Ever want to buy an island and just get back to nature and forget about all society and leave all your problems behind? There was a time that the Beatles attempted to do just that!!!!
Tarzan Escapes (1936) – 2-Tarzan and Jane Waking in the Treehouse
File:Johnny Weissmuller and Duke Kahanamoku at Olympics.jpg
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Tarzan Finds A Son 1939 PART 1
The Beatles
, working on the movie “Eight arms To Hold You” in Nassau, Bahamas, went swimming in the pool at the Nassau Beach Hotel, with their clothes February 23, 1965. From left to right: RIngo Starr, John Lennon and George Harrison, with Paul McCartney in the back. (AP Photo)
Tarzan The Ape Man (1932) – Tarzan Returns Jane
After Tarzan (Johnny Weismuller) kidnaps Jane (Maureen O’Sullivan), she gradually warms to him, and when he sympathizes and returns her to her father, they do not want to part.
Johnny Weissmuller competes at the 1924 Olympic Games in Paris.
Tarzan Escapes (1936) – 1-Tarzan and Jane Sleeping in the Treehouse
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Tarzan and His Mate; A Tribute
Why was Johnny Weissmuller on the cover of Sergeant Pepper’s Lonely Hearts Club Band? I have a theory and it is tied into the idea of the “noble savage” which I think intrigued the Beatles. We know that it was the Beatles that put forth Weissmuller’s name for inclusion on the cover (they probably grew up watching Tarzan movies rerun on TV like I did on Saturday afternoons) and we also know that the idea of getting away from civilization appealed to the Beatles.
Moving to an island or to Africa and finding the noble savage was not a satisfactory answer to the Beatles search for peace. However, there was one person the Beatles put on the cover of Sergeant Pepper’s Lonely Hearts Club Band that did have access to the answers to the big questions of life and we will look at this person’s life later in this series.
The Beatles- Hey Jude Legendado HD
Overview (5)
| Date of Birth | 2 June 1904, Freidorf, Banat, Austria-Hungary (now Romania) |
| Date of Death | 20 January 1984, Acapulco, Mexico (series of strokes) |
| Birth Name | Peter Johann Weissmüller |
| Nickname | Big John |
| Height | 6′ 3″ (1.91 m) |
Mini Bio (1)
Johnny Weissmuller was born Peter Johann Weißmüller in Freidorf, near Timisoara, today Romania, then a part of the Austro-Hungarian Empire. Weissmuller would later claim to have been born in Windber, Pennsylvania, probably to ensure his eligibility to compete as part of the US Olympic team. Weissmüller was one of two boys born to Petrus Weissmuller, a miner, and his wife Elisabetha (Kersch), who were both Banat Swabians, an ethnic German population in Southeast Europe. A sickly child, he took up swimming on the advice of a doctor. He grew to be a 6′ 3″, 190-pound champion athlete – undefeated winner of five Olympic gold medals, 67 world and 52 national titles, holder of every freestyle record from 100 yards to the half-mile. In his first picture, Glorifying the American Girl (1929), he appeared as an Adonis clad only in a fig leaf. After great success with a jungle movie, MGM head Louis B. Mayer, via Irving Thalberg, optioned two of Edgar Rice Burroughs‘ Tarzan stories. Cyril Hume, working on the adaptation ofTarzan the Ape Man (1932), noticed Weissmuller swimming in the pool at his hotel and suggested him for the part of Tarzan. Weissmuller was under contract to BVD to model underwear and swimsuits; MGM got him released by agreeing to pose many of its female stars in BVD swimsuits. The studio billed him as “the only man in Hollywood who’s natural in the flesh and can act without clothes”. The film was an immediate box-office and critical hit. Seeing that he was wildly popular with girls, the studio told him to divorce his wife and paid her $10,000 to agree to it. After 1942, however, MGM had used up its options; it dropped the Tarzan series and Weissmuller, too. He then moved to RKO and made six more Tarzans. After that he made 16 Jungle Jim (1948) programmers for Columbia. He retired from movies to run private business in Fort Lauderdale, Florida.
– IMDb Mini Biography By: Ed Stephan <stephan@cc.wwu.edu>
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Come Together- The Beatles
Outtakes From The Beatles’ Cover Shoot For Sgt. Pepper’s Lonely Hearts Club Band
The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band album cover was designed by the pop artists Peter Blake and Jann Haworth from an ink drawing by McCartney. It was art-directed by Robert Fraser and photographed by Michael Cooper. The front of the LP included a colourful collage featuring the Beatles in costume as the Sgt. Pepper’s Lonely Hearts Club Band, standing with a group of life-sized cardboard cut-outs of famous people. The heavy moustaches worn by the group reflected the growing influence of hippie style trends, while their clothing “spoofed the vogue in Britain for military fashions”, writes the Beatles biographer Jonathan Gould. The centre of the cover depicts the Beatles standing behind a drum skin, on which the fairground artist Joe Ephgrave painted the words of the album’s title. In front of the drum skin is an arrangement of flowers that spell out “Beatles”. The group were dressed in satin day-glo-coloured military-style uniforms that were manufactured by the theatrical costumer M. Berman Ltd. in London.
The
Cover shoot for Sgt Pepper
Prior to a late night recording session at Abbey Road, The Beatles visited Michael Cooper’s London photographic studio where the cover photographs for Sgt Pepper’s Lonely Hearts Club Band were taken.
The shoot took place at 4 Chelsea Manor Studios, 1-11 Flood Street, just off King’s Road in Chelsea. The studios opened in 1902, and Cooper established his studio from 22 July 1966.
The Beatles arrived in the late afternoon. The soon-to-be-famous collage, designed by Peter Blake and his wife Jann Haworth, had been assembled in the studio during the preceding eight days.
A contract dated 14 April 1967 described the various fees for the session, including a misspelling of the album title:
Hire and use of Michael Cooper Studios for 8 days including personnel (3 fulltime assistants) plus overtime and expenses to staff for additional work during Easter weekend: £625.0.054 copy negatives @ 10/6 each: 28.7.054 20″x16″ prints @ 17/6 each: 47.5.0Photography fee (SGT. PEPPER’S LONELY HEARTS BAND set and centre spread, closeup): 250.0.0Art direction fee (Layout and co-ordination of sleeve and inserts, cutouts, song sheets, production of mechanical rough and artwork by Al Vandenberg for Michael Cooper Studios, including co-ordination and supervision of all aspects of design and artwork from Peter Blake and Simon & Marekka; supervision and co-ordination of printing, retouching and blockmaking): £350.0.0Special fee to Peter Blake: £200.0.0
In addition to the front cover shot, The Beatles also posed for the images used on the back cover and the gatefold sleeve.
The cover had come about after Paul McCartney came up with the album title. He took some ideas to his art dealer friend Robert Fraser, who suggested they use Blake, Haworth and Cooper to realise the concept.
We had an original meeting with all four Beatles, Robert Fraser and Brian Epstein; most of the subsequent talking was done with Paul at his house and with John there sometimes.
McCartney’s initial idea was to stage a presentation featuring a mayor and a corporation, with a floral clock and a selection of photographs of famous faces on the wall behind The Beatles.
He asked the others to list their choices for the photographs; the original list, complete with misspellings, was given to Fraser and Blake:
Yoga’s; Marquis de Sade; Hitler; Neitch; Lenny Bruce; Lord Buckley; Alistair Crowley; Dylan Thomas; James Joyce; Oscar Wilde; William Burroughs; Robert Peel; Stockhausen; Auldus Huxley; H.G. Wells; Izis Bon; Einstein; Carl Jung; Beardsley; Alfred Jarry; Tom Mix; Johnny Weissmuller; Magritte; Tyrone Power; Carl Marx; Richard Crompton; Tommy Hanley; Albert Stubbins; Fred Astaire.
McCartney took the list and sketches to Peter Blake, who developed the concept further. Further names were added and others fell by the wayside.
Jesus and Hitler were among John Lennon’s choices, but they were left off the final list. Gandhi, meanwhile, was disallowed by Sir Joseph Lockwood, the head of EMI, after he told them they would have problems having the sleeve printed in India.
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George Harrison and Eric Clapton – While my guitar gently weeps
Concierto realizado para The Princes Trust del año 1987.Con la participacion de :
George Harrison: Guitarra y voz
Eric Clapton: Guitarra (como curiosidad, es una lespaul)
Jeff Lyne: Guitarra
Phil Collins: Bateria
Ringo Starr: Bateria
Ray Cooper: Percusion
Mark King: Bajo
Elton John: Piano
Jool Holland: Piano
There is evidence that points to the fact that the Bible is historically true as Schaeffer pointed out in episode 5 of WHATEVER HAPPENED TO THE HUMAN RACE? There is a basis then for faith in Christ alone for our eternal hope. This link shows how to do that.
The Bible and Archaeology – Is the Bible from God? (Kyle Butt 42 min)
You want some evidence that indicates that the Bible is true? Here is a good place to start and that is taking a closer look at the archaeology of the Old Testament times. Is the Bible historically accurate? Here are some of the posts I have done in the past on the subject: 1. The Babylonian Chronicle, of Nebuchadnezzars Siege of Jerusalem, 2. Hezekiah’s Siloam Tunnel Inscription. 3. Taylor Prism (Sennacherib Hexagonal Prism), 4. Biblical Cities Attested Archaeologically. 5. The Discovery of the Hittites, 6.Shishak Smiting His Captives, 7. Moabite Stone, 8. Black Obelisk of Shalmaneser III, 9A Verification of places in Gospel of John and Book of Acts., 9B Discovery of Ebla Tablets. 10. Cyrus Cylinder, 11. Puru “The lot of Yahali” 9th Century B.C.E., 12. The Uzziah Tablet Inscription, 13. The Pilate Inscription, 14. Caiaphas Ossuary, 14 B Pontius Pilate Part 2, 14c. Three greatest American Archaeologists moved to accept Bible’s accuracy through archaeology.,
By Elvis Costello
I first heard of the Beatles when I was nine years old. I spent most of my holidays on Merseyside then, and a local girl gave me a bad publicity shot of them with their names scrawled on the back.
This was 1962 or ’63, before they came to America. The photo was badly lit, and they didn’t quite have their look down; Ringo had his hair slightly swept back, as if he wasn’t quite sold on the Beatles haircut yet.
I didn’t care about that; they were the band for me. The funny thing is that parents and all their friends from Liverpool were also curious and proud about this local group. Prior to that, the people in show business from the north of England had all been comedians. The Beatles even recorded for Parlophone, which was a comedy label, as if they believed they might be a passing novelty act.
I was exactly the right age to be hit by them full-on. My experience — seizing on every picture, saving money for singles and EPs, catching them on a local news show — was repeated over and over again around the world. It wasn’t the first time anything like this had happened, but the Beatles achieved a level of fame and recognition known previously only to Charlie Chaplin, Brigitte Bardot and Elvis Presley, along with a little of the airless exclusivity of astronauts, former presidents and other heavyweight champions.
Every record was a shock. Compared to rabid R&B evangelists like the Rolling Stones, the Beatles arrived sounding like nothing else. They had already absorbed Buddy Holly, the Everly Brothers and Chuck Berry, but they were also writing their own songs. They made writing your own material expected, rather than exceptional.
And John Lennon and Paul McCartney were exceptional songwriters; McCartney was, and is, a truly virtuoso musician; George Harrison wasn’t the kind of guitar player who tore off wild, unpredictable solos, but you can sing the melodies of nearly all of his breaks. Most important, they always fit right into the arrangement. Ringo Starr played the drums with an incredibly unique feel that nobody can really copy, although many fine drummers have tried and failed. Most of all, John and Paul were fantastic singers.
Lennon, McCartney and Harrison had stunningly high standards as writers. Imagine releasing a song like “Ask Me Why” or “Things We Said Today” as a B side. They made such fantastic records as “Paperback Writer” b/w “Rain” or “Penny Lane” b/w “Strawberry Fields Forever” and only put them out as singles. These records were events, and not just advance notice of an album. Then they started to really grow up: simple love lyrics to adult stories like “Norwegian Wood,” which spoke of the sour side of love, and on to bigger ideas than you would expect to find in catchy pop lyrics.
They were the first group to mess with the aural perspective of their recordings and have it be more than just a gimmick. Engineers like Geoff Emerick invented techniques that we now take for granted, in response to the group’s imagination. Before the Beatles, you had guys in lab coats doing recording experiments, but you didn’t have rockers deliberately putting things out of balance, like a quiet vocal in front of a loud track on “Strawberry Fields Forever.” You can’t exaggerate the license that this gave to everyone from Motown to Jimi Hendrix.
My absolute favorite albums are Rubber Soul and Revolver. On both records you can hear references to other music — R&B, Dylan, psychedelia — but it’s not done in a way that is obvious or dates the records. When you picked up Revolver, you knew it was something different. Heck, they are wearing sunglasses indoors in the picture on the back of the cover and not even looking at the camera . . . and the music was so strange and yet so vivid. If I had to pick a favorite song from those albums, it would be “And Your Bird Can Sing” . . . no, “Girl” . . . no, “For No One” . . . and so on, and so on. . . .
Their breakup album, Let It Be, contains songs both gorgeous and jagged. I suppose ambition and human frailty creeps into every group, but they delivered some incredible performances. I remember going to Leicester Square and seeing the film of Let It Be in 1970. I left with a melancholy feeling.
Someone recently gave me an assembly of newsreel footage, which illustrates how swiftly the band was drained of the bright and joyful wit presented as a public face.
In one early sequence, McCartney tells reporters that they will soon appear on The Ed Sullivan Show and then points into the camera: “There he is, hi, Ed, and Mrs. Ed” — “and Mr. Ed,” chimes Ringo. It might have been practiced, but it plays entirely off-the-cuff.
Just a year later, they are seen at a press conference in Los Angeles for their final tour. Suits and ties are a thing of the past. Staring down a series of dismal attempts at provocation from the press corps, they look exhausted and disenchanted.
When probed by one blowhard to respond to a Time magazine critique that “Day Tripper” was about a prostitute and “Norwegian Wood” about a lesbian, McCartney responds, “We were just trying to write songs about prostitutes and lesbians.” In the laughter that follows, he mutters, “Cut.” They were giving the impression that the game was up, but in truth, they were just getting started.
The word “Beatlesque” has been in the dictionary for quite a while now. You hear them in Harry Nilsson’s melodies; in Prince’s Around the World in a Day; in the hits of ELO and Crowded House and in Ron Sexsmith’s ballads. You can hear that Kurt Cobain listened to the Beatles and mixed their ideas with punk and metal. They can be heard in all sorts of one-off wonders from the Knickerbockers’ “Lies” and the Flamin’ Groovies’ “Shake Some Action.” The scope and license of the White Album has permitted everyone from OutKast to Radiohead to Green Day to Joanna Newsom to roll their picture out on a broader, bolder canvas.
Now, I’ll admit that I’ve stolen my share of Beatles licks, but around the turn of the Nineties, I got to co-write 12 songs with Paul McCartney and even dared to propose that he too reference some of the Beatles’ harmonic signatures — as, astonishingly, he had made up another musical vocabulary for Wings and during his solo career.
In 1999, a little time after Linda McCartney’s passing, Paul performed at the Concert for Linda, organized by Chrissie Hynde. During the rehearsal, I was singing harmony on a Ricky Nelson song with him, and Paul called out the next tune: “All My Loving.”
I said, “Do you want me to take the harmony line the second time round?” And he said, “Yeah, give it a try.” I’d only had 35 years to learn the part. There was inevitably a poignant feeling to this song, written long before he had even met Linda:
Close your eyes and I’ll kiss you
Tomorrow I’ll miss you
Remember I’ll always be true.
At the show, it was very different. The second Paul sang the opening lines, the crowd’s reaction was so intense that it all but drowned the song out. It was very thrilling, but also disconcerting.
Perhaps I understood in that moment one of the reasons why the Beatles had to stop performing. The songs weren’t theirs anymore. They belonged to everybody.
This is an updated version of an essay that appeared in RS 946.
75
‘Think for Yourself’
Writer: Harrison
Recorded: November 8, 1965
Released: December 6, 1965
Not released as a single
In the fall of 1965, the Beatles were rushing to complete their new album, Rubber Soul, by Christmas. Short of material, the band took a stab at a new Harrison song, which had the working title “Won’t Be There With You.” Knocked out in one take, and clocking in at just 2:19, “Think for Yourself” clearly wasn’t a song the band spent much time on. Lennon flubbed attempt after attempt at the vocals, and fits of giggling — likely the result of joints being passed — couldn’t have helped. But the tune is better for it — from McCartney’s fuzzed-out bass to Starr’s skittering drums, “Think for Yourself” has an unchained, garage-band feel. And who was Harrison so angry at, anyway? Even he wasn’t quite sure. “All this time later,” Harrison wrote in 1980, “I don’t quite recall who inspired that! Probably the government.”
Appears On: Rubber Soul
Related
• The 500 Greatest Albums of All Time: ‘Rubber Soul’
• George Harrison Gets Back: Rolling Stone’s 1987 Cover Story
• Photos: Rolling Stone Readers Pick the Top 10 Beatles Albums
74
‘Yellow Submarine’
Main Writer: McCartney
Recorded: May 26 and June 1, 1966
Released: August 8, 1966
9 weeks; No. 2
The Beatles’ most beloved kiddie song was written for — who else? — Ringo. As McCartney explained, “I thought, with Ringo being so good with children — a knockabout-uncle type — it might not be a bad idea for him to have a children’s song.” Years later, “Yellow Submarine” remains the gateway drug that turns little children into Beatle fans, with that cheery singalong chorus. It inspired the Beatles’ 1968 animated film, as well as Starr’s unofficial sequel on Abbey Road, “Octopus’ Garden.”
George Martin drew on his experience as a producer of comedy records for Beyond the Fringe and The Goon Show, providing an array of zany sound effects to create the nautical atmosphere. Lennon blew bubbles, while he and McCartney shouted out orders to the faux submarine crew (“Full speed ahead!”) through a filter. A few friends even came by the studio to help out with sound effects, including Marianne Faithfull and the Rolling Stones’ Brian Jones.
Appears On: Revolver
Related
• Photos: Inside the Rock and Roll Hall of Fame’s Beatles Exhibit
• Disney Kills ‘Yellow Submarine’ Remake
• Photos: The Beatles on the Cover of Rolling Stone
Co-stars: Maureen O’Sullivan, Cheetah and Johnny Weissmuller in the 1932 film Tarzan The Ape Man
73
‘Everybody’s Got Something to Hide Except for Me and My Monkey’
Main Writer: Lennon
Recorded: June 27, July 1 and 23, 1968
Released: November 25, 1968
Not released as a single
In 1980, Lennon said that this White Album explosion of blistering guitars and barking vocals was about his relationship with Yoko Ono: “Everybody seemed to be paranoid except for us two, who were in the glow of love. . . . Everybody was sort of tense around us. You know, ‘What is she doing here at the session?'”
But McCartney believed the song was really about heroin, which Lennon and Ono had begun taking without telling the others. “John started talking about fixes and monkeys,” he said. “It was a harder terminology, which the rest of us weren’t into.” Looking back, Lennon said, “We sniffed a little when we were in real pain. We took ‘H’ because of what the Beatles and their pals were doing to us.”
Appears On: The Beatles
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Cheetah the 1930s Tarzan chimp dies aged 80 – but was he the real star and even that old?
Read more: http://www.dailymail.co.uk/news/article-2079272/Tarzan-chimp-Cheetah-dies-aged-80-But-real-star-old.html#ixzz3fy425N9b
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One of Hollywood’s most famous animals, Cheetah the chimpanzee from the Tarzan movies of the early 1930s, has died aged 80.
The Suncoast Primate Sanctuary in Palm Harbor, Florida, has revealed the chimp believed to be the iconic simian star of the golden age of film died on Christmas Eve of kidney failure.
It is claimed he outlived both of his co-stars Johnny Weissmuller, who died in 1984 aged 79, and Maureen O’Sullivan, who played Tarzan’s mate Jane and who died aged 87 in 1998.
SCROLL DOWN FOR VIDEO
Hollywood icon: Cheetah (left) was the most famous chimp in the world. Here he starred in the 1945 film Tarzan Escapes with Weissmuller, who died in 1984 aged 79, and Maureen O’Sullivan, who played Jane
King of the Swingers: Cheetah (right) In the 1939 hit Tarzan Finds a Son
However, the story of Cheetah is mired in mystery as some have claimed he was not the same animal and some have disputed his age.
In 2008 claims about another chimp, who in 2005 was handed a Guinness world record as the oldest non-human primate, were debunked after research carried out by the journalist Richard Rosen revealed he could not have been born until the 1960s.
Sanctuary outreach director Debbie Cobb said the recently departed Cheetah was outgoing, loved finger painting and American football and liked to see people laugh.
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She added the jungle swinger seemed to be tuned into human feelings was soothed by nondenominational Christian music.
‘He was very compassionate,’ Ms Cobb said. ‘He could tell if I was having a good day or a bad day.
‘He was always trying to get me to laugh if he thought I was having a bad day. He was very in tune to human feelings.’
The character of Cheetah was the comic relief in the Tarzan series starring American Olympic gold medal swimmer Weissmuller.
Co-stars: Maureen O’Sullivan, Cheetah and Johnny Weissmuller in the 1932 film Tarzan The Ape Man
Ms Cobb said Cheetah came to the sanctuary from Weissmuller’s estate sometime around 1960. She added that he wasn’t a troublemaker.
However, sanctuary volunteer Ron Priest did admit that when the superstar chimp didn’t like what was going on, he would throw faeces.
‘When he didn’t like somebody or something that was going on, he would pick up some poop and throw it at them. He could get you at 30ft with bars in between.’
Outlived: Johnny Weissmuller as Tarzan and Maureen O’Sullivan is Jane in this scene from the classic 1936 movie Tarzan Escapes
‘CHEETA’ ON A ‘LIFETIME OF FAME’
In a 2008 spoof tell-all autobiography (pictured right)written by James Lever, Me Cheeta, revealed some of his thoughts on his Hollywood career:
On his career longevity: ‘I acted into my thirties. Most chimps retire by the age of ten because they won’t do what they’re told. I didn’t want to end up in a lab with an electrode in my forehead.’
On his Hollywood legacy: ‘I can’t deny that I’d like my own star on the Hollywood Walk of Fame, but I have been turned down for the last three years. I’m not bitter. I’ve had a rich career. Every day is a blessing.’
On painting: ‘The art world credits me with starting Ape-stract painting, but I don’t like to blow my own trumpet. I prefer the piano.’
On healthy living: ‘My only vices are hamburgers and caffeine-free Coke. Fresh fruit, vegetables and monkey chow are the key. It’s tough that the chow tastes like dog food.’
On Johnny Weissmuller: ‘Dear old Johnny was more typecast than I was. I remember we were both up for the role of Terry in On the Waterfront and the casting director told Johnny he was wasting his time. I got a callback but it came to nothing. He went off to start a swimming-pool company. Swimming was never my thing.’
He added Cheetah stood out because of his ability to stand up – shoulders tall, back straight – and walk like a person.
It was claimed the chimp in the films, who was 4ft and 10st 2lb, was ‘discovered’ as a newborn by an animal trainer on a trip to Africa in April 1932.
He appeared soon afterwards alongside Weissmuller in Tarzan And His Mate, and went on to star in a dozen films about the jungle hero who swung from tree to tree.
His character was a product of the movies, as a chimp never appeared in any of the Tarzan novels by Edgar Rice Burroughs that the films were based on.
It was claimed another chimp, Cheeta, appeared in 50 movies before his final appearance, as Chee-Chee in 1967’s Doctor Dolittle.
He was then cared for at a foundation in Palm Springs, California, paying for his keep with his ‘Ape-stract’ paintings which sell for £75 a time.
In 2008 Esquire magazine published his ‘memoirs’ which also joked that he made a small fortune working as a body double for actor Robin Williams.
Chimpanzees in captivity regularly live to about 50, a decade longer than those in the wild.
Another old-timer was Fifi, a star attraction at Sydney’s Taronga Zoo until her death at the age of 60 last July.
The character of Cheetah was honoured with a star on the Palm Springs Walk of Stars in 1995. His star is at 110 South Palm Canyon Drive.
There have been several unsuccessful campaigns to secure a star for the pretender Cheeta on the Hollywood Walk of Fame, which gained the support of Hillary Clinton.
Cheeta’s trainer, Tony Gentry, claimed that the chimp was born in the early 1930s, but other sources claim he was not born until 1960.
It is known various chimps played Cheetah in different scenes in the 1932 and 1934 films, Tarzan the Ape Man and Tarzan and His Mate.
But while one of the chimps is known to have died in 1938, the chimp that died on December 24 could be one of the other actors then known as Zippy or Harry but since renamed.
Sadly, the world may never know.
Imposter: Cheeta the chimp, when he was 76, making a promo music video to accompany his cover of the 1975 hit song ‘Convoy’
Monkeying around: Cheeta playing piano at his home in Palm Springs in 2003
Read more: http://www.dailymail.co.uk/news/article-2079272/Tarzan-chimp-Cheetah-dies-aged-80-But-real-star-old.html#ixzz3fy3sfJzX
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Featured artist today is Eduardo Paolozzi
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The Independent Group_ Eduardo Paolozzi.flv
Original Creators: Eduardo Paolozzi
Each week we pay homage to a select “Original Creator”—an iconic artist from days gone by whose work influences and informs today’s creators. These are artists who were innovative and revolutionary in their fields. Bold visionaries and radicals, groundbreaking frontiersmen and women who inspired and informed culture as we know it today. This week: Eduardo Paolozzi.
Mostly known for his sculptures of unprecedented composition, Eduardo Luigi Paolozzi (1924-2005) is also revered as one of the most instrumental underpinnings of British pop art. The collage-based works of this extraordinarily inventive printmaker remain as some of the finest fossils of pop art, fetishizing the unconventional, the crude and the gruff into a new and provocative milieu.
Born from Italian descent in Leith of Edinburgh in 1924, Paolozzi spent his early years refining his technique as a draftsman, drawing for hours on end in his parents’ ice cream parlour. The young artist also realized his curiosity for collecting knickknacks, a precursor to his future pop art collections, as he accrued an extensive collection of matchboxes, cigarette cards, clippings from American magazines and other found objects.
I was a Rich Man’s Plaything (1947)
Meet The People (1948)
Studying at the Edinburgh College of Art in 1943, St. Martin’s School of Art in 1944 and finally at the Scale School of Art in Oxford from 1945 to 1947, Paolozzi found himself continuously on the periphery of what was conventional, questioning boundaries and enjoying Picasso whilst his educators gravely disagreed. Still, his works as a student deemed recognition. In 1947, Paolozzi sold his works at his first solo exhibition at the Mayor Gallery in London.
For the next two years, the inquisitive artist moved to Paris, mingling with the likes of Arp, Giacometti and Brâncuși and immersing himself on the ideas of Dada, Surrealism and art brut. It was here Paolozzi produced his first mercurial collages, born out of inspiration from Dada photomontages. Snipping kitchen appliance adverts from American magazines, didactic illustrations from science books and meretricious covers from cheap reads, he cut and pasted the roots to what would become an iconoclastic movement less than a decade later.
Real Gold (1949)
An Empire of Silly Statistics . . . A Fake War for Public Relations (1968)
Returning to London, Paolozzi focused his collage technique in both printmaking and sculpture as well as film. During the 1950s, his works echoed a cut-and-paste mentality: a clash of culled sources intentionally displaced and randomly rearranged. His prints reveal abrupt seams, juxtaposing images of glamour girls and automotive machinery. Assembled from scrap yard junk, his roughly cast sculptures, as archetypes of the age of technology, are neither smooth nor subtle in composition or impression.
In 1952, Paolozzi co-founded the London-based Independent Group, an informal group of artists and thinkers at the Institute of Contemporary Arts that shared discussions on their uncommon interests on culture “as found,” by reinterpreting technology and popular culture. They were also considered the forerunners of British pop art. In their first meeting, Paolozzi projected a scrapbook of his collages that portrayed mished-mashed snippets of an all-American lifestyle. The notable I was a Rich Man’s Plaything was shown and was the first visual artwork described as ‘pop art’ (art critic Lawrence Alloway first coined the term in 1954). The exposition of this raw and radical aesthetic gave way to the decisive exploration for new approaches in contemporary visual culture.
Installation from Parallel of Life and Art exhibition (1953)
Courtesy of The Independent Group
Poster for This Is Tomorrow exhibition (1956)
Courtesy of The Independent Group
This cutting and clashing of ideas and information became significantly realized in the wildly pedagogical exhibitions he collaborated on with Alison and Peter Smithson and Nigel Henderson: Parallel Of Life and Art (1953) and This Is Tomorrow (1956). Combining notions of technology, ethnography and archaeology through art, photography and installation, Paolozzi, the Smithsons and Henderson found an unforeseen connection in the value and relevance of popular mass culture, further cementing the pillars towards a new medium of expression and thought.
Still from collaged film History is Nothing (1963)
Wittgenstein In New York (1965)
The 1950s and 1960s were probably the most prolific periods of Paolozzi’s creative career. In 1965, he produced a markedly affluent portfolio in the pop art genre, a collection of 12 screen prints, and also an ode to Austrian philosopher Ludwig Wittgenstein: As Is When. By arranging abstract patterns, text, images of airplanes and Disney characters, the collection—as many of Paolozzi’s works foreshadow—questions the relationship between man and machines, giving a historic peek into the personality of the era as well as one of its founders.
As a dedicated advocate of pop culture, not for its beauty but rather for its fickle and temporary nature, Paolozzi prodigiously sculpted and pasted an exemplary canon of disparate ideas and rash innovations that continue to seep into today’s world of art and technology. His legacy, his works born from his insatiable curiosity and his propensity to provoke, remain as an iconic scrapbook of 21st century visual culture.
Eduardo Paolozzi
Eduardo Paolozzi, sculptor/printmaker, born in Edinburgh of Italian descent. Many of his sculptures were assemblages of discarded pieces which he then cast into different metals. Some of his sculptures were deconstructed pieces so that the inside of the head becomes exposed. He used lots of different materials and created sculptures on a large scale.
He was also one of the key instigators of ‘Pop Art’. He collected images from American magazines and he was also given material by ex-servicemen. The images presented a seductive world of glamour and wealth which contrasted with war ravaged Europe. For Paolozzi this was the iconography of a New World He produced collages which showed his fascination with popular culture, technology and American consumerism.
I encountered this sculpture at the University of Birmingham last year. It was a gift to the University from Paolozzi a huge bronze statue ‘for Faraday’ a work in homage to the great 19th Century scientist.
Eduardo Paolozzi
Synopsis
Eduardo Paolozzi was born on March 7, 1924, in Edinburgh, Scotland. In the 1940s and ’50s, he made sculptures and collages that combined surrealism with pop culture and modern machinery. In the 1960s, he further incorporated machinery into his art. He spent the 1970s working on abstract art reliefs. Through the 1980s and ’90s, he took public commissions. He died on April 22, 2005, in London, England.
Early Life
Eduardo Luigi Paolozzi was born on March 7, 1924, in Edinburgh, Scotland, an only child of parents of Italian descent. In 1943, Paolozzi enrolled at the Edinburgh College of Art, with the intention of becoming a commercial artist. After a brief stint in the Royal Pioneer Corps, he transferred to London’s St. Martin’s School of Art in 1944. By the following year, he had changed his career path and begun studying sculpture at the Slade School of Fine Art. Paolozzi completed his course load there in 1947.
Surrealism and Collage
In the late 1940s, Paolozzi spent time in Paris, France, shadowing such surrealist artists as Jean Dubuffet and Alberto Giacometti. During this time, Paolozzi started making sculptures and collages that uniquely combined the influences of surrealism with elements of popular culture and contemporary machinery. A collection of Paolozzi’s collages, comprised of clippings he pulled from magazines American soldiers had given him in Paris, were later displayed in a slideshow at the Institute of Contemporary Arts in 1952. To many, the slideshow designated Paolozzi as the “inventor of Pop Art.”
Teaching and the Human Form
In 1949, Paolozzi started teaching at the London’s Central School of Art and Design. He retained the position until 1955, after which he displayed his bronze cast sculptures in the “This is Tomorrow” exhibit at the White Chapel Art Gallery. During this period, Paolozzi’s primary focus was the suffering human form.
Throughout his career as an artist, Paolozzi would teach at a number of art institutions, including his alma mater, St. Martin’s School of Art.
Industrial Art
In the 1960s, Paolozzi further incorporated the theme of modern machinery into his art, through collaboration with industry engineering companies—which provided him with materials, equipment and workspace. Aluminum became Paolozzi’s new material of choice, as he littered his work with discarded machine parts. Fused together through drilling, bolting and welding, the sum total of the parts produced ground-breaking artwork with sharp geometric edges that still managed to be suggestive of the human form. Through his industrial art, Paolozzi made a social statement about man’s role in the age of technology.
Abstract Relief
Paolozzi spent much of the 1970s working on abstract art, including screen printing and reliefs. His color schemes were largely monochromatic during this time—a major departure from his previous, colorful work. One formidable product of this stage in Paolozzi’s career was a commission of panels for the ceiling of Cleish Castle in Kinross-shire, Scotland.
Public Commissions
Through the 1980s and ’90s, Paolozzi continued to accept public commissions. Among his best-known commissioned work is a 10-foot bronze statue of Sir Isaac Newton. Based on poet William Blake’s allegorical depiction of Newton, the statue was sculpted for the piazza of the British Library.
Death
After a long period of illness following a stroke in 2001, Eduardo Paolozzi died on April 22, 2005, in London, England. He was survived by his three daughters—Louise, Anna and Emma—from his former marriage to Freda Elliot.
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