeasy run by Lockjaw, who became his jive mentor.



The former Harry Raab was soon cranking out tunes like "Get Your Juices at
the Deuces," "Stop That Dancing Up There," and the future Dr. Demento favorite, "Who Put the Benzedrine in Mrs. Murphy's Ovaltine." To think of him as just a novelty act, however, is to do him an injustice. He was, like many artists, a breaker of taboos and a shatterer of invisible walls. His life was part of his art, and excess was part of that life. It wasn't just the tunes that made Harry Gibson a star, it was the new and fashionable anarchy they - and he - represented.(read more...)



Mrs. Murphy couldn't sleep
Her nerves were slightly off the bean
Until she solved her problem
With a can of Ovaltine
She drank a cupful most every night
And ooh how she would dream
Until something rough got in the stuff
And made her neighbors scream. OW!
Who put the Benzedrine, in Mrs. Murphy's Ovaltine?
Sure was a shame, don't know who's to blame
Cause the old lady didn't even get his name
Where did she get that stuff?
Now she just can't get enough
It might have been the man who wasn't there
Now Jack, that guy's a square
She never ever wants to go to sleep
She says that everything is solid all reet
Now Mr. Murphy don't know what it's all about
Cause she went and threw the old man out, Clout
Who put the Benzedrine, in Mrs. Murphy's Ovaltine?
Now she wants to swing, the Highland Fling
She says that Benzedrine's the thing that makes her spring.

This is the second chorus you know
The name of this chorus is called, "Who put the Nembutals in Mr. Murphy's overalls?
I don't know
She bought a can of Ovaltine, most every week or so
And she always kept an extra can on hand
Just in case that she'd run low
She never never been so happy, since she left old Ireland
'Till some one prowled her pantry, and tampered with her can. Wham!
Who put the Benzedrine, in Mrs. Murphy's Ovaltine?
Sure was a shame, don't know who's to blame
Cause the old lady didn't even get his name
Where did she get that stuff
Now she just can't get enough
It might have been the man who wasn't there
Now Jack, that guy's a square
She stays up nights making all the rounds
They say she lost about 69 pounds
Now Mr. Murphy claims she's getting awful thin
And all she says is, "Give me some skin." Mop!
Who put the Benzedrine, in Mrs. Murphy's Ovaltine?
Now she wants to swing the Highland Fling
She says that Benzedrine's the thing that makes her spring.
Spring it now, Gibson

Note: This song is Harry's adaptation of the old Irish folk song "Who put the
overalls in Mrs. Murphy's Chowder." Two different versions of it can be found at:
http://sniff.numachi.com/pages/tiMRPHCHOW;ttMRPHCHOW.html
http://www.kididdles.com/lyrics/w057.html

Ray Hanania for President

Ray Hanania is a compassionate and, in fact, delightful person, with rare insight into the aspirations and failings of Palestinians and Israelis. In the eyes of many, that alone ought to disqualify him from consideration as a leader in the Holy Land.
Add to that, the fact that the acclaimed journalist also happens to be a first-generation Palestinian-American married to a Jewish woman, as well as a stand-up comedian who has appeared alongside Jewish comics, and the self-destructively polarized electorate of the Holy Land will need to expend not a whiff of thought in dismissing him out of hand.

1. I support two-states, one Israel and one Palestine. As far as I am concerned, I can recognize Israel's "Jewish" character and Israelis should recognize Palestine's "non-Jewish" character.

2. I oppose violence of any kind from and by anyone. I reject Hamas' participation in any Palestinian government without first agreeing to surrender all arms and to accept two-states as a "final" peace agreement. But I also reject allowing Israeli settlers to carry any weapons and believe Israelis must impose the same restrictions on them.

3. I can support some settlements remaining - given the reality of 42 years of time passing - in a dunam-for-dunam land exchange. If Ariel is 500 dunams with a lifeline from Israel, then Israel gives Palestine 500 dunams in exchange.

4. Jerusalem should be a shared city and Palestinians should have an official presence in East Jerusalem. The Old City should be shared by both permitting open access to the city to all with a joint Palestinian-Israeli police presence.

5. Palestinian refugees would give up their demand to return to pre-1948 homes and lands lost during the conflict with Israel. Instead, some could apply for family reunification through Israel and the remainder would be compensated through a fund created and maintained by the United States, Israel, Egypt, Jordan, Syria, Saudi Arabia and the United Nations.

6. I also think Israelis should find it in their hearts to show compassion and offer their apologies to Palestinians for the conflict.

7. I support creation of a similar fund to compensate those Jews from Arab lands who lost their homes and lands, too, when they fled.

8. I think the Wall should be torn down, or relocated to the new borders. I have no problem separating the two nations for a short duration to help rebuild confidence between our two people.

9. All political parties, Palestinian and Israelis, should eliminate languages denying each other's existence, and all maps should be reprinted so that Israeli maps finally show Palestine and Palestinian maps finally show Israel.

10. A subway system should be built linking the West Bank portion of the Palestine state to the Gaza Strip portion of the Palestine State. Palestine should be permitted to build a seaport access to strengthen its industry, and an airport to permit flights and too and from the Arab and Israeli world.

11. I would urge the Arab World to renew their offer to normalize relations with Israel if Israel agrees to support the creation of a Palestinian State.

12. And I would ask both countries to establish embassies in each other's country to address other problems.

13. While non-Jewish Palestinians would continue to live in Israel as citizens, Jews who wish to live in settlements surrendered by Israel could become Palestinian citizens and they should be recognized and treated equally.

14. If Jews want to live in Hebron, they should be allowed to live in Hebron and should be protected, just as non-Jews. In fact, for every Jewish individual seeking to live in Palestine, a Palestinian should be permitted to live in Israel. In fact, major Palestinian populations in Israel could be annexed into Palestine (like settlements).

15. Another concept is to have non-Jews living in Israel continue to live there but only vote in Palestinian elections, while Jews living in Palestine would only vote in Israeli elections. A special citizenship protection committee could be created to explore how to protect the rights of minorities in each state.

16. Israel and Palestine should create joint-governing and security agencies working with the United States to monitor the peace, and establish an agency to pursue criminal acts of violence.
(read more...)

Janco's Fake or Ben-Ami ad.

The painting, supposedly attributed to Marcel Janco - a prominent founder of the DaDa movement and a renowned 20th century Israeli painter( and ein hod founding daddy) - was brought to Hammersite's gallery for examination not long ago. After careful inspection, Hammersite's expert and appraiser Michael Ben-Ami revealed it as a sophisticated forgery.
The painting in question was an almost impeccable copy of Janco's 1945 "A Burnt Village," which was a notable part of the Histadrut's collection and was auctioned by "Ben-Ami auctioneers" (now known as Hammersite) in 1996. The painting had been executed on an original old canvas, which was scraped off to reveal the lower surface and thus instill a feel of authenticity.
Despite its deceptive appearance of genuineness, it had been signed in English, as apposed to the original signed in Hebrew. It was also evident by the minor color variations and lines indiscrepancies, that the forger had attempted to create an "authentic" variation of Janco's "A Burnt Village."
However he wasn't sophisticated enough to realize no artist paints exact replicas while making versions of the same piece. Moreover, it was obvious the forger could not imitate Janco's robust and rich brush strokes, leaving the fake pale and muted in comparison to Janco's dramatic work.
(read more...)
פורסם ב - 00:00 02/10/05

הוחזרו שתי יצירות גנובות של ינקו
שתיים מתוך ארבע היצירות של מרסל ינקו שנגנבו לפני כשבועיים ממוזיאון ינקו דאדא בעין הוד נמצאו והוחזרו למוזיאון. ביום רביעי הגיע אדם לבית המכירות הפומביות "בן עמי" בתל אביב והציע למכירה את הציור "דיוקן עצמי" של מרסל ינקו. הוא סיפר שהוא מתווך מטעם אדם אחר, שקנה את הדיוקן העצמי וכן קולאז' דאדא. בעל בית המכירות זיהה שמדובר ביצירות שנגנבו ממוזיאון ינקו ושיכנע את הקונה לפנות למשטרה.
לדברי רעיה זומר ממוזיאון ינקו דאדא, נראה שאותו אדם שילם תמורת שתי העבודות כ-35 אלף דולר, סכום הגבוה מערכן האמיתי. העבודות נמסרו אתמול בבוקר למשטרת זכרון יעקב ומשם הוחזרו לתצוגה במוזיאון. זומר מאמינה שעתה ימצאו את שתי העבודות הנותרות: העבודה "בית חרושת לזכוכית" מ-1917 ותבליט הגבס "ארכיטקטורה קטנה" מ-1917, שאותו הגדירה זומר כאבידה הגדולה ביותר. (read more...)

"Cinema is for us the most important of arts"- Lenin

"Man With a Movie Camera" was an effort to show the breadth and precision of the camera's recording ability, and similar films were produced in a few other European countries. The film is a succession of images supposedly showing the audience what the camera eye is seeing. Vertov's brother, Mikhail Kaufman, is the cameraman, and at times another movie camera follows "Man With a Movie Camera" on the street and in other places. In one sequence some women in a cab notice the cameraman smirk and gesture at the camera as they ride through the streets of Moscow.
Vertov explained his actions with profound statements such as, "Construction must be understood as the co-ordinating function of Constructivism. If the tectonic unites the ideological and formal, and as a result gives a unity of conception, and the factura is the condition of the material, then the construction discovers the actual process of putting together. Thus we have the third discipline, the discipline of the formation of conception through the use of worked material. All hail to the Communist expression of material building."
Dziga Vertov, born Denis Arkadievitch Kaufman (1896-1954), was the son of Jewish intellectuals who moved to Moscow to flee the invading German armies during World War I. He trained as a musician and neurologist, and he had studied at the Moscow Psycho-neurological Institute. He was also a poet, fiction writer and journalist. He was conducting experiments in synthetic sound before the outbreak of hostilities against the Czar. During the revolution he was in charge of photographic work in a partisan army fighting the Czar, and in 1918 after the Communist takeover, he was placed at the head of the Cinema Department of the All-Russian Central Executive Committee. It was there that he met his future wife and collaborator, Elizaveta Svilova (1900-1976), who began her film career with Pathe Freres in Moscow. He abandoned the name of Denis Kaufman and adopted Dziga Vertov which was derived from the verb which means to spin and Dziga is the repetitive sound of a camera crank turning
(dziga, dziga, dziga ... ).(read more..)

Carefree Jordanian Gerbils

The series of studies, which have been carried out in cooperation with Jordanian researchers, has examined a variety of reptile, mammal, beetle, spider and ant lion species on either side of the border in the Arava region. The Israeli team includes Dr. Shanas and research students Idan Shapira and Shacham Mitler, who set out to reveal whether the border -- unknown to the species -- could affect differences between them and their numbers on either side of the frontier, even though they share identical climate conditions.
According to the researchers, the differences between Israel and Jordan are primarily in the higher level of agriculture and the higher number of agricultural farms in Israel as opposed to Jordan's agriculture that is primarily based on nomadic shepherding and traditional farming. The agricultural fields on the Israeli side of the border not only create a gulf between habitats and thereby cause an increase in the number of species in the region, but they also hail one of the most problematic of intruders in the world: the red fox. On the Jordanian side, the red fox is far less common, so that Jordanian gerbils can allow themselves to be more carefree. The higher reproduction rate of ant lions on Israel's side is also related to the presence of another animal: the Dorcas gazelle. This gazelle serves as an "environmental engineer" of a sort, as it breaks the earth's dry surface and enables ant lions to dig their funnels. The Dorcas gazelle is a protected animal in Israel, while hunting it in Jordan is permitted and compromises the presence of the Jordanian ant lions' soil engineers.(read more...)

«Homage Сергею Дягилеву»

XVI Международный фестиваль «АРТ-ноябрь»
Работы израильтянки Лоры Верховской. Уникальные картины на коже, выполненные по эскизам выдающихся художников — сподвижников великого импресарио.
Произведения Льва Бакста (эскиз костюма «Еврейский танец» к балету «Клеопатра»), Наталии Гончаровой (эскиз костюма св. Иоанна к балету «Литургия»), Константина Сомова («Маскарад») и Пабло Пикассо (эскиз костюма китайского фокусника к балету «Парад») Лора Верховская перенесла на кожу.
Художница работает в старинной технике интарсии. На Западе слово «intarsia» (intarsio — ит., разновидность инкрустации) употребляется много чаще и шире, чем в русском языке. Самые древние интарсии — итальянские. В них соединенны рисунок и графика, стилизация и декоративность, естественная необработанная фактура материала и высокое художественное мастерство. Как живописец красками, так Верховская «пишет» картину кожей, будто обладая особой врожденной связью с этим природным материалом. Поражающие своей материальной роскошью и декоративностью — великолепные картины Лоры Верховской не только дань памяти и преклонение перед гением Сергея Дягилева, но и обращение сразу к нескольким музам искусств: к Евтерпе, Терпсихоре, Эрато, Талии и Мельпомене.(via vashdosug )