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3116
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dbpedia
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https://en.wikipedia.org/wiki/Jan_Montyn
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en
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Jan Montyn
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2006-04-27T13:14:27+00:00
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https://en.wikipedia.org/wiki/Jan_Montyn
|
Jan Montyn (13 November 1924 – 10 August 2015) was a Dutch artist, specialized in etching. He was best known for his paintings of wars to which he had been an eyewitness.[1]
Montyn was born in a conservative Calvinistic family and was raised in Oudewater. In the Second World War he joined the German navy and fought on the eastern front. After the war he lived in France and in the Netherlands. His work is displayed in the Bibliothèque Nationale in Paris, the Museum of Modern Art in New York City and the Museum Boijmans Van Beuningen in Rotterdam.
Montyn died on 10 August 2015 in Amsterdam, aged 90.[2]
Bibliography
[edit]
A Lamb to the Slaughter - An Artist Among the Battlefields, Jan Montyn and Dirk Ayelt Kooiman, Souvenir Press, London, 1984 ISBN 0-285-62621-3
Website with work of the artist http://www.janmontyn.com
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https://www.janmontyncollection.com/%26lang%3Den
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en
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Jan Montyn Collection
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images/favicon.ico
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Overview
The work of Jan Montyn structured according to themes within his life and work. A presentation.
read more
Oeuvre
Make your own selection from the work of Jan Montyn. Combine with information from janmontyn.com, Wikipedia and Google Maps.
read more
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https://books.google.com/books/about/A_Lamb_to_Slaughter.html%3Fid%3DFS9nAAAAMAAJ
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en
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Google Books
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https://books.google.com/
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Search the world's most comprehensive index of full-text books.
My library
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https://www.mutualart.com/Artwork/jan-montyn/E15CD57CDA9EE7EA1B8F49896966C3BA
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jan montyn (1985)
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View jan montyn (1985) By Montijn Jan; Etching; Size: 65cm
H x 50cm
L
Framed; Signed; Edition. Access more artwork lots and estimated & realized auction prices on MutualArt.
|
en
|
https://www.mutualart.com/Artwork/jan-montyn/E15CD57CDA9EE7EA1B8F49896966C3BA
|
Cookie Consent
We use cookies to enhance your browsing experience, serve personalized ads or content, and analyse our traffic. You can change your cookies' preferences any time. To learn more, check our Cookie Policy
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3116
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https://www.nytimes.com/sitemap/1938/12/20/
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Site Map - December 20, 1938
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1938-12-20T00:00:00
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All New York Times stories published on December 20, 1938.
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3116
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https://nebnewspapers.unl.edu/lccn/sn95069723/1953-03-12/ed-1/seq-6/ocr/
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current, March 12, 1953, Page PAGE SIX, Image 6 « Nebraska Newspapers
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1953-03-12T00:00:00
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Nebraska Newspapers presents resources relating to the state's papers, including full-text search and historical essays.
Papers were chosen based on importance and geographic location while trying to reflect different cultural, social, political, and economic viewpoints. It is a collaborative website
developed by the University of Nebraska–Lincoln Libraries in partnership with History Nebraska. The site is powered by Open ONI.
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/static/images/favicon.8c9a2d76ae89.ico
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V T Pi Pillsbury m V r f V V w V i" V - i TTTr PT..TTf?M0T7Tn JOTTTVATi - Thursday, March 12, 1953 r . PAGE SIX Mrs. Dale Dooley, Ex-Plallslmoulh Resident, Dies Mrs. Evelyn Fern Dooley, resi dent of Plattsmouth before go ing to Missouri Valley 12 years ago, died at Mercy hospital at Council Bluffs, Iowa, Monday evening, March 9, 1953. She was 37 years old. - A native of Irwin Iowa, where she was born September 16, -1915, she was the daughter of Mae Grauf Anderson and John Hanson. " She was married on November 3, 1945 to Dale Dooley at Omaha. Surviving are her mother, Mrs. Mae Anderson of Platts mouth: her husband. Dale Twsiow nf iv.fi csrtnri Vallev: a , daughter, Irene Dooley of Mis- souri Valley; her father, John a sister. Mrs. Kvlvin. Ktanhooe of Missouri Valley; and two brothers, Del-v.r.- Ti'onc-n nf pinttsmouth and Pnvmnnd Grauf Of Council Bluffs. Funeral services were held on Thursday afternoon at two March 12. at Caldwell- Linder Funeral Home with Rev. Harold V. Mitchell officiating. Pallbearers were Harlan Conn, Arthur Fountain, Alfred Conn. James Beers, Robert Campbell and Harold Adams. Mrs. Hugh Stander, Jr., was " soloist and' Mrs. Richard Schade was accompanist. ' Burial was in Oak Hill ceme tery at Plattsmouth. Caldwell-Linder Funeral Home was in charge of arrangements. Former Resident Dies on Coast Word has been received from Altadena, California, by Platts mouth relatives of the death on March 8, 1953, of Mrs. Mildred Cummins Grosbach, daughter of the late Dr. and Mrs. E. D. Cum mins of Lincoln, formerly of Plattsmouth. Mrs. Grcsbach's illness of mul tiple sclerosis had lasted over a period of a number of years. Surviving are an invalid hus band, one son; one daughter; four grandchildren; a sister, Mrs. L. H. Babst of Lincoln; and two aunts, Mrs. J. M. Roberts and Mrs. Frank Cummins of Plattsmouth. Interment was In California. February Was Warmer, Wetter Than Normal February was warmer and wetter than normal in the Plattsmouth area according to a preliminary climatic summary of the United States Weather Bureau. Throughout the state preci nitntinn was nver normal with thp nparest normal readme com ing in the estern portion in rhidinff Cass countv. Teirmera- tures, however, were up nearly three degrees irom normal. The above-normal temDera tures were recorded despite the winter s worst snow storm me in the month. The bureau re- . ports that a little field work was done in southeastern por tions ol tne state including cuv ting some corn stalks and pre ncirincr cnmp fields for OatS. Precipitation at Plattsmouth was just under one inch, or about normal tor tne montn. January Retail Sales Are Up 14.9 PerCent Contrary to usual expectations Nebraska retail stores met a brisk business during January, the University of Nebraska busi ness administration college re ported todav. ; When adjustments are made in the December retail sales fig ures to cover the normal Christ mas buving rush, the JaJnuary totals for the state are 12 Der cent above those of , the previous month. In Cass county, retail sales were 14.9 percent higher in Jan uary than they were in Decem vir Rains were down however. 1.8 percent over January a year aeo. Six or 12 counties snowea Kiiorht. declines over a vear ago. while ii showed increases over npfpmbcr. January 1953 sales for the state are up 3.3 percent f mm fhnse of Januarv 1952. cola at Nphraska Citv show ed a 5.7 increase from December to January and a 5 percent m crease over January 1952. Mr. and Mis. Floyd McKenna nd sons have been visiting wun his parents in Plainview. Ne Krocv Pvt. Gene McKenna, who had been home on leave from the service, anrt Richard McKenna. accomnanied them here for a short visit. THOMAS WALLING CO.' Abstracts of Title Title Insurance" Plattsmouth, Nebraska This fresh, creamy pure vegetable Shortening ill make your good pastries pener . . . ywu. COOKing ecjiii. 3-lb.Can A CACCI . m mm For all your very finest baking use this "Fnriehed" all-Duroose flour. Be sure about your baking results! j u ,92. uevii rood i - i 1 t.-.,.-,. i .. r IL. -V.J. I 7?ctQ 3 ... ,:e ml S Y A 1 r7 I i I rn n S 39c ijJj! I 1 1 11 T? Mr 1 IGA V fik To) n z Detty Crocker t Km Yellow Quarters Miolo Margarine Sunshine Vanilla Wafers ' 6z-oz.Pka. 1 Peter Pan PEANUT BUTTER 13;:;39 29 2, 55f 2 3-4 lb. PKG. Shurfine Stokely 46-oz. . .Can ync 4D DZ. PKG. 4Jc (UT GREEN BEANS 19 Stokely ; . 'V SUGAR PEAS M Kraft VELVEETA CHEESE 89 Shurfine Alaska Sockeye Eau Claire APPLE JUICE x290 FAB Coupon 2 r, 290 'FRESH - FRUITS & VEGETABLES 1 Rd j y'J" r "u,v Make your meal plan- f UUi ' " I ning easier by shop- California Light Meat J"Z I wide selection of len- Del Monte I ten foods at money- Cp 51 $1 Vsavin, price. ( UlfilSltE OS " lL 3 ILT V C vv POTft'Ti 50 Pounds. . U Our Seed Potatoes Are In CERTIFIED & SELECT Red Crisp Winesap 2 LGS, White Marsh Seedless Sunkist, 2(K) Size GRAPEFRUIT - 7c ORANGES 39c Fairmont Frozen Foods Swiss Cot or Plain ow 153 v.ui ur i lain U.S. Choice Round Beef Steak LO. 7th - Sth - 9th Shoulder Slices U. S. CHOICE RIB STEAKS U.S. Choice Beef Oven Roast U.S. Choice Beef Pot Roast Meat Loafs or Patties Ground Beef & Porlt 'Mixture Loin End Roast . . . 2 to 3-lb. Avg. Pork LB. LO. LB. LB. LB. 9 45c ic 6-ol Orange Juice . . 2forB50 12-oz. Peas . 6-oz. Lemonade . . 2 for 350 12-oz. Strawberries 6-oz. welch Grape Juice 2 for 4S0 1-lb. Cherries . n "i . -y 210 370 390 Sweet Sliced Just the Right Thickness Home Sliced Bacon Z LB. PKG. $1.1! Fresh Dressed and Drawn Frying Chickens Stewing' Hens Introductory Offer Hall's Pre-Cooked BEANS Reg. Price . .24c Extra Pkg. . . lc Both for . . 250 CHARMIN Powdered or TISSUE BrowuSugar 4 Rolls 2-lb.Pkg. 370 270 PHONE 238 PLENTY OF SUPERVISED FREE PARKING ON LOT IN BACK CF OUR STORE
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https://apuntogallery.com/en/art-category/artists/jan-montyn-en/
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Jan Montyn artworks and biography
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Jan Montyn (1924 - 2015) was a well known Dutch painter, draftsman and poet with a rather unusual life leading to an oeuvre mainly of wonderful etchings.
|
en
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Apunto Gallery
|
https://apuntogallery.com/en/art-category/artists/jan-montyn-en/
|
Jan Montyn
Jan Montyn (1924 – 2015) was a well known Dutch painter, draftsman and poet with a rather unusual life. It is said of him that his eyes saw more than is humanly bearable. On his many (military) adventures he saw hellish as well as heavenly places, leading to an oeuvre of wonderful etchings (which form the vast majority of his oeuvre), paintings and poetry.
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https://ftn-blog.com/tag/montyn/
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montyn – FTN
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2024-04-02T15:26:49+02:00
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Posts about montyn written by ftnbooks
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en
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FTN-blog
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https://ftn-blog.com/tag/montyn/
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The reason to write again on Jan Montyn is because recently i added to my inventory the ultimate book on Montyn his prints. This book is now available at www.ftn-books.com
My first-ever encounter with the works of Jan Montyn was in the early seventies. It was then that I acquired my very own beautiful etching by the renowned artist – a mesmerizing depiction of a blue bird, set against a typical Montyn background. The artwork was relatively large in size, and I proudly displayed it on my wall for over ten years before replacing it with a photograph by Lucien Clergue.
Despite being in a drawer for the past three decades, my fondness for this etching has not diminished. This holds true for all other Montyn etchings I have come across. They possess a dreamlike quality that effortlessly blends realism with abstract elements, all executed with impeccable technique.
It wasn’t until years after acquiring the etching that I stumbled upon Jan Montyn’s autobiography, which shed light on his early years. The artist had an eventful life, spending time in the Foreign Legion, surviving a shipwreck as a sailor in the Kriegsmarine, and even fighting in the Eastern Front near Koerlandand. He was a colorful character who may not have always made the best political choices, but his art continues to stand out and deserves to be admired without bias.
For an excellent read on the artist’s life and work, I recommend the title published on the occasion of his 75th birthday in 1999, available at http://www.ftn-books.com. Embrace the enigmatic complexity and linguistic dynamism of Montyn’s art, and revel in the unique vocabulary he employs to bring his visions to life. Trust me, it’s worth it.
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I never had seen a Montyn work until the early ~Seventies. At that timne i bought my first Jan Montyn etching. A blue bird, simplified on a typical Montyn background. It was a fairly large etching and i had it on the wall for over 10 years and then i changed it for a photograph of Lucien Clergue. It is in a drawer for 3 decades now, but i still like it . It is the same with all other Montyn etchings. They have something dreamlike and combine realism with abstract parts and all have great technique. Some years after i bought this etching i read the autobiography of Jan Montyn in which he tells the story of his early life. Specially the days he spent in the Foreign Legion, was shipwrecked as a sailor for the Kriegsmarine and was sent to the Eastern Front near Koerlandand and particpated in the battles over there. A colorfull figure, who perhaps did not always make the right (political) choices in his life, but his art still stands out and deserves to be appreciated apart from these. An excelllent title , published on the occasion of 75th birthday in 1999 is available at www.ftn-books.com
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[
"Wim Roefs",
"View my complete profile"
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IF ART GALLERY, 1223 LINCOLN STREET, COLUMBIA, SOUTH CAROLINA, SHOWS CONTEMPORARY ART BY ARTISTS FROM SOUTH CAROLINA, THE REST OF THE UNITED STATES AND EUROPE IF ART GALLERY IS OWNED AND OPERATED BY WIM ROEFS. CONTACT THE GALLERY AT [email protected] OR 803-238-2351.
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http://ifartgallery.blogspot.com/favicon.ico
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http://ifartgallery.blogspot.com/2006/
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if ART Gallery presents an exhibition and print sale covering 40 years of Dutch art in its gallery at 1223 Lincoln Street, Columbia, SC, December 10 – 24. The opening reception on Friday, December 10, 5 – 9 p.m., also will feature Dutch food and music. if ART Gallery will be open Christmas Eve until 7:00 p.m.
The exhibition and print sale will feature the two Dutch artists represented by the gallery, Kees Salentijn and Sjaak Korsten; American Sam Middleton, who has lived in the Netherlands for some 50 years; several internationally famous Dutch artists whose prints the gallery carries, such as Karel Appel, Lucebert, Hannes Postma, Bram van Velde and Ger Lataster; and three dozen recently acquired, 1960s and 1970s prints by 17 Dutch artists produced through the legendary Amsterdam print studio Prent 190.
Prent 190 in the mid-1960s was an initiative of visual arts organizer Louis Gans. Gans’ intent was to make original fine art available to a wider public. For about $125, people could join Prent 190 and receive 10 prints per year. Members did not know what they would get, though they knew which artists would be featured in a year. Gans each year usually included seven Dutch artists and three artists from abroad. A few artists would be famous headliners, the others, young and upcoming artists. Many in the latter category have become prominent artists themselves.
The Prent 190 lithos, etchings, drypoints, silkscreens and woodcuts in the if ART exhibition and print sale will be priced at $200 – $500, making them affordable for the wide audiences Gans had in mind. Other prints in the exhibition and sale will be priced from $100 and up. In addition to prints, the exhibition will include paintings, unique works on paper and collages.
The name of Gans’ initiative, Prent 190, referred to the edition size of the prints published by the initiative. The prints were typically, though not always, printed by one of the Netherland’s most prominent post-World War II print makers, Piet Clement, in Amsterdam.
Among the prints in the show are the 1968 Hot Dog USA and 1969 Hot Dog/Coca Cola lithographs by Jan Cremer, who gained enormous international fame in the 1960s with his “on the road”, autobiographical novel I, Jan Cremer, which became an international bestseller. Cremer also gained fame in the United States because of his affair with actress Jane Mansfield.
The print sale also includes work by some of the most prominent Dutch artists of the past half century, including the artists mentioned above and Willem Hussem, Jan Montyn, J.C.J van der Heyden, Peter Struyken, Guillaume Le Roy, Pierre van Soest, Mark Brusse, Co Westerik and Martin Engelman.
GOING DUTCH: ARTISTS PROFILES
RONALD ABRAM (Dutch, 1938 – 1999)
Ronald “Ronny” Abram was a Dutch Op Art artist. He was represented at the
1973 Biennale de Paris. Among the museums that have his work is the Jewish Historic Museum in Amsterdam. Abrams’ work still appears at auction regularly.
PAT ANDREA (Dutch, b. 1942)
Pat Andrea is considered among Europe’s most prominent illustrators and Magic-Realist painters. He is a rare exception as someone with a big reputation as a fine artist despite his extensive work as an illustrator. Andrea, whose parents were renowned artists, studied with Co Westerik at the Royal Academy of Fine Arts in The Hague. His career is truly international. Andrea travels extensively, especially through Europe and North and South America. He splits time between his homes and studios in Paris and Buenos Aires, where he went in the 1970s after the likeminded artist Guillermo Roux invited him for a visit. Since 1998, he has taught at the prestigious École Nationale Supérieure des Beaux Arts in Paris. His paintings, painted in classical techniques, are full of paradoxes and typically feature women. They seem like visions of a personal reality presented through nudes, aggressive dogs but also lovely flowers. The images combine aggression and sexuality with a dreamlike atmosphere. “Pat Andrea’s painting may constitute a reaction to all forms of sexual conservatism,” curator Anna Printezi wrote for a 2001 retrospective at Athens’ Frissiras Museum, which focuses on contemporary European paintings. “His female protagonists and the overt sexuality in his works seem to want to take us back to the ‘fertility’-related interpretation of things; to the simple and eternal cycle of seasons. Of course, the male is always present in his work, often depicted as an animal-like carnivore.” Andrea recently created large paintings based on Alice in Wonderland and Through the Looking-Glass, which were included as illustrations in a new edition of Lewis Carroll’s works. An exhibition of the paintings traveled to Greece, France, The Netherlands and Spain, where it closed in November 2010 at the Arts Santa Monica contemporary art center. Andrea’s work is in prominent museums all over Europe, South America and in the United States, including the Centre Pompidou in France and the Museum of Modern Art in New York.
KAREL APPEL (DUTCH, 1921-2006)
Karel Appel was among the stars of the 1950s-1960s international art world. In 1948, he was a co-founder of CoBrA, a group of Northern European artists whose work was related to, but developed independently from, American Abstract Expressionism. He moved to Paris, which, along with New York, became his main base. Like other CoBrA artists, Appel retained figuration at first in his freely painted, vigorous and colorful paintings, though he later went through non-objective stages. Appel was prolific and constantly reinvented himself as an artist during his long, active career. In addition to paintings, drawings and sculptures, he painted murals and worked in ceramics, stage design and stained glass. Appel also was a poet and recorded experimental music. In 1954, he won the UNESCO Prize at the Venice Biennale. Appel’s work is in museums across the world, including New York’s Museum of Modern Art, Guggenheim Museum and Metropolitan Museum of Art, the Hirshhorn Museum and Sculpture Garden in Washington, D.C., Boston’s Museum of Fine Arts, the Fine Arts Museums of San Francisco, the Walker Art Center in Minneapolis, Minn., London’s Tate Gallery, the Museu de Arte de Sao Paulo, Brazil, and Madrid’s Thyssen-Bornemisza Museum.
MARK BRUSSE (Dutch, b. 1937)
In the Dutch city of Arnhem, Mark Brusse, who lives in Paris, in the mid-1950s formed with Klaas Gubbels, Rik van Bentum, Jan Cremer and others a lively local art scene with a national and international reach, where even Robert Rauschenberg would stop by. In 1960, Brusse moved to Paris and met Nouveau Realistes and Fluxus artists, including Yves Klein, Arman, Jean Tinguely and Daniel Spoerri. He didn’t join but learned that to sculpt you didn’t have to hack into marble. After Dutch author Cees Nooteboom helped arrange a stipend, Brusse stayed in New York between 1965 and 1967. Amsterdam’s Stedelijk Museum director Edy de Wilde introduced him to Leo Castelli, who introduced him to the Pop Art crowd. Brusse became a regular at Andy Warhol’s Factory and Claes Oldenburg’s studio parties, collaborated with Fluxus artists, including John Cage, and created environments. After Brusse went to Berlin in 1970, Cage played music each day for a week in a Brusse exhibition there. Brusse also created an installation of streaming sand to accompany Cage’s music. In Bern, Switzerland, he showed with Warhol, Tinguely and Jesús Rafael Soto, filling a room with wood, as he had done before. Brusse created assemblage sculptures of discarded wood and found objects, such as strings, chains and pulleys. “Happiness lies in the streets, just don’t step over it,” he has said. “I walk around in constant, dumb amazement.” He called his early work Clôtures, Strange Fruits and Soft Machines. In a 1963 Brusse catalogue, William Burroughs, author of the 1961 novel The Soft Machine, called Brusse’s machines “the ironic enigma of machines with no function.” Brusse has traveled extensively, especially to the Far East and South America. His sculptures, installations, paintings, drawings, glassware and ceramics are strongly influenced by these foreign cultures. Brusse has exhibited and created public art across the globe, including monumental works in Seoul. His work is in museums and public collections throughout Europe, Latin America and Asia, including the National Gallery in Berlin; South Korea’s Moran Museum and National Museum of Contemporary Art; Iceland’s National Museum; Museo de la Solidaridad in Peru; and the National Museum in Havana, Cuba. A 2010 retrospective of his work traveled to several French museums.
DICK CASSÉE (Dutch, b. 1931)
Dick Cassée is among The Netherlands’ prominent post- World War II sculptors and printmakers. With other sculptors such as Bob Bonies and Carel Visser he was among the main representatives of nonfigurative Constructivism in Dutch printmaking. Cassée, who also works as a painter and photographer, was among the artist who pioneered printmaking in The Netherlands after the war, especially producing relief prints such as etchings, drypoints and metal-plate embossings. Space and nature often were the subjects of his prints, of which he captured the essence through a few simple lines. Cassée’s work is in the collections of museums throughout The Netherlands. He has exhibited at the Stedelijk Museum in Amsterdam, the Gemeentemuseum in The Hague and Museum Boymans-van Beuningen in Rotterdam as well as in France, the former Yugoslavia, Germany, Belgium and Japan. The University of Leiden, The Netherlands, in 2001 organized a retrospective of his prints from the period 1966–1979. De Rijksmuseum in Amsterdam is preparing a book about him and his complete oeuvre.
JAN CREMER (Dutch, b. 1940)
Author and visual artist Jan Cremer gained instant international fame with his 1964 “on the road,” autobiographical novel I, Jan Cremer, which became an international bestseller. He also gained fame in the United States because of his affair with actress Jane Mansfield. Cremer, a prolific print maker, in the 1960s was the loud, obnoxious enfant terrible of the Dutch art and literary worlds. He loved to shock and was good at it, resisting 1950s mores with wild art, inspired by CoBrA and especially Karel Appel, and in his novels, with tales of his sexual exploits. “Rembrandt? Who’s that? I don’t know anything about sports,” he once proclaimed. He once put the then-outrageous amount of one million Dutch guilders as the price of one of his paintings. In the 1960s, his work developed toward Pop Art, his imagery including hot dogs, cows, Dutch landscapes, tulips, women with their genitals on display or a 1980 series of 16 Warhol-like portraits, all of himself in his I, Jan Cremer years. By the late 1980s, while keeping his subject matter, his style turned more toward abstract expressionism again. Cremer has had solo exhibitions in museums and galleries throughout Europe. He also has shown at the Kennedy Center in Washington, D.C., Carnegie Hall in New York and the San Francisco Museum of Modern Art. His work is in the collections of scores of European museums as well as in those of the Library of Congress in Washington, D.C., the Art Institute of Chicago, the San Francisco Museum of Modern Art, the Philadelphia Art Museum and the Museum of Modern Art in New York City.
THEO DAAMEN (Dutch, b. 1939)
Theo Daamen is a painter, print maker and mixed media artist whose main focus is the figure as well as dance and animals. His personages appear to have an air of distance and privacy. Daamen is married to ceramic artist Heidi Daamen-Meijer (b. 1940). His father is Dutch painter Kreel Daamen (1916–1993). Daamen is still active and is represented by Galerie Petit in Amsterdam, his hometown. His work frequently appears at auction . In 1986, he was selected to paint a portrait of Dutch literary giant Gerrit Komrij for the Letterkundig Museum (Museum for the Written Word) in The Hague. Komrij once wrote three poems based on one of Daamen’s etchings. Daamen has exhibited across The Netherlands, including the Gemeentemuseum in The Hague. His work is in the collection of the museum in The Hague, Amsterdam's Stedelijk Museum and the Singer Museum in Laren, The Netherlands. An artist file on Daamen is included in the Smithsonian Libraries’ Collection.
MARTIN ENGELMAN (Dutch, 1924 – 1992)
Martin Engelman first made a name throughout Europe as a typographer, graphic designer and set and exhibition designer. In the late 1950s, he moved toward fine art exclusively, both as a painter and printmaker. His first gallery solo exhibition was at age 36 in 1960 in Paris. Lithographs, woodcuts, etchings and aquatints became an important part of his oeuvre, and Engelman produced some 200 limited edition prints. Engelman’s style and subject matter showed a rather individual approach that had connections to 1950s European art but was decidedly on the periphery of the dominant 1960s art movements. He absorbed influences from old Dutch masters such as Hieronymus Bosch and Pieter Breughel as well as 20th-century movements such as Surrealism and CoBrA, creating work inhabited by strange creatures, animal-human hybrids, dolls and mythological figures. During a stay in the United States in 1965, he worked in Herman Cherry’s New York studio. Engelman had several solo exhibitions in the United States and showed across Europe, including at the Stedelijk Museum in Amsterdam, Denmark’s Louisiana Museum of Art, Whitechapel Art Gallery in London and Rome’s Galleria Nazionale d’Arte Moderna. In 1964, he was represented at Documenta III in Kassel, Germany.
J.C.J. VAN DER HEYDEN (Dutch, b. 1928)
Around 1960, J. C. J. van der Heyden (aka J.C.J. Vanderheyden or Jacques van der Heyden) worked as an expressionist but subsequently became one of the great experimenters in Dutch art, creating aside from paintings, a large body of photographs, prints, videos, sound and other installations, conceptual art and writings. In 1970, he drilled a hole in his living room to New Zealand, not quite getting there but mixing soil from both ends. His work is known for its sensitive, abstracted inquiries into the effects of light, space and time and the relationship between seeing and processing what we see. He typically executes his work in minimal, delicate fashion, creating tension between abstraction and figuration. Art historian, curator and museum director Rudi Fuchs in 1963 visited Van der Heyden’s studio and found it not to be a workshop but, in line with the artist’s interest in installation art, “a construction which mirrored the construction of his work: a cabinet of constructions.” Van der Heyden was working like others throughout the world, Fuchs observed. Like Luciano Fabro in Milan, A.R. Penck in Dresden, Daniel Buren in Paris, Sigmar Polke in Dusseldorf and Donald Judd in New York, Van der Heyden approached art as a form to be manipulated intellectually, regardless of “ordinary” reality. But, Fuchs added, at that time those artists “were not yet acquainted.” Van der Heyden has had major exhibitions in most of The Netherlands’ premier museums, including the Stedelijk Museum in Amsterdam, the Centraal Museum in Utrecht, Museum Boymans-van Beuningen in Rotterdam, the Van Abbemuseum in Eindhoven and the Gemeentemuseum in The Hague. He also showed at the European Art Center in Xiamen, China, and in France, Belgium, Portugal, Denmark and Japan. Van der Heyden was represented at Dokumenta VII in 1982 in Kassel, Germany, for which Fuchs was the curator.
WILLEM HUSSEM (Dutch, 1900 – 1974)
After having lived in the south of France and Paris from the early 1920s until 1936, painter, sculptor and poet Willem Hussem settled in The Hague, where he became the core figure in the vibrant local arts and literary scene. From his regular table in café De Posthoorn, Hussem became a kind of “art pope” whose opinions on art were much sought after by young artists and somewhat feared. He was a member of several important artist groups who introduced modern art to The Netherlands, such as the Experimentelen, Vrij Beelden and Liga Nieuw Beelden. Hussem’s work initially was influenced by Picasso, whom he had met in Paris. From the late 1930s, Hussem’s paintings became more abstract and calligraphic, putting him on the road toward becoming one of the country’s most celebrated non-objective painters. In the 1960s, his work became more geometric with increasingly clear and sober forms. Hussem several times was awarded the prestigious Jacob Maris Prize and in 1960 represented The Netherlands at the Venice Biennale. Though he was considered by many to be an artist of international stature, Hussem always had trouble making ends meet. His work is in the collections of most major Dutch museums, including the Stedelijk Museum in Amsterdam and the Gemeentemuseum in The Hague. His work still is widely exhibited and sold in the Netherlands. In October 2010, cultural center Cultuuranker Escamp in The Hague organized a month-long Willem Hussem Festival, celebrating the restoration of a large Hussem mural in the cultural center.
JACQUELINE DE JONG (Dutch, b. 1939)
Jacquiline de Jong has been involved with Europe’s avant-garde art movements since the early 1960s. “De Jong seemingly knew or worked with everyone,” England’s The Guardian wrote in 2003 at the occasion of De Jong’s retrospective at Amsterdam’s CoBrA Museum. “De Jong is one of the 20th century’s boldest, most autobiographical female artists.” In 1959, De Jong went to Paris, where she met CoBrA co-founder Asger Jorn, with whom she had an affair until 1970. Through Jorn she joined the notoriously fractured Situationist International and collected documents related to the movement. The SI was a politically radical movement that strongly affected the European counterculture of the 1960s and thereafter, being blamed, The Guardian wrote, “for everything from the 1968 revolutions to the Sex Pistols.” Having been purged in 1962 by SI leader Guy Debord, who expelled most SI members, De Jong went her own situationist way. She published The Situationist Times between 1962 – 1967, enlisting the help of Wifredo Lam, Roberto Matta, Pierre Alechinsky, Jorn and others. She organized “happenings” and in 1968 created posters for the Paris student uprising, keeping copies for the Van Abbemuseum in Eindhoven, The Netherlands. Since returning to Amsterdam in 1970, De Jong has split her time between that city and France. In addition to maintaining her archive of avant-garde movements, De Jong has produced a large and versatile body of art. Both her ferocious 1960s abstracts and CoBrA-like, more representational paintings and her figurative later works are characterized by force and color. She has produced prints, ceramics, sculptures and large murals, created a monumental action painting during a fashion show and was seen eating a penis-shaped sandwich in a TV documentary. De Jong’s work has been shown throughout Europe and is in the collection of scores of museums, including Paris’ Centre Pompidou, the Stedelijk Museum in Amsterdam, MOCCA Toronto and the Konstmuseum Goteborg in Sweden. In 2009, she was invited to appear at the New School of Social Research in New York and interviewed for an exhibition at Yale University. For Italy’s Biennale di Ceramica dell’Arte Contemporanea she created with German artist Jonathan Meese ceramics for the home and garden of Asger Jorn, who died in 1973.
Sjaak Korsten (b. 1957)
Sjaak Korsten is widely known and respected as an artist in his native The Netherlands, where he lives in small-town Helden. He works in established post-World War II European modern and contemporary traditions, not in the least that of Art Informel, a more subdued European cousin of Abstract Expressionism. In addition to mixed media works on paper, Korsten creates paintings, sculptures and installations. He is represented by major Dutch galleries and in museum, corporate and private collections, including that of Dutch Queen Beatrix. His work has been shown at major European fairs, including TEFAF Maastricht, PAN Amsterdam and the Cologne Art Fair.
GER LATASTER (Dutch, b. 1920)
In the wake of the CoBrA revolution of the late 1940s-early 1950s, Ger Lataster received extensive international attention, though he did not belong to CoBrA. From early figurative paintings inspired by the Fauves and Matisse, Lataster in the 1950s developed an Abstract-Expressionist style that largely bypassed CoBrA’s incorporation of figurative elements, aligning itself more with American Abstract Expressionism. Lataster spent 1965-1966 in the United States and had solo gallery shows in New York and Minneapolis, where he taught. Around this time, representative elements crept back into his work’s always abstract and fiercely expressionist context. That interaction between representation and the language of Abstract Expressionism characterizes his work to the present day.
Lataster has had museum and gallery shows throughout Europe, including at the 1959 Kassel Dokumenta II in Germany, and a 1960 solo exhibition at Amsterdam’s Stedelijk Museum. In the United States, he showed at New York’s Guggenheim Museum, which acquired his work, as did New York’s Museum of Modern Art, Pittsburgh’s Carnegie Institute, the Knox-Albright Museum in Buffalo, N.Y., and Harvard University’s Fogg Art Museum.
GUILLAUME LE ROY (Dutch, 1938 – 2008)
Guillaume Le Roy was an artist committed to printmaking who in his 50-year career focused almost exclusively on woodcuts and etchings. Engrossed with the technical side of his métier, he was considered, also among his colleagues, as a master of the relief print. “I etch when I want to make things a woodcut can’t do,” he said, “and vice versa. I have to be able to scratch and bite. […] A printmaker simply works very different than a painter. The painter adds something, paint, and the etcher or woodcutter, on the other hand, eliminates something.” For his first woodcuts in the late 1950s, he used discarded tabletops from his parents’ restaurant, and he would continue to use discarded wood, which he liked for its built-in relief. During two years in Paris in the early 1960s, Le Roy met and was influenced by Bram van Velde and Alberto Giacometti. After Paris, he settled in Amsterdam. There he met the prominent printmaker Piet Clement, who printed most of work for the legendary print publisher Prent 190. Including de Le Roy woodcuts in this show. Le Roy also frequently showed in Clement’s gallery, Printshop, which now is called Galerie Clement. Though he used color in the 1960s, Le Roy’s work was characterized in part by his dominant use of black, gray and white. “Black and white have, after all, the most color,” he once said. His work often gave the appearance of doors, windows and other portals toward light. Without darkness, Le Roy argued, there is no light; without mystery, no clarity. Creating abstracts didn’t stop Le Roy from making several series based on literary works and poetry, for instance of Comte de Lautrémont, Martin Buber, Baudelaire and the Dutch poet Bert Schierbeek. Rather than illustrate, he tried to make the unspeakable visible. “In my work, what matters is what you evoke, not what you create.” Le Roy exhibited extensively in The Netherlands and elsewhere in Europe, and his work is in most major Dutch museums, including Amsterdam’s Stedelijk Museum and the Van Bommel van Dam Museum in Venlo. In 2010, the CoBrA museum in Amsterdam organized an exhibition of 40 works by Le Roy, mostly woodcuts.
LUCEBERT (Dutch, 1924-1994)
Lucebert (Lubertus Jacobus Swaanswijk) is possibly The Netherlands’ most prominent post-World War II poet. He was a member of the late-1940s Dutch Experimental Group, which preceded the CoBrA group and included writers and visual artists. CoBrA, which existed for a few years around 1950, also was multidisciplinary, and Lucebert participated primarily as a poet who illustrated his poems. It was his success as a poet that gave Lucebert in the late 1950s the financial means to paint in oils. The figurative expressionism and elementary figuration of his paintings and drawings fit in easily with CoBrA, though his work was more narrative and satirical with connections to Francis Bacon’s portraiture and George Grosz’s and Otto Dix’s biting depiction of humanity. In the United States, Lucebert’s work is in New York’s Guggenheim Museum and Museum of Modern Art and Florida’s Fort Lauderdale Museum of Art. His work also is in museums across Europe, including Amsterdam’s Stedelijk Museum and CoBrA Museum, the Tate Gallery in London and the National Gallery of Ireland in Dublin. Lucebert participated in Germany’s Kassel Dokumenta and at the 1962 Venice Biennale won a major prize for his graphic work. In 1986, the Stedelijk Museum acquired more than 800 of his works.
HAN MES (Dutch, b. 1936)
During a career that has spanned almost 50 years, Han Mes has worked mostly as a painter. After completing her art education at the academy in Amsterdam, she received a fellowship to live and work in Paris for several years. After Paris, she moved to Amsterdam and then to the Dutch seaside town of Bergen, not far from Amsterdam. Mes is mostly known for her figurative work, though she has increasingly focused on nature and landscape as well. Her figurative scenes are not typically anecdotal but mystical tableaux that suggest a continuation beyond the edges of the work. Her early black-and-white lithos are unusual in that Mes’ work is best know for an atmospheric use of color, though the transparent and seemingly out-of-focus quality of her paintings is reflected in her early lithos. Mes has exhibited widely in The Netherlands. In particular, three large exhibitions at the Singer Museum in Laren put her on the map.
SAM MIDDLETON (American, b. 1927)
Sam Middleton in the 1960s established himself as one of The Netherlands’ premier artists. Throughout his career, the Harlem, N.Y., native’s abstracted collages and prints with representational elements have been inspired by jazz, though the Dutch landscape also provided an impetus. In the early 1950s, Middleton was part of New York’s Cedar Tavern scene. In 1955 he moved to Mexico, then Spain, Sweden and Denmark, settling in The Netherlands in 1961. Middleton was part of the considerable contingency of expatriate African-American artists in Europe. In the late 1950s-early 1960s, he regularly was included in American exhibitions, including at New York’s Whitney Museum and Brooklyn Museum and the Baltimore Museum of Fine Art. From Europe, he sustained his reputation in the United States, resulting in his inclusion in several prominent books on African-American art. Middleton’s work is in the collections of the Whitney Museum, Fisk University in Nashville, Tenn., the Hampton (Va.) University Museum and Washington, D.C.’s Howard University. His work is in museums in Australia, Israel and The Netherlands, including Amsterdam’s Stedelijk Museum and Venlo’s Van Bommel Van Dam Museum, which in 1997 organized a Middleton retrospective.
JAN MONTYN (Dutch, b. 1924)
The self-taught painter, printmaker and poet Jan Montyn has developed a strong international reputation for especially his color etchings and drypoints. Montyn also is known for, and often defined by, his checkered and disturbing past. As an adventurous youth rebelling against his strong Calvinist upbringing, he joined a German youth group during World War II and fought in the German Navy, which he barely survived. He then fought for the German army on the East front. After the war, he joined France’s Foreign Legion but escaped soon after signing up. Back in The Netherlands, he found little acceptance as a former German collaborator. He was sent to a reform school for juveniles for three years. He then joined a United Nations unit of Dutch volunteers during the Korean War. After his return, he joined the Dutch marines. Montyn suffered a severe mental crisis, spending time in a psychiatric facility. He coped with depression and episodes of violence in part by writing extensively about his life. In Vietnam during the war, Montyn did humanitarian work with children. Kirkus Review wrote of a Montyn biography, A Lamb to Slaughter, by Dirk Ayelt Kooiman: “Enough agony and adventure for a dozen lives packed into a fast-paced, breathless, often gripping book.” Montyn has traveled extensively, going especially to North Africa and Asia, and developed an interest in Buddhism and Hinduism. He keeps studios in The Netherlands, France and Thailand. As an artist, he increasingly focused on etching and drypoint after in the late 1950s meeting the legendary Dutch printmaker Anton Heyboer, who gave him his first small press. The directness and unforgiving nature of the print techniques appealed more to Montyn than the soft stroke of the paintbrush. In his images, Montyn combines abstracted and representational forms, often personal signs and symbols, to relate spirituality. War, travel and landscape as a projection of human emotion are central to his work. Montyn increasingly used color after initially working mostly in monochromatic earth tones. Montyn has exhibited extensively internationally. His work is in many Dutch, American, French, German, Thai and Japanese museums, including Amsterdam’s Stedelijk Museum, Museum Boymans-van Boymans in Rotterdam and the Museum of Modern Art in New York.
HANNES POSTMA (Dutch, b. 1933)
Hannes Postma built a reputation in Europe in the 1960s with especially his etching and aquatints and lithography. Postma was fascinated with children’s drawings and interested in spontaneous experimentation. The figurative expressionist work inhabited with floating, entangled, bulky figures seemed related to the CoBrA legacy in The Netherlands, and Postma admired CoBrA artists such as Karel Appel and Lucebert as well as Art Brut artist Jean Dubuffet. Postma never belonged to or associated with the CoBrA movement or its members, though, and denies being influenced by them. His later paintings had strong Surrealist, architectural and constructivist tendencies. Postma’s work is in New York’s Museum of Modern Art, the Pasadena (Calif.) Norton Simon Museum, the National Gallery of Canada in Ottawa, Amsterdam’s Stedelijk Museum, Museum Boymans van Beuningen in Rotterdam, the Frans Hals Museum in Haarlem, the Netherlands, the Modern Art Museum and National Museum in Stockholm, Sweden, the Modern Art Museum in Malmö, Sweden, the Kunsthalle in Hamburg, Germany, and many other museums across Europe. His 1999 career retrospective was at Arnhem’s Museum voor Moderne Kunst and the Dordrecht’s Museum, both in The Netherlands.
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Looking for Jan Montyn - landschap ets in great shape? Whoppah! It's yours for €175 or make an offer now. Not happy? Get your money back!
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https://www.whoppah.com/products/jan-montyn-landschap-ets-8U5ECGEWADI1
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Jan Montyn (13 November 1924 – 10 August 2015) was a Dutch artist, specialized in etching. He was best known for his paintings of wars to which he had been an eyewitness. Montyn was born in a conservative Calvinistic family and was raised in Oudewater. In the Second World War he joined the German navy and fought on the eastern front. After the war he lived in France and in the Netherlands. His work is displayed in the Bibliothèque Nationale in Paris, the Museum of Modern Art in New York City and the Museum Boijmans Van Beuningen in Rotterdam. Montyn died on 10 August 2015 in Amsterdam, aged 90. De ets is in een uitstekende conditie en is volledig gesigneerd zie foto. Het is 4/25. De lijst heeft kleine witte puntjes maar dat is makkelijk aan te stippen. Geen grote schade en zeer mooi en professioneel ingelijst.
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https://www.lastdodo.com/en/items/4370323-jan-montijn-irrationeel-probleem
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Irrationeel probleem
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Jan Montijn - Irrationeel probleem from buying, selling or collecting? Manage your Montijn, Jan collection in the catalogue on LastDodo.
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/assets/lastdodo/apple-touch-icon.png
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LastDodo
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https://www.lastdodo.com/en/items/4370323-jan-montijn-irrationeel-probleem
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Jan Montyn is a self-taught artist (painter, draftsman, graphic artist, watercolorist). Born in Oudewater, he lives and works alternately in Amsterdam, the South of France and Bangkok. Although Montyn is best known as a graphic artist, he also drew and painted a lot. As a painter and watercolorist, Montyn created images traditional, figurative style. In 1959 he decided to devote himself entirely to the graphic art because this was the medium most suited to him used to be. Jan Montyn translates human emotion into the line of the landscape. He works out this theme alternately figuratively and abstractly in drawings, etchings and poems. Montyn has made many trips to Asia, Indonesia and the Philippines. These trips are also his greatest inspiration.
This text has been translated automatically from Dutch
Click here for the original text
Jan Montyn is een autodidact kunstenaar (schilder, tekenaar, graficus, aquarellist). Geboren te Oudewater, hij woont en werkt afwisselend in Amsterdam, Zuid-Frankrijk en Bangkok. Hoewel Montyn als graficus het meest bekend is heeft hij ook veel getekend en geschilderd. Als schilder en aquarellist maakte Montyn afbeeldingen in traditionele, figuratieve stijl. In 1959 besloot hij zich geheel te wijden aan de grafische kunst omdat dit het medium was dat voor hem het meest geschikt was. Jan Montyn vertaalt de menselijke emotie in de lijn van het landschap. Hij werkt dit thema afwisselend figuratief en abstract uit in tekeningen, etsen en gedichten. Montyn heeft vele reizen gemaakt naar Azië, Indonesië en de Filippijnen. Deze reizen zijn ook zijn grootste inspiratie.
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Mimosas à Tanneron in Belgium
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Auction, in Belgium: Artist: Jan Montyn (1924-2015)
Type: Painting
Technique: Oil paint on Canvas
Style: Street Art
Subject:...
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LOT-ART
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https://www.lot-art.com/auction-lots/Jan-Montyn-Mimosas-a-Tanneron/515761-jan_montyn-08.5.24-kunstveiling
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[ translate ]
Artist: Jan Montyn (1924-2015)
Type: Painting
Technique: Oil paint on Canvas
Style: Street Art
Subject: Cityscape
Dimensions: 200 cm x 200 cm (unframed)
Frame: cm x cm (framed)
Signed: Unsigned
Condition: excellent
Framed: stretcher
Condition: Schattingswaarde van 9000€
- nn was drafted. In 1948, the couple divorced at her husband's request. She founded a ceramics factory and devoted herself to her art. As the times were not favorable for artistic development, his family helped him. In 1954, she closed her ceramics studio two years after the death of her father-in-law, whose widow decided to provide financially for her grandchildren. Marie Lucie Nessi was then able to devote herself to her painting and
[ translate ]
[ translate ]
Artist: Jan Montyn (1924-2015)
Type: Painting
Technique: Oil paint on Canvas
Style: Street Art
Subject: Cityscape
Dimensions: 200 cm x 200 cm (unframed)
Frame: cm x cm (framed)
Signed: Unsigned
Condition: excellent
Framed: stretcher
Condition: Schattingswaarde van 9000€
- nn was drafted. In 1948, the couple divorced at her husband's request. She founded a ceramics factory and devoted herself to her art. As the times were not favorable for artistic development, his family helped him. In 1954, she closed her ceramics studio two years after the death of her father-in-law, whose widow decided to provide financially for her grandchildren. Marie Lucie Nessi was then able to devote herself to her painting and
[ translate ]
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Jan Montyn (13 November 1924 – 10 August 2015) was a Dutch artist who specialized in etching. He was best known for his paintings of wars to which he had been an eyewitness. Montyn was born in a conservative Calvinistic family and was raised in Oudewater. In the Second World War he joined the German […]
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https://profilebooks.com/contributor/jan-montyn/
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https://www.buecher.de/artikel/buch/a-lamb-to-the-slaughter/21953490/
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A Lamb to the Slaughter
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"Dirk Kooiman",
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Enough agony and adventure for a dozen lives packed into a fastpaced, breathless, often gripping book. Montyn (a successful painter very well served here by novelist-co-author Kooiman and translator Dixon) was born about 1925 to a joyless, conservative, Calvinist family in a Dutch village called Oudewater.
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bücher.de
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https://www.buecher.de/artikel/buch/a-lamb-to-the-slaughter/21953490/
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29,99 €
inkl. MwSt.
Versandkostenfrei*
Versandfertig in über 4 Wochen
Jan Montyn, Dirk Kooiman
A Lamb to the Slaughter
Broschiertes Buch
Jetzt bewertenJetzt bewerten
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Produkterinnerung
Produkterinnerung
Enough agony and adventure for a dozen lives packed into a fastpaced, breathless, often gripping book. Montyn (a successful painter very well served here by novelist-co-author Kooiman and translator Dixon) was born about 1925 to a joyless, conservative, Calvinist family in a Dutch village called Oudewater. This peaceful tedium was shattered by the Nazi occupation. The naive, apolitical Montyn dodged compulsory factory work by volunteering to go to Hitler Youth Camps in Austria, where he and his lover, Hein, were recruited by a femme fatalesecret agent, who got them to sabotage a Nazi supply…mehr
Autorenporträt
Enough agony and adventure for a dozen lives packed into a fastpaced, breathless, often gripping book. Montyn (a successful painter very well served here by novelist-co-author Kooiman and translator Dixon) was born about 1925 to a joyless, conservative, Calvinist family in a Dutch village called Oudewater. This peaceful tedium was shattered by the Nazi occupation. The naive, apolitical Montyn dodged compulsory factory work by volunteering to go to Hitler Youth Camps in Austria, where he and his lover, Hein, were recruited by a femme fatalesecret agent, who got them to sabotage a Nazi supply train. Later Montyn drifted into the German Navy and just missed drowning when his torpedo boat was sunk in the Baltic. From there he was unceremoniously drafted into the Army and shipped to Courland, where he lived through the horrors of the winter of 1944 on the Eastern Front and saw Hein die right before his eyes. Seriously wounded, sent back to Liepaya (his hospital boat was torpedoed), Montyn risked his life by going A.W.O.L. to Holland, returned to Austria, got to Dresden just in time to see it annihilated, fought by the Oder (where he killed a Russian soldier), and finally fled West to surrender to the Americans. In later episodes he escaped the P.O.W. camp, joined the French Foreign Legion, deserted, did time for his Nazi years, fought in the Korean War, led a wild, drunken life in the Dutch Army, ran orgies for his superior officers, had a mental breakdown, escorted war orphans and maimed children from Southeast Asia to Europe and America, was captured and nearly shot by the South Vietnamese after entering Vietnam with the Pathet Lao - among other things. The outline of Montyn's narrative gets ragged and confused toward the end; and, though it does come to a resolution (after a tragic homosexual love and a failed heterosexual affair, he marries happily and has a daughter), the rapid succession of vivid, painful pictures obscures its autobiographical shape. Still, a whirlwind of a story, told with passion and art. (Kirkus Reviews)
Produktdetails
Produktdetails
Verlag: Ips - Profile Books
Seitenzahl: 272
Erscheinungstermin: September 2000
Englisch
Abmessung: 216mm x 140mm x 15mm
Gewicht: 349g
ISBN-13: 9780285626218
ISBN-10: 0285626213
Artikelnr.: 21953490
Verlag: Ips - Profile Books
Seitenzahl: 272
Erscheinungstermin: September 2000
Englisch
Abmessung: 216mm x 140mm x 15mm
Gewicht: 349g
ISBN-13: 9780285626218
ISBN-10: 0285626213
Artikelnr.: 21953490
Jan Montyn and Dirk Ayelt Kooiman
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https://www.artpeers.de/en/items/jan-montyn-rayon/505072
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Jan Montyn - RAYON sold! View the auction result.
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Jan Montyn - RAYON sold! View the auction results or view the current auction offer. ✓Buy & Sell
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/favicon.ico
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https://www.artpeers.de/artikel/jan-montyn-rayon/505072
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Every Monday a Special
Every Monday evening a Special auction ends focusing on a particular artist or theme. Would you like to participate as a seller? That is possible! You will find more information here.
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https://www.mutualart.com/Artist/Jan-Montijn/512F0EBBDF69AC0C/Biography
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Jan Montijn
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Learn more about Jan Montijn (Dutch, 1924 - 2015). Read the artist bio and gain a deeper understanding with MutualArt's artist profile.
|
en
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https://www.mutualart.com/Artist/Jan-Montijn/512F0EBBDF69AC0C/Biography
|
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Watch Love me or leave me Online | Vimeo On Demand
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2024-08-12T07:19:37-04:00
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Director: Jan Louter | 2004 | documentary | art / history | 71 minutes | LOVE ME OR LEAVE ME is a documentary film about the Dutch etcher and painter Jan Montyn…
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https://i.vimeocdn.com/favicon/vod-touch_180
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https://vimeo.com/ondemand/lovemeorleaveme2
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Video marketing
Power your marketing strategy with perfectly branded videos to drive better ROI.
Event marketing
Host virtual events and webinars to increase engagement and generate leads.
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Family tree of Jan MONTYN
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Montyn was born in a conservative Calvinistic family. In the Second World War he joined the German navy and fought on the eastern front. He currently lives in France and in the Netherlands. His work is displayed in the Bibliothèque Nationale in Paris, the Museum of Modern Art in New York and the Museum Boijmans Van Beuningen in Rotterdam.
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Painter
Born Jan MONTIJN
Dutch artist
Born on November 13, 1924 in Oudewater, Nederland (99 years)
This form allows you to report an error or to submit additional information about this family tree: Jan MONTYN (1924)
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Jan Montyn
Jan Montyn was born in Oudewater in 1924, where he spent a carefree childhood as part of a large, close-knit, orthodox Protestant family.
As a 17 year-old in the Second World War, attracted purely by the promise of adventure, he became a member of the Jeugdstorm (Dutch National Socialist Youth Movement), and participated in two Weersportkamps (Endurance Camps) in Austria. In order to escape the Arbeitseinsatz (forced labour) and the restrictiveness of Oudewater, he joined the German navy in mid-1944. In the Baltic Sea, his ship was sunk by a torpedo attack, and he barely survived. He was transferred to the trenches in Courland, where he was wounded. Upon his recovery, he was bussed to the front line at Oder, where he witnessed the bombing of Dresden first-hand. When the Russians crossed the Oder, he fled to West Germany where he was eventually captured by the Americans. He managed to escape to Marseille, where he joined the Foreign Legion. After a short period with the Foreign Legion, he deserted and gave himself up in Straatsburg. In August 1945, he was transferred to the camp in Vught, and then on to the Duindorp camp in Scheveningen. He was sentenced to three years’ internment: firstly in the re-education camp in Katwijk, and later in Nunspeet. At weekends, he would return home to Oudewater or visit the artists’ bars on the Leidseplein in Amsterdam. He returned to Oudewater in May 1948.
However, once again, Oudewater proved too restrictive and suffocating for him, and he signed up for military service with the UN. After undergoing commando training, he was shipped to Korea, where his love affair with the Far East, particularly South-East Asia, began. He was wounded while serving on the front line. After his recovery, he was once again wounded, and admitted to a hospital in Tokyo with partial paralysis. After his rehabilitation from this latest war wound, he was transferred back to the Netherlands, whereupon he returned to Oudewater.
However, after a while, he realised that he had completely outgrown Oudewater and decided to become a professional soldier, accepting a post as instructor for the infantry division of the Dutch Army. Physically, he was in top condition, but his experiences at war had taken a toll on his psychological well-being, and he suffered from fits of rage. During this period, he also began to sketch more and more. After a while, he was given the task of setting up a museum for the Dutch Grenadier Guards. As curator of the museum, Montyn led a double life. By day, he tended to the museum, but by night, he would organise wild parties, orgies and drinking binges. His rage attacks got worse, and he was eventually admitted to a psychiatric institution in Utrecht. He brought his psyche back into balance by writing extensively about his experiences. In April 1957, he was declared unfit for service and discharged from the armed forces.
He then set up home in Amsterdam, on the Oudezijds Kolk, where he lived on the fringes of the art world. He made friends with Anton Heyboer, who instilled Montyn with his passion for sketching and showed him numerous techniques. This expressive medium and refined techniques were perfectly suited to Montyn, and together with Heyboer, he embarked upon a long journey through France, Spain and Morocco.
In 1961, Montyn met the young artist Thom Gerrard. They then moved to Morocco, living and working in Rabat for nine months. Upon returning to the Netherlands, they went their separate ways. Tragically, just after Montyn’s first solo exhibition in 1963, Thom took his own life.
In mid-1963, Montyn met Elja Julien, with whom he moved to Provence in 1964. With his own two hands, he renovated a tumbledown building for the couple to live in. It had no running water or electricity, but it did have a studio, which he used to create his etchings. His use of colours became more and more pronounced, and his first series of etchings flowed onto the canvas. He was featured in numerous exhibitions. He then embarked with Elja on journeys through Spain, Morocco, the Sahara Desert and the Atlas Mountains. Together with Elja, he accompanied his first child-refugee transit from South Korea. The couple broke up towards the end of the 1960s.
This marked the beginning of six years of long journeys, often for months at a time. Thailand, Laos, Cambodia and Vietnam became homes from home. Montyn travelled through rainforests, across hills, through valleys and along and across the Mekong river. He travelled through war zones, such as the Plain of Jars, Hué, Haiphong, Saigon, Hanoi and the tunnels of Cu Chi. He was caught in air raids, and he stood eye-to-eye with the Vietcong. He combined these extreme circumstances with temple retreats and with rest & recuperation in Bangkok. On his travels, he would create sketches and paintings, and back at his house in France, he would translate his experiences into etchings. The powerful etchings that he created during this period portrayed subjects such as war, air raids and casualties, but also the serenity of the temples, the mystic quality of the landscape and the burning desire for liberation. They were years of intense contrast: the tension and emotion of South-East Asia, hard work in Provence, and the worldliness of Amsterdam and Paris and the countless other cities in which his work was exhibited.
After the fall of Saigon in 1975, enough was enough for Montyn, and he returned to Europe. In Amsterdam, he met Hi-en Tjia, who he would marry later that same year. The two of them embarked on many journeys together, and the touring party was increased to three with the birth of their daughter Carolynne. They travelled far and wide, to Morocco, Korea, Japan, the Philippines, Thailand, Cambodia and Indonesia.
It was at this period that the Khmer Rouge came to power. Once again, Montyn offered his services as a volunteer to humanitarian organisations. He illegally crossed the Mekong, citing his work as an artist as his motivation. He met Roumpha, ‘the Khmer Rouge girl’, via whom he came into proximity with the regime. He witnessed the waves of refugees fleeing Poipet, and visited the refugee camps on the border with Thailand, such as Khao-I-Dang. He witnessed the cruelty that took place in the Tuol Sleng torture camp in Phnom Penh, and the suffering of the victims of the omnipresent landmines, both in the forests and in the fields. He assisted in the transportation of child refugees and the supply of medication for Doctors without Borders, and also worked to clear land mines. His knowledge of the country also enabled him to help track many missing persons for Amnesty International.
When the military regime took power in Burma, causing a desperate shortage of medicines, he participated in many illegal shipments of medication. In this capacity, he was once again confronted with floods of refugees and the camps in Mae Sot, on the Thai border with Burma. This was once again a period of extreme contrast, with the tension and humanitarian crisis in Cambodia and Burma interchanging with relaxation in Bangkok and family and work life in Amsterdam and Provence. The sketches and etchings that he created during this period have a completely unique style of imagery and their overwhelming power of expression is hugely impressive.
In the second half of the 1990s, the situation in South-East Asia had calmed. However, Montyn continued to travel through Asia, accompanied by his trusty sketch pad, pencil, paintbrush and water colours. He recorded the experiences of his travels at home via his etchings, using his own unique imagery and his characteristic colour scheme.
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Buy art from Jan Montyn? View the current auction offer. Kunstveiling is the largest online art platform in the Netherlands. ✓Competitive Prices
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https://www.kunstveiling.nl/kunstenaar/jan-montyn/64VBfl1bwWwa06M0ASkeAE
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Would you like to buy a work of art by Jan Montyn? View the current auction offer and bid on beautiful and unique works of art by Jan Montyn. Buying affordable and exclusive art from Jan Montyn and other recognized artists is fun, accessible and within reach via Kunstveiling. Discover all artworks by Jan Montyn for sale at Kunstveiling and get your own Jan Montyn!
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Through Kunstveiling you can buy unique works of art by Jan Montyn and other recognized artists at auction prices. Buying art from Jan Montyn through Kunstveiling is accessible, transparent and accessible. Many new works of art are placed in the auction every day, from modern paintings to old prints and from sculptures to design and jewelry . You can easily adjust the offer to your own wishes and you will be automatically put in contact with the seller if you are the highest bidder after the auction. At Kunstveiling you only pay 15% auction costs on the hammer price. This is already indicated when you place a bid, so that you will never be faced with surprises afterwards.
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Jan Montyn
Jan Montyn was born in Oudewater in 1924, where he spent a carefree childhood as part of a large, close-knit, orthodox Protestant family.
As a 17 year-old in the Second World War, attracted purely by the promise of adventure, he became a member of the Jeugdstorm (Dutch National Socialist Youth Movement), and participated in two Weersportkamps (Endurance Camps) in Austria. In order to escape the Arbeitseinsatz (forced labour) and the restrictiveness of Oudewater, he joined the German navy in mid-1944. In the Baltic Sea, his ship was sunk by a torpedo attack, and he barely survived. He was transferred to the trenches in Courland, where he was wounded. Upon his recovery, he was bussed to the front line at Oder, where he witnessed the bombing of Dresden first-hand. When the Russians crossed the Oder, he fled to West Germany where he was eventually captured by the Americans. He managed to escape to Marseille, where he joined the Foreign Legion. After a short period with the Foreign Legion, he deserted and gave himself up in Straatsburg. In August 1945, he was transferred to the camp in Vught, and then on to the Duindorp camp in Scheveningen. He was sentenced to three years’ internment: firstly in the re-education camp in Katwijk, and later in Nunspeet. At weekends, he would return home to Oudewater or visit the artists’ bars on the Leidseplein in Amsterdam. He returned to Oudewater in May 1948.
However, once again, Oudewater proved too restrictive and suffocating for him, and he signed up for military service with the UN. After undergoing commando training, he was shipped to Korea, where his love affair with the Far East, particularly South-East Asia, began. He was wounded while serving on the front line. After his recovery, he was once again wounded, and admitted to a hospital in Tokyo with partial paralysis. After his rehabilitation from this latest war wound, he was transferred back to the Netherlands, whereupon he returned to Oudewater.
However, after a while, he realised that he had completely outgrown Oudewater and decided to become a professional soldier, accepting a post as instructor for the infantry division of the Dutch Army. Physically, he was in top condition, but his experiences at war had taken a toll on his psychological well-being, and he suffered from fits of rage. During this period, he also began to sketch more and more. After a while, he was given the task of setting up a museum for the Dutch Grenadier Guards. As curator of the museum, Montyn led a double life. By day, he tended to the museum, but by night, he would organise wild parties, orgies and drinking binges. His rage attacks got worse, and he was eventually admitted to a psychiatric institution in Utrecht. He brought his psyche back into balance by writing extensively about his experiences. In April 1957, he was declared unfit for service and discharged from the armed forces.
He then set up home in Amsterdam, on the Oudezijds Kolk, where he lived on the fringes of the art world. He made friends with Anton Heyboer, who instilled Montyn with his passion for sketching and showed him numerous techniques. This expressive medium and refined techniques were perfectly suited to Montyn, and together with Heyboer, he embarked upon a long journey through France, Spain and Morocco.
In 1961, Montyn met the young artist Thom Gerrard. They then moved to Morocco, living and working in Rabat for nine months. Upon returning to the Netherlands, they went their separate ways. Tragically, just after Montyn’s first solo exhibition in 1963, Thom took his own life.
In mid-1963, Montyn met Elja Julien, with whom he moved to Provence in 1964. With his own two hands, he renovated a tumbledown building for the couple to live in. It had no running water or electricity, but it did have a studio, which he used to create his etchings. His use of colours became more and more pronounced, and his first series of etchings flowed onto the canvas. He was featured in numerous exhibitions. He then embarked with Elja on journeys through Spain, Morocco, the Sahara Desert and the Atlas Mountains. Together with Elja, he accompanied his first child-refugee transit from South Korea. The couple broke up towards the end of the 1960s.
This marked the beginning of six years of long journeys, often for months at a time. Thailand, Laos, Cambodia and Vietnam became homes from home. Montyn travelled through rainforests, across hills, through valleys and along and across the Mekong river. He travelled through war zones, such as the Plain of Jars, Hué, Haiphong, Saigon, Hanoi and the tunnels of Cu Chi. He was caught in air raids, and he stood eye-to-eye with the Vietcong. He combined these extreme circumstances with temple retreats and with rest & recuperation in Bangkok. On his travels, he would create sketches and paintings, and back at his house in France, he would translate his experiences into etchings. The powerful etchings that he created during this period portrayed subjects such as war, air raids and casualties, but also the serenity of the temples, the mystic quality of the landscape and the burning desire for liberation. They were years of intense contrast: the tension and emotion of South-East Asia, hard work in Provence, and the worldliness of Amsterdam and Paris and the countless other cities in which his work was exhibited.
After the fall of Saigon in 1975, enough was enough for Montyn, and he returned to Europe. In Amsterdam, he met Hi-en Tjia, who he would marry later that same year. The two of them embarked on many journeys together, and the touring party was increased to three with the birth of their daughter Carolynne. They travelled far and wide, to Morocco, Korea, Japan, the Philippines, Thailand, Cambodia and Indonesia.
It was at this period that the Khmer Rouge came to power. Once again, Montyn offered his services as a volunteer to humanitarian organisations. He illegally crossed the Mekong, citing his work as an artist as his motivation. He met Roumpha, ‘the Khmer Rouge girl’, via whom he came into proximity with the regime. He witnessed the waves of refugees fleeing Poipet, and visited the refugee camps on the border with Thailand, such as Khao-I-Dang. He witnessed the cruelty that took place in the Tuol Sleng torture camp in Phnom Penh, and the suffering of the victims of the omnipresent landmines, both in the forests and in the fields. He assisted in the transportation of child refugees and the supply of medication for Doctors without Borders, and also worked to clear land mines. His knowledge of the country also enabled him to help track many missing persons for Amnesty International.
When the military regime took power in Burma, causing a desperate shortage of medicines, he participated in many illegal shipments of medication. In this capacity, he was once again confronted with floods of refugees and the camps in Mae Sot, on the Thai border with Burma. This was once again a period of extreme contrast, with the tension and humanitarian crisis in Cambodia and Burma interchanging with relaxation in Bangkok and family and work life in Amsterdam and Provence. The sketches and etchings that he created during this period have a completely unique style of imagery and their overwhelming power of expression is hugely impressive.
In the second half of the 1990s, the situation in South-East Asia had calmed. However, Montyn continued to travel through Asia, accompanied by his trusty sketch pad, pencil, paintbrush and water colours. He recorded the experiences of his travels at home via his etchings, using his own unique imagery and his characteristic colour scheme.
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Jan Montyn
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Jan Montyn was a Dutch artist, specialized in etching. He was best known for his paintings of wars to which he had been an eyewitness.
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https://www.wikiwand.com/en/Jan_Montyn
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Jan Montyn (13 November 1924 – 10 August 2015) was a Dutch artist, specialized in etching. He was best known for his paintings of wars to which he had been an eyewitness.[1]
Montyn was born in a conservative Calvinistic family and was raised in Oudewater. In the Second World War he joined the German navy and fought on the eastern front. After the war he lived in France and in the Netherlands. His work is displayed in the Bibliothèque Nationale in Paris, the Museum of Modern Art in New York City and the Museum Boijmans Van Beuningen in Rotterdam.
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Famous Writers from Netherlands
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"Reference"
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2011-07-28T00:00:00
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List of famous writers from Netherlands, listed alphabetically with photos when available. Netherlands is home to many prolific writers, including those who ...
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/img/icons/touch-icon-iphone.png
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Ranker
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https://www.ranker.com/list/famous-writers-from-netherlands/reference
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Albert Cornelis "Appie" Baantjer (16 September 1923 – 29 August 2010) was a Dutch author of detective fiction and police officer. He is mainly known for his large series of detective novels revolving around police inspector De Cock (also translated as DeKok) and his side-kick, sergeant Vledder. The name of the protagonist simply means "cook" in Dutch, but has an unusual spelling which is at the heart of a running gag that involves De Cock spelling out his name every time he introduces himself to someone. The novels have spin-offs in the form of a motion picture and a long-running TV-series entitled Baantjer. Both are named after the author, rather than the main character(s). This led to screenwriter Berend Boudewijn's bitter statement in a Dutch TV guide (VPRO Gids, 11 November 2005) that "Baantjer is the only TV series in the world that is named after a writer, even though it is not written by him." (This is not entirely true: The Belgian TV series Aspe is also named after its writer, Pieter Aspe, who wrote the first season but not the second.) Baantjer's novels have made their way into the English language through the publishing house Speck Press. De Cock's name has been translated as DeKok. There are approximately 23 of the 60 published Baantjer titles available in English. His books have also been translated into Spanish, French, Russian and Korean and Estonian.
Rembrandt Harmenszoon van Rijn (, also US: , Dutch: [ˈrɛmbrɑnt ˈɦɑrmə(n)soːn vɑn ˈrɛin] (listen); 15 July 1606 – 4 October 1669) was a Dutch draughtsman, painter and printmaker. An innovative and prolific master in three media, he is generally considered one of the greatest visual artists in the history of art and the most important in Dutch art history. Unlike most Dutch masters of the 17th century, Rembrandt's works depict a wide range of style and subject matter, from portraits and self-portraits to landscapes, genre scenes, allegorical and historical scenes, biblical and mythological themes as well as animal studies. His contributions to art came in a period of great wealth and cultural achievement that historians call the Dutch Golden Age, when Dutch art (especially Dutch painting), although in many ways antithetical to the Baroque style that dominated Europe, was extremely prolific and innovative, and gave rise to important new genres. Like many artists of the Dutch Golden Age, such as Jan Vermeer of Delft, Rembrandt was also an avid art collector and dealer. Rembrandt never went abroad, but he was considerably influenced by the work of the Italian masters and Netherlandish artists who had studied in Italy, like Pieter Lastman, the Utrecht Caravaggists, and Flemish Baroque Peter Paul Rubens. Having achieved youthful success as a portrait painter, Rembrandt's later years were marked by personal tragedy and financial hardships. Yet his etchings and paintings were popular throughout his lifetime, his reputation as an artist remained high, and for twenty years he taught many important Dutch painters.Rembrandt's portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible are regarded as his greatest creative triumphs. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity. Rembrandt's foremost contribution in the history of printmaking was his transformation of the etching process from a relatively new reproductive technique into a true art form, along with Jacques Callot. His reputation as the greatest etcher in the history of the medium was established in his lifetime and never questioned since. Few of his paintings left the Dutch Republic whilst he lived, but his prints were circulated throughout Europe, and his wider reputation was initially based on them alone. In his works he exhibited knowledge of classical iconography, which he molded to fit the requirements of his own experience; thus, the depiction of a biblical scene was informed by Rembrandt's knowledge of the specific text, his assimilation of classical composition, and his observations of Amsterdam's Jewish population. Because of his empathy for the human condition, he has been called "one of the great prophets of civilization". The French sculptor Auguste Rodin said, "Compare me with Rembrandt! What sacrilege! With Rembrandt, the colossus of Art! We should prostrate ourselves before Rembrandt and never compare anyone with him!" Vincent van Gogh wrote, "Rembrandt goes so deep into the mysterious that he says things for which there are no words in any language. It is with justice that they call Rembrandt—magician—that's no easy occupation."
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Amazon.com: Jan Montyn: books, biography, latest update
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Follow Jan Montyn and explore their bibliography from Amazon.com's Jan Montyn Author Page.
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Amazon.com
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https://www.amazon.com/stores/author/B001HOF90Y
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https://www.wikidata.org/wiki/Q2109541
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Jan Montyn
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Dutch artist (1924-2015)
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Dutch artist (1924-2015)
Jan Montijn
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https://www.ranker.com/list/famous-artists-from-netherlands/reference%3Fpage%3D6
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Famous Artists from Netherlands
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[
"Reference"
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2011-07-28T00:00:00
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List of the most popular artists from Netherlands, listed alphabetically with photos when available. For centuries artists have been among the world's most ...
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en
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/img/icons/touch-icon-iphone.png
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Ranker
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https://www.ranker.com/list/famous-artists-from-netherlands/reference
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List of the most popular artists from Netherlands, listed alphabetically with photos when available. For centuries artists have been among the world's most important people, helping chronicle history and keep us entertained with one of the earliest forms of entertainment. You might also be interested in Vincent Van Gogh's tortured life and weird personal quirks of iconic artists. Whether they're known for painting, sculpting, etching or drawing, the famous Dutch artists on this list have kept that tradition alive by creating renowned pieces of art that have been praised around the world. You can find useful information below about these notable Dutch artists, such as when they were born and where their place of birth was.
List features Bernard de Hoog, Anton Mauve and more.
This list answers the questions, "Which famous artists are from Netherlands?" and "Who are the most well-known Dutch artists?"
For further information on these historic Dutch artists, click on their names. If you're a fine art lover use this list of celebrated Dutch artists to discover some new paintings that you will enjoy.
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Sims Funeral Home provides funeral, memorial, aftercare, pre-planning, and cremation services to our community and the surrounding areas.
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https://www.mutualart.com/Artist/Jan-Montijn/512F0EBBDF69AC0C
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200 Artworks at Auction
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[
"Jan Montijn"
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Stay up to date with Jan Montijn (Dutch, 1924 - 2015) . Discover works for sale, auction results, market data, news and exhibitions on MutualArt.
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https://www.mutualart.com/Artist/Jan-Montijn/512F0EBBDF69AC0C
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Jan Montijn was a Dutch artist who was born in 1924. Kunsthal Rotterdam featured Jan Montijn's work in the past.Jan Montijn's work has been offered at auction multiple times, with realized prices ranging from 12 USD to 5,663 USD, depending on the size and medium of the artwork. Since 1998 the record price for this artist at auction is 5,663 USD for paradis terrestre, sold at Sotheby's Amsterdam in 2007. The artist died in 2015.
Artist's alternative names: Jan Montyn
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https://www.kunstveiling.nl/en/artist/jan-montyn/64VBfl1bwWwa06M0ASkeAE
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Buy art from Jan Montyn?
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] | null |
[
"Jan Montyn"
] | null |
Buy art from Jan Montyn? View the current auction offer. Kunstveiling is the largest online art platform in the Netherlands. ✓Competitive Prices
|
en
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/favicon.ico
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https://www.kunstveiling.nl/kunstenaar/jan-montyn/64VBfl1bwWwa06M0ASkeAE
|
Would you like to buy a work of art by Jan Montyn? View the current auction offer and bid on beautiful and unique works of art by Jan Montyn. Buying affordable and exclusive art from Jan Montyn and other recognized artists is fun, accessible and within reach via Kunstveiling. Discover all artworks by Jan Montyn for sale at Kunstveiling and get your own Jan Montyn!
Follow Jan Montyn's offer of art for sale
Would you like to be kept informed of new offers from Jan Montyn for sale? You can set Jan Montyn as your favorite artist via your personal Art Auction account. You will be notified by e-mail when new Jan Montyn works of art are placed in the auction. In addition, you can easily view all works of art by your favorite artists via your personal account. That way you will never miss out on a new item in the auction and you can easily buy art from Jan Montyn!
For example, also view the range of works of art by Karel Appel , Anton Heyboer and Klaas Gubbels in the auction.
Why buy art by Jan Montyn through Kunstveiling?
Through Kunstveiling you can buy unique works of art by Jan Montyn and other recognized artists at auction prices. Buying art from Jan Montyn through Kunstveiling is accessible, transparent and accessible. Many new works of art are placed in the auction every day, from modern paintings to old prints and from sculptures to design and jewelry . You can easily adjust the offer to your own wishes and you will be automatically put in contact with the seller if you are the highest bidder after the auction. At Kunstveiling you only pay 15% auction costs on the hammer price. This is already indicated when you place a bid, so that you will never be faced with surprises afterwards.
In addition, you can also sell art by Jan Montyn or other recognized artists yourself via Art Auction. You can read more about selling art on the Selling Art page.
How do I make an offer on a work of art by Jan Montyn?
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https://www.naijanews.com/buzz/people/career-biography-and-origin-of-the-personality-jan-montyn/
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Career, biography and origin of Jan Montyn
|
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2024-01-27T12:36:57+00:00
|
When was celebrity Jan Montyn born ? Celebrity Jan Montyn's date of birth is October 20, 1924. Learn more about Jan Montyn What is the origin of the
|
en
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Buzz
|
https://www.naijanews.com/buzz/people/career-biography-and-origin-of-the-personality-jan-montyn/
|
Jan Montyn, famous Dutch artist, was born on June 28, 1924 in Oudewater. After surviving World War II, Montyn enlisted in the Dutch Indian Colonial Army where he encountered the brutality of Indonesia’s War of Independence. These experiences had a profound impact on the artist, who began to express his feelings and memories in his paintings. His unique style combining realism and expressionism quickly attracted the attention of art critics and the public.
Montyn then became internationally known through his exhibitions and his series of books, notably “Black Blood”, where he recounts his experiences of the war. His works have been applauded for their ability to capture the essence of human suffering while expressing hopes for peace and reconciliation. Today, Jan Montyn is recognized as one of the greatest contemporary Dutch artists, and his artistic legacy continues to inspire and fascinate future generations.
Jan Montyn is a Dutch-born celebrity who distinguished himself in the art world as a painter and writer. Born in 1924 in The Hague, Montyn demonstrated exceptional artistic talent from an early age. After studying at the Academy of Fine Arts in Rotterdam, he gained notoriety thanks to his unique style, mixing realism and abstraction. But the story of Jan Montyn is not limited to his artistic talent. During the Second World War, he was conscripted into the Waffen-SS, an experience which had a profound impact on his life and work. His war years were marked by violence and tragedy, and influenced his dark and complex artistic vision.
Over the decades, Montyn has exhibited his works in numerous museums and galleries around the world, and has received numerous awards and recognitions for his work. Alongside his artistic career, he also became known as a writer, publishing several books in which he recounts his war memories and his passion for art. Jan Montyn is today considered one of the most important artists of his generation, and his work continues to inspire many art lovers around the world. His tumultuous life, his unique experiences and his incomparable artistic talent make him an essential figure in the contemporary art scene.
Jan Montyn is a renowned Dutch artist, famous for his landscape paintings and works inspired by World War II. Born October 20, 1924 in The Hague, Netherlands, he was the son of Hendrik Montyn and Maria van den Berg. The Montyn family were from the working class and lived modestly. During the war, Jan Montyn joined the Dutch navy to escape the difficulties of daily life under German occupation. After the war, he pursued his passion for art and studied at the Royal Academy of Fine Arts in Amsterdam.
Montyn became particularly influenced by the horrors of war and began creating works that reflected human suffering and the scars of violence. His style was often described as abstract expressionism, with rapid, powerful brushstrokes that helped convey a sense of urgency and raw emotion. Over the years, Montyn gained recognition and exhibited his works across Europe and even the United States. He died on November 29, 2015 in Amsterdam, leaving behind an impressive artistic legacy that has earned him a place in contemporary art history.
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https://www.cia.gov/readingroom/document/cia-rdp13x00001r000100300004-7
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OSS CORRESPONDENCE REGARDING PERSONNEL ACTIONS/DISPOSITION OF GERMAN TROOPS IN FRANCE AND ITALY/OSS ASSESSMENTS ON THE FUTURE OF CHINA
|
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https://www.cia.gov/readingroom/document/cia-rdp13x00001r000100300004-7
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t' " -'tfikkjgwi 1-44'� golgiceonatstgamio"-*'"'""fo�Vifftm-iff,,2 �� ;fora.% `v:LV.C14 tr, � .4�.."*!"- Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 7 Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 COPY FOR COL. DONOVAN'S FILES Mr. Frederic Dolbeare Hugh R. Mason "Paulv' Jan, 23, �L943 Replying to your memorandum of January 19, I quote herewith a memorandum left on my desk by David King: "I spoke to B. about our friend D. last night. Apparently everything is arrangrd. D. will proceed to North Africa on or about the 15th of February and report to Girauds I asked 13. to arrange It so that D. could also keep in contact with Bill bAdy as I have a shrewd suspicion he may be useful to us over there. B. said he would so arrange its:1 Regarding money we should meet his necessities generously. Try and work this out in a way satisfactory to him. In regard to his code you might ask him whether he wants to risk taking this with him or whether he would like us to transmit it to Eddy. Please instruct him when he prenents himself to Eddy to say that he is "Paul". If he departs before we have time to t;et a letter to iddy we must send a cable stating that faul has been working for us and that a full account of his activities will follow by mail. When this Paul send me a draft- ritirrt \ok LN,44( �ZA\�): um Jan in ardor e, URW:00 has all been morked out between you and notice of your arranoments and I will to Eddy for the Colonel's siGnature. id to t he send our copy of the material to can be certain that ho is playing " 'Y1 lit IF rtr cmr Hueh R. ilson 11111111111111.11===.111111111163adal Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 e1s1ftpeanu Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 rim)yoi � souserawasarsmossiLlOginalrIPSI OM] (14339,imbroart.....� 3' � ���� ..........amailaW141410tV244.10401"aitrumes laraw..h.r.amadimeMiltliriNGVI62151131430104 OFFICE OF STRATEGIC SERVICES WASHINGTON. D. C. January 6, 1943 MEMORANDUM F04 COLONEL DONOVAN: The French General Staff in peace times contains a section known as the Second Bureau, which is the information section. A subdivision of that section is known as the "Research Section," The "Research Section" carries out all clandestine activities, in other words, operates a secret service. At the outbreak of war the "Research Section" becomes the Fifth Bureau and is commanded by a Staff Officer. It operates in war time completely separated from the Second Bureau, the latter continuing its functions of collection of information through attaches and other legitimate means. With the collapse of France in 1940 the personnel of the Fifth Bweau severed itself from the Army and set up a secret service of its own under the former com- mander of the Fifth Bureau. This commander has expressed the sentiment that as far as he and his men are concerned the war is not over and will not be over until the last German has left French territory. 01-64 There e in Washington a representative of this SECRET Declassified and Approved For Release 2013/07/31: CIA-RDP13X000n1 Rnnn-inrywIrw14 � It u ss � sleitos% Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 71177.;:6:i�..c;! � � (+. bidden Fifth Bureau. He is a Fronoh professional Army officer, a mein of character and integrity, who will obey implicitly the orders of his former and present oommander. This representative was established in Washington and, under direct inetruetiona from his chief in Frame, established connection with the American Army, speeifi- cally G-2, From time to time this representative fur- nished information to Colonel Donovan's representative, which was in turn paesed on to G-2 and officers of the latter establiehment have often expressed their appre- ciation of the information furnished. I append herewith a copy of a report as an example of the type of material furniuhod. On the breach of reintione with Vichy the military personnel of the French Embansy waa interned at Hershey and the Frenchman in question accompanied his eolleagues in this internment. It had been the intention of the OSS eventually to bring about the release of the French- man, to endeavor to reestablish his contact with France, and to utilize his services either in the United Stutaa or in North Africa to maintain this contact. Paren- thetically, lb is believed that if this contact could be reeetablished it would be much more unique and valuable now than it was before the ocoupstion of the whole) of France. 1ZI: misms=ammemill111111112g11 Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 MEN Declassifiecland48.k.ggTed For Release 2013/07/31 : 4-4 _CIA-RDP13X00001 f 11 ' � ';'.1! R000100300001-0 04-1va..1, How:ever, It wag disoovered at the State Department that Ube President had interestedhlimmelt in the matter and had ordered adversely in the ORO@ of the Frenehman in question. Atter talking with Colonel Donovanp Mr. Hugh Wilson then oaIled on Admiral Leahy to explain the situation. Admiral Leahy rogigested to know more speoifloally wheWer gn order had been issued from the White House And in what form. M. Wlon investigated again in the 3tote Depart- ment And WIAA informed thgt g letter had boon written by the Vresident to Mr. Oumnor WeLloo instruoting bhat this Frenahmen should be returned to Viohy and Admiral LAghy WW1 do informed, 4ubdoquently, Aamtria Leahy inrormed Mr. Cation that he wall0'0111 emleavorink: to and out the reanon tor alio ordor but ao fluo withogt puciONipo k Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001Rnnninn-4nnnn1 (-1 , OOPY Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 777�'1177P' Nt� tn.... , n.. 1....nWril� 4.1.$1,400.14.4.14�44 - - 2 Oat. 42 DEPLOIZONT AVIATION ALLEMAND DROUT JUIN Nate --fl fly i eu pour Ainol dIro pas do ehangemonts dopuis (lotto date. FRONT OCC.IDENTAI0 A) COMMANDO= Le Mar. SHAME aommunde la IIIe Flotte airienne et dim poso do: 0e) corps aerion 4 COMPlEONE un groupomont do ohadoo un oommandoment deo operations on ATLANTILtUE du aootour aud do la Mor du NORD En outre ii oxioteralt un le oorps aorton indepondant ot groupant touted 1ed formai:lona de ()hada() do nult. D) DEPLOIXUNT AaINN Lea groupeo: 3 1 26, 2/K0 56, 100 (no dont pout ;tro plum our le front 000idental?) Lod grouped 2/KG 77 (4. RENNE8?), VICO 77 (BEAUVAIS?) vonant tous les doux do la Meditorrane� Le groupo 2/1(0 40 (peuatre partl pcur Extreme Nord?) Lo 3/K0 40 aomportant 3 osoadrilles dont deux on Vritnoo I_' C 1 " C Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 Irk 4 -44ss's .f4 � Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 t It (la Se 41, BORDEAUX, lo 94) .1% ORLEANS..BRIGY) Le groupe do destruotion 210 a quitt4 TOURS pour le front Oriental. LIEeeadre de bombardement No. 2(KG2) eat en France et Belgique. Le 111 group� on Belgique ou Hollande Le 2� - yore GAND Le 3� - en Fr4nee ou Belgique (7 Or.de ( Bombardt Un reaum(aur la front occidental: 11,500 appare11a(10 a 12 do ( Ohasse (3 Chao de Nuit UNIT4S D1ERGAN2,1JNG 5 ()Toupee en France: 4/KG4 AVORD 300 BRETIONY 40� - ORLEANS-ERICY 55 OISON 77 - BOUROES (pout etre LAPONI1Let NORVEGE du NORD V Plotte: G. TUMPF pOrti pour Belgique MiDITERHANEE Lee effeetifa paraisaent devenus idort1qUo it claw( de l'hiver dernier Boit onvirone 650 appal-calls. MON Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001Rnnn1nnqnnnni n � � 3p,41, 1 4 , - Declassified and Approved For Release 2013/07/31 CIA-RDp,13X00001R020.100300001-0 - --144 ,413ViTrwtt .� � , " oil .11,11,1; , ._ .., - ....., ...... ....�..... ,. ....,... -... ....., .. ,....,.......... -.. Avon IIi4I!I. Group@ do Bombordomonti 1/06 1/54 006 006 Clroupo da DootruotIon: 3/20 Group Bombt on plquo 0/2 Group do Ohommo do Nuit 1/0 ill000cipltloo do room., noanooti loIntianoo 1/120 2/102 0/123 3/090.D Li Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 t4;!ir.:1, German Battle Order.. July - August. I Panzer Division. The 7th should have left the middle of August and is probably in Russia. The 5th is at Rennes The 10th is at Amiens and may have been divided. II. Infantry A.O.K, No XV 712th at Gand since the end of February. 304bhatBruges. ? at Bergues. More precise information will be given in the next 340th (at Ostende) in the process of being motorized. 106th at Boulogne. 321th Montreuil. 302nd at Dieppe. 332nd at Le Havre. 711th at Lisieux, 716th at Caen. 320th at CotentLn. 319th at Coutances. A.O.K. No VII 709th at Lamballe. 17th at Loudeac in the process of being motorized. 325th at Brest. 333th at Auray SECRE Ne 4 NAIFYIK4 Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 12, � ittlasetiesi A.O.K. No 1. 327th at La Rochelle, 708th at Royan 15th at Liebonne on the point of leaving. 715th at les Landed and may have been divided. III S.S. Divisions "Das Reich a Le Mans. "Adolphe Wtler" is between Le Mans and Vel.sailles. These two divisions arrived from the Russian front about the middle of July. IV Miscellaneous. The 337th Division is probably in the region of Dinan. A division is prdbribly being formed between Nevers and Dijon. A Parachute Divisidn is at Avranches and is one the point of departure. The "Goering" regiment is at Loudeac. Middle of Alaust. The constitution of these newly formed German divisions and perha.os even of all the divisions o4 the Russian front,has been changed. These divisions now have only two Infantry regiments. The Artillery regiments on the contrary will be increa:)ed. The 340th Division is at Ostende. (2 regiments of infantry artillery ...... next word illegible) IMOMIMMINIM and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 eT.-Ti.fc�-wo Arm 41 61710411411..1....1164 II July $ Numerous am* of raliablo Intermmtion indicator le Dofoneo coustruetion is being pushod oh tho *met and in *relit depth toward the interior of the occupiod sone. g� Daemon organisation *wars se follow** asi Defense organisations ATV in progresa the longth of tho aoast from liolgium an far no Brittany to Wind at leant all pointer having landing fooilities. SECRE 1: be A sccond lino from supporting point. is bobs eatabli41ied in book of tho first at o varying distance of trom BO to ID kilcsateras This lino is skirted by; 144 St, Miohol. Mtge d'Arree, Domfront, Lisieux, Nsu- tehatel...en..Bray, Polders, Gond, Torncuson. co Other isolated oonstruotion projsots in evidense are att Vitro, Lavil, Mowers, Ohemin dee DOW'S' They Could outline it third position whioh, through Nix Term, would form A dcfensivo trionglo, The points of this titionglo would bo At* ilaubougo, Namur, tlhorlevillos de In back or this poaition oonstruotion ie in progross particularly on the Meginot line, Work fortifientions facing West and also Northwest, and preparation to destroy oonatruotion as ter as Palfort, Poaanconv and 4.4 t It4 �te t rIfranri Annrnved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 ,741k rAM " � 4 4' 4. s.� . � r'kr July 4 V* have learned, although it has not been confirmed, that in midemluns eonoreto sheltere five meters deep were under eenetruction on the edge of the 444 between Boulogne and Wimoroux. :tin genera/a it moms to us that sumeures tor defense and evacuation are being omposi'llly pushed in the *oasts' sone fromarthe enholdt to the Seine while in the sone!' to the Northwest and West the organisation of the shore defense seems still limited to the defense of the most vulnerable points. We sre vatting for precise intormotion and cannot confirm the foregoing paragraph. Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 vit,4 ,,,444.-41.--�"*� '� SECRE � May 1 NC do not know of any depot of combat gas or stooks of gam bombs in the coastal region from Brest to Belgium. We will inform you soon of the positions of gasoline depots whioh we may know of, Paul � �1/4 , � vtik)hiltit� Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 �0 0 -1 ' t � Qt 1.41 ft: 4,...,..�1�449�0144F1�111111046111�SCIIVIrge�tr��400.04����,����,�� April 19th. (Noted in WM) BATTLE ORDER . boginnina of Apr13. 141h,Alla The following: divisions are grouped in 3 army oorps: Tho 37th 0, A. at Tourcoing, the 32nd 0.A. et Rouen, the 00th at Often, 304th At Brume, 306%h near 0ourtrai,-Brumeelo, Nth At Rerguem. 340th At Ardrom, 321st At Montrenil, 302nd at Dieppe. 330th at Le Havre, 332nd Around Rouen. Yvetot. Etretat (This division seeme intendxd to roplaoo the 33(th), 333rd at Caen, 3;l0th (uncertain) at Valogne, 711th at Coutances, 'Al9th utDinard. 7inth near St. ntin. (The 227th and 20nth 4/visions havo left). 211.AAMI - 323rd near Lorient Nante, 30Nth near nt. Nazaire, 327th At Niort al4a Roehelle. ?Onth at Bordeaux' - Pooherovt, 71nh at lee 'Andes . (the 0th hnd the lightly armoured (legere) 2nth left at ihe and of rebruary or the beginning of 1'C oh), A now armw,red (11* metori2ed division arrivod reoent1;,. near Penne') and ('amp Conlquidon. It maoma that it is not uompletely oraanived, but In in the pr000ss of being made qp. LILIL AM 337th at Bourget), 211th (uncertain) at Auxerre, 71st on the point of leaving). The Vrd Armoured divictioa ie deooribed ao huvinK loft raris towards the end of Maroh. IYADIA:LIA - 2 diArthionn at V,rotate At 100: tho 140th. At Nancy - the 1A2n1. SECRE f Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 � �essrcisili Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 - � � P - Al .1- pm ..40,00005012 �� TOM t, I The government and national wish to mamma their neutrality and conciliate England and Germany* The ocuntry has been unpleasantly impreseed by reoent English reverses and by the delay necessary to the United States before action could be taken offootively in Europe. The government also fare an allianoe with Russia end England because of the situation of the Straits* A good observer in Turkey maintains that if German pressure is applied by firm military aviation measures and also takes plain at the time of a sucoossful Gorman offensive in the Caucaaum, the government would bow to Germany, using the pretext of the Turkish people's desire for piton* At present it seems that tha Turks have somewhat diminished their seourity measures with the hope of augmenting the eastern and southern frontiers. (This last sentence is difficult to rend and therefore should be checked.) � %.01,04* Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 *No '4 Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 t � r .( - tl 00.61..aislin UraVdtaaktAit , Juli 3 We have reliable information indicating that The ooastal artillery and the DV 0. A. of the west zone of Fromm are in the course of reorganisation* The whole (mantel defense is to be taken or by the Navy which would have control of the ooastal artillery and the D. 0. A. Tho batteries of the D. 00 A., battories of 7,6 and 8,8 ciMs., which are stationed along the �oasts would be organised in four groups; theca, beside their normal duty of anti.oiroraft fire, will also Resist in the def%.nee against attacks from the sea. Paul ���� SECRE Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 / 4 % a � . Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 Uonevill (40 h(4ving ruached the age limit within the potlt yvar goes into retirc,ment. At prtaqnt he will ea- tablish himself with him rimily in the neighborhood of Lyon. He des ivos no publieity. flo wishes ti:: he forgotten ns a privatcl citizen. Tne loabt 1,1w co- pro3ant, the better. Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 r 'cr.] I/ � , , t. � . - 411 L, � Declassified and Approved For Release 2013/.27/11a : CI,...ii7IDP13X00001R000100300001-0 t, '144, - � - ' yr, 11;44 BEGRAT iii A THE JOINT CHIEFS OF STAFF WASHINGTON 316 IN C ti � J0.4.1tior t.'"2 v�s �..) V, I Cr% e) t 4 e" November 16 194:. _4 Cc Colonel William J. Donovan,, Director, Office of Strategic Services, Washington, D. C. Dear Colonsl Donovan: With reference to your letter of November 10th concerning a contact with the head of the Cinquieme Bureau and my reply of November 11th, which was subsequently withdrawn, the following information is furnished. Continued contact with France is considered desirable. however, it is not believed wise to allow any officer of the French Embassy to send noded messages from this country which have not been censored. The Assistant Chief of Stall', G-2 has been directed to obtain the cipher code mentioned and deliver it to ycu. It is desired that this code be retained by you, and that arrangements be made that will permit any messaL;e this officer desires to send to be encoded by you prior to transmittal. Subject to the above restriction, I believe that you should handle this matter as your judgment eictates. 64eAdatii4. vtrjk 0"1"^-fri 1, II 4Les-t-- (r\ Sincerely yours, ?or t:Ie Joint Ciliefs of Staff: I /J. R. DANE, Briz,a0. er jeneral, U. S. Army, Secretary. SHICILNT Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 t 1. � "vg, - , � I I. � 4. - �. - -4: � bo..e ' � " r Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 � Li, :,., - e ' -',:' 1 1" '' :" i'. ' ' ' , ' k;Ii� . 4. '. 'i,,hi � . .; 0 ' ' w- ''''' ��!..: ,...:�,�' F.2;4., �,... ., , j .. .. " cP-$1W 172 Vrit'' 1 44. � e4.4.41 C, � I. C, 0 Ctt ; (111117"*"""..ty4;11/3/4,4,4 � rt,icw,.:ss4. XE4)44-'1,,-�a� ', .- INT CJ:T X c,.3)1,4:1kdk; y November 11, 1942 Dgiodiepog94gpgl John R. Deane The .1616i U. S. Chiefs of Staff Public lie4thoppi4iii,ng .,- 1 13#014ingiOn 1,4)41; , . P... . , � , My dear Oeneral Deane: ,accopdance With yottx" Olepbpne , requqat thia,afti.rnoon I am returrAin:g your letter' iA0 1;;Ile of Noyimber 11, concerning the exchange gf communicattipnA with the head of the Cinluieme *Ireau. Uncerely, William,J. Donovan Director npriacsified and Aooroved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 � ter ,4 'A�� t =%. 44. � � Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0. r- - � mnreitomvpmcimtmr.4.� Avasrvarimmwstetemon Brigadier General John R. Deane, Joint U.S. Chiefs of Staff, Public Health Building, Washington, D, C. My dear General Deane: C. A C'.� chrr (inf.) es\ .k k etc V'S r; X as el Ci4 Nel C.tie November 100 1942 1144LcIfficeloks for several months carried on an exchange of communications with the head of the Cinguieme Bureau which operates separately in France in war-time and at other times As called the Research Section of the Deuxieme Bureau. 1///i The officerrma member of the French Embassy in this country--who has been working with us0 has inquired whether it was our wish to continue this service. (It should be said that he is a high-class man, that we do not pay him tor this work, and that he has assumed it as his patriotic duty). As a result of the Africau operations he has been completely cut off from telegraphic communications, and if we desire to con- tinue the exchange, the following steps are necessari: 1. He must regain possession of his cipher codes which are in the Embassy Chancery, now blocked off from all access by agents of the F.B.I. 2. Our assistance is necessary to arrange that a telegram from him be forwarded thrown our representative in Lisbon or in Madrid to the French Military Attache in Lisbon or Madrid, ti. � Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 II � - i'v�� �1.,�101�5 6( OMMOIMMEMMEMM\ Declassified and Approved For Release 2013/07/31 .;Iiiii;pli.E244),W41017101;i1001041601011i0 " Bri adior-General Deane, 020 rli November 10 1942 who will in tura send it on to the Deuxieme Bureaus In this telegram he will inquire whether his chief desires and is able to colltinue the exchange of messages, and in the event of an affirmative, whether he desires to arrange for the exchange of telegrams via Switzerland, Since a reply will come via Switzerland, we will have to advise Dulles, our man in Switzerland, that an emissary from the Chief of the Cinquieme Bureau will approach hirn. bringing a cipher message, and we must oaution Dulles to take proper security measures In transmitting the quoted message through the Legation in Bern, I suggest that if it is desired to proceed with this plan it might be possible to arrange with the LILL to escort him to the Chancery at night, quietly, so that neither the public nor other members of his Embassy need be aware of the action taken* It must be remembered that neit4ur the AMbassador nor any member of hit staff has any knowledge of these activities* And, finally, if we want to accomplish these arrangements, the quicker the bettor, since there ia reason, of course, to believe that the Germans will be increasingly active in the unoccupied area of France* If you agree with this procedure, I would sdpreoiate your advising me so that we can acts tUncerely, J. Lonovan Dimector vel*- mind nnrnved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 .4 Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R00010030000170 MEMORANDUU: TO: FROM,/ Fred / OFFICE OF STRATEGIC SERVICES WASHINGTON, D. C. November 10, 1942 te" SJ CT; C 109,01�portommunpotiong�,*111V-:;" ie*S�Ba-reau of F enMineralleS aff Ga....balaulf.....a.C.G4-4 phis office has for several mdnths carried on an exchange of communications with the head of the Cinquieme Bureau which operates separately in France in war-time and at other times is called the Research Section of the Deuxieme Bureau. Tha.aoaulta.baue b-Gen-iatauyi-satt-sfaviDevy-to, ma4e. to a memorandure-to-you-da-ted, ab.out. October-22r relative to in- craasIng.the-flow6-of communications by operation of a secret 4-r�a-d1zil station in this country. The F lohmarl'in this country who has been sorvtifIligiU4ettika14,h�-ono_hand. uad oureuelves-oa-the othox.,...iar....s&yq4,1.cnpw,\a-member of the French Embassy., ila--a-poker-wi-t-h-nrer-yasterday ajilpernoorl and,. i quired whether % 3 L �\ vk �L ( ,�11 it was our wish to continue this-exchange,. tipomm�ble. liaolvissuLyslur--a-t-titiade-to-th-i-s-whole matter, I answered his (4\ ) . \.%4 , a I 4, =.� ,t Uncle,r_Arasent ao4d1 ions he hes been 1is -L I m � kit k 01..A L1 . L 4 MINIMOMMMOMMMEMMEMMEMMINW111111 Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 - , arov0 I Declassified and Approved For Release 2013/07/31 CIA-RDP13X009.0.1R0t9,010t0390,001-0 , , Colonel Donovan -2- November 10, 1942 completely cut off from telegraphic communications, and if we desire to continue the exchange, the following steps are necessary: I'N,AX4eV"""" 0 1. He must regain possession of his cipher codes which are in the Embassy Chancery, now blocked off from all acuess by agents of the F.B.I. 2. Our assistance is necessary to arrange that a telegram from him be forwarded through our repre- sentative in Lisbon or in Madrid to the French Military Attache in Lisbon or Madrid, who will in turn send it on to the Deuxieme Bureau. In this telegram he will inquire whether his chief desires and is able to continue the exchange of messages, and in the event of an affirmative, whether he desires to arrange for the exchange of telegrams via Switzerland. 3. Since a reply will come via SwitzErland, we will have to advise Dullejthat an emissary from the Chief of the Cinquieme BUfeau will approach him, bringing a cipher message, and we must caution Dulles to take proper security measures in transmitting the quoted message through the Legation in Bern. I suggest that if it is desired to proceed with this plan it might be possible to arrange with the F.B.I. to es- cort him to the Chancery at night, quietly, so that neither the public nor other members of his Embassy need be aware of the action taken. It must be remembered that neither the Ambassador nor any member of his staff has any knowledge of these k%ctivities. And, finally, if we want to accomplish these arrangements, the quicker the better, since there is reason, of course, to believe th,t the Germans will be in- creasingly active in the unoccupied area of France. D. - nnri Annmved For Release 2013/07/31 CIA-RDP13X00001R000100300001-0 < Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 �;;.,7qffr:-";; r ' ' tiliq371 , titivosittratomwo XEMORANDUM 011 ,> October 23, 1942 is The 4ituationt The French General Staff in peace times contains a section known as the Second Bureau, which is the information section. A subdivision of that section is known as the "Research Section." The "Research Section" carries out all clandestine activities, in other words, operates m secret service. At the outbreak of war the "Uosearch Section" becomes the Fifth Bureau and is commanded by a Staff Officor. It operates in war time compLotely separated from the Second Bureau, the lattor continuing its functions of collection of information through attaches and other let:Jtimate means. With the collapse or l''VUHCO in 1940 the personnel of the virth Hureau severed itself from the Army and sot Up a st,crob rvice of Its own unaer the former com- mnder of the Wirth Bureau. This commander has expressed the sentiment Lila!, as far as he and his men are concerned the war im not, over anu will not be over until the last Oorman hub Loft French to TLere is in Washilvton a reprosentative of this SECRET anti Annroved For Release 2013/07/31 : CIA-RD t P13X00001R000100300001-0 � � � 1 _ I. 41-J; , i , � 4' Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 , H* lioeim,o4.44W4o144a,4a..t 11114.011010 4,1 ormagestmetialfealligaVinSatrumessowalm.mwoomsis hidden Firth Bureau. He is a French prof000ional Army �Moor, a man of oharaoter and intogrity, who will obey implicitly tho ordoro of hio former and pros ont oommandorp A., 1, This repr000ntative lo established in Washington and, under direot instructions from his chief in Franco: oatablichod connection with the American Army, opooifi- oally 0-2. (Such connoobion waa ostablishod and carried out undor Colonel Donovanto direction and in still in active oporationel The Fronchman in Washine,ton hao oxplainod that his Chiof fools that the oxohango must be a two-way traffic, that ho must havo ti justlfloation for the flow if it is disoevored. Ho adds that ho would never, of couroo, ox pact information as to stratoic piano but desiros to obtain from Limo to time approximate information as to production, methods or modern war, ot cetera. Thin desire should bo mot us fur an it In pon*Iblo without jeopardizing our clocurity. Tho_Problom: Unfortunatoly, for rola:Ion� w1 eh crumot be remedied, the Clow of communication is salal I both to) and from Franco and Nas hing ton. The communica tion is carried on in as SECREI' Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 2 . � � " - Declassified and Approved For Release 2013/07/31 � CIA-RDP13X00001R00010030701-0 - . biiSialblogedallribatbialte*PWKIL4a44470:11wiemoei great A flow au tho prenont mann will permit. Technical difficultloa plua the dangor of aecurity to tho French- mon both in FMA00 and hero* yowler it imperative that if the flow bo incroaned it mut bo by othor than the proaent mann of communioation, There are obvioun advantagon in providing the faollition to increane the flow, Not only oould w� ob. tain more apocific information aa to Oorman operationn In occupied Prance, the Nothorlanda, and Liolgium$ but it It posaible and han indeed boon ouggented by the reproonativo here that information or a muoh broader charaoter could be worliod up by the men in Prance, Purther, we are faced with the daily pont-ability or a rupture with %flatly, it therefore noomn not only advantal!,eoua but urgent and indtuportaable that a meana of oommunloation bo aot up by whtoh thia InformatIon onn oontinua to ranoh uo even If volattona'apo oovorod. Tho (Mar lo Pronoo p000l:vattea Lho prooarioua naturo of Lilo buolnooa that. ho lo ottPpyLne, on. Honoo, ho la Mfl rtpu.Lcu t.Iut L all lumina of oommuntoraton for hi.t ohalt be "Vrenoh," Ho wanta to bo b.Lo to orfor the do- Vouao for Idwaolt and him, orriooro that ho tato outvloyod Vronoh ohannola an0 Imo not; boon in oorroapondonoo with foroli-M opvernmenta. no foola that It ta ppobablo that n.,incQifipd and Approved For Release 2013/07/31 CIA-RDP13X00001R000100300001-0 7�.`. � Declassified and Approved For Release 2013/07/31: CIA-RDP13X00001R000100300001-0 -4 00 Q1 officero in the Oonoral Starr nvnpect hie activitlen and wit* at them but that nevorthelena nom epinode or a0M0 prOa41.111@ may at any minute bring about the arroot of himmelf or hin mon and he mut have hi n record elear. A repreaentative or the 0.8�06 ham ainoummod taw toohnloal problem involved with the Frenchman hero and a propomal Ilan boon formulated to nolve thin communica- tion difficulty In ouch a way an to give (a) reanonablo aomuranco of a volatIvely oontlauoua flow of trafrio ot oommunloatlon and (b) the oloment of nemilty that seem neeempury to the loader in Prancee The Proxppi4 ����7PJ - � � lt 14 propomodt 1. That the �acquire a mmall oonaor (aomoribea In memorandum herewith attaohod); ThuL Lho 0 roopult n vrenoh1fl4n In whom LL har4 conridnnuo, Umoll() opnout(r tr II 1. tr Hunh VVOVIMIMAri tr.) hn Lrainvd uii VW110 01101-40.01'1 Thu I. Lim Vodnohmttil In ,attihIn .ton pay rm. (Alta jri Lt.& 1.1./1 Li t't to Lim!. 1 11 1.1'14011(.111� 4. That tht:4 otation 1noo1v05 mmiont:ioo In the WPonohltan'n (Judo alwaya t.1 L1'() an intopmndiary to Ow ond that the Wrnnohman opnvaLln Lilo radio Vont that SECR1,:r Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 a Ars ../ � te- '�-� � I �� Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 .5. he is serving the United States Government both in sending messages to France and receiving messages from an American station in Franco; 5. It is obvious that such a station could not be carried on without raising immediate question, especially by F.B.I.) 0.N.I., and the Signal Corps of the Army. It Is proposed to 'rive sufficient explanation to each one of these organLtations to reassure them as to the purpose of the sending and receiving; 6. while the 0.S.3. has confidence in the Integrity and purpose of the Frenchmen here and abroad, nevertheless it would seem advisablo to make assurance doubly sure in El matter of this importance. It is therefore proposed that flimsies of the ciphers used on this station, both incoming and outzoing, should be 1:urnIshed tc Army and/or Navy eryptographemi to the end that an entioavor may be made to cheek the nature of the moosageo. sECRI...14 Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R00010030000i_n 11 IJL fif 4 4 f!, II r. � I � Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 MEMORANDUMPARED BY 0 S 6. EXPERT (:) Suggestion contained in no. 2 seems to 'LIB preferable to no. 3 and we believe it can be handled as to meet =V friend's requirements. ��� ,����� - A senond more verentile 4ortnn, 000ld Le jail � '10 In n I "rOXii,,q !,oly thirty days, 1 i the Imo of 0 ':.eclium-:.owered PRI :il t: to r In one of our ov-,pn for ctr o r th ) folio! 1r4 trtion � : on rr,,inr: on n teler.raphl.o code oorvo-sn t on. i,re of 'nr own oonl..or .1 t on f1oers can hold t.ho oo.-)tnot r 1ly44 noo :ro-neht.ly p� 'T' ;fl to tho on:ir) n 1 do . iit.1e t.,)9 f'", � Tho rorio- ti .r'n ')e d(o:o i.y t.h. 6P e or 11 in Or mil, bre. e.1 ni. :111.1),1 r�ion-ti e. l' Orr) r9r,,r! 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' tilt C15, i .11 1: ' LI i: � ) 1 ti I 1 1 .11 �Alr-1 .11 tsI 1.1 lost 0,1 I I 1 's-it' ,.,� 1.i ri 1. �II :4 ts.,4�1 .11,1s; rs )(cwt.! r141 I rs 1 t-1 11(1 111 11 en 1'11111' l'e,;,"1, 1 tittiit,cii,I I I c�ti .1 I I ci 1 inn, 1111 1 1. .1 ' ,. 1 .1 1 I 1 (,ttisrs 'rli 1 i.ti I 1 .11 t.. 14 1 I 4., r. ittt 1 1 1 1 l't 1 1 1.11 1 n i't v Ir� ; If 11 I ri II/1111,1'i 1 ' 1 ti 111110 I 114)1 Ott W I 1 rs .1 1 i .'4).11 1'11 V wills ),1' mi� 1411 I IWO' ' 1 rl t4 1110 .1 ,1 tl in' I ot 11 n tI ri t Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 Declassified anaAppi:9,yei4orZ21)7/31 IA-R From; Harold Jones To: Murry Brophy Subject; General Emmon's propoitil ror Jnonosn Le,Tion prepared a very careful m-wu for the Colonel on this subject. He took it u, wiLh the qenoral ('*taff' to see what had hapvened t') rimmont!1 pro- posal. The General iltufr mlid, "We are not in favor of Forein Legiorm." Donovan said Lo lay off the vropoll'Ion. ever: I had already talked to ha roil Smith, Ed Kemp and nowarl Tho pitaLor wza Lo bo talked over with the PreAld-nt and I imri.inn has been directly submittal Lo him. AL; p'Jl.1 have wirod Mar. ;1 and :ihould o L in 2111,1wt.t. 1 )rr4 I I enve.Due to the CrieL thri thn ; I:(Dt win. ul Lo monhPy witli this rritt-r rurth.q., T INC uldn't ul 0 1 flythin._; wIthtmt Nig I tHein.: It -1th him an 't ,Jvinl: him Lh'., Jub;!n o' this momo. � No .0400. 10 � t 444,11). npclassified and Approved For Release 2013/07/31 CIA-RDP13X00001R000100300001-0 e2 Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 � �i � � S - AncooL ith, LU414 Itorewi ththo Lionttairtia whion you aliked Fidid to molto out, beforb ho 1 at t on 'Ripon RIO Ito hpo it t fiet$ /*or Lite) tat ti Ice Why but no No I no re) oo rd oon ti t. arat ha tried to itintt tho quoi$tionnairo to whul. t,ho individualm donut-11)e] hy you wort, likbly Lo 'Jo abib produdv. An he ofa,;,n, it bbVor pay� Lo ovorload 4doh people, � L/101101 4. � ibluova,), - v11.1.414114.. Lolls 1) � � Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 t (:)-1 Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 qUBSTIONNAIRE FOR JAPAR 11�1011����������1001101.14 WOO Ap. It is believed that there is considerable misgiving in oertain quarters in Japan about the eventual results of the expansionist polioy, and of the Axis partnership. Is this really so - if so, is the feeling shared by the ordinary man in the street? It is unlikely that there is at the moment any organised opposition to the Government's polioy, but if suoh an opposition were to arise at a later date, from what group or groups would it oome? Can you make any forecast of what their main talking points' would be? We are always interested in estimates of the eoonomio position in Japan - e.g., data on the general state of business, especially internal business, the raw material position, (oupocially In oil) and the effect of Allied restrictions on Japanese life. Presumably the tendency in official propaganda is to blame shortages on to Allied restrictions. Is this so and, if sot is the arEument Kenerally aooepted? How best, in your opinion, could suoh statements be combated? tm. It is not dasirod to burden you with specialist Military questions, but you may be able to aoquira information on the following valuable pointsa (a) The effect of service expansion on the mr,n-eower situation. Do manufacturers complain of shortage of labour - if so, in what diatriots and in what industries? (b) Do shippers complain of lank of shipoing fanilities? If so, by what lines, fun what routes aro affected? An estimate of the ton-,t' all:cated for caming on normal !Itiainesa vnluftbles Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 tt.:111 � ; a ay %PO �! �, !X a Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 - (c) Any unusual oencentration of shipping at any point in Japan, or elsewhere, should be reported ut onoe. It is , moot neceenary to give, also, an estimate of the reliability of the report. (d) You oannot be expeoted to identify Japanese army formations, nor would it be desirable for you to attempt it. If you have ever had any aoquaintanoes Among senior Japanese officers - nay from Lifmtenant-Colonel upwards - it would be valuable to renew oontaot with them and report whore they are now and, if possible, what their appointment ie. Similarly with any other officers you may happen to meet. In all these cases the full name and rank of the officer is necessary to oetabliah an identification - e.g., "Lieut.-Colonel Tanaka, Eiiohi, met at Osaka, believed to be commanding an infantry regiment in that area, " not "Met an officer named Tanaka in Osaka." You will be aware that the easiest and moat natural way of aoquiring thie information, in Japan, is by exchange of ourdst Aurmat 26th, 19414 el���1110.... ��� Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 'vivo* ir � 'I' Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 - i ,,-i� -t' 1 , . 1 ; , atTESTIONITAIRE FOR MA110111100 1. You mRy be Aware of the normal distribution of Japanese troops in the areRs in whioh you have been workin4. Report any marked inoreaaen or deoreasen in otrength� If there ars Any new troops in the area, where did they oome from? When did they arrive? 2. Report any nips of future arrivaln in the areas you oover. This min often be estimated by demands for more aocommodation, or preparAtions for new oumpo and barraoks. 3. You will probably not be able to identify Japanese Army formations - And an inaoourate identification to woree than none at all. It will be better to report the name and rank of aaw senior Japaneee offieer you may enoounter,where he to atationed and, if possible, what his oomrand or appointment may be. The full name is nooeaaary in al) oasea. 4. Report any inatanoee of Rum:Ilan or Chineue aubveraive aotivitlea - propaganda or aabotage. In what area are auch aotivititia prevalent and what effeot do they have ono)the dapuneae, (b) the Chinoae in Nanuhukuo? L. Road and railway information ia alwaya valuable, eapeciolly about new rondo and railway projeota in the dirootion of the Ruealan border. If poaalble, vonoontrate on ouch infomation in the following great); (a) (b) (0) Aurtiv.t. 2t1t).� Northern Korea The Suifenho area round Heih, (oprodito Mftrovb4ohenak). Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 % so 410:4000 � - ei � Cs, t Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 .�.. li � j ,. 6 i I 11` J',, r� r;:. it -11-M...i. ?.T. - 1 ' , dY ,,:--,, , 4.......f.o.14., it ,:,...;1 , ,. , . , ;, � , ' 7',..c,' � .11 � . , . TOP SECRET GENERAL HEADQUARTERS SOUTHWEST PACIFIC AREA MEMORANDUM TO: General Donovan. yvi / e 16 April 1944 /czcV,e' 1. Japanese Position a. General. For the Pacific War Japan poseessed a balanced uirp�naa7�and sea force. Against light opposition she quickly advancod to INDIA, to the N.E.I., and was finally stopped in the Solomons and New Guinea. Today, however, Japan's eir, land, and Flea farces are no longer balanced. b. Air. (1) From an effective striking force the strength of tEti" enemy air arm has dwindled until it had to assume the defensive. In this theater, even though air combat has boon greatly restricted, the onomy has boon unable to replace aircraft losses. In the BISMARCKS his air has practically ceased to exist. In NEW GUINEA few aircraft are stationed oast of HUMBOLDT BAY. (2) During the last four months estimated 1 enemy air stronFth in this theaterhaa decreased 30%. For March .� the enemy allocated 200 aircraft replacements to the Southeast Asiatic Theater, 135 to this Theater, 356 to the Central Pacific Area. Those a] locutions probably are the maximum possible with- in the month. During April, action of our Pacific Forces against enemy air has bven dovastatinr. There 13 reason to be therefore, tht the enemy air position in this Theater will con- tinuo to deteric,rate. AggresJi'!e air action in preparation for and durInu the HOLLANDIA Operation will either dostroy the enemy Or rorce which engages us or force Its withlrawal. (5) Estimated Enemy AIr Strength 1.11 Anril 19411. Now Britain 16 New Ire Laud 12 So1omons 2 Northwest, Apo;t (komainder of 3ValA Th)aterb21 TOTA:, 1)51 c. Land. (1) In actaal cy),Ini combat tho enemy is U1 formtdablo as ev,r. But in ',.he 2)1,0MONS alA IkIT4A1CKS and Eastorn NEW GUINEA his troops have a high sick rate; Vey are itntiobilized an(1 inathaviately slIp',11.)a. Their po3Iton'3 untenable and can HOW h0 hy-,Pti330d %)i!Lti 3afety. (2) .�,.; 15 A'rIL 1),!. the 413t, 20th, and 51st Divi3t00.1, L;taiiin. 50,000 troo:, word in the wE:tAE.-ADiti.G area; at AITAn 5,000, one-third 0.1;". wors L of C troons; In the HOI.,LiCIDIA;ME area ()�,000 0V w:Iloh at losst 50,;; wort, L or C; in the MANOhARI-NOEMPOOR area 10,o5 w-Ic! one-fitt,1 were � as- akt : Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 � �t� `v I."P. Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 � ,!-r. � � . .� 1;1� � up 41 � ��� ..0tallialia4403414414104.*Xiiii4041610.11P.11.1.004....�,,, � r.,�,m11,-A.V*51444,4.4040,44102914.eborrip* TOP SHIN or 0) In Weatern VOQ4LKO1 5w or whiah more than half were L of 0; in HALMAnHA 1,0,000 troop, of whiah halt wore L of 00 () At pretient the Oth# 14t1, and 3rd Diviaions Are believed to be movine into thin theater0 ay the Und or April tho bulk of the 36th will probably be eant ct OVELVINK 5AY in the HUME= BAY-WAKDE area* Eiome or it may have moved on into the forward area between WAX and MADAM The bulk of the 14th will probably bo in W11 VOOHLKOP and the bulk ore 3rd in HAWAHU1A0 (4) fly L July the lhth and elementa of the 3rd will probably be in the VOOELKOP0 By I. 5eptember olomenta of the 14th Divinion and e1ement:4 (Jr ttr) 5vd w111 probaay be in Wentern voarasKop. on 1 Novewoor elements of the 5rd Divinion and probably the bulk or a new dtvinion will be in HALMAIMA� (5) The pattern of enemy deranolve moanuren in emorgin. In the past 5WPA Vorres h Ave limited advanaen to thew) whloh aould be oovered by rtght(Jps. In WITNEA the enemy hut' now sit op dertA%ses to moot such UT1 attack. He 0X- pects un to strike HAMA BAY whinh i.t almust, exactly 1b0 milon from our rorwavo air banem0 'He han dloposod his strength 00 40 boat to woot much an attaok. Hs is now nbiftio! hla weight oo 40 to leave it sacrifice outpost or 5,500 at MADANO; he ta otrongtheoltiv, Litt-) AlTAPI.: area. HOLI,ANDTA is the base Vor those forward Cornoa. 3upplion 'hove from HOLLANDIA by barge. No otrong alp rorOotl LAN-) ntationed permanently forward of H01.140110 (( ) W01. rpm' nohhAnDIA 4110 'a nu Id pro. paving another Aofonsiv., ontity. nits rtIrWuild el-101110104i tiro Lie Vt1t) tiPtut. Hld otv,)Iwt,h httlit. op Vrom WsKiii. to MANOKHat, inoilolve. Tho bole for lq so HwtNara etomo:lis la probably HAhMAHA. In other w,rds, Liii (tPlid MAOAN10mOdLeVAK in to to tn., n,trio IMI,:sitHI) 1 A Ltd LI II 1414o u MA/0( -14A kchNtltT I. i to t.. baso 1.141011.Ra. 0. Thope Is no ovidenco aq pit Io I lil Ic i Lit 1 4l thr, enomy expoots olp next attach at nokkaNDlh. No navonot vu t aneti c!trciers ill this theater. 0* 3tu Ptircon. LOgitiod lii 1114,ht fluvut MO LI to 1111 100 157-751)1111414 nti ti ott ly 11'0141 v ti.t ii rroot,' nons of th dnomy fleet. A dt140np, WE4d in itt aingtolordi heavy unito are movinp: Into 3oothorn Philippines. r. 21.11�1nr. Enemy ship int): tolio0 urt roryeilivoly increasing. nns t an one-third or th,ill -114? foplaced by new oonotrAoLlon. Tho sinkintJ,s 11,4ve boln tit) oXtuit31v,1 ttica la no p1,400 ic.ui tioentivo outor 11.1.1.,,t,r 11 thrl ouc,3 supply Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000loo3nnnni_n Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 . _ Top SECRET satisraetoryi Sineo shipping in baroly adoquato to moot minimum roquiromonts at pronent, it is doubtful it tho enomy eould move and supply largo bodion of troops. g� Intent,' Reliable intolligonoo indieatos that tho enemy expoeta�attackn at HANA BAY, MADAM, RANAUL, HAMM, and possibly TIMOR. By dosporato tanatioal ground ronistoneo to our expeotod attuoks he intondn to aohiovo maximum dolayi Ho must gain time to build ships, oxpand industry, amass raw matorialn amd Draw� dotemsow; Tho onomy 114B plonty of troops and to in time ho will not hositato to naerifico them. /IN Tho Paelfic Fleet may be available to provido amphibious lift and escort or two divinions from thin aloator for a alort poriod, possibly during Augusto If tho Floot aotion in the MARIANAS ainn momentum, this help will bo availablo earlier than August, 24 0011014alOnfil That in ground combat the enemy remains rormidable, Ii. That onomy air and naval moans availablo rots this Thoator we on tho wano. e. That tho onomy oupp1y nonitton ta prooartoua. d. That our progroaa artor HOLLAND TA will dopond entiroLy upon tho moana avatiablo. .5. Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 Declassified and Approved For Release 2013/07/31 : 0100z.:.1100.31:41.07001-0 � " � You may be interented in the attached, togtthor with Jr, Bradleyla oomments thereupon� k 11/4 � II ?Ord - Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 sgfige,lw pl,Fwwwww,t.:wipwel,!-A Declassified and Approved For Release 2013/07/31 � CIA-RDP13X00001R0001003.00001-0 rtirriF"kM *must 5, 1944 Ybllowing memorandum to r one of the closest dbeervers of the Ohinese scene. This copy of It has been obtained outside the usual channtes and from another enay, therefore, there ohoUld be no distribution outside) of OSS. It is moot portant that secrecy regarding it be carefully obaorved. Who original document MIA dated Am 24, ohunexing. 11. P. Allmon 1 Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 � - � � � -- L!,=�-11 t 141,611544,K - � TM @IMAM IV =laA1filKWATIOiti AMMO AMAII:OAN Miff prztjaruLLML4Li 11,LIALatatu..2dagfill AtThEll.guakji BM1 z Ls= 11.E.eii.-N1-1-1111 a.4111,41t, , i5 IN'?" 11.4-0,14 SE( Japan has had ti o ohoioo of tvo altornativoo� 11 lt oould boot Chino to tto Moos DPI vhi@ half@ roquirod largo goal@ military oporationo and 4 1444 and oontingiA4 Amp otimpations And than ifico tho donor Vhat it might hove, &Avon tht Juomintofi4 to &PIT WI a real matilitio= tion of tho thut moking p000iblo Oft@OtiV@ P4@ifit4W4 and porhapo rogorr- ing tho Apollo@ took go long ftod aootly A@ it liA4 444 in North Ohiagm 0$ Or Japon @gold mAintain it onou4h pr000uro tO OMB@ strangdotions Mood OR th4 WM@ IWO Of DAMAO; t134 undorotAnding of tho oontiuulpg otrugglo for powor within UItn iRitgomintang-gtommaniot oonfliot)4 tho linolodeo thAt Ohtong om000to tO hAV4theWAP IttEsn tom him outoido of Ohina by hio thio polioy had 'WI@ advantogo that at lgAR a@ the KUomintong loodoro gow 4 (111414@@ for survival Ow would hot talc@ tho Pt@pe flOO44= ogry to tnorgloo in offootivo WAPs Tt would thuo romovo Any Aottvo hhilot tO 44DARI@ flank; And pormit ?IonoolAdAtion And 4rod44 oxtonolon of tho importont tlitipon000t.thold bosoo in (WA, Pin.41:1y; it would Povmit 11ieAPeehl oliohmont of th000 Atm@ At A. volAtivoly oosts JApan ob000 ttio wow) 414.14ftatiwil offlovtliNa, 40Ethible tkAt ttio Kpombitay-14 wodd 4114VP oxAotip AP it hAos 11140 tilOtv 4104 Jopolioppj14i, it tlfita 64 faf MAIM V) hAvti 1t#41 niooly oglRulAtoris &tufa ib 4 lititsOvilla Aohtti tty Mew WARAUDAti@fig Olitt14 ap@fizi htqo 0611004tion eiAy titireqAt to JapaR, 4114 ahipa _eivivit if thp 1i3.14P4At Pit-1441'0h 0011timica3 auorleabliftillY Platildt TAR0100 dltiv@ to P4a4 env ofronoivo liAdom 112 ic iflat bt htj t ni LIP 0.111:ge_.aattlyir- ikL Uth ).2.4 11B iPlilmrts , ohltqi 4400� 0040011(3 00110P001 IMP P41.1@int tilislhLesaTpti., tit tho cli*o! cata OVfailftriAlitita AddnioLvAtivo TI4 iO fififil of thd roltor a011660 br UMW, tlattiokil iiRP4Pt. d**41.14110PiN to 1ootoif tbo otho,opt of o dhioo whigh; iky unity in t1irepo of violont oggra��iff4 fonnd oowiittifi.k.sootold sopfaitti durlot: 1410 fivot twP gaorta or tims w4P W,14 J49449 Tatec441 10,54W-166660 AP@ IJO@Or4n4 4000hWotOd 1:4-0 thew@ t� tialfing P14300 4 40WOPPOif tho pffAlisog, 6f nnifinAbiong to mtipkilo to Ifiw oitio4paaoultollt witItitstp060, %two 40140A faait=14 Of 44-04@l4PWas Ps !filo disarta (lovevphiocifit wriiabb4ithE LI= Ca'Clb43 i:3"jaY filE4t4 htB WIPP pit4t30, LILA? lobfictotitzo 014 bi it' bo itrisit 1 a orii &t� ofid 14444044 ittoftoolivo, it, Its liao,imitia rt-,1 lho i*trit t.c lAdlitilAt oftftAdh fOttel for 110 latE0 0estiy 00 t.tv0attilvooy, 3. libt3.0)1,0111000h tit'. ini I ty d parmacts.i tt tmi Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 ;60 ' rt-t �.; - 2 � top to bottom by corruption, unprecedented in scale and openness. 4.. The intelleotual and salaried classes, who have suffered the most heavily from inflation, are in danger of liquidation. The academic groups suffer not only the attrition and demoralization of economic stress, the weight of years of political control and repression is robbing them of the intellectual vigor and, leaaership they once had. 5. Peasant resentment of the Abuses of conscription, tax collection ana other arbitrary impositions has been, widespread and, is growing. The danger is ever. increasing that past sporadic outbreaks of banditry and. agrarian unrest mm, increase in scale and find, political motivation. 6. The provincial qxoups are making ODIUM= cause with one another and with other dissident groups, and are actively consolidating their positions. Their continuing strength in the face of the growing weakness of the Central governm mont is forcing new meRsures of political appeasement in their favor. 7. Mrestiwithin the 'Kuomintang armies is increasing, as Shown in one important instance by the "Young Generals conspiracy" late in 1943. On a higher Plane the war zone commodore are building up their own spheres of influence and are thue creating a new warlordise. S. The break between the Kuomintang and the Oorsmuninte not only shows no signs of being closed, but grows more critical with the passage of time: the inevitar. Idlity of civil war is now generally accepted. 9. The Kuomintang is losing the respect and support of the people by its selfish policies and �Lte refusal to heed progressive criticism. It seem unable to revivify itself with fresh blood., and. its unchanging leadership shows a growing ossification and loan of a sense of reality. To combat the dissensions and cliquiem withiL the Party, which grow more rather than lees acute, the leadarehip is turning toward the reactionary and unpopular Ohen brothers clique. 10. The Generalineimo shows a similar lone of realistic flexibility and a hardening of narrowly conservative views. His groNing meglomania and his unfortunate attempts to be "sage" an well as leader -- shown, for instance by "Ohinals Destite and his book on economics have forfeited the respea of map, intellectuals, who enjoy in China a position of unique influence. 0 idol= of his dictatorship is becoming more outspoken. These umptons of deterioration and internal stress have been increastd by the defeat in Honan and will be farther accelerated if, as seems Moly, the Japanene succeed in partially or wholly depriving the Central Government of East China south of the Yangtze. S C Declassified '11111121111111111.24111111111.11111111111111111d Approved For Release 2013/07/31 : CIA-RDP13X00001ROnnlinn.q-nn nni Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 ,,, � 1: 3 �V k 40 *440 In th@ fa00 of the grave mild@ with which it in oonfrontodl the ruomingtang to owing to bo bho unifying and progro@otvo force in Ohin000 cooletr* the role in which it modo it grootoot contribution to modan Ohtna� 0, ; la. ;WV ISLALIAg sal taprolitatia. Dom woruwoorinm in OhinA mud bo mooted* 1110 tho polidoo of the Kuomintang undor tho impoot of hypor.inflation And in tho promo of' Obvious @ign@ of internAl ond ortornallooknomo mumt bo d000ribod AM bankrupt* Thi* trilth in omphaoimod by tho foiluro of tholkomintong to oomo to grip@ with tho oituation during tho r000ntly oonoludod plonary,mo@mion of tho Ombra Hkoontive Oommittoo. lo fl a omft o on ronomont7r7FROt one Tho ftomtntong oantinnoo to ignoro tho groat politiool drivo wibhin the oountry for domooratio eoform* Tho writing@ of tho lonorollooimo and tho Party progto @how that they hove) no pool undorotonding of that tom* Oonotitutionoltom romaino on empty oromi@o for whioh the only "Draporoionu lp a Wilf.hooXt@d at. tompt to ootdblieh on unpopular and undomoorAtio gyotom of loonl @olf.govornmont booed on oollootivo rowoonoibility and atm odium by Jopon000 11 ton in Monoburia And other oroao undor thoir oontrols Quootiono bin to tho future of domoorooy onoh Am tho form of tho Oonoti. talon and tho oomno@ition And olootion of tho National Oonayo@o 11011)44,111 tho diotation of the bomintang* There to no progroon bolt/Ara the fondnmentel condi- tiona of freedom of ArPopflion and r000gnitton of non.Nuomintan groupo. Non the educational and polittoal advantagea of giving power and doonorw4i0 aharao. ter to the exiotin but iftotent Peoplaa Politinal Oouncil are iolorfolis On tha oontrary, the trend la atill in the other direction. Th-rotwil ennh meano aa oompulaory polittotiA trolulog rot. Kovernment poate, emphaal,i on the politioal nature of the Amy, thalv;ht oontml, and inoreaain identirtoation or op PArty and Government, the Tuominteng tateuetnee ite Artve reo "inn Volk, itn Reioh, Irttn Fuhvor" ovon though auoh a policy ibu Obina le Ineyltehly doame4 to follure. The itUomintang ohowe no Intention of relaxiiw the author/Wilful ocmtvoie on whioh ito prevent power depando. Far from ataoardlog or reducing the para Phornata of A fflino 4bata -- the reittplo and omnipreoent aeore t rnlioe or. minim-Mono, tho Oondormortal aad oo forth ., It oontinaee to otronalihen them ae ite Vet reoort for internal otionrit (Vor the reeftforeomeat of tho moot importont or th000 aerman.inopireM and Aitapa-slike organtottiona wo mot, an. fortanately bear 110111f4 rooponoibility. O1000000 growlog And potential tbreat of the Oommanieto, wilo it foams may attraot the popular aupport ita ownitatilrb mAkoo imiNooetblo, tho TuomAnton, deeplto the pretext .. to meet roroten end Ohtn000 of 0Onfitlaing 11AKotitittOila w/th the Oolomuniate, coat tuttee to Adhere to peatotots and oiAno oan only rentt in oivil war, In ao Inine, it allow itaelf � t 94 � Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 - ,� - Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 ,:� r , #, ,#;.: .1. 4 I 11, ito woman MAINCICOMI Vrariehtlefigigetronm SECA', blind to the fact that its intenal political and military eituation is so weak that suocees without outside aseintance is most problematio; that oaah a civil war would hasten the process of disintegration and the wpm& of �ham that it, would prevent the prosecution of any offeotive war against Japan; and that the only parties to benefit would be Japan immediately and Russia eventually, Preparations for thie civil mar include an alliance with the present Chinese puppets which sugure ill for fatmre unity and democracy in China. tvx.pij.kx.jnr11.144x.;=alsealy_altattEst stet a to check itaflation whiobwo4 ixijure thela.2.14.92:dx.,..121L. It ie directly responsible for the inoreaee of official corruption which is one of the main *stables to my rational attempt to ameliorate the finanoial situation. It does nothing to stop large-scale Drofiteerin, hoarding end epeca. lation .. all of which are carried on by people either powerful in the Party or with intimate political connectione. It fails to carry out effective mobilization of resources. Suoh meneures of wartime control as it has promulgated have remained a deaa letter or have intensified the problems they were eappoeelly designed to rernedy.as for. instance 111.eavieed and poorly axeclated attempts at price regulation. It passively allows both industrial and the more important handicraft pro. duotion to run down, 813 they of course maet when it is more Profitable for spemaltors to hold raw materials than to have them go through the normal pro- ductive process. It fails to carry out rationing except in a very limited way, or to ragu. late the manufacture and trade in luxury ecods, many of which come from areas under Japanese control. It shows little concern thc..t these imports are largely paid for with strategic commodities of value to the enemy. It faile to make an effective attempt to reduce the budgetary deficit and increase revenue by tapping suchresources as excess profits and inQomes of land- lords and merchants. It allows its tax-collecting apparatus to hog down in cor- ruption and inefficiency -- to the point that possibly not more than one-third of revenues collected reach the government. It continues to sPend huge govern- meat funds on an Me and useless Party bureaucracy. At best, it passively watches inflation gather momentum without even attemvt- ins; palliative measures available to it, such as the aggressive sale of gold and foreign .7.urrency. It refuses to attack the fundamental economic nroblems of China such as the G;rowing concentration of land. holdings, extortionate rents end ruinous ino. threat rates, and the impact of inflation. 3. 21.11011tilk.........t.e...9.111.119 113_91-1&zz itsel in pn_ti._ self1,8132 short-sialussaessive esImim2ent of its all es. By perel steam in tactics of bargaining, bluff and blackmail--most inappro- priate to its circunstances--and its contirming failure to deal openly and frankly - Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001Rnnninryznnnrm Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 -r4 ' I � � � , aerapame."` inootwir SECREi amd to extend whole-heated co eration.-which its own interests demard.-the Kuemint t iu lienating Minato moot i,. rtant ally, the United States, It ban alma alionatod ite other major po. ential A14, Soviet Mania, toward which its attitude in An irrational and short.nightod aa it in toward the Cow. munints, Tho latest ample of this is the irrewpomible circulation of the re- port that SovietBannia and japan have signed A secret military agreement per. mitting Japanese troop withdrAweis from MAikehtUlAi It in allowing thin mituation to develop At a time when its survival is de- ptndent am never before upon foreign support. But the KUomintang is sndangoring not only itself by itn rash foreign policy; there are indications theA it is bus to to meat� friction between the United States and 6treat Britain and Russia. When speedy viotory.-and Any victory at all--domends maximizing of agreements And the minimizing of 4.iotionn, moh maneuvern amottat to sabotage of the war effort of the United Vatiom ,gallaallyat earn Ito moot important present contribution is to allow us..at our own and fantastio oont..to build and lien air bases in Ohinom It delayed, perhaps too ion, for moms, to allow forces designated for the purpose and trained and eqlipped by un to take the off Ivo in West tumult even though needed to support the Americnn.ChInene campaign in NorthItarma, the pur. Popo of whiCh is to open a "life-line" into China and facilitate the mutual landing on the China want. It noyeed to thin action only after long maths of obstruotion, It fails to make effective IMO of Americein equipment given to it, an it nlno haled with earlier Bunnian aupplion. Equipment brought into Chinn ban often not boon trannportod to the fighting frontn. In other canon it ban beta knuwn to have boon boardod or diverted to non.military purponen. Ohtna ban dimplayod "dog.in.the.manger" attitude in regard to equipment oonnigned to Ohina dnd deteriorating in India for lack of trannportation. It hnii concealed and refuaed to make available to our forcers boardo of nurplien ouch an gnnolino known to m- int in China, even when the emergenv wan great and Ohinale oto4 internal) direct. ly nerved. It ban connintently refuned, to connolidate and officialy adninintor trona. portation. In the pant thin reoulted in great lonnon of nupplien in the Jniumm one capturo of Burma tindWont Amnon: now it in crippling Chinese internal tram. portation on which military activity munt depend. It ban allowed military cooporation to be tied up with irrelevant financial demands which onn only be doncribe an a form of blackmail. It Ma been these exconnive domande in nrito of the foot that American erpendituren in China (againnt which there are almont no balancing Chinone rmnonte) continuany add to the largo Ohinose ',neat egg" of foreign exhivange, which cannot be wind in China at pm:sant and than conntituten in effect a "kitty" being hoarded for pont. war MO. It ban failed to ImDlemont mi'itorv roquiniti ning lnum to notKipt ua in ob- taining =plias in OhinA and Imo left WS at the ftimmr of conariencnioen nrofitcorm. ,�� im,a-Inecifiarl and Anoroved For Release 2013/07/31: CIA-RDP13X00001R000100300001-0 Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 6 SECIRT come of whom hAvs boon known to have ofal oonneotione. It hag permitte the impoeition on VAI, of fantastio prime, made more oo by A wholly unmans. tic exohange rate, for =tido in some omen origInelly sqpplied, to China through Amerionn oredito. It seemingly hes Ignored the fact that the more supplies In Ito own war effort a pernioiour nna corrupt coneoription syetom which worko to eneure the eeleotion and retention of the unfite-eince the ablest and etrongeet ow n either evade ooneortption, buy their wey out, or deeert, It etexvee and meltreate moot of it troop to the degree that their militery effeotiveneee to greatly impaired and military eervioe in regarded in the minds of the people an at oentence of death, At the eame time it ream to follow the soggeetion that the limy ehould be reamed to the (size that could be adequtely fed, medion14 cored for, trained and armed. It Vt000 this refuel on mercenary politioel conadtratione-ethe conoentration on the continuing struggle for power in China, and the ultimate meaeurament of power in term o of armiee. For the eame reaeon it refusee to mobilize it eoldiere end peopLe for the only kind of wnr which China ie in a poettion to wage effectively.. A people's guerrilla wer. Perhape our entry into the war hna amplified the problem of the Nuomintang. Aa afrnAd of the forme within the mantry ito own people.-ae it in of the Japanooe, it now eeeke to avoid oonfliot with the Japeneee in order to oonoontrate oh the perpetuation a ite own power, The condition to whloh it has permitted ito ant1100 to deteriorate ie ehown moot reoently by the defeat in Tionan, which in due not only to Lace of heavy firmament but ale� to poor morale and mieerable condition of the noldiera, alumnae of eupport by the people.--who have been conniptently mietreated, look of leaderehip, ana prevnlent corruption among the office-ire through eueh prac- titles ae trode with the occupied areae. If we accept the obviaun indicationo that the preeent Kuomintang lender- ehtp does not want to fight the Japanene any more than it can help, we mut go further end reoognize that it may even eeek to prevent China from boom. in the battleground for large ooale onmpaigne agninot the Japaneee land forme. Thin helps to explain the Nuomintangle continued dealiw with the Japaneee and puppeto. Thun the Kumintang may hope to avert doterm1ne6 Japan, ene attack, maintain itn own pooition and power, cove the Eaot Chinn homeo of praatically all of ite officials, and preserve its old economio..industrinl base in the manta cities. If Olio analyeis to valid it reveals on the part of the Kuomintang leader.- - ehip�whiah means the Oeneralionimo--a wioal dieretArd of the added. coat of the inimitable proloroltion of the war in American liven and resoutroea. D. zummarskatax.2anzazt ioies f the RuorLi tar 11....4.2-2,m,katz, In view of the above it becomes nfirtimant to ask Elk, the Kuomintang hall loot Ito power of lecIderahip: wiz it neither wishes actively to wage war ngninet Japan itself nor to manerato whole-heartedly with the American AM in China; and .tal it hna waned to he oannble of unifying the country. k I. Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 � � I .4 =.1 Declassified and Approved For Release 2013/07/31_:_CIA-RDP13X00001R000100300001-0 �4,* � - 7 - - --.,,�-11� � ......n.A4141"140116.11 1AS 144 RE 4.0 The mower to all the oe queotione io to be found in the present =Moni- tion and nathro of the Party, Politically, a olaeoical and definitive Mori- OgA deourtption benomee ever more true: the Kuomintang ie a cowrie of cenoervative political cliqueo intereotod Primarily in tho preservation of their own power naalnet all aateiders and in jockeying for pooition Among themeolveo, Monomically, the Kuomintang reote on the now base of the rural gentry-landlorde, the militarieto, the higher rank of the government blaremoracy, ond merohant-bankero having intimate oonneotiono with the govern- meat bumuerato, Thie bane ban Actually ontraoted during the kw. The Kuomintang no longer oommendo, en it once did, the unequivooal support of Ohinale industrial/eta, who 04 a group Twit been mudh weakened economically, and hence politionlly, by the Japaneoe oeizure of the oonotal oitteoe The relation of thin deeertption of the nomintang to the queotiono pro- pounded above ie clear. The KUomintang bag loot ite leaderehip bewail� it hae loot WIWI with and to not longer repreoeutative of a nation which, through the praotioal ex. perience of the war, in becoming both more politioalbr conoalouo and WO aware of the Partyle oelfieh ohortoomingo. It cannot fight an effective war becalm) thio in iwpoonible without greater roliawo upon and nupnort by the people. There muot be a roleaee of the nationnl norgy nuch an =wed during 0119 nallq period of the war. Under preeenteonditienn, thin aan be brought about only be reform of the Party and greater political demoorany. What form thin democracy taken in not an import- ant an the genuine adoption of a democratio nhilosophy And aittitado; the threat of foreign '1 anion ie no longer enough to etimulate the Ohinece poople and only real reform elan DOW regain their enthuolaom, "But the growth of democracy, though baolo to Ohinale oontinning war effort, would, to the mind of the Wumintanglo preeent loadero, torporil the foundationn of title Partyle power becauoe it would mohn that the connervative (airmen woald have to give up their oloeely guarded monopoly. RathL 'ion do thin, they !veer to nee the war rowan In Ito promit o tate of pnanive inertia. They are thuo aanri. riarkg. Ohinaln nationnl interooto to their own aolfieh ends, ror oimilar r.moona, the Kuomintan,t,, in unwilling to give wholo,hearted cooporation to the American Army le effort in China. Full cooperation nocen. requiron the broad Ohinone military effort which the Kuomintang in unable to oarry out or mite p000lble. In additton, the nominta4,42: feare that large ecietie, wideupread and direct contact by Amerionno witli the Ohtneoe war effort will awnoae ita own inaotivity and, by extample and noTtional con, tnote, be a 11berni1?.1ng influence. The Kuorai oaonot unify the country becanne it &rives ita support from the enonomiomlly and :moth:11y backward Agrarian u031 Theee groups are ineamble of hringiup.: about Ohinala induotrWitation, al. though they pAy this objective elaborate 11 ervtoe. They are aAeo committed to the maintenanre of an order whloh by ite very nature fosters narticularlam anti I.:101sta modern oentralit..atIon. Clountles,i owl be given to allow the "1 inet..un of the t.arty with the groups that opiloee modernization and induo- Lrialization.-such ea vonneotiona with Seeohwan wqrlords and milit.vient. The Knomintant; sees no obj eot 1 on to mai n tat ni ng tho affiftomi t Intt ente of some 0 4 Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 - *0- )0.7 4.04. - Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 7 :I g A q- fi4i4T041i4714A irrreliirf MettNIA SKRE of its oompanent groups in occupied Ohina or in preesrving trade with �coup pied Ohina, the criterion of whioh io not the national Internet but, its prom Mobility to the engaging grave. This explains wN7 Free Chines imports from ooeupiod Ohba =dot largely of luxuries, Against exports of fowl ftnd atrategio raw untorials. It is therefore not surprising that there are many links, both politica and tioonomio, between the It'unmintang And the mpot regime, 10, The present polioies of the ICuomintang seem cortAin of failure; if that failure results in a ollopme of Ohina it will Iwo consequenoss trims both to our immediate militory plans and var longterm interest@ in the Far bet, The foregoiAg an4yeta IVA shown that the Nuomintang under its present leaderelft has neither the ability nor desire to undertakeiaprogram.whioh could energize the war and ohmic the proms of internel disintapNtion, It preoccupation with the maintenanoo and congolidation of its power must re., suit, to the contrary, in acooleration rather then retardation of the to of ithia disintegration. Unleas it widens it base and ohangea it oharacter it mat be exploded to ontinne its preaent polides. It will not of it& own volition toke stepti to bring about this broadening and reform. The oppoalta will be the OA401 prooisely becaus it has loot popular soport, it ia dodbling ita effort o to maintoin and monopolize oontrol. The proseut polioies of the Kiaomintang seam =Win to fail booanse they run Maar to strong form within the oeuntry and Art) fOr0i4a China into 8tA00 thfte polloies aro not favorable to ufil nor of asolatanoe In the proseoution of An effective we' by Ohina, their failure woad not of Itself be disastrous to Amerinan interests. Por many reasons mentioned above we might waloome tho fall of the Kuomintang if it could immediately t4 followed by a progressive government ale to unify the oaantry and help us fight Japan. Zut the donor le that the preeeut drifting and deterioration under the Toomintang may end in a oollapse. The result would be the creation in China of A VignIUITI. This would eliminate mly possibility In the near ftlture of uti. ling China's potential military strength. Because the Japanese end their mippoo might be able to occupy this vacuum...at munh less cost than by a major military campaign,it ml!ht also heoome impossible tor us to arploit OhinolLs flank position and to r.nntinue operating frow Ohineee 'Mew. The war would thus be prolom,fed nal made more difficult. Bach a which would dispensable Ohina, collapse wouldalso initiate a period or interne.). ciaiu InChina defer the emergenne or atrongs rand ettable owernment an inr. prcondi Lion for utalrU, ty and order in the Per %et,, which miht be a minor tweet to ne now, would become major V. 11).atta.z.19...wever eotive fvfl, oonek....iraot vq,:foroee Nag; cono the pzev eat tresatl�.9S .the ITuoill.v.A.44.04Liet!Attehl ..rriaact a �,tivioe avert_th.9.,t1TATtl d ane diatintiefted vith lover! Illit5/ I t ttli5 Theise gronne, a.11 inoreneingly Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 trt 4 Declassified and Approved�For Release,2013/07/31 : CIA-RDP13X00001R000100300001-0 t./C3 � A:, = �*; � �-� On 9 h'r I ,im�fin, no�A: SECR Party responsible for it, inoluds: The Tetriotic younger Army offieere, the smell merchants, large sections of the lower ranks of the Government burexueragy, most of the foreignm.returned students the intelligentsia, including:professors, students and, the pro., fessional Classes, the liberal elements of the Nuomintens, who woke up e. nimble Ininority under the leadership of such men as SUN 10, the minor parties and, eporcps, eome of like the National Salvationiato enjoy israti.preitigip the Minima Communist party, and . the inartioulate tut inoreasingly rootless rural poplation, 6 ,1 The collective numbers and influence of these groups could be tromodaus, A nonintan,s �Metal recently admitted that resentment against the present Kuomintang government in no widespread that if there were free, universal. election SO of the votes might be cant agninst it. :Out moot of these groups are nebulous and unorganised, 40' 14; feeling like the farmer(' ... perhaps only it blind dinlike of conditions am they are. They represent different classes and varling political belief� where they have any at ell. They are tending, however, to draw together in the eonsciounneno of their common interest in the change of the otatuomm. Thin awakening ana fueion is, of �aurae, oppened by the KuomintaniklaTh every mann At itn dierpoeal. The danger, na conditions grow worse, in that some of these groipe mAY act independently end blindly. The effeet may be to make confusion worn�. Such might be the once in a military ptdah a pooeibility that ennnet be disregnrded. The result might be eom-e111�"Ing analogous to the Siam incident of 1936. But the greater delicney rind preenrieueneme of tho pronent eituatien would tend 1.tee1f more ennily to exploitation by tha meet reactionary elemente of the Kneminte.e,-. the ,Ter.neeee or the eupeetn. &oft-1. ;)onnib1li!:1 in the outbrenk, on n much lnrger scale than heretofore, of unorganized and dieruptive ffirmorn revolts. A dititurbing phenomenon in the 911parent at now being made by some of the minority parties to effect n untrringe of convenience with the provinoinl warlords, nmong the most reactionary and unacrmuloue figures in Chinese politics and hardly cranndere for a new democracy. The hopeful eign in that all of thene groupe are agreed that the basic problem in Chinn todey is political reform towards democreoy. Thie point re. quire() euphoaie. It is only through political reform that the reeteration of the will to fight, the unification of the country, the elimination of pro- vincial wnrlordinm, the solution of the Communist problem, the institution of economic policies whieh onn avoid collnpue, and the emergency of 4 govern- meat actually supported by the people a= be achieved. Detworatio reform is the arum of j.niiitalat.eco-TIonu,=TAn FrWias It is clear hvond doubt that Chia& u hope for internal people end effec- tive unity certainly. in OR immediateNtere,�"Atichs for the nolo _of tbo war MUG 1)0 our rrior uonnlueintien) prof-vilely in tne long-term V W WO-LL mb A t'It. anri Annroved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 Jr. r �� .00 �. Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 - s."�� SECRET lies neither with the presentItUomintankes nor with the Coreunists, but in a, don't:vatic combination of the liberal elements within the country, incauding thoee within the Kuomintang, and. the probably large section, of the Communists who iced be willing, by their own. statements and peat actions, to collaborate in the resurrection of a united front, �divan the known interest and attitu4es of the Chinese people, we can be ewe that measures to accomplish the solution of these problems will be =um. taken in earnest by a broadly-based government. Such a government and only such a government -- will. galvanize China out of its military inertia by re- storing national morale throu4i sta.ch means as the reduotion of the evils of conscription and stopping the maltreatment and starvation of the troops. Such a government and. only such a government will automatically end bb,e pera- lyzing internal dissension and political unrest. Such a government and. only emit a government will undertake the economic meamures necessary to increase production, establish effective price oontrols, mobilize national resouroes, and end. corruption, hoarding, speculation and profiteering. It is of course unrealistic to assume that such a broadly-based democra- tic government can be established. at one stroke, or that it can immediately achieve the accomplishment of these broad objectives. But progress will be made as, and only ae, the government moves toward danooracor. the 1 h attitude toward oh thi na sh aLte,..the _Amos It to impossible to predict exactly how far the present disintegration in China can continue without spectacular change in the internal situation and drastic effect on the war against Japan. But we must face the question whether we can afford 'passively to stand by and allow the process to continue to an almost certainly disastrous collapse, or whether we wish to do what we legitimately and practically can to arrest it. We need to formulate a realistic policy toward China. A. Theigurcu'econsijalym_____pous of their atRegmet. sa....atzd Wj.1fo joiaL.seit We must realize that when the process of disintegration gets out of hand it will, be to us that the Kuomintang will turn for financial, political, and military salvation. The awareness of this dependence is the obvious and �or- red explanation of the NUomintnngle hyper-sensitivity to American opinion and criticism. The Kuomintang .- and particularly the Generalissimo know that we are the only disinterested, yet powerful, ally to whom Una can turn. The appeal will be made to us on many grounds beside the obvious, wel1. worn, but still effective one of pure sentiment. They have said in the past and will say in the future that they could long age have made peace with Japan .. on what aro falsely stated unuld have been favorable terms. They have claimed and will claim again that their resistance and refUsal to compromise with Japan saved Ruasia, Great Britain and ourselves .. tgaoring the truth that our own refusal to compromine with 'Tanen to China's dioadvan. tege brought on Pearl Hnrbor and our involvement before we were ready. Thqy Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 S , .1 s.. t' Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 �N. Oic Arc ' (.51111irl' � 44' A ,� � ft,Az -11- SECRET have oomplained and will continua to complain that they have received les, support in the form of materials than any other major ally forgetting that they have done less fighting, have not used the materials given, and would not have hal the ability to use whet they asked for, finally, they have tried and will continue to try to ley the blame on, va for their difficulties -- distorting the effect of American Amy expenditures in China dad iporing the fact that these expendltures are only andnor faetor in the whole sorry picture of the mismanagement of the Chinese economy. But however far.fetched those aapeals, our flat refusal of them might have several entarransing effects. 1. We would probably see ,Ohina enter a period of intilrnal Chaos, Cur war effc:t in this theater uvuld be disrupted, instability in the Par reit prolonged, and possible Russian intervention attracted. 2. We would, be blamed bi large sections of both Chinese and Americo% publio opinion for abouldoningn ROA after having; been responsible for its collapse, (In a measure ms would have brought, such blame ourselves because we have tended to allow oureelvee to become laden i. fied not merely with Ohinatut also with the Ituomintang and its poll. cies. Henceforth it may be the better pert of valor to avoid too close identification with the ruomintang.) 3. By an apparent abandonment of Ohina in its hour of need, we would lose international prestige, especially in the Far Vast. On the other han& if we come to the rescue of the KUDmintang on its own terms we would, be 'buttressing .. but only temporarily a decadent regime, Which by its existing Xt is clear, therefore, that it is to our advantage to avoid a situation min- ing in Which we would be presented with n Hobson's choice 'between tuo ouch unpaletable alternatives. ThelAillallgMLIJIMAILL00.92.1.1412e innumee� Oircumntancen are rapidly developing so thnt the Genernlissimo will have to ask for the continuance and increase of our support. Weak as he is, he is in no position .. end the weaker he becomes the loss he will be nble -- to turn down or render nugatory nny coordinated and positive policy we may adapt toward China, The cards era all in or favor. Or influonce, intelli. gently used, cnn be tremendous. 0. 2112,2maz 1. We may give up China no hopeleoe end wash our hando of it nitegether. 2. We muy continue to give =Tort to the Generelienimo, wNin and as he mks for it. 3, we mny fornallatA a coordinate aad pooitive policy toward China and take the mammary steps for its impkementation. Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 a ik.� � ' � ""16 a 7tta--j ." :Le f � 4 r-1 3. Declassified and Approved For Release 2013/07/31: CIA-RDP13X00001R000100300001-0 p71:.7�rt ir,7:5� � 1114.9.1Pvel in nicg. SECR The United. States if it so desired and if it bad a coherent policy, could play an isportant and perhips decisive Me in 1. Stimu3.ating China to an active part in the war in the Air East, this hastening the defeat a Jekpoxx. 20 Staving off economic collapse in Mina and bringing about basic politica, and economic reforms, thus enabling China to carry on the war and enhancing the chancel, of its orderly post war recovery. 3. Ihnbling China to emerge from the war am a major and stabilizing factor in poet-war at Asia. 4. Winning a, permanent and valuable ally in a, progresoive, independent and democratic China. E' . . h Mo hi4ti (1-=-2.-921taggeliallp2.9111,21 02._AV" � o a ear om an examinat on of the-baCkrg o the present iit54fion in China dtd the prow objectives of our policy there. The first alternative munt be rejected on immediate military grounds .. but alao for obviouo long-range conaiderationo. It would deprive um of value.. able air bases and pouition on Japanle flaak. Its adoption would prolong the war. We cannot afford to wash our hands of China. The results of the oecond alternative .. which, inoofar as we have a Mina Policy, has been the one we have been and are pursuing .. opeak for thrmeelves. The adbotnntial financial nesistance we have given China has been frittered away with negligible if any effect in slowing inflation and retarding economic collapse. The military help we have given has certainly not been used to thematic) China's war effort against Japan. Our political support has been used for the Kuomintnnglo own selfish ritxrponoo nu-id to bolster The third, therefore, is the only real niternative left to us. Granted the 'Wootton of the first alternative, there is no longer a question of help. ing and edvioing China. China itself must request this help and nal/ice. The pnlx, question is whether we give this help within a framework which makes pence, or whether we continue to give it in our present disjointed and absent. minded manner. In the past it has sometimes seemed that our right hand did not know what the loft was doing. To continue without a coherent and. coot'-. dinated policy will be dissipating our effort without either China or ourselves deriving any nnnrociable benefit. It can only continue to create new nroblemo, in addition to those already troubling us, without any compensating advan, tamp beyond those of indolent short-term expediency. But moot important !is the possibility that this haphazerd giving, this servine of short-term tit;tedi. am, may not be enowt to save the situation: oven with it, China umy con, tinua toward collepoe. F. This positive poli y should be political. The problem confronting us is whether we are to continue ns in the -mat r ved For Fe 13/07/3-1 � CIA RDP13X00001R000100300001-0 C. t� 4 t � '0 91 lain."' I � Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 twaolim � . - 3 Sh.� _ , 10/1 to ipore political coneideratione of direct militory oignificance or whether we are to take aloe: oat of the Jepaneee boOk and invoke even stronger am inting political forces in China to achieve our militory long-term poll- tical object/vest. WI mut seek to contribute toward the reversal of the present movemeat toward collopee and to the roueing of China from ite militory inactivity. Tao can be brought about only by an acoelerated movement tuword democratie political reform within �him Our part must be that of a catalytio agent iA thio process of Minnie democratization. It ca A be oarried out by the careful exertion of our influence, whioh hos eo for not been conseiously ox4 syetemee. timely Use44 III. The " at i n 210.4.9.12.19.e on. ig,c,,sarro*1JL-rac#4151 and on be -c Jed. a t = diffi I 1. � Ate 2agom4ic fineeoe will be re red in the execution of this poligr in ouch a way ArEIT770575aFT e rong (=rent of genuine nationalism (ma diatinguiehed from the Oheuvinism of the ftomintang) which Charecterim al- moet oll oectiono of the Ohineee people. There met be a sensitivity to the oltuation in China tind the politica chongeo there ao that there can 'be an, apprepriate and immediate etiffening or ooftening of the meaeurce which Iwo undertake. Thia tact and eeneitivity will be required not only of the top polipy directing agency but of all other agonies actuelly implementing that polipy and concerned in direct relatione with Chinn. B. There rnut be effect e coordinat on of te ao,.t iip a actions se. jimerlean.jar,miarat,�wpagicase.o.p.mastiaLIL.,,estiej,=.94,, The preeent lack of effective cooperation between the varioue Government agencies .... State, War and eome of the newer nutonomoue organizations .... de. tracts from the efficient functitoning of each, and weakens American iarluence when it le moet needed. It muet be recognized.--nnd It 0.11 be even more the OftLie under the policy proposed,,that call our iie!din:.,q Oft 01 our activitioa tn C lnii11= Bali:1,0a to ileation. enordiwati,in IB Absolutely essential for the achieve- mT�fliftyof767cy and synchroni7.ntion of notion, 'Ets at will require intelligent nnd forceful direction both in Washington end in Ohiuwicing. The logical pernon to 000rdinlita activities in CharOting In obviously, beoause of the broad teepee involved, the Ambassador, imilarly the corrae.. ponding person in Washington might be the Cvdef of the Chinn Section of the State Department, who would watch the whole field for the President or a ro. sponsiible Cabinet meMber, Positive nction, of course, Ivortld deDeind on can, stant end clone consultation, both in Washinelon and in the finld, betwoon the representatives of the Stnte, Wer, Navy And Treasury Demartments ani the other fmencies operating in Chinn. 0. Sir" nilVearmr" 9ma.la.:41,...9119111d not 1.11-42.22ied 61thrieo.......ail!.L. there should be careful selection and Some measures will be simple and immediately useful, Others should be deferral until primery e t ei s have been taken, Still others 011 he more " � � , � **vast .1 Declassified and Approved For Release 2013/07/31: CIA-RDP13X00001R000100300001-0 � S. a 4 Declassified and Approved� For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 ---fm1"--prqfp-c-z- Nd-t`,...5d:-..1 iir5did??' , - � 4 �''d t.i 4 5. '?! 1,55.544.541 ft' formed or direct 3nd their me will depend on tho RUcmintangis recalcitrance to Chang� its ways* 4 riost Avoid avoruiplaying or underplaying our hand' Ds =Ws � it k a612,44221,111.111.212.241==,20�aragiii lsjle tivet ca, op oar present �mollycoddline of Ohinabyt rostroitiog Tend. Lotto, cutting: down training of Chinese military �Mete, discontinuing trmining of bhe Ohineme Army, 'bilking a firmer stand in the finanoiel neva. tiationss or stopping the shipment of gold. Any or All of these r(etrictive mammas can be reversed an the Generalissimo ond tho nomintang become more 000perative in =trying on military operations, using equipment And training mooned, being roaspnable on financial questions, or allowing um Ireedom in much military roquiremontm as omtablishing contact with tho Oommnist areas, (b) stop building up the Generalissimo's and the KUomintangis prestige internationally and In the United States, %loll 'Taos" nerves only to bolster tho mime internally and to harden it in its prasent polioies, pion of Ohina am ono of the liBig Four" served A umoful purpose in the may ntage of the wAr rind, as a counter to JoDanase raoiAl propasconda but has now it Ito junbifiontions. WO mike foolm of mani ourmelves_hy ootiono am tho attention given to the ngless utternnoes of OUJ lieruellmfen ma u apokosmnn of Chinese labor and the prominance Awarded to �him In the Xnternationa.4 LaLor �Moe Oone. forma*, Our tondency toward ovorlocvish praise is rsgArtted by tho Mines� AO a mign of either mtupidity or we@knsoss Abandonment of 6Lib genoralitios for hard.hended reallom in or tti. We toward Ohina will be quiokly mtderstood.without the reoentmeint that would probably be felt againot the TOthiohs Wo on make it clew thnt pram, will be elven when praioe to due. (o) otqrmaking unnonditional And gr andl000 promioep or holp along ouch lineo in rNtUtA,post.war eoonomio sAds nna politioal pport. Wo emn meiko it clear without havinkt to be very explioit that wo otanl ready tc help China when Ohino ohowo itgoif deoervinR. This ties int:it Lilo more vooitive phame of publioity and propaganda to the of roots for inotanoes that Amor loan Not. war cloommio nid will not be extended to build up monopoliotio enterprise or comport tho I jfl,or .pntry olnmo but in the interooto or a demomatie PoePltt4 (d) Dioeontinum our prosent notivo oollnborntion with Ohineos, oedrot polio() orehni?Attono, whioh ountiort thrs foroeo of reaction and otond for the opposite of our Amerionn dmmoormtio nirmo and idoalos Thio collaborations which reoalto in thm efrootive otrongthening of n Gostan4.111ce orptnisations io booming inaronoingly Wnown in Minn. It confuses and disillmeons Wow* liberalo, who look to uo as oleir hoptis and It weakono our pooitLon with the ICttotantnite, bddro in proottim for dounoratto Wormy 13 ItiltAVOI A Tignovornmont offlolnlo in oonveroutiono with Ohinmftet londarn in WM.ohInton anl In China oan mnico known oar intoreot in UnglartitV And unity in Mina and our diooetiteantion with prmoont Knomintnne, finftneinl tind other .polloins. 3nob outvvotiono will bamr Armut wolght It ory eemio irom n0 Peslaent tua ndvont vm Nut ho tnkmn of nnt,ortqatioe eturh mo trio Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 %VI � � 4- . : * -4- Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 -f - 15 4,4 visite of Vice President Wallace to China, and (LH. King to the United Statee. A. wogresetve stage can be questions or statemente by members of Congrees re- garding affair� in China. (b) We ehould take up the repeatedr.but usually inaincere-requeets of the Kuomintang for advice. lf advisors are asked for, we should see that they are provided, that good mon ars selected, and thnt they gpt all posstble aid and support from Va. While the nuomintang will be reluctant to accept the advice we may give, its more reiteration will have some effect, (o) We should seek to extend our influence on Chinese opinion by every practical. =inns available. The Office of War /formation shoul& go beyond it present function of reporting Anarican war news to pointing up the value� of democracy as a per- manent political vett= and as an aid in the waging of war against totalitari- aniem. We should attempt to increase the dissemination in China, by radio or other more direct mama, of constructive American criticiem. This sbould inolude recognition and implied encouragement to liberal and propxeeeive forcee within Minn. Onre ehould be taken to keep *la criticism on a sqelpful, conetructtve and objecti.ve plane and to avoid derogatory attacks which may injure Chinon� nationalistic eoneitivitiee. To do thio work, there may have to be some expamion of the OAI. in China and of our propaganda directed toward thie country, A eecend lino is tile active expansion of our cultural relations program. The present diversion..bynemintang wish -to technical subjeoto should be rectified end reater emphasis laid on eonial (mimeos, cultural, and prao. tical political subjects such as American government ndministration. We should increase our aid and sup.port to iAtellectuale in Chinn by the many means alrendy explored, nue) an aid to resenrch in China, translation of articles, nnd opportunities for study or lecturing in the Dhitod States.. Other, more indirect lines, are the expansion of our American Foreign Service representation in China to now localities (since eaoh office is in some measure a center of American influence anti contnot with Chinese liberals and returned students from the United S Mos) and the careful indootrination of the American Army peroonnel in China to create, by example and their ntti. tude toward Chinese, favorable impressione of Merlon nM the things that Amerina atanen for. Where contact botwenn.Amerinnn and Ohi_notio military per. Donnel hao been clone, au in Mullin, t1v- retnilt, 111i0 ''r' ti lotle. cratizine: influence. (d) hte ediould assist the education of public) opinion in 00 United Stntes toward a reallstic but constructively sympathetic attidude townrd Chinn. Tho most obvious menir.i would be making bytekrround information available, in unoffiolal way, to responsible politio41 commentntors, ,,ritern and research workers. Without action on our pnrt, their, writings win beclmo knows, to Chinese Governmont circles and from them to other nelitically minded groups. We should, =stover, coordinate this .4th the' activity desoribed in the section above to promote dissemination in Chinn. (0) We ohnuld, maintain friendly mil Mono teitl thr 1tbcrI Memento in the Tuomintang, the minor parties. anti Via Conumtniet,o. This clan,-8,1 shollid for its maximum effect...1m done in an open abovo-bemrd manner. The rePogni. tion whioh it implies will be soinviv umierst,od hy the Chinotio. Declassified and Approved For Release 2013/07/31 : CIA-RDP13X00001R000100300001-0 "ft 4k, % N. %16 0 444* Declassified and Approved For Release 2013/07/31: CIA-RDP13X00001R000100300001-0 " ..--7,74- ' -i� . ' --, Pt, 'I- ' '-i' ' " W 2.0 FUrther eteps in this direction could be publioity to liberole, suoh as distinguished intelleotuale. When possible they may be included in considers. tion for Madge honor or awarde, given recognition by being asked to par. tioipato in, international commiasione or other bodiee, 4nd invited to travel or leoture in the United, Stntes, livery effective action of this toe would be in an invitation to Warne Sun Tat.sen from the White Now�. We should eeleot men of Unown liberal viewe to repreeent r5 in OWI, oultural relations, and other lines of work in Mina, (f) We ehould continue to fallow aa interest in the Ohinese Oommuniste, Thie includes contaot with the Oommuniet representatives in OhnnOing, pit). lioity on the blockade and the eitaation between the two parties, and con. timed preesure for the digpetch of observere to North China. At tbol time we elaculd streee the importance of North China militarily..for intent. once regarding:Japanese tattle order, Japaneee air etrength, whether report. ing boMbiAg data and damage meet:lament, and nir crew evasion and rescue work. We &load oonoider the eventual advance of active operations against the japanese to worth China and the question of assistance to or cooperation with Oommanist and guerrilla forces. If our reasonable requests bases on urgent military grounds do not receive a favorable response, we shruld send our military observers anyway, (g) We should consider the training and &piping of Provi
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2016-02-17T23:40:30+00:00
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Graphic artwork by Dutch artist Jan Montyn on display at the Kunsthal Rotterdam.
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https://www.amazon.co.uk/Lamb-Slaughter-Artist-Among-Battlefields/dp/0285626213
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A Lamb to the Slaughter: An Artist Among the Battlefields: Amazon.co.uk: Montyn, Jan, Kooiman, Dirk: 9780285626218: Books
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Buy A Lamb to the Slaughter: An Artist Among the Battlefields Main by Montyn, Jan, Kooiman, Dirk (ISBN: 9780285626218) from Amazon's Book Store. Everyday low prices and free delivery on eligible orders.
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https://www.amazon.co.uk/Lamb-Slaughter-Artist-Among-Battlefields/dp/0285626213
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At the age of eighteen Jan Montyn was learning how to cross a ravine hanging from a rope; at nineteen he was serving in the Baltic on a German minesweeper; by the time he was twenty he was enduring the mud, snow and slaughter of the trenches on the Eastern front; before he was twenty-one he had lived through the hell of the Allied bombing of Dresden, played cat-and-mouse with the Russian army in a last-ditch stand on the banks of the Oder, retreated across Germany into the arms of Allied forces, escaped from a POW camp and joined the Foreign Legion. A few years later he was at war again, in Korea.
An adventure story on the grandest scale? Rather one of horrific experience and of a sensitive mind driven to obliterate the terrors of the past by a further dose of the same medicine.
Coming from a childhood hidebound by the most rigid structures of Dutch Calvinism, the young Montyn had seen the German Occupation of Holland and the wider opportunities it offered as the dawn of a new freedom. He had joined the German navy in a spirit of bravado, only to find himself trapped in the final, agonising throes of Germany's defeat in the Second World War and to live through the worst that men and machines can inflict on each other.
As an artist it affected him deeply, leaving him prey to hidden terrors and nightmares. From being a devotee of war he became a confirmed pacifist.
Written in collaboration with one of Holland's leading young novelists, A Lamb to Slaughter is a deep and haunting book of exceptional skill, a catalogue of strife and bloodshed whose message is peace and hope. Through years of restless pain Jan Montyn has struggled to come to terms with his baptism of horror - through debauchery, madness and the catharsis of remembering, through his art and the healing balm of the Buddhist faith.
His story is that of a man haunted by battlefields, who now seeks them out, not as a participant but for the essential tranquility he finds amid the aftermath of war. His book is an unforgettable literary experience, a moving evocation of the human paradox that transcends its immediate theme to assail our deepest sensibilities.
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Jan Montyn
Jan Montyn was born in Oudewater in 1924, where he spent a carefree childhood as part of a large, close-knit, orthodox Protestant family.
As a 17 year-old in the Second World War, attracted purely by the promise of adventure, he became a member of the Jeugdstorm (Dutch National Socialist Youth Movement), and participated in two Weersportkamps (Endurance Camps) in Austria. In order to escape the Arbeitseinsatz (forced labour) and the restrictiveness of Oudewater, he joined the German navy in mid-1944. In the Baltic Sea, his ship was sunk by a torpedo attack, and he barely survived. He was transferred to the trenches in Courland, where he was wounded. Upon his recovery, he was bussed to the front line at Oder, where he witnessed the bombing of Dresden first-hand. When the Russians crossed the Oder, he fled to West Germany where he was eventually captured by the Americans. He managed to escape to Marseille, where he joined the Foreign Legion. After a short period with the Foreign Legion, he deserted and gave himself up in Straatsburg. In August 1945, he was transferred to the camp in Vught, and then on to the Duindorp camp in Scheveningen. He was sentenced to three years’ internment: firstly in the re-education camp in Katwijk, and later in Nunspeet. At weekends, he would return home to Oudewater or visit the artists’ bars on the Leidseplein in Amsterdam. He returned to Oudewater in May 1948.
However, once again, Oudewater proved too restrictive and suffocating for him, and he signed up for military service with the UN. After undergoing commando training, he was shipped to Korea, where his love affair with the Far East, particularly South-East Asia, began. He was wounded while serving on the front line. After his recovery, he was once again wounded, and admitted to a hospital in Tokyo with partial paralysis. After his rehabilitation from this latest war wound, he was transferred back to the Netherlands, whereupon he returned to Oudewater.
However, after a while, he realised that he had completely outgrown Oudewater and decided to become a professional soldier, accepting a post as instructor for the infantry division of the Dutch Army. Physically, he was in top condition, but his experiences at war had taken a toll on his psychological well-being, and he suffered from fits of rage. During this period, he also began to sketch more and more. After a while, he was given the task of setting up a museum for the Dutch Grenadier Guards. As curator of the museum, Montyn led a double life. By day, he tended to the museum, but by night, he would organise wild parties, orgies and drinking binges. His rage attacks got worse, and he was eventually admitted to a psychiatric institution in Utrecht. He brought his psyche back into balance by writing extensively about his experiences. In April 1957, he was declared unfit for service and discharged from the armed forces.
He then set up home in Amsterdam, on the Oudezijds Kolk, where he lived on the fringes of the art world. He made friends with Anton Heyboer, who instilled Montyn with his passion for sketching and showed him numerous techniques. This expressive medium and refined techniques were perfectly suited to Montyn, and together with Heyboer, he embarked upon a long journey through France, Spain and Morocco.
In 1961, Montyn met the young artist Thom Gerrard. They then moved to Morocco, living and working in Rabat for nine months. Upon returning to the Netherlands, they went their separate ways. Tragically, just after Montyn’s first solo exhibition in 1963, Thom took his own life.
In mid-1963, Montyn met Elja Julien, with whom he moved to Provence in 1964. With his own two hands, he renovated a tumbledown building for the couple to live in. It had no running water or electricity, but it did have a studio, which he used to create his etchings. His use of colours became more and more pronounced, and his first series of etchings flowed onto the canvas. He was featured in numerous exhibitions. He then embarked with Elja on journeys through Spain, Morocco, the Sahara Desert and the Atlas Mountains. Together with Elja, he accompanied his first child-refugee transit from South Korea. The couple broke up towards the end of the 1960s.
This marked the beginning of six years of long journeys, often for months at a time. Thailand, Laos, Cambodia and Vietnam became homes from home. Montyn travelled through rainforests, across hills, through valleys and along and across the Mekong river. He travelled through war zones, such as the Plain of Jars, Hué, Haiphong, Saigon, Hanoi and the tunnels of Cu Chi. He was caught in air raids, and he stood eye-to-eye with the Vietcong. He combined these extreme circumstances with temple retreats and with rest & recuperation in Bangkok. On his travels, he would create sketches and paintings, and back at his house in France, he would translate his experiences into etchings. The powerful etchings that he created during this period portrayed subjects such as war, air raids and casualties, but also the serenity of the temples, the mystic quality of the landscape and the burning desire for liberation. They were years of intense contrast: the tension and emotion of South-East Asia, hard work in Provence, and the worldliness of Amsterdam and Paris and the countless other cities in which his work was exhibited.
After the fall of Saigon in 1975, enough was enough for Montyn, and he returned to Europe. In Amsterdam, he met Hi-en Tjia, who he would marry later that same year. The two of them embarked on many journeys together, and the touring party was increased to three with the birth of their daughter Carolynne. They travelled far and wide, to Morocco, Korea, Japan, the Philippines, Thailand, Cambodia and Indonesia.
It was at this period that the Khmer Rouge came to power. Once again, Montyn offered his services as a volunteer to humanitarian organisations. He illegally crossed the Mekong, citing his work as an artist as his motivation. He met Roumpha, ‘the Khmer Rouge girl’, via whom he came into proximity with the regime. He witnessed the waves of refugees fleeing Poipet, and visited the refugee camps on the border with Thailand, such as Khao-I-Dang. He witnessed the cruelty that took place in the Tuol Sleng torture camp in Phnom Penh, and the suffering of the victims of the omnipresent landmines, both in the forests and in the fields. He assisted in the transportation of child refugees and the supply of medication for Doctors without Borders, and also worked to clear land mines. His knowledge of the country also enabled him to help track many missing persons for Amnesty International.
When the military regime took power in Burma, causing a desperate shortage of medicines, he participated in many illegal shipments of medication. In this capacity, he was once again confronted with floods of refugees and the camps in Mae Sot, on the Thai border with Burma. This was once again a period of extreme contrast, with the tension and humanitarian crisis in Cambodia and Burma interchanging with relaxation in Bangkok and family and work life in Amsterdam and Provence. The sketches and etchings that he created during this period have a completely unique style of imagery and their overwhelming power of expression is hugely impressive.
In the second half of the 1990s, the situation in South-East Asia had calmed. However, Montyn continued to travel through Asia, accompanied by his trusty sketch pad, pencil, paintbrush and water colours. He recorded the experiences of his travels at home via his etchings, using his own unique imagery and his characteristic colour scheme.
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Paul Cardoso
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Nathaniel Potvin
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Montyn, Jan, circa 1900-1985 — Wilhelm Arntz collection of rare exhibition catalogs and printed ephemera, approximately 1900-1985
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Famous Artists from Netherlands
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List of the most popular artists from Netherlands, listed alphabetically with photos when available. For centuries artists have been among the world's most ...
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https://www.ranker.com/list/famous-artists-from-netherlands/reference
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List of the most popular artists from Netherlands, listed alphabetically with photos when available. For centuries artists have been among the world's most important people, helping chronicle history and keep us entertained with one of the earliest forms of entertainment. You might also be interested in Vincent Van Gogh's tortured life and weird personal quirks of iconic artists. Whether they're known for painting, sculpting, etching or drawing, the famous Dutch artists on this list have kept that tradition alive by creating renowned pieces of art that have been praised around the world. You can find useful information below about these notable Dutch artists, such as when they were born and where their place of birth was.
List features Bernard de Hoog, Anton Mauve and more.
This list answers the questions, "Which famous artists are from Netherlands?" and "Who are the most well-known Dutch artists?"
For further information on these historic Dutch artists, click on their names. If you're a fine art lover use this list of celebrated Dutch artists to discover some new paintings that you will enjoy.
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The Starry Night, The Potato Eaters, Vase with Fifteen Sunflowers
Birthplace : Zundert, Netherlands
Associated periods or movements : Post-Impressionism
Nationality : Netherlands
Art Forms : Painting, Printmaking, Drawing
Vincent Willem van Gogh (Dutch: [ˈvɪnsɛnt ˈʋɪləm vɑŋ ˈɣɔx] (listen); 30 March 1853 – 29 July 1890) was a Dutch post-impressionist painter who is among the most famous and influential figures in the history of Western art. In just over a decade he created about 2,100 artworks, including around 860 oil paintings, most of which date from the last two years of his life. They include landscapes, still lifes, portraits and self-portraits, and are characterised by bold colours and dramatic, impulsive and expressive brushwork that contributed to the foundations of modern art. He was not commercially successful, and his suicide at 37 came after years of mental illness and poverty. Born into an upper-middle-class family, Van Gogh drew as a child and was serious, quiet and thoughtful. As a young man he worked as an art dealer, often travelling, but became depressed after he was transferred to London. He turned to religion and spent time as a Protestant missionary in southern Belgium. He drifted in ill health and solitude before taking up painting in 1881, having moved back home with his parents. His younger brother Theo supported him financially, and the two kept up a long correspondence by letter. His early works, mostly still lifes and depictions of peasant labourers, contain few signs of the vivid colour that distinguished his later work. In 1886, he moved to Paris, where he met members of the avant-garde, including Émile Bernard and Paul Gauguin, who were reacting against the Impressionist sensibility. As his work developed he created a new approach to still lifes and local landscapes. His paintings grew brighter in colour as he developed a style that became fully realised during his stay in Arles in the south of France in 1888. During this period he broadened his subject matter to include series of olive trees, wheat fields and sunflowers. Van Gogh suffered from psychotic episodes and delusions and though he worried about his mental stability, he often neglected his physical health, did not eat properly and drank heavily. His friendship with Gauguin ended after a confrontation with a razor when, in a rage, he severed part of his own left ear. He spent time in psychiatric hospitals, including a period at Saint-Rémy. After he discharged himself and moved to the Auberge Ravoux in Auvers-sur-Oise near Paris, he came under the care of the homeopathic doctor Paul Gachet. His depression continued and on 27 July 1890, Van Gogh shot himself in the chest with a Lefaucheux revolver. He died from his injuries two days later. Van Gogh was unsuccessful during his lifetime, and was considered a madman and a failure. He became famous after his suicide, and exists in the public imagination as the quintessential misunderstood genius, the artist "where discourses on madness and creativity converge". His reputation began to grow in the early 20th century as elements of his painting style came to be incorporated by the Fauves and German Expressionists. He attained widespread critical, commercial and popular success over the ensuing decades, and is remembered as an important but tragic painter, whose troubled personality typifies the romantic ideal of the tortured artist. Today, Van Gogh's works are among the world's most expensive paintings to have ever sold at auction, and his legacy is honoured by a museum in his name, the Van Gogh Museum in Amsterdam, which holds the world's largest collection of his paintings and drawings.
The Garden of Earthly Delights, The Seven Deadly Sins and the Four Last Things, Allegory of Gluttony and Lust
Birthplace : 's-Hertogenbosch, Netherlands
Associated periods or movements : Renaissance
Nationality : Netherlands
Art Forms : Painting, Drawing
Hieronymus Bosch (UK: , US: , Dutch: [ɦijeːˈroːnimʏz ˈbɔs] (listen); born Jheronimus van Aken [jeːˈroːnimʏs fɑn ˈaːkə(n)]; c. 1450 – 9 August 1516) was a Dutch/Netherlandish painter and draughtsman from Brabant. He is one of the most notable representatives of the Early Netherlandish painting school. His work contains fantastic illustrations of religious concepts and narratives. Within his lifetime his work was collected in the Netherlands, Austria, and Spain, and widely copied, especially his macabre and nightmarish depictions of hell. Little is known of Bosch's life, though there are some records. He spent most of it in the town of 's-Hertogenbosch, where he was born in his grandfather's house. The roots of his forefathers are in Nijmegen and Aachen (which is visible in his surname: Van Aken). His pessimistic and fantastical style cast a wide influence on northern art of the 16th century, with Pieter Bruegel the Elder being his best-known follower. Today he is seen as a hugely individualistic painter with deep insight into humanity's desires and deepest fears. Attribution has been especially difficult; today only about twenty-five paintings are confidently given to his hand along with eight drawings. Approximately another half dozen paintings are confidently attributed to his workshop. His most acclaimed works consist of a few triptych altarpieces, including The Garden of Earthly Delights.
Adriaan de Lelie
The Art Gallery of Jan Gildemeester, Mother and Two Children with Still Life
Birthplace : Kingdom of the Netherlands
Nationality : Netherlands
Art Forms : Painting
Adriaan de Lelie (1755-1820) was a Dutch painter. Lelie was the teacher of Dutch portraitist and lithographer Jean Augustin Daiwaille (1786-1850) and Dutch painter Pieter Recco (1765-1820).
Dirk Langendijk (Rotterdam, 8 March 1748 – Rotterdam, 15 December 1805), written as Langendyk in his day, was a Dutch draughtsman, painter and etcher. He produced mainly depictions of land and sea battles and other military scenes from the Dutch Patriottentijd (circa 1780–1800) and the French Revolutionary and Napoleonic Wars (from 1792).
Jumping Fox with Green Virgin, Flying Fish, En attendent nous
Birthplace : Amsterdam, Netherlands
Associated periods or movements : COBRA
Nationality : Netherlands
Art Forms : Sculpture, Painting
Christiaan Karel Appel (pronounced [ˈkrɪstijaːn ˈkaːrəl ˈɑpəl] (listen); 25 April 1921 – 3 May 2006) was a Dutch painter, sculptor, and poet. He started painting at the age of fourteen and studied at the Rijksakademie in Amsterdam in the 1940s. He was one of the founders of the avant-garde movement Cobra in 1948. He was also an avid sculptor and has had works featured in MoMA and other museums worldwide.
Adriaen Backer
Anatomy Lesson by Dr. F. Ruysch
Birthplace : Amsterdam, Netherlands
Associated periods or movements : Baroque
Nationality : Netherlands
Art Forms : Painting
Adriaen Backer (ca 1635, Amsterdam — buried 23 May 1684, Amsterdam) was a Dutch Golden Age portrait painter, active in Amsterdam and Haarlem.
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Want to buy Jan Montyn - Solitude ? Bid from 90!
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buy Jan Montyn - Solitude ? Kunstveiling is the largest online art platform in the Netherlands. ✓Competitive prices ✓Reliable
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https://www.kunstveiling.be/items/jan-montyn-solitude-prive-collectie-corneille/484367
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Every Monday a Special
Every Monday evening a Special auction ends focusing on a particular artist or theme. Would you like to participate as a seller? That is possible! You will find more information here.
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Career, biography and origin of Jan Montyn
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When was celebrity Jan Montyn born ? Celebrity Jan Montyn's date of birth is October 20, 1924. Learn more about Jan Montyn What is the origin of the
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Jan Montyn, famous Dutch artist, was born on June 28, 1924 in Oudewater. After surviving World War II, Montyn enlisted in the Dutch Indian Colonial Army where he encountered the brutality of Indonesia’s War of Independence. These experiences had a profound impact on the artist, who began to express his feelings and memories in his paintings. His unique style combining realism and expressionism quickly attracted the attention of art critics and the public.
Montyn then became internationally known through his exhibitions and his series of books, notably “Black Blood”, where he recounts his experiences of the war. His works have been applauded for their ability to capture the essence of human suffering while expressing hopes for peace and reconciliation. Today, Jan Montyn is recognized as one of the greatest contemporary Dutch artists, and his artistic legacy continues to inspire and fascinate future generations.
Jan Montyn is a Dutch-born celebrity who distinguished himself in the art world as a painter and writer. Born in 1924 in The Hague, Montyn demonstrated exceptional artistic talent from an early age. After studying at the Academy of Fine Arts in Rotterdam, he gained notoriety thanks to his unique style, mixing realism and abstraction. But the story of Jan Montyn is not limited to his artistic talent. During the Second World War, he was conscripted into the Waffen-SS, an experience which had a profound impact on his life and work. His war years were marked by violence and tragedy, and influenced his dark and complex artistic vision.
Over the decades, Montyn has exhibited his works in numerous museums and galleries around the world, and has received numerous awards and recognitions for his work. Alongside his artistic career, he also became known as a writer, publishing several books in which he recounts his war memories and his passion for art. Jan Montyn is today considered one of the most important artists of his generation, and his work continues to inspire many art lovers around the world. His tumultuous life, his unique experiences and his incomparable artistic talent make him an essential figure in the contemporary art scene.
Jan Montyn is a renowned Dutch artist, famous for his landscape paintings and works inspired by World War II. Born October 20, 1924 in The Hague, Netherlands, he was the son of Hendrik Montyn and Maria van den Berg. The Montyn family were from the working class and lived modestly. During the war, Jan Montyn joined the Dutch navy to escape the difficulties of daily life under German occupation. After the war, he pursued his passion for art and studied at the Royal Academy of Fine Arts in Amsterdam.
Montyn became particularly influenced by the horrors of war and began creating works that reflected human suffering and the scars of violence. His style was often described as abstract expressionism, with rapid, powerful brushstrokes that helped convey a sense of urgency and raw emotion. Over the years, Montyn gained recognition and exhibited his works across Europe and even the United States. He died on November 29, 2015 in Amsterdam, leaving behind an impressive artistic legacy that has earned him a place in contemporary art history.
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April 16, 1930 Monday, April 21st, will be one of the busiest days in many months at the Brooklyn Museum as it will embrace the opening by the Austrian Ambassador of the Exhibition of Modern Architecture and a dance recital given by Miss Ruth St. Denis which is being given to mark the first showing of additional material for the current exhibition of Dutch East Indian Art.
The architectural exhibition is another of the international events for which the Museum is well known. At four o'clock the Austrian Minister Edgar L. G. Prochnik will give a brief address in which he will formally and officially open to view the exhibition of models and plans of modern architectural projects developed by Prof. Peter Behrens and his students in his atelier known as the Master School of Architecture in the Academy of Fine Arts in Vienna, Austria.
Preceding this opening His Excellency the Austrian Minister will be entertained by Mr. and Mrs. Edward C. Blum in their home at luncheon. Among the other guests will be Hon. George Schmidt, Austrian Acting Consul General; Mr. William Muschenheim, who formerly attended the Behrens School and is arranging the exhibition and Dr. William Henry Fox, Director of the Museum, and Mrs. Fox. After the luncheon the party will attend the dance recital by Miss Ruth St. Denis at three o'clock in the Sculpture Court. This and the opening of the architectural exhibition are private invitation affairs.
A special platform will be built for Miss St. Denis in a corner of the Sculpture Court and a setting arranged of Dutch East Indian fabrics and textiles. She will dance to a piano accompaniment and four of her girls will also be present to round out the program.
After this event the company will proceed to the exhibition galleries on the fourth floor where the architectural exhibition will be opened. During inspection of the new exhibition and the augmented exhibition of Dutch East Indian Art, tea will be served to the guests in the rotunda.
There is a distinguished committee of patrons for the architectural exhibition composed. of Mr. A. J. Drexel Biddle, Jr, Mr. Jules S. Bache, General Quincy H. Gillmore, Mrs. Edward F. Hutton, Mr. Franklyn L. Hutton, Mr. Otto H. Mahn, Mr. Frederick A. Muschenheim and Mr. Joseph Urban.
The architectural projects promise to be of exceptional interest to New Yorkers who are becoming acquainted with and interested in modern architecture. The show will consists of models, drawings, plans and photographs of about one hundred architectural projects of all descriptions from ski huts to large public utility plants worked out by Prof. Peter Behrens and his students all in the modern manner. Two of the projects are particularly interesting to New Yorkers as one is a new style of apartment building with ideally arranged rooms with porch galleries built into the corners, which the other is a model home for the sand dunes that will possibly be erected at Southampton some time within the year. In addition to these there are carefully worked-out housing projects for workmen which whould be of value to all those now interested. in similar movements in this city.
[Handwritten Note: (add dictated ¶)]
The projects shown are not purely visionary work as often manufacturers and builders apply to the school for advise, so the class work out projects that have practical application.
The work is that of students from all over the world as the school has an international reputation. The exhibition is given here to show American architects and teachers what is going on in Vienna. This is the first exhibition of the School's work in this country. After its month at the Brooklyn Museum it will go on tour throughout the United States.
Brooklyn Museum Archives. Records of the Department of Public Information. Press releases, 1916 - 1930. 04-06_1930, 067-9.
View Original
April 1, 1930 Among those invited to the luncheon given by Mr. & Mrs. Edward Charles Blum of 45 Plaza Street preceding the opening of an exhibition of Dutch East Indian art, from the collections of the Colonial Museum of Amsterdam, the Brooklyn Museum and Dutch Collectors, are the following: J. B. Royen, Minister of the Netherlands (honor guest), W. P. Montyn, Counsel of the Netherlands, Dr. and Mrs. William H. Fox, Dr. and Mrs. Herbert J. Spinden, Professor and Mrs. Adrian J. Barnouw and Mr. and Mrs. Tassilo Adam.
Those invited to act as hosts and hostesses at the reception were members and wives of members of Museum's Governing Committee and members and wives of the Board of Trustees of the Brooklyn Institute
of Arts and Sciences. They are are follows:
Mr. & Mrs. Kenneth Frazier
Mr. & Mrs. Luke Vincent Lockwood
Mr. & Mrs. John Hill Morgan
Mr. & Mrs. Frederic B. Pratt
Mrs. Mary Childs Draper
Mr. Alfred W. Jenkins
Mr. & Mrs. John T. Underwood
Mr. & Mrs. William H. Good
Mrs. A. Augustus Healy
Mr. Walter H. Crittenden
Mr. & Mrs. Edward C. Blum
Mr. Frank L. Babbot
Mr. & Mrs. William A. Putnam
Mr. & Mrs. Frank Bailey
Mr. & Mrs. E. LeGrand Beers
Mr. & Mrs. Henry H. Benedict
Hon & Mrs. James J. Browne
Mr. & Mrs. R. R. Bowker
Dr. & Mrs. S. Parkes Cadman
Mr. & Mrs. William H. Cary
Judge & Mrs. Frederick E. Crane
Mr. John J. Curtin
Dr. John H. Denbigh
Hon. Jacob G. Dettmer
Mr. Gates D. Fahnestock
Mr. & Mrs. Julian P. Fairchild
Mr. & Mrs. James A. Farrell
Mr. & Mrs. Lweis W. Francis
Mr. & Mrs. John W. Frothingham
Hon. & Mrs. James J Bryne
Mr. & Mrs. William T. Hunter
Mr. & Mrs. Ralph Jones
Mr. Adolph Lewisohn
Miss Hilda Loines
Mr. & Mrs. William J Matheson
Mr. & Mrs. Edwin Maynard
Mr. & Mrs. George V. Mclaughlin
Mr. Horace J. Morse
Mr. & Mrs. James H. Post
Mr. & Mrs. Charles Pratt
Mr. Robert A. Shaw
Mr. & Mrs. G. Foster Smith
Mr. & Mrs. Herman Stutzer
Mr. & Mrs. Adrian Van Sinderen
Prof. & Mrs. Edwin G. Warner
Rt. Rev. Msgr. John C. York
Among those invited as hosts and hostesses are:
Dr. & Mrs. William H. Fox
Dr. & Mrs. Frank L. Babbott, Jr.
Mrs Walter Shaw Brewster
Mrs. Glentworth Reeve Bulter
Mrs. William H. Childs
Mr. & Mrs. Harris M. Crist
Mr. & Mrs. H. Edward Dreier
Mr. & Mrs. William P. Earle, Jr.
Mr. & Mrs. William F. Eastman
Mr. & Mrs. Morris Upham Ely
Mr. & Mrs. George S. Frank
Judge & Mrs. Edwin J Garvin
Mr. & Mrs. B. Meredith Langstaff
Mr. & Mrs. Frederick D. Mckay
Miss Alice Morse
Mrs. Henry F. Noyes
Mr. & Mrs. Dean C. Osborne
Miss Julia J. Pierrepont
Miss Anna J. Pierrepont
Mr. & Mrs. Winthrop M. Tuttle
Mrs. John Van Buren Thayer
Mrs. Edwin C. Ward
Miss Frances E. White
Miss Harriet H. White
Among those invited as hosts and hostesses are: (continued)
Mr. & Mrs. John H. McCooey
Mr. & Mrs. Robert E. Blum
Mr. & Mrs. William H. Calder
Mr. & Mrs. Matthew S. Sloan
Mr. & Mrs. George E. Brower
Mr. & Mrs. Walter Hammitt
Hon. & Mrs. William C. Redfield
Mr. & Mrs. Hebert F. Gunnison
Mr. & Mrs. Fremont C. Peck
Mr. & Mrs. Joseph J. Early
Judge & Mrs. Charles J. McDermott
Mrs. Stutzer Taylor
Brooklyn Museum Archives. Records of the Department of Public Information. Press releases, 1916 - 1930. 01-03_1930, 038-39.
View Original
March 8, 1930 To the Art Editor:
The first important evidence of the policy which will be pursued by the new curators of the Department of Ethnology is to be shown to the public in a large exhibition which opens at the Brooklyn Museum with a private view on March 14th, to be known as "Art of the Far East". The most important element of the show will be the cases of sculptures from the famous religious shrine, the Borobudur in Java. As there are only six of these to be seen anywhere in this country, the thirty pieces which the Museum will show constitute an unusual opportunity to appreciate the remarkable sculpture which covers the shrine.
It will be possible to see this exhibition in nearly complete form in advance beginning at noon on Tuesday, March 11th. We should be glad to have you release any comment after that date. Proof of the catalogue will be on hand at that time.
Very truly yours,
ARTHUR H. TORREY
for the Brooklyn Museum
AHT:FS
Brooklyn Museum Archives. Records of the Department of Public Information. Press releases, 1916 - 1930. 01-03_1930, 32.
View Original
May 1, 1930 Details of the remarkable collection of textiles which has been added to the exhibition of modern and ancient Dutch East Indian Art at the Brooklyn Museum have just been made public. This addition to the show was the occasion for the dance recital by Miss St. Denis which occurred at the Museum on Monday, April 21st.
The collection was made about twenty-five years ago by Mr. A. J. C. van Kerekhoff of the Hague, Holland, who was formerly a banker in the Dutch East Indies. It includes such curious pieces as those from Bali with designs in a beautiful red which is said in some instances to have been obtained from blood. Another group is heavily woven with gold thread and still others are made from banana fibre.
According to Mr. Tassilo Adam, former Ethnologist of the Dutch East Indies and now Associate Curator of Oriental Art at the Brooklyn Museum. In the words of Mr. Adam, "The exhibition is not restricted to one island nor to one type of technique nor to pure Dutch East Indian art. There are 170 specimens of almost every kind which could be procured at the time with the exception of batik. This process is a special method of weaving and dyeing entirely different from all others.
"Textiles from the Batak lands of northern Sumatra are the purest and most typical from a technical as well as from an artistic viewpoint. This is due to the fact that this region was isolated and closed to any foreign influence until 1908 in which year the Dutch government fully took possession of the country. The primitive designs are very beautiful and the colors excellent examples of vegetables. Heavy lines mingled with the spiral motive are used and also the fine arrow motive which is the result of an unusual technical trick. The material is cotton spun from kapok.
"Another remarkable collection was obtained in Borneo from the Dyaks. The colors of these are sombre and the figures geometric. The specimens from South Celebes, which are richer is design and color than those from Borneo, are cloths that were used to cover the dead. Textiles made of banana fiber were obtained in a group of small islands south of Celebes known as Kissar Southeasten and Southwestern islands. Tie-dyed weaving in great variety from Sumba, Sumbawa, Timor and Flores is represented in beautiful colors with red and blue predominating. Interesting motives include animals, the human skull and the tree of life. The patterns have been reproduced and used for many industrial purposes in the last decade
"The island of Bali has contributed unusual textiles which contain Buddhistic and Shivastic figures. The designs and beautiful reds -- it is said that some of them are dyed in blood -- are the product of Hindu influence. Natives of this island are member of the only tribe in the entire archipelago which has maintained Buddhism as its religion.
"Textiles from central and southeastern Sumatra, the Padang highlands and the Palembang arc, for the most part, woven of heavy gold threads and are indicative of the wealth of the population as well as of foreign influence."
Brooklyn Museum Archives. Records of the Department of Public Information. Press releases, 1916 - 1930. 04-06_1930, 088-9.
View Original
April 22, 1930 Events at the Brooklyn Museum yesterday afternoon had a strong international aspect as the Austrian Minister to the United States officially and formally opened an exhibition of modern architectural projects worked out in Vienna and Miss Ruth St. Denis, the well-known dancer, and three of her pupils presented a dance recital in connection with the exhibition of the Art of the Dutch East Indies now current at the Museum.
The dance recital occurred at three o'clock in the Sculpture Court and the architectural exhibition was opened at four after which there was a reception and tea in the rotunda, while the guests inspected the two large exhibitions which are installed in the large exhibition galleries on the fourth floor of the Museum.
Preceding this program, the Austrian Minister Edgar G. Prochnik and Mme. Prochnik were entertained at lunch at the home of Mr. and Mrs. Edward C. Blum. The other guests were Dr. George Schmidt, Austrian Acting Consul General, Mr. William Muschenheim, Miss Ruth St. Denis, Dr. WIlliam Henry Fox, Mr. Walter H. Crittenden, Mr. Frank L. Babbott and Mrs. Edwin Bigelow.
The dance recital was attended by a large audience in the Sculpture Court. A platform stage had been erected in one corner of the court for the presentation of the dances. The first number was "Batik Vender" danced by Anna, Reginia and Charlotte to music by Paul Seelig, followed by "Javanese Court Dancer" by Miss St. Denis to music written by Clifford Vaughan. The third number was entitled "Burmese Pwe" by Ernestine Day to music also by Mr. Vaughan. The closing number "A Figure from Angkor Vat tl was performed Miss St. Denis to music by Irene Bergere. After the recital the entire company went to the rotunda on the fourth floor for the ceremony of opening the Viennese architecture exhibition. His Excellency the Austrian Minister made a brief and graceful address, after which he declared the architectural exhibition formally opened the cords were then removed from the door and tile assemblage followed him and the official party into the gallery. The rest of the afternoon was spent by the company inspecting both the architectural exhibition and the augmented Duth East Indian show in the gallery opposite. This latter exhibition now includes a handsom collection of textiles lent by Van Kerckhoff. which came too late for the formal opening a month ago.
The distinguished committee of patrons for the architectural exhibition is composed of Mr. Jules S. Bache, Mr. A. J. Drexel Biddle, Jr., General Quincy A. Gillmore, Mrs. Edward F. Hutton, Mr. Franklyn L. Hutton, Mr. Otto H. Kahn, Mr. Frederick A. Muschenheim and Mr. Joseph Urban.
Those invited to act as hosts and hostesses are given on the attached list.
The architectural projects promise to be of exceptional interest to New Yorkers who are becoming acquainted with and interested in modern architecture. The show consists of models, drawings, plans and photographs of about one hundred architectural projects of all descriptions from ski huts to large public utility plants worked out by Prof. Peter Behrens and his students all in the modern manner. Two of the projects are particularly interesting to New Yorkers as one is a new style of apartment building with ideally arranged rooms with porch galleries built into the cornets, while the other is a model home for the sand dunes that will possibly be erected at Southampton some time within the year. In addition to these there are carefully worked-out housing projects for workmen which should be of value to all those new interested in similar movements in this city.
Still other projects are the proposed traffic regulation for the Potzdamer Platz, Berlin, where traffic becomes more snarled up than any place in New York. This solution with its ramps and elevated roadways will make it possible to approach the square from any direction and proceed through without any interruption from any other stream of traffic. Nearly all of the problems have a direct application to conditions in America as they have had in Europe, as, for instance, the athletic stadium with a large gallery addition to the sides where the best seats are., the garage building in which cars approach their stalls from a spiral outside ramp and leave them by means of an inside spiral ramp.
There are some very furious completed buildings also shown in the exhibition in the first and last rooms which are devoted to the work of Prof. Peter Behrens who conducts the Master School of Architectural in the Academy of Fine Arts in Vienna for his pupils who arc really post-graduate and practical architects. Prof. Behrens has been employed on many large and important pieces of construction in Germany, the most famous being the factory buildings of the General Electric Company in Berlin. Some of his other pieces are the German Embassy in Petrograd, the gas works in Frankfort and the administration building of the Mannesmann Pipe Works in Düsseldorf.
The Master School of Architecture has the characteristics of an atelier a great deal more than it has of a school, as there is no curriculim. Students who are admitted to it have already had considerable experience in architecture and go through for the purpose of working out new ideas that might not be allowed to come to life in an actual practising architect's office. There are no particular hours as everyone is allowed as much time as necessary to work out his project. Prof. Behrens makes three to five visits a year and spends several days each time for the purpose of criticism of the work of the thirty or more students.
Those invited to act as hosts and hostesses at the reception were members and wives of members of the Museums Governing Committee and members and wives of the Board of Trustees of the Brooklyn Institute of Arts and Sciences. They are as follows:-
Mr. & Mrs. Kenneth Frazier
Mr. & Mrs. Luke Vincent Lockwood
Mr. & Mrs. John Hill Morgan
Mr. & Mrs. Frederic B. Pratt
Mrs. Mary Childs Draper
Mr. Alfred W Jenkins
Mr. & Mrs. John T. Underwood
Mr. & Mrs. William H. Good
Mrs. A. Augustus Healy
Mr. Walter H. Crittenden
Mr. & Mrs. Edward C. Blum
Mr. Frank L. Babbott
Mr. & Mrs. William A. Putnam
Mr. & Mrs. Frank Bailey
Mr. & Mrs. E. LeGrand Beers
Mr. & Mrs. Henry H. Benedict
Mr. & Mrs. R. R. Bowker
Hon. & Mrs. James J. Browne
Dr. & Mrs. S. Parkes Cadman
Mr. & Mrs. William R. Cary
Judge & Mrs. Frederick E. Crane
Mr. John J. Curtin
Dr. John H. Denbigh
Jon. Jacob G. Dettmer
Mr. Gates D. Fahnestock
Mr. & Mrs. Julian P. Fairchild
Mr. & Mrs. James A. Farrell
Mr. & Mrs. Sumner Ford
Mr. & Mrs. Lewis W. Francis
Mr. & Mrs. John W. Frothingham
Hon. & Mrs. Henry Hesterberg
Mr. & Mrs. William T. Hunter
Mr. & Mrs. Ralph Jonas
Mr. Adolph Lewisohn
Miss Hilda Loines
Mr. & Mrs. William J. Matheson
Mr. & Mrs. Edwin P. Maynard
Mr. & Mrs. George V. McLaughlin
Mr. Horace J. Morse
Mr. & Mrs. James H. Post
Mr. & Mrs. Charles Pratt
Mr. Robert A. Shaw ,
Mr. & Mrs. G. Foster Smith
Mr. & Mrs. Herman Stutzer
Mr. & Mrs. Adrian Van Sinderen
Prof. & Mrs. Edwin G. Warner
Rt. Rev. Msgr. John C. York
Also invited to act as hosts and hostesses were the following:-
Dr. & Mrs. William H. Fox
Dr. & Mrs. Frank L. Babbott, Jr.
Mrs. Walter Shaw Brewster
Mrs. Glentworth Reeve Butler
Mrs. William H. Childs
Mr. & Mrs. Harris M. Crist
Mr. & Mrs. H. Edward Dreier
Mr. & Mrs. William P. Earle, Jr.
Mr. & Mrs. William F. Eastman
Mrs & Mrs. Morris Upham Ely
Mr. & Mrs. George S. Frank
Judge & Mrs. Edwin J. Garvin
Mr. & Mrs. B. Meredith Langstaft
Mr. & Mrs. Frederick D. McKay
Miss Alice Morse
Mrs. Henry F. Noyes
Mr. & Mrs. Dean C. Osobrne
Miss Julia J. Pierrepont
Miss Anna J. Pierrepont
Mr. & Mrs. John Van Buren Thayer
Mr. & Mrs. Winthrop M. Tuttle
Mrs. Edwin C. Ward
Miss Frances E. White
Miss Harriet H. White
Mr. & Mrs. John H. McCooey
Mr. & Mrs. Robert E. Blum
Mr. & Mrs. William M. Calder
Mr. & Mrs. Henry J. Davenport
Mr. & Mrs. Eugene A. Widman
Mr. & Mrs. Matthew S. Sloan
Mr. & Mrs. George E. Brower
Mr. & Mrs. Walter Hammitt
Hon. & Mrs. William C. Redfield
Mr. & Mrs. Herbert F. Gunnison
Mr. & Mrs. Fremont C. Peck
Mr. & Mrs. Joseph J. Early
Judge & Mrs. Charles J. McDermott
Mrs. Stutzer Taylor
Mr. & Mrs. H. V. Kaltenborn
Mrs. R. Ross Appleton
Brooklyn Museum Archives. Records of the Department of Public Information. Press releases, 1916 - 1930. 04-06_1930, 071-5.
View Original
October 2, 1929 Announcement of the plans, as far as they have been settled for this present season at the Brooklyn Museum has just been made. The first event of importance will be a dedicatory recital on the large pipe organ which has been presented to the Museum by Mrs. Edward C. Blum, wife of the President of the Brooklyn Institute of Arts and Sciences. This is scheduled to occur on the afternoon of October 28th when Dr. Lynwood Farnum will give the recital and the organ will be accepted for the Museum by a City official who is a member of the Board of Trustees.
In the Department of Fine Arts the First event will occur in November. The painting galleries will be occupied by the work of New York public school children to show how the art appreciation courses in the schools are carried on. The results of the courses illustrated by examples of pupils' work. In December an event of extreme importance will be the presentation to the public of a large section of early American rooms arranged on a unique plan. At the same time the painting galleries will exhibit the most complete collection of the works of the late Walter Shirlaw ever gotten together. In conjunction with this will be shown the work of students of the summer class of the Art Department of the Brooklyn Institute of Arts and Sciences, of which John R. Koopman is the head.
The season has already started in the Print Department where an exhibition of recent accessions has been arranged. This will be fol,owed by a showing of modern Norwegian prints from the middle of November to the end of December. After this will come the Annual Exhibition of the Brooklyn Society of Etchers which will open on January 7th and extend to January 31st.
The next event of great importance will be the opening of the Belgian Exhibition of Fine Arts a large show sponsored by King Albert of Belgium, the Belgian Government and the Belgian Ambassador to the United States, the largest entirely Belgian show ever seen in this country, This will open January 20th and be on view through February.
Another event which depends upon the completion of installation work is, therefore, indefinite as to date, is the presentation to the public of Japanese gallery which is undergoing complete re-arrangement. The result will give the public an idea of the richness and extent of the Japanese collection which it has never had before.
Plans for the late winter and spring are not so far advanced as the above but three events have been announced. In March a splendid exhibition of art objects from Java and Bali will be arranged by Mr. Tassilo Adam, Associate Curator in charge of Oriental Art. It will consist of his collection of batiks presented to him by the sultans of Java, Javanese paintings, casts of sculpture from the temples of Borobudur, Buddhistic images, Javanese puppets, and Balinese idols. Plans are being considered for a general exhibition of textile art some time during the season and the late spring it is planned to arrange an international exhibition of both indoor and outdoor sculpture.
Brooklyn Museum Archives. Records of the Department of Public Information. Press releases, 1916 - 1930. 10-12/1929, 086-7.
View Original
March 31, 1930 An amusing exhibition demonstrating the use to which the Museum can be put by those who make a careful study of its collections will be on view on Thursday, April 3rd in the Library Gallery at a private showing and will be opened to the public on April 4th in the Brooklyn Museum. This exhibition is composed of the work done in the classes conducted by Kate Mann Franklin and its scope is art structure, design and color, applied to original designs, the inspiration for which comes from the various objects in the Museum.
At the end of the gallery there will be a special exhibit called "The Pageant of India", a large gaily-colored design dominated by gold, red and black, to which a number of the students contributed.
The private view will be on April 3rd from three to five on which occasion tea will be served. Prizes have been awarded by the judges who are: Mrs. Margaret A. Connor, 25 New York Avenue, Freeport, L. I., and Miss Fannie J. Cooke, 9 Ct. James Place, Brooklyn supervisors in the Public Schools. The prize winners are: Miss Elizabeth Broden, 1407 Dean Street, Brooklyn, Miss Ruth Goldenberg, 1111 New York Avenue, Brooklyn; Miss Hester Halstead, 360 Washington Avenue, Brooklyn and Miss Lillian D. Goodwin, 943 President Street, Brooklyn. Honorable mention; William Streib, 691 Sterling Place.
The exhibition of Pictorial Photography now on view at the Brooklyn Museum was scheduled to close at the end of March. Instead the duration of the exhibition has been-extended through the month of April.
Brooklyn Museum Archives. Records of the Department of Public Information. Press releases, 1916 - 1930. 01-03_1930, 051.
View Original
March 12, 1930 The third large exhibition of the season at the Brooklyn Museum opens with a private view on Friday, March 14th, at three o'clock. Preceding the opening Mr. and Mrs. Edward C. Blum will entertain the guest of honor, Dr. J. E. Van Royen, Minister from the Netherlands at luncheon at their home. The other guests will be W.P. Montyn, Council of the Netherlands; Dr. and Mrs. William H. Fox, Dr. and Mrs. Herbert J. Spinden, Prof. and Mrs. Adriaan J. Barnouw and Mr. and Mrs. Tassilo Adam.
After the luncheon the party will proceed to the Museum. The Dutch Minister will deliver a few remarks in the Rotunda next to the exhibition gallery in which he will declare the exhibition officially open. Then the official party has passed into the galleries, the assembled guests will follow. After an inspection of the exhibition tea will be served to the guests until six o'clock. The exhibition will then be open to the public at ten o'clock tho next morning and will be on view for a period of two months.
This unusual show has brought together from many sources objects illustrating the art of the islands comprising the Dutch, East Indies, the most important of which are Java, Sumatra and Borneo. One of the most important lenders is the Colonial Museum in Amsterdam which has sent some of the largest and most valuable collections.
The ante-room which leads into the galleries begins with the aboriginal art of Sumatra as shown in objects used by the Batak tribe, who until only recently were wild cannibals. These objects show that primitive men of their part of the world were as far advanced in their native art as were the tribes of Africa which have aroused so much interest in the past few years. The objects on which they lavished their craftsmanship were textiles, jewelry, carved wooden idols, spears decorated with hammered silver and silver and gold inlay and various kinds of sorcerer's equipment including remarkable carved canes which resemble spears more than canes. This room also includes models of the elaborate and curious tall houses in which these people live.
The first large section of the galleries is given over to other objects from aboriginal tribes, such as the Dyaks of Borneo and the Papuas of New Guinea. Some of the most noteworthy objects in this section are the beautifully woven textiles made of red and gold thread.
In the center section of the long gallery has been arranged the unique collection of plaster casts of sculpture from the Borobudur, the largest religious shrine of the stupa type in the world, which is located in Central Java. The date of the beginning of its construction is unknown but it was finished in 865 A.D. It is literally covered with sculptures relating to the Hindu religion as the period of its erection was during that of the Hindu ascendancy in these islands. The Borobudur carries on its surfaces over three miles of sculpture. In the United States there are only six pieces showing this work, which are in the Boston Museum. This exhibition has thirty casts from the building. All, except the six seated figures of Budda, showing the god in different attitudes, are long panels in high relief depicting various stages of the story of the Bodhisatva which is the legend about how Guatama Buddha became a god.
At the end of the long gallery are two sections, one devoted to shadow plays and marionettes are the other to objects from the island of Bali. One of the most interesting exhibits in this section is the shadow play, which is the Javanese theatre. A small structure has been put up representing the shadow play as it is given in Java. A canvas screen is stretched across a frame and against it are arranged groups of the flat leather shadow play figures which take part in the stories. About two feet from the screen and hanging from a framework is a curious old brass lamp of a dragon-like bird which is the elaborate oil lamp used to provide the dim illumination necessary for these plays. The audience sits on both sides of the screen, the men behind the scenes and the women on the other side. The story-teller sits just in front of the screen and operates the various figures as he unfolds the tale.
The largest shadow plays involve a many as four hundred figures but for the purposes of the exhibition there are about one hundred and fifty on hand, either arranged in this theatre or hanging in patterns on the wall.
Another alcove is given over to marionette figures which are held up on a stick from below, such as Punch and Judy figures are and whose arms and head are operated by sticks, so that the figures can be made to perform in an exceedingly life-like manner. These figures are remarkable for their grotesque carving and bright coloring and their gay-colored costumes.
The section devoted to Bali contains paintings on cotton done in exceedingly bright colors involving a lavish use of gold and red, which corresponds in way to our early Christian religious paintings. There are also several stone sculptures of both gods and humans and a large collection of the gods in fierce and threatening attitudes, carved from wood and highly colored.
In addition to these there are two doorways from houses, many of the parts of which are carved and which also exhibit the native love of color. These exhibits are particularly interesting as Bali is the only place in the world, outside of parts of Asia, where the Buddhistic religion survives. From Bali there is also a large collection of beautiful weavings in red and golf thread.
The large square gallery at the end is given over to one of the most remarkable features of the exhibition namely, a superb collection of Javanese batiks. [unintelligible handwritten note] These beautiful fabrics are hung flat on the wall and extend from the floor to the molding, this giving to many a new idea of what these textiles really for. They are considered the most prized possession of the Javanese and for this reason the batiks worn by the royal families and the upper classes are remarkable examples of craftsmanship.
Mr. Tassilo Adam, Associate Curator in charge of Oriental Art, made this collection principally at the courts of the sultans of Java, so that the pieces represent the best that can be found. This making of batiks was more highly developed in Java than any place in the world, although its origins are Hindu. The pieces shown are nearly all 18th Century. Batiks were made from imported cotton of a fixed width. The usual ones are, therefore, a dyed strip corresponding to this width. However, this collection is compared almost entirely of pieces of two strips in width and even on piece of three strips. This is an indication that they were made for the royal family or only the wealthiest of the upper classes.
Probably the most important piece in this collection is that formerly owned by the third sultan of Mataram of the Empire of Central Java and is a piece ten feet by fifteen foot in dimensions. There are only two others of the same pattern in the world, but not as large, still at the court from which this one came. Mr. Adams says that this is the only piece in three parts which he has ever seen. Another extremely important piece is one on a white field, which is very rare, as it is the most difficult kind to dye. It is covered with a pattern of black and brown. The clarity of the black part of the design is remarkable as it is also an effect difficult to produce.
In Java a person can be recognized by his sarong, the name of the garment worn on the upper part of the body. This collection shows examples of patterns of several ranks, as well as a few of the common people. These batiks are remarkable examples of applied art, as the designs and the color are perfectly adapted for use in textiles and produce an effect which has never been attained by the same method in any other part of the world.
Brooklyn Museum Archives. Records of the Department of Public Information. Press releases, 1916 - 1930. 01-03_1930, 040-5.
View Original
March 4, 1930 The exhibition which will be opened at the Brooklyn Museum March 14th is unique of its kind in this country and presented in a manner peculiarly adapted to the Brooklyn Museum with its important departments of Fine Arts and Ethnology. This will allow of a tying together of the art and ethnology of the Dutch East Indies in an interesting manner which will show the relation of art in its utilitarian and fine art aspects in the islands included in these Dutch possessions, namely, Java, Sumatra and Borneo, to mention the most important.
In scope the exhibition will show primitive aboriginal art, the effects of the introduction of Buddhism, the survivals of Buddhism and the high character of modern Javanese craftsmanship.
Probably the most important section of the show will be that resulting from the introduction of Buddhism, namely thirty large plaster casts which have been lent by the Colonial Museum in Amsterdam. They are taken from sculptures on the Borobudur, the largest religious shrine in the world of the stupa type and one of the architectural wonders of the world. The date on which this monument was begun is unknown but it is known to have been finished in 865 A.D. It is so elaborately carved that there are three miles of stone sculpture covering nearly all its surfaces. The largest exhibit from this building that exists in this country are six casts in Boston. This gives an idea of the scope of the Brooklyn Museum's coming exhibition with its thirty casts.
Besides this, there will be a large collection of idols, weapons, textile from the Island of Bali, which the only place outside of Central where Buddhism survives ethnological exhibitions of decorative arts, such as sorcerer's canes, jewelry, carved wooden idols, weapons, weavings and models of houses from the wild tribes of the Bataks in Sumatra, the Dyaks of Borneo and the Papuas of New Guineas; a large collection batiks demonstrating the superb craftsmanship of the Javanese, as theses pieces were nearly all acquired at the courts of Sultans and shadow play figures and marionettes used by the Javanese in acting their religious dramas. The exhibition will be opened to the public on March 15th and will officially opened in a private view on March 14th by the Minister from Holland, who is making a special trip from Washington for the purpose.
Brooklyn Museum Archives. Records of the Department of Public Information. Press releases, 1916 - 1930. 01-03_1930, 029-30.
View Original
February 27, 1930 The next large exhibition at the Brooklyn Museum will be that of the Art and Ethnology of the Dutch East Indies, one of the most comprehensive exhibitions of this kind that has ever been shown in this country. It is being arranged under the direction of the Department of Ethnology of the Brooklyn Museum and is under the direct supervision of Mr. Tassilo Adam, Associate Curator in charge of Oriental Art. Many of the most interesting exhibits are being lent through the courtesy and generosity of the Colonial Museum in Amsterdam. One of the principal items in their loan is several plaster casts taken from sculpture on the enormous monument in stupa form in Central Java called the Barabudur which is an example of Hindu architecture as it developed in Java. The exhibition will open March 14th. Dr. J. H. Van Royan, Minister from the Netherlands, is going to make a special trip here from Washington to open the exhibition.
Brooklyn Museum Archives. Records of the Department of Public Information. Press releases, 1916 - 1930. 01-03_1930, 025.
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https://profilebooks.com/work/a-lamb-to-slaughter/
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en
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A Lamb to Slaughter
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https://dam.bibliolive.com/profile/getimage.aspx?class=books&assetversionid=207934&cat=default&size=large&id=7161
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https://dam.bibliolive.com/profile/getimage.aspx?class=books&assetversionid=207934&cat=default&size=large&id=7161
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2024-08-25T21:07:45+00:00
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en
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Profile Books
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https://profilebooks.com/work/a-lamb-to-slaughter/
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At the age of eighteen Jan Montyn was learning how to cross a ravine hanging from a rope; at nineteen he was serving in the Baltic on a German minesweeper; by the time he was twenty he was enduring the mud, snow and slaughter of the trenches on the Eastern front; before he was twenty-one he had lived through the hell of the Allied bombing of Dresden, played cat-and-mouse with the Russian army in a last-ditch stand on the banks of the Oder, retreated across Germany into the arms of Allied forces, escaped from a POW camp and joined the Foreign Legion. A few years later he was at war again, in Korea.
An adventure story on the grandest scale? Rather one of horrific experience and of a sensitive mind driven to obliterate the terrors of the past by a further dose of the same medicine.
Coming from a childhood hidebound by the most rigid structures of Dutch Calvinism, the young Montyn had seen the German Occupation of Holland and the wider opportunities it offered as the dawn of a new freedom. He had joined the German navy in a spirit of bravado, only to find himself trapped in the final, agonising throes of Germany's defeat in the Second World War and to live through the worst that men and machines can inflict on each other.
As an artist it affected him deeply, leaving him prey to hidden terrors and nightmares. From being a devotee of war he became a confirmed pacifist.
Written in collaboration with one of Holland's leading young novelists, A Lamb to Slaughter is a deep and haunting book of exceptional skill, a catalogue of strife and bloodshed whose message is peace and hope. Through years of restless pain Jan Montyn has struggled to come to terms with his baptism of horror - through debauchery, madness and the catharsis of remembering, through his art and the healing balm of the Buddhist faith.
His story is that of a man haunted by battlefields, who now seeks them out, not as a participant but for the essential tranquility he finds amid the aftermath of war. His book is an unforgettable literary experience, a moving evocation of the human paradox that transcends its immediate theme to assail our deepest sensibilities.
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https://klinkhamerphoto.com/en/blog-en/photoreportage-en/the-art-of-portrait-photography/
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en
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The Art of Portrait Photography
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2021-01-12T19:02:17+00:00
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Peter Klashorst is after 60 years of making art a certified "art barbarian" and one of the last art Mohicans. He was at a very young age confident enough to sell his first paintings and never stopped.
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en
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Klinkhamer
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https://klinkhamerphoto.com/en/blog-en/photoreportage-en/the-art-of-portrait-photography/
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June Newton partner of photographer Helmut Newton dies at 97. RIP 10-04-2021
Under the pseudonym Alice Springs, June Newton earned her spurs in the seventies and eighties as a portrait photographer of the greats of the earth. Artists, politicians, royalty, she got everyone in front of her lens. “And the funny thing is, I’ve never been to Alice Springs,” she says. “In 1970 I started to publish my photos and asked Helmut under what name I wanted to work. We took an atlas and opened it on my native Australia. I closed my eyes and poked somewhere on the map with a needle. He stuck in the middle of the continent, on the town of Alice Springs. “That is your name,” said Helmut. “
For this portrait of John Irving, we met at an Amsterdam five-star hotel located on the canals. I brought with me a portable light studio and a white backdrop. John proved to be a very cooperative and talented model. From the images, I shot all pictures were very good and this image was used for the HP/de Tijd magazine. Sometime after the first publication, six portraits of John were used for six paperback dutch cover picture versions of his popular books.
IK JAN CREMER
Jan Cremer is a legendary artist from Holland. He wrote a bestseller book in 1964 that was self titled, I JAN CREMER. During his long career he published a string of books and his art painting is widely collected around the world. For this image we recreated his famous 1964 book cover with a brand new Harley Davidson this time. This image is an out take from that session for a car magazine, in color. I like this version because of the depth perspective, the moodiness and his relaxed manner of posing.
Marion Bloem
Peter Post
Of Course I knew about Peter Post and was invited to his villa on the outskirts of Amsterdam for Esquire magazine. I also knew he was like me the son of an Amsterdam butcher. In the old days I was told, cyclists had to put a tender piece of meat inside their cycle shorts to protect their behinds. So, I brought him a good juicy and bloody steak and did some pictures with that. Blood running from his hands. For those people who know a thing or two about the hard life of a professional cyclist understand the connection was clear. But even without the bloody steak, you can see the scars and stitches in Peter Post’s worn but still good-looking face.
Jan Montyn
I met Jan Montyn for the first time prior to a magazine photoshoot 20 years ago. I was not so much aware of his incredible life story then. This time we had a much more personal connection but Jan was facing health issues and did not live much longer. I personally like the introspective character of this portrait of a man who witnessed hardship and wars and came out of that incredible life of war and conflict to be a great etching and writing artist.
Thom Hoffman
During the late 1980s early 1996 I was full time working for many glossy magazines. This portrait of Thom Hoffman was made for RAILS, an inflight magazine for the Dutch railways.
I used the romantic travel aspects into this image. Thom Hoffman dressed in a nice trench coat, reminding us of Humphrey Bogart. His reflection in the window worked perfectly with his casted film roles. Playing a handsome but somewhat conflicted character in his latest movie, The Fourth Man, a psycho thriller.
Bernardo Bertolucci
At the time of my meeting with Bernardo, he was working on the Sheltering Sky movie. One of all time favorite movies and book by Paul Bowles. This somewhat introspective portrait was shot in a very small production office in London, using a film spotlight and my trusty Hasselblad camera.
Roman Polanski
I was able to have a private portrait sitting with Polanski in the Pulitzer hotel Amsterdam. The bronze statue of the young female in the background refers to his personal life regarding relationships with women.
Peter Klashorst
Peter Klashorst is after 60 years of making art a 100% certified “art barbarian” and one of the last art Mohicans. He was at a very young age confident enough to sell his first paintings and never stopped. We met before in the late 90s for a magazine picture in Amsterdam and we had immediately a good interaction and fun. We met again in Cambodia late 2010 for to cover his art latest show about the killed Khmer Rouge victims that he photographed at the Tuol Sleng torture museum in Phnom Penh and then he recreated their images on life-size intense painted canvases. I wrote the six-page feature article and images for this article published in HP/de Tijd magazine. After that, we did many more articles and newspaper stories. https://michaelklinkhamer.blogspot.com/2011/05/peter-klashorst-in-phnom-phen-cambodja.html
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https://www.abebooks.co.uk/book-search/title/a-lamb-to-slaughter-an-artist-among-the-battlefields/author/montyn-jan-and-kooiman-dirk-a/
|
en
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A Lamb to Slaughter an Artist Among the Battlefields by Montyn Jan and Kooiman Dirk a
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[
"Jan & Kooiman",
"Dirk Ayelt",
"Dirk Ayelt Kooiman",
"Jan; Kooiman",
"Jan; Dirk Ayelt Kooiman",
"Jan Montyn"
] |
1984-08-13T00:00:00
|
Lamb to Slaughter: An Artist Among the Battlefields by Jan Montyn,Dirk Ayelt Kooiman and a great selection of related books, art and collectibles available now at AbeBooks.co.uk.
|
en
|
https://www.abebooks.co.uk/book-search/title/a-lamb-to-slaughter-an-artist-among-the-battlefields/author/montyn-jan-and-kooiman-dirk-a/
|
Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good. First UK Edition. Well bound in clean black cloth boards with bright silver titling to spine. Very good spine ends and corners. Text pages, illustrations and eps all clean with no markings or inscriptions. D/J is unclipped with just very light shelf wear. Despatched same or next working day in protective packaging.
Hardback. 1st UK Edition. Octavo Size [approx 15.5 x 22.8cm]. Fine condition in a Near Fine Dustjacket - DJ now protected in plastic sleeve. Illustrated with Black and White Photographs and Maps. 251 pages. At the age of eighteen Jan Montyn was learning how to cross a ravine hanging from a rope; at nineteen he was serving in the Baltic on a German minesweeper; by the time he was twenty he was enduring the mud, snow and slaughter on the Eastern front. As an artist these events affected him deeply and left him a pacifist.
Hardcover. Condition: Near Fine. Dust Jacket Condition: Very Good. First Edition. Hardcover. 252 pages. *** PUBLISHING DETAILS: Souvenir Press, London, 1984. First Edition. This is the first UK edition. *** CONDITION: The book itself is in near fine condition and comes in very good dust jacket. More specifically: Boards have no wear, rubbing or soiling. Dust jacket has light creasing. Edges of dust jacket have minor chipping. Dust jacket is unclipped. Edges of pages are slightly foxed. *** ABOUT THIS BOOK: Translated from the Dutch by Adrienne Dixon. *** Quantity Available: 1. Category: Biography & Autobiography; ISBN: 0285626213. ISBN/EAN: 9780285626218. Inventory No: 14010199. The photo of this book is of the actual book for sale.
Cloth. Condition: As New. Dust Jacket Condition: As New. First Edition. Hardcover, black cloth in original non price-clipped dust-jacket. 251pp., Illustrated with phtographs, line drawings and maps. First English edition, first printing. Translated from the Dutch by Adrienne Dixon. The autobiography of a Dutch youth who "joined the German navy in a spirit of bravado, only to find himself trapped in the final, agonising throes of Germany's defeat." Subsequent tours in the French Foreign Legion and Korea led from his being a devotee of war to a confirmed pacifist. A fancnating life told with honesty and passion. No previous ownership marks. A very clean, square, crisp, unread copy. As new in an as new dust-jacket.
|
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https://www.mutualart.com/Artist/Jan-Montijn/512F0EBBDF69AC0C
|
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200 Artworks at Auction
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[] |
[] |
[
""
] | null |
[
"Jan Montijn"
] | null |
Stay up to date with Jan Montijn (Dutch, 1924 - 2015) . Discover works for sale, auction results, market data, news and exhibitions on MutualArt.
|
en
|
https://www.mutualart.com/Artist/Jan-Montijn/512F0EBBDF69AC0C
|
Jan Montijn was a Dutch artist who was born in 1924. Kunsthal Rotterdam featured Jan Montijn's work in the past.Jan Montijn's work has been offered at auction multiple times, with realized prices ranging from 12 USD to 5,663 USD, depending on the size and medium of the artwork. Since 1998 the record price for this artist at auction is 5,663 USD for paradis terrestre, sold at Sotheby's Amsterdam in 2007. The artist died in 2015.
Artist's alternative names: Jan Montyn
|
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3116
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| 1
|
https://profilebooks.com/contributor/jan-montyn/
|
en
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Profile Books
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[] |
2024-08-11T22:02:32+00:00
|
Jan Montyn (13 November 1924 – 10 August 2015) was a Dutch artist who specialized in etching. He was best known for his paintings of wars to which he had been an eyewitness. Montyn was born in a conservative Calvinistic family and was raised in Oudewater. In the Second World War he joined the German […]
|
en
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Profile Books
|
https://profilebooks.com/contributor/jan-montyn/
| ||||||
3116
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| 37
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https://ftn-blog.com/tag/graphic/
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graphic – FTN
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2024-04-02T15:26:49+02:00
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Posts about graphic written by ftnbooks
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FTN-blog
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https://ftn-blog.com/tag/graphic/
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The reason to write again on Jan Montyn is because recently i added to my inventory the ultimate book on Montyn his prints. This book is now available at www.ftn-books.com
My first-ever encounter with the works of Jan Montyn was in the early seventies. It was then that I acquired my very own beautiful etching by the renowned artist – a mesmerizing depiction of a blue bird, set against a typical Montyn background. The artwork was relatively large in size, and I proudly displayed it on my wall for over ten years before replacing it with a photograph by Lucien Clergue.
Despite being in a drawer for the past three decades, my fondness for this etching has not diminished. This holds true for all other Montyn etchings I have come across. They possess a dreamlike quality that effortlessly blends realism with abstract elements, all executed with impeccable technique.
It wasn’t until years after acquiring the etching that I stumbled upon Jan Montyn’s autobiography, which shed light on his early years. The artist had an eventful life, spending time in the Foreign Legion, surviving a shipwreck as a sailor in the Kriegsmarine, and even fighting in the Eastern Front near Koerlandand. He was a colorful character who may not have always made the best political choices, but his art continues to stand out and deserves to be admired without bias.
For an excellent read on the artist’s life and work, I recommend the title published on the occasion of his 75th birthday in 1999, available at http://www.ftn-books.com. Embrace the enigmatic complexity and linguistic dynamism of Montyn’s art, and revel in the unique vocabulary he employs to bring his visions to life. Trust me, it’s worth it.
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Max Slevogt is one of the three important exponents of German Impressionism – the other two being Lovis Corinth and Max Liebermann (Fig. 1). Slevogt was a prolific and highly versatile artist who worked in a wide range of artistic media. He produced oil paintings, watercolors, drawings and prints. He also completed fresco schemes and stage designs for theater and opera. [1] Additionally, still life was one of his preferred genres.
In his early Berlin years Slevogt’s output of still lifes was small – he produced only very few after his move to the city in 1901 and then no more than a handful around the year 1914. His real interest in the still-life genre did not emerge until the 1920s when he was to produce some of his most vibrant and arresting compositions.[2] Floral still lifes were to be less frequent in his work than still lifes of vegetables or fruit.
Slevogt depicts two bunches of summer flowers in a pair of vases. These are seen from a slightly raised viewpoint and are placed in a sharp diagonal to the picture plane. They are set on the corner of a table jutting into the pictorial space. The jutting corner of the table is a spatial device also found in late nineteenth-century French painting.
Despite the rapidity of Slevogt’s brushwork the flowers are botanically identifiable. Their striking color is reflected in the cut glass facets of the vases. The composition is dominated by the red roses in the larger of the two vases. Some of the roses have passed their peak and are already hanging their heads – suggesting the melancholy of an Indian summer. The smaller, chromatically more refined bunch in the foreground is still in full bloom.
Slevogt’s preoccupation with the still lifes of Manet was particularly marked during his Berlin years. Many of his still lifes reference elements of the compositional structure of Manet’s still lifes. This is still evident in his later works – an example is his predilection for diagonals.
www.ftn-books.com has the book on his complete graphic works now available.
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Because of a recent addition to my inventory here is the information on the VISIBLE LANGUAGE magazine. It is one of the leading publications in the world of graphic design and i have added some important volumes from the 70’s and 80’s to my inventory.
Visible Language is an American journal presenting visual communication research. Founded in 1967 as The Journal of Typographical Research by Merald Wrolstad, occasional Visible Language issues are co-edited with a guest editor-author.
The journal was founded with the primary tenet of the journal being that reading and writing together form a new, separate, and autonomous language system. The journal has evolved to focus on research in visual communication. The journal has covered the subject of concrete poetry, the Fluxus art movement, painted text, textual criticism, the abstraction of symbols, articulatory synthesis and text, and the evolution of the page from print to on-screen display. Guest editor-authors have included Colin Banks, John Cage, Adrian Frutiger, Dick Higgins, Richard Kostelanetz, Craig Saper, and George Steiner.
The journal was edited for 26 years (1987–2012) by Sharon Poggenpohl of the Illinois Institute of Technology’s Institute of Design, with administrative offices at the Rhode Island School of Design. It is currently edited by Mike Zender of the University of Cincinnati, which publishes and provides administrative offices for the journal.
Below a first selection of the volumes available:
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The following text comes from Wikipedia. I did not know the artist but i was impressed with a publication that was published in the Sixties with the van Abbemuseum exhibition. This publication is now availabel at www.ftn-books.com
From 1945 to 1950 Heerich studied fine arts at the Kunstakademie Düsseldorf under Ewald Mataré. From 1950 to 1954, he belonged, together with Joseph Beuys, to the master class of his professor. At that time, he chiefly produced sculptures representing animals and drawings of plants. In 1954, he left the Düsseldorf academy and worked as an artist and art teacher. Since 1959, he used cardboard as his artistic material. He presented 10 of these “Kartonplastiken” at the documenta IV (1968) in Kassel.
Heerich emphasized that for him, “cardboard, like polystyrene, had no specifically aesthetic or historical connotations, the materials are value-neutral to the largest possible extent.” Furthermore, the artist was not primarily “concerned with the manifestation of an art object, but with making an idea material in terms of a specific problem: how space can be presented and formed.”
From 1969 to 1988 he was a professor at the Kunstakademie Düsseldorf. In 1974 he became also a member of the Academy of Arts, Berlin.
From 1982 to 1994 he created eleven exhibition pavilions for the Museum Insel Hombroich, which were called “chapels in the landscape”. His elemental sculptures became the design base for these gallery pavilions.
In 1978 Heerich received the Will Grohmann Prize in Berlin. In 1987 he received the Max Beckmann Prize in Frankfurt am Main and in 1995 the Anton Stankowski Prize in Stuttgart.
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Yesterdays blog and the acquisition of some former Ben Bos library books on grapphic design inspired me to find some more information on Jean Widmer.
Jean Widmer is an acclaimed Swiss graphic designer too based in France.
From 1946 to 1950 he studied at the Kunstgewerbeschule (School of Arts and Crafts) of Zurich, then directed by the former Bauhaus master Johannes Itten (1888-1967). In 1953 he moved to Paris, where attended lithography courses at the École des Beaux-Arts (School of Fine Arts).
After one-year internship at the Atelier Tolmer, located on the Île Saint-Louis, he was appointed Art Director of SNIP—Société Nouvelle d’Information et de Publicité (New Society of Information and Advertising), holding this charge from 1956 to 1959. He later moved to Galeries Lafayettes, a major department store, substituting Peter Knapp as its Art Director, from 1959 to 1961. At the same time he also worked at Jardin des Modes magazine as art director and photographer, holding the position until 1969. During the 1960s he also travelled in Japan to study ‘shodo,’ Japanese calligraphy, and ‘mon,’ Japanese traditional crests.
In 1969 he opened Visuel Design, focusing on coordinated graphic communication for cultural and public institutions. The same year he was the first designer to develop a corporate identity system for a French cultural institution, developing the graphic communication of the CCI—Centre de Création Industrielle (Center of Industrial Creation).
It was during this period that Widmer developed his own original graphic language, based on synthesis, rigorous geometry, and schematic typography that to this day represents the first and one of the few examples of Modern graphic design in France.
In 1972 he took charge of the first design for the French Highways signage, drawing a beautiful and effective pictogram system. From 1974 to 1977, and again in 1985, he designed the coordinated identity for the Centre Georges Pompidou, formed from the merging of the CCI with other cultural institutions, for which he designed a beautiful and iconic mark that portrays the famous façade of the building.
In 1979 he designed an acclaimed poster for Kieler Woche, the major sailing event in the world that is famous in the world of graphic design for its striking communication. From 1983 to 1987 he worked on the corporate identity design for the prestigious Musée d’Orsay, in collaboration with the prominent graphic designer Bruno Monguzzi.
He continued to focus on corporate graphics for cultural institutions, developing the identity for the Théâtre National de la Colline, and the IMA—Institut du Monde Arab, both in 1987, and the Bibliothèque Nationale de France in 1994. In 1989 he also designed a typefaces, Bi-89, on the occasion of the French Revolution’s bicentennial.
In 1960 he joined the faculty of the ENSAD—École Nationale Supérieure des Arts Décoratifs (School of Decorative Arts), Paris, where he taught until 2000 remodeling the graphic design curriculum, stressing mastery of typography and color as fundamental skills. Since the early 1990s, he also taught at the Atelier National de Recherché Typographique (National Bureau for Typographic Research).
During his career he received important recognitions, including the Toulouse-Lautrec Prize in 1980, the Grand Prix National des Arts Graphiques from the French Ministry of Culture in 1994, and the Distinctive Merit Award from the ADC (Art Directors Club), New York. He was appointed Chevalier of the Ordre des Arts et des Lettres in 1983, Officer of the same order in 1991, and Commandeur in 2001.
The important Centre Georges Pompidou publication is now available at www.ftn-books.com
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One of the last grand “old” masters of the dutch Art scene. Of course C ( Jacobus) Westerik has had his exhibitions abroad, but beside the Netherlands, germany and Belgium his name is not that well known. I met Westerik at the time he was making the portrait of Theo van Velzen. One of the former directors of the Haags Gemeentemuseum. The portrait was presented as a farewell present when van Velzen resigned to be hung in a gallery with portraits of other former directors. A small portrait which he managed to squeeze in and complete it in between 2 other paintings. His canvasses are not too big , but they are scarce because Westerik has a very small production yearly. I really do not know if he still is active as a painter, but at the time the van Velzen portrait was made , his production was 3 paintings a year. All were sold up front to collectors and museums. Among them Frits Becht (1930-2006) .He was the private collector with the largest Westerik collection .
He who was a personal friend for his entire life and followed his career through the years and bought many works. beside a painter Westerik was also known for his graphics in which he excelled. His production as a graphic artist was much much larger and there are almost a thousand different prints known by him. Westerik is a very important artist for dutch art and because i followed him over the years www.ftn-books.com has many publications on Westerik available.
A short documentary on Westerik can be found at this address: http://hollandsemeesters.info/posts/show/7738
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Petra Tolboom
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2017-12-10T20:54:21+00:00
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Petra Tolboom graduated from the “Gerrit Rietveld Academie,” a Dutch Visual Arts & Design Academy, internationally known for its quirky and autonomous character. She studied all graphic techniques but they...more » Petra Tolboom
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en
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Speedball Art
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https://www.speedballart.com/pro-artist-network/petra-tolboom/
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Petra Tolboom graduated from the “Gerrit Rietveld Academie,” a Dutch Visual Arts & Design Academy, internationally known for its quirky and autonomous character. She studied all graphic techniques but they were not really her passion at that time.
In 1996 she met Jan Montyn (1924-2015), a Dutch printmaker, painter and poet, during an exhibition of her work in Salernes in the South of France. He looked at her work and said; you should be etching as well. The seed was planted and her love for etching awakened.
In 2006 she took a five day workshop on photopolymer and non-toxic etching by Filip Le Roy, a former professor in Printmaking of the Anderlecht School of Art (Belgium).
It was during this workshop that Petra was introduced to the Akua Intaglio Inks. Already after the first day she was very enthusiastic and discovered the enormous amount of possibilities this way of etching and printing had to offer. What a freedom and literally “relief” compared to the traditional way of etching.
Artist Statement
The alternation of creative thinking, searching, weighing and looking at the traditional aspect of etching: I find (besides drawing) sanding, degreasing, biting and scratching relaxing and inspiring. Printing is always exciting, because rarely is the result as you have ‘printed’ it in your mind.
For me that’s the challenge; searching and looking over and over again. The image requires attention and the dialogue with my print starts. The landscape gives the opportunity to work poetically and abstract. As well as it gives enormous freedom to experiment with techniques. Color over color in combination with area and line. I walk through my landscapes. No human being present, the elements in charge. Nature is breathtaking beautiful to terrifyingly overwhelming. Very vulnerably and yet extremely strong. These and everything in between fascinate. My works often do not have separate titles; they are part of a series with a theme. The theme offers me focus while creating and space to explore.
Animals also feature my work. Sometimes hidden and then a little on the foreground. Although they do not play a leading role in my work, they are inextricably linked to it. Birds are especially important, they suggest movement, sound and most important: Freedom.
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https://www.nytimes.com/sitemap/1938/12/20/
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Site Map - December 20, 1938
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1938-12-20T00:00:00
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All New York Times stories published on December 20, 1938.
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https://profilebooks.com/work/a-lamb-to-slaughter/
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A Lamb to Slaughter
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https://dam.bibliolive.com/profile/getimage.aspx?class=books&assetversionid=207934&cat=default&size=large&id=7161
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https://dam.bibliolive.com/profile/getimage.aspx?class=books&assetversionid=207934&cat=default&size=large&id=7161
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2024-08-11T21:06:49+00:00
|
en
|
Profile Books
|
https://profilebooks.com/work/a-lamb-to-slaughter/
|
At the age of eighteen Jan Montyn was learning how to cross a ravine hanging from a rope; at nineteen he was serving in the Baltic on a German minesweeper; by the time he was twenty he was enduring the mud, snow and slaughter of the trenches on the Eastern front; before he was twenty-one he had lived through the hell of the Allied bombing of Dresden, played cat-and-mouse with the Russian army in a last-ditch stand on the banks of the Oder, retreated across Germany into the arms of Allied forces, escaped from a POW camp and joined the Foreign Legion. A few years later he was at war again, in Korea.
An adventure story on the grandest scale? Rather one of horrific experience and of a sensitive mind driven to obliterate the terrors of the past by a further dose of the same medicine.
Coming from a childhood hidebound by the most rigid structures of Dutch Calvinism, the young Montyn had seen the German Occupation of Holland and the wider opportunities it offered as the dawn of a new freedom. He had joined the German navy in a spirit of bravado, only to find himself trapped in the final, agonising throes of Germany's defeat in the Second World War and to live through the worst that men and machines can inflict on each other.
As an artist it affected him deeply, leaving him prey to hidden terrors and nightmares. From being a devotee of war he became a confirmed pacifist.
Written in collaboration with one of Holland's leading young novelists, A Lamb to Slaughter is a deep and haunting book of exceptional skill, a catalogue of strife and bloodshed whose message is peace and hope. Through years of restless pain Jan Montyn has struggled to come to terms with his baptism of horror - through debauchery, madness and the catharsis of remembering, through his art and the healing balm of the Buddhist faith.
His story is that of a man haunted by battlefields, who now seeks them out, not as a participant but for the essential tranquility he finds amid the aftermath of war. His book is an unforgettable literary experience, a moving evocation of the human paradox that transcends its immediate theme to assail our deepest sensibilities.
|
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dbpedia
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3
| 15
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https://www.dutchnews.nl/2015/08/artist-jan-montyn-dies-at-90/
|
en
|
Artist Jan Montyn dies at 90
|
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[
""
] | null |
[
"Robin Pascoe"
] |
2015-08-14T09:18:44+00:00
|
The Dutch artist Jan Montyn died in Amsterdam on Thursday night. He was 90 years old.
|
en
|
/wpcms/wp-content/uploads/2018/04/cropped-icon-32x32.jpg
|
DutchNews.nl
|
https://www.dutchnews.nl/2015/08/artist-jan-montyn-dies-at-90/
|
The Dutch artist Jan Montyn died in Amsterdam on Thursday night. He was 90 years old.
Montyn, who specialised in etching, was inspired by the wars he had witnessed: World War II, the Korean war and the wars in Cambodia, Vietnam and Burma.
His work can be seen in the Bibliothèque Nationale in Paris, the Museum of Modern Art in New York and Museum Boijmans van Beuningen in Rotterdam.
|
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3116
|
dbpedia
|
0
| 40
|
https://www.johnnieland.com/duja-1
|
en
|
DUJA experimental artists group
|
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[] | null |
DUJA - experimental artists group
Het kunstenaarscollectief DUJA is een initiatief van John Nieland om met kunstenaars uit eigen land, uit andere landen en van andere culturen tot een samenwerking en uitwisseling te komen. DUJA komt voort uit de wens om zich te verbinden omwille van de kunst. Samenwerken om van elkaar te leren en even uit de eigen comfortzone te stappen, verbinding als een gezamenlijke reis van onafhankelijke kunstenaars.
|
nl
|
JOHN NIELAND
|
https://www.johnnieland.com/duja-1
|
Born in 1992 in Nagasaki, Japan.
He spent his childhood in an environment where the influence of his grandfather, who was also a painter, remained strong. As he unravels the historicity and figurative language hidden in the paint, he uses various techniques such as tableaus, drawings, ceramics, as well as footage to ask the fundamental questions, 'what exactly are paintings and what is the act of drawing?'
Recently, Osawa presented his work in solo show “D2OKITTHJE” at IAF SHOP＊, Fukuoka, 2022, solo show “D2OKITTHJE” at PARADISE, Nagasaki, 2022, “KAAF vol2” at Joseiji Temple, Kumamoto, 2023, solo show “Who？” at EUREKA, Fukuoka, 2023, solo show “LOVE LOVE LOVE” at 063FACTORY, Nagasaki, 2023, “Family” at KABASHIMA STORE HOUSE, Nagasaki, 2023.
Born in 1980 in Yamanashi, Japan. Moved to Holland in 2005. Engaged in graphic design at a brand design company in Amsterdam. As a psychologist he started making stamps as a tool to reverse negative elements such as failures and mistakes. Since then, he has been interested in the significance and essence of human existence. In 2011 he started the project "Nice to stamp you" in which he creates drawings through interviews. Since then, he has produced stamps for over 500 people of various cultural nationalities. In 2019 Oyamada moved back to Japan, Kumamoto to work on his project 'Stamp Stamp Stamp'. With the aim of safeguarding art in Kumamoto, Oyamada started KAAF in 2022, a studio for local artists.
Born in 1998 in Kumamoto, Japan.
Graduated in 2021 from Sojo University, Department of Fine Arts, Western Painting Course.
Graduated in 2023 from Soho University, Master's Course Fine Art completed.
She now works as a high school art teacher.
Nishida uses pictorial expression centering on realistic paintings in which realism is not superficial realism, but expresses the inner side of things, constantly searching for ways to express it.
In 2023 she presented her work in a solo exhibition 'beyond' at RESTERS BED & CO. in Kumamoto.
Born in 1972 in Kumamoto Prefecture, Japan.
In 1993 Kenishi entered Tokyo University of the Arts, Faculty of Fine Arts, Oil Painting Major. He completed a master's course at Tokyo University of the Arts in 1999.
In that same year he went to Germany in the context of the German Academic Exchange Service (DAAD). There he studied at the Düsseldorf Academy of Arts on a government scholarship under Magdalena Jeterova.
Currently Associate Professor, Department of Fine Arts, Faculty of Arts, Sojo University
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https://www.whoppah.com/products/jan-montyn-etching-2005-WrJbfJAJ4
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Jan Montyn - etching 2005
|
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[
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[] | null |
Looking for Jan Montyn - etching 2005 in great shape? Whoppah! It's yours for €175 or make an offer now. Not happy? Get your money back!
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en
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https://www.whoppah.com/products/jan-montyn-etching-2005-WrJbfJAJ4
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Item not as advertised, money back.All items are curated and 100% authenticHave it delivered hassle-free or pick it up yourselfShop only from Trusted Sellers
Art Dumay
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Nuenen, Netherlands
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3116
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dbpedia
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1
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https://www.johnnieland.com/duja-1
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en
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DUJA experimental artists group
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DUJA - experimental artists group
Het kunstenaarscollectief DUJA is een initiatief van John Nieland om met kunstenaars uit eigen land, uit andere landen en van andere culturen tot een samenwerking en uitwisseling te komen. DUJA komt voort uit de wens om zich te verbinden omwille van de kunst. Samenwerken om van elkaar te leren en even uit de eigen comfortzone te stappen, verbinding als een gezamenlijke reis van onafhankelijke kunstenaars.
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nl
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JOHN NIELAND
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https://www.johnnieland.com/duja-1
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Born in 1992 in Nagasaki, Japan.
He spent his childhood in an environment where the influence of his grandfather, who was also a painter, remained strong. As he unravels the historicity and figurative language hidden in the paint, he uses various techniques such as tableaus, drawings, ceramics, as well as footage to ask the fundamental questions, 'what exactly are paintings and what is the act of drawing?'
Recently, Osawa presented his work in solo show “D2OKITTHJE” at IAF SHOP＊, Fukuoka, 2022, solo show “D2OKITTHJE” at PARADISE, Nagasaki, 2022, “KAAF vol2” at Joseiji Temple, Kumamoto, 2023, solo show “Who？” at EUREKA, Fukuoka, 2023, solo show “LOVE LOVE LOVE” at 063FACTORY, Nagasaki, 2023, “Family” at KABASHIMA STORE HOUSE, Nagasaki, 2023.
Born in 1980 in Yamanashi, Japan. Moved to Holland in 2005. Engaged in graphic design at a brand design company in Amsterdam. As a psychologist he started making stamps as a tool to reverse negative elements such as failures and mistakes. Since then, he has been interested in the significance and essence of human existence. In 2011 he started the project "Nice to stamp you" in which he creates drawings through interviews. Since then, he has produced stamps for over 500 people of various cultural nationalities. In 2019 Oyamada moved back to Japan, Kumamoto to work on his project 'Stamp Stamp Stamp'. With the aim of safeguarding art in Kumamoto, Oyamada started KAAF in 2022, a studio for local artists.
Born in 1998 in Kumamoto, Japan.
Graduated in 2021 from Sojo University, Department of Fine Arts, Western Painting Course.
Graduated in 2023 from Soho University, Master's Course Fine Art completed.
She now works as a high school art teacher.
Nishida uses pictorial expression centering on realistic paintings in which realism is not superficial realism, but expresses the inner side of things, constantly searching for ways to express it.
In 2023 she presented her work in a solo exhibition 'beyond' at RESTERS BED & CO. in Kumamoto.
Born in 1972 in Kumamoto Prefecture, Japan.
In 1993 Kenishi entered Tokyo University of the Arts, Faculty of Fine Arts, Oil Painting Major. He completed a master's course at Tokyo University of the Arts in 1999.
In that same year he went to Germany in the context of the German Academic Exchange Service (DAAD). There he studied at the Düsseldorf Academy of Arts on a government scholarship under Magdalena Jeterova.
Currently Associate Professor, Department of Fine Arts, Faculty of Arts, Sojo University
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dbpedia
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2
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https://www.kunsthal.nl/en/plan-your-visit/exhibitions/tolerance-without-borders/
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en
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Tolerance without Borders
|
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In early 2013, the Kunsthal will be presenting a comprehensive overview of graphic work by Jan Montyn (1924). The artist leads a restless life and is always on the lookout for excitement.
|
en
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/static/img/favicons/favicon.ico
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https://www.kunsthal.nl/en/plan-your-visit/exhibitions/tolerance-without-borders/
|
In drawings, etches and mono prints, Montyn records his experiences during his many travels to North Africa and the Far East, and his work is an ode to love and to the landscape. Montyn writes probing reports about his experiences in the many wars he has been involved in. The exhibition focuses on three main themes: identity (the search), liberation (the hope for Vietnam and Cambodia) and space (travels, landscape). Every month, one special theme will be highlighted by changing the exhibited works. The exhibition, compiled from the collection of Rombout van Zwetselaar, marks the launch of the website www.janmontyncollection.com. This puts Jan Montyn's entire oeuvre in a wide framework.
Janmontyncollection.com
The website includes all Jan Montyn's graphic works, around 3000 etches and mono prints as well as 1000 of his many drawings. The individual works are linked by periods and themes from Montyn's own life. Moreover, specific information has been included on all the works; the website is a comprehensive database in which Montyn's work has been documented in an accessible fashion. Visitors can search the database in many different ways. Owners of work by Montyn are asked to share any relevant information they have which is not yet on the website.
About Jan Montyn
Following short periods working for the German military service and the UN forces in Korea, and as a museum curator in the Dutch army, Montyn settled in Amsterdam in 1957. There he led a life on the fringe and on the margins of art, becoming friends with Anton Heyboer, who taught him the technique of etching. He travelled a lot and spent most of his time in Southeast Asia, where he experienced the horrors of the Vietnam War in Vietnam, Cambodia and Laos. He travelled through Cambodia during the period of the Khmer Rouge, and he worked for Doctors without Borders (MSF) in Thailand, Cambodia and Myanmar. Southeast Asia will always be his second home. He continued to draw during his travels; in his house in France, he dealt with his experiences through etching, using his own imagery and unique palette of colours.
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3116
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dbpedia
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https://www.kunstveiling.nl/en/items/jan-montyn-ets-1988/430897
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en
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Want to buy Jan Montyn - Ets: - 1988? Bid from 115!
|
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buy Jan Montyn - Ets: - 1988 ? Kunstveiling is the largest online art platform in the Netherlands. ✓Competitive prices ✓Reliable
|
en
|
/favicon.ico
|
https://www.kunstveiling.nl/items/jan-montyn-ets-1988/430897
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Every Monday a Special
Every Monday evening a Special auction ends focusing on a particular artist or theme. Would you like to participate as a seller? That is possible! You will find more information here.
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3116
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dbpedia
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3
| 39
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https://www.artatelier.nl/untitled-jnm1005.html
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en
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Art Atelier
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[
"Untitled"
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Untitled Hand-Signed, numbered and dated.
Jan Montyn
Jan MontynJan Montyn (1924 - 2015) was a well-known Dutch painter, draughtsman, graphic artist and poet with an extraordinary life. It is said of him that his eyes saw more than is bearable for a hu
|
nl
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https://www.artatelier.nl/untitled-jnm1005.html
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JavaScript seems to be disabled in your browser. For the best experience on our site, be sure to turn on Javascript in your browser.
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wrong_mix_domainrange_death_00138
|
FactBench
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2
| 7
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https://www.thisdayinmusic.com/stairway-to-heaven/otis-redding/
|
en
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Otis Redding
|
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"This Day In Music"
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1967-12-10T16:14:12+00:00
|
16th March 1968, the posthumously released Otis Redding single 'Sittin' On The Dock Of The Bay', started a five-week run at No.1 on the US chart, (a No.3 hit the UK). Otis was killed in
|
en
|
This Day In Music
|
https://www.thisdayinmusic.com/stairway-to-heaven/otis-redding/
|
Jim Stewart, founder of the influential southern soul label Stax Records, died aged 92. As the founder of Stax, Stewart was responsible for signing and nurturing the careers of many of soul and R&B’s most influential figures, including Otis Redding, Carla Thomas, Albert King and the Bar-Kays.
Trumpeter Wayne Jackson, who formed the Memphis Horns duo with saxophonist Andrew Love, died of congestive heart failure at the age of 74. Jackson and Love played together on 52 No.1 songs, supporting the likes of Elvis Presley, Neil Diamond, Otis Redding, Al Green, Aretha Franklin, Peter Gabriel and the Doobie Brothers.
Trumpeter Ben Cauley, a member of the Stax Records group The Bar-Kays and the only survivor of the 1967 plane crash that killed Otis Redding died at the age of 67. The Bar-Kays appeared as the backing band on numerous recordings for Stax artists such as Carla Thomas, Isaac Hayes, Rufus Thomas, The Staple Singers and Sam and Dave.
Saxophone player Andrew Love died aged 70. He was best known for being a member of The Memphis Horns with trumpet player Wayne Jackson where the two created the signature horn sound at Stax Records on hit records by Otis Redding, Sam & Dave and others such as Neil Diamond, Elvis Presley and Dusty Springfield.
American singer, songwriter, and record producer Gene McFadden, best known as half of the Philly soul team McFadden & Whitehead, died of cancer at the age of 56. The duo who were discovered by Otis Redding, who acted as their manager had the 1979 hit 'Ain't No Stoppin' Us Now', which sold more than 8 million copies and was nominated for a Grammy Award.
Estelle Axton, who helped create the legendary US soul music label Stax, died in hospital in Memphis, aged 85. Stax was home to Otis Redding, Rufus Thomas, Isaac Hayes and Booker T and the MG's and the Stax studio, 'Soulsville USA', was second only to Motown in its production of soul hits during its 1960s heyday.
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Otis Reddings' widow and his former manager filed a lawsuit against the author of a biography written in 2001 about the R&B legend, claiming the book was filled with lies. The lawsuit, filed in Atlanta's Fulton County, sought $15 million in damages and claimed that the book detailed rumors about the singer's drug use, extramarital affairs and divorce, causing "harm to the plaintiffs." It also cites rumors that Otis' manager plotted with the Mafia to kill Otis by causing the plane to crash in order to claim $1 million in life insurance.
American record producer Tom Dowd died of emphysema. He recorded albums by many artists including: Eric Clapton, Lynyrd Skynyrd, Derek and the Dominos, Rod Stewart, Aretha Franklin, Cream, Lulu, Chicago, The Allman Brothers Band, The J. Geils Band, Meat Loaf, Sonny & Cher, The Rascals, Willie Nelson, Diana Ross, Kenny Loggins, Dusty Springfield, The Drifters and Otis Redding.
The US Postal Service issued a set of commemorative stamps to celebrate pop music legends. The stamps included Elvis Presley, Bill Haley, Buddy Holly, Otis Redding Ritchie Valens, Clyde McPhatter and Dinah Washington.
At just 38 years old, Stevie Wonder became the youngest living person to be inducted into the Rock and Roll Hall of Fame. At a ceremony held at the Waldorf Astoria Hotel in New York, other inductees include The Rolling Stones, The Temptations, Otis Redding and Dion DiMucci.
39 year old Al Jackson, drummer for Booker T. And The MGs, was shot and killed by a burglar at his home. His wife was questioned about the killing because she was arrested in July for shooting her husband in the chest during a domestic dispute. He wasn't badly hurt and the charges were dismissed when his wife claimed self-defense. Jackson had returned home to what police described as a botched robbery attempt. According to Jackson's wife, an intruder made her answer the door and then threw her husband to the floor demanding money. Jackson was forced to lie face down and then was shot in the back five times. The identity of the culprit remains a mystery. Booker T had backed such artists as Otis Redding, Al Green and Sam and Dave.
Janis Joplin started recording sessions recording a version of the Kris Kristofferson and Fred Foster song 'Me and Bobby McGee'. Joplin, (who was a lover and a friend of Kristofferson's from the beginning of her career to her death), topped the US singles chart with the song in 1971 after her death, making the song the second posthumous No.1 single in US chart history after '(Sittin' On) The Dock of the Bay' by Otis Redding.
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The Otis Redding album Dock Of The Bay went to No.1 in the UK. The posthumously released album, and his sixth studio album contained a number of singles and B-sides dating back to 1965 and one of his best known songs, the posthumous hit (Sittin' On The Dock) Of The Bay.
The posthumously released Otis Redding single '(Sittin' On) The Dock Of The Bay' started a five week run at No.1 on the US chart, (a No.3 hit the UK). Otis was killed in a plane crash on 10th December 1967 three days after recording the song. 'Sittin' On The Dock Of The Bay', became the first posthumous No.1 single in US chart history and sold over four million copies worldwide.
The Otis Redding single '(Sittin' On) The Dock Of The Bay' went gold in the US three months after the singer was killed in a plane crash. Recorded just days before his death, it became the first posthumous single to top the charts in the US.
Otis Redding had his first entry on the UK singles chart when '(Sittin' On) The Dock Of The Bay' entered the chart, it went on to be a No.3 hit. The song became the first posthumous single to top the charts in the US.
American soul singer, songwriter Otis Redding was killed in a plane crash, aged 26. Redding and his band had made an appearance in Cleveland, Ohio on the local ‘Upbeat’ television show the previous day. The plane carrying Otis Redding and his band crashed at 3.28.pm into icy waters of Lake Monoma near Madison. Redding was killed in the crash along with members from the The Bar-Kays, Jimmy King, Ron Caldwell, Phalin Jones and Carl Cunningham. Trumpet player Ben Cauley was the only person to survive the crash.
Otis Redding went into the studio to record '(Sittin' On) The Dock Of The Bay'. The song went on to be his biggest hit. Redding didn't see its release; he was killed three days later in a plane crash. Redding wrote the first verse of the song, under the abbreviated title 'Dock of the Bay', on a houseboat at Waldo Point in Sausalito, California a short time after his appearance at The Monterey pop festival. Redding's familiar whistling, heard before the song's fade was the singer fooling around, he had intended to return to the studio at a later date to add words in place of the whistling.
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The three day Monterey Pop Festival in California began. All the proceeds went to charity when all the artists agreed to perform for free, the 'Summer of Love' was born. The festival saw the first major US appearances by The Who, Jimi Hendrix and Janis Joplin. Also on the bill: The Byrds, Grateful Dead, Otis Redding, Simon And Garfunkel, The Steve Miller Band, Canned Heat, The Mamas & the Papas, Jefferson Airplane, Buffalo Springfield and The Electric Flag. John Phillips, of The Mamas & the Papas wrote, 'San Francisco, (Be Sure To Wear Flowers In Your Hair)' to promote the festival, which later became a hit for Scott McKenzie.
Aretha Franklin went to No.1 on the US singles chart with her version of the Otis Redding hit 'Respect'. A No.10 hit on the UK chart. Aretha scored her first UK No.1 20 years later with a duet with George Michael 'I Knew You Were Waiting'.
Otis Redding, Sam & Dave, Eddie Floyd, Arthur Conley and Booker T And The MG's all appeared at London's Hammersmith Odeon, England.
Otis Redding released his third studio album Otis Blue. The album mainly consists of cover songs by popular R&B and soul artists, and, bar one track, was recorded in a 24-hour period over July 9/10 1965 at the Stax Recording Studios in Memphis, Tennessee and includes the classic tracks 'Ole Man Trouble", 'Respect', and 'Down in the Valley'.
Otis Redding started recording sessions at Stax Studios in Memphis, Tennessee for what would become his third studio album Otis Blue. The album mainly consists of cover versions of other R&B and soul artists hits, and, bar one track, was recorded in a 24-hour period. According to the drummer, Al Jackson, Redding wrote 'Respect', after a conversation they had during a break in the recording session, in which he told Redding: "You're on the road all the time. All you can look for is a little respect when you come home."
The Temptations released 'Its Growing', the follow-up to 'My Girl'. The track was the first to feature David Ruffin as the Temptations new lead singer. Interestingly both 'My Girl' and 'Its Growing' were the only Motown tunes ever covered by Otis Redding.
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Otis Redding recorded 'Respect' at Atlantic Studio, New York City. At first a ballad, 'Respect' was written by Redding for Speedo Sims, who intended to record it with his band, the Singing Demons. Redding rewrote the lyrics and sped up the rhythm. The song became a 1967 hit and signature song for soul singer Aretha Franklin.
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wrong_mix_domainrange_death_00138
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FactBench
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3
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https://otisredding.com/more-than-40-years-after-his-death-the-legacy-of-otis-redding-lives-on/
|
en
|
More Than 40 Years After His Death, The Legacy Of Otis Redding Lives On
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2014-08-20T22:34:06+00:00
|
On December 10th, music lovers around the world will commemorate the anniversary of the death of one of modern music’s most prolific entertainers, Mr. Otis Redding. Ranked #8 on Rolling Stone magazine’s 100 Greatest Singers of All Time list, Redding amassed a string of classic songs including “(Sittin On), The Dock of the Bay, I‘ve […]
|
en
|
Otis Redding
|
https://otisredding.com/more-than-40-years-after-his-death-the-legacy-of-otis-redding-lives-on/
|
On December 10th, music lovers around the world will commemorate the anniversary of the death of one of modern music’s most prolific entertainers, Mr. Otis Redding.
Ranked #8 on Rolling Stone magazine’s 100 Greatest Singers of All Time list, Redding amassed a string of classic songs including “(Sittin On), The Dock of the Bay, I‘ve Been Loving You Too Long,” “Satisfaction,” “Try A Little Tenderness,” and “Respect,” before his untimely death in 1967. Redding and members of the Bar-Kays, his touring band at the time, were tragically killed in a plane crash while enroute to a concert in Madison, Wisconsin.
Although he was only 26 years old at the time of his death, Redding had already released numerous hit songs and albums and become a successful performer, songwriter, producer and businessman. Recorded just three days before the plane crash, “(Sittin’ On) The Dock of the Bay,” became his 17th straight hit and first million-seller and remains one of his most popular songs.
The strong impact that Otis Redding made on popular culture remains evident from the countless films, television shows and commercials that his songs can be heard in and from the major influence he has had on superstar artists such as Rod Stewart who told People magazine, “I always felt Otis was singing just for me. That is a hallmark of a good singer.”
Redding’s legacy continues to grow via numerous honors that have been bestowed upon him posthumously, including induction into the Rock and Roll Hall of Fame, an art exhibit entitled Otis Redding: I’ve Got Dreams to Remember that was commissioned in his honor and a documentary, Dreams to Remember: The Legacy of Otis Redding, which was released in 2007.
His memory and contributions are also kept alive through the work of his widow Zelma and their children, who established the Big “O” Youth Educational Dream Foundation to empower and educate children through the arts, which was a personal mission of Redding’s.
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wrong_mix_domainrange_death_00138
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FactBench
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https://wegotthiscovered.com/music/how-did-singer-otis-redding-die/
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en
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How did singer Otis Redding die?
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2024-06-14T10:23:57+00:00
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Soul singer Otis Redding was just 26 years old when he died in an accident
|
en
|
We Got This Covered
|
https://wegotthiscovered.com/music/how-did-singer-otis-redding-die/
|
Otis Redding, also known as the King of Soul, was on an upward trajectory in his music career when it was cut short due to his untimely death at just 26 years old.
Recommended Videos
Redding recorded his first single, “These Arms of Mine,” in 1962, and the song catapulted to the No. 20 position on the R&B music charts the following year. His success gave way to more opportunities, and he was able to reach a broader audience. Initially, Redding performed small-scale gigs in the South to a predominantly Black audience, but his incredible talent and charisma soon made him popular with the white crowd.
The year before his death, Redding embarked on a European tour and visited major cities, and in June 1967, he performed at the Monterey International Pop Festival. He became so popular, in fact, that he was able to beat Elvis Presley in the Melody Maker poll as the top male vocalist of the year in 1967. Melody Maker was an influential music publication in the U.K. Before Redding won, Presley had held the top male vocalist spot for a decade. After his tour, Redding decided to spend more time writing songs and recording, which is what he was doing just before he died.
The days before his passing
Redding was working on a record just before his death. His producer, Steve Cropper, recalled how enthusiastic the singer was about it when he phoned him saying, “I’ve got a hit.” Redding went to Stax Records in Memphis, Tennessee, in December 1967 to record “(Sittin’ on) The Dock of Bay,” which strayed from his usual music style. However, he wanted to expand his musical horizon to reach more people.
After the session, the song was complete, but they figured there was something missing that could make it even better. Cropper proposed getting the Staple Singers to add backup vocals, which Redding thought was a good idea. They scheduled another session the following week. Meanwhile, Redding needed to leave Memphis, as he had a slew of gigs slated for that weekend.
Redding headed to Nashville and performed at Vanderbilt University. He then went to Ohio for an appearance on “Upbeat,” a variety show. That was followed by two sold-out shows at Leo’s Casino, an Ohio hotspot for R&B and Motown artists. His next two shows were in Madison, Wisconsin, but he never made it.
The plane crash
The weather wasn’t ideal on the day of their departure on Dec. 10, 1967. Thick fog blanketed the skies and it was raining heavily. Commercial flights were canceled and air controllers told Redding’s pilot, Richard Fraser, that it would be best not to proceed with the flight. The singer asked Fraser if he could fly them safely to Wisconsin despite the bad weather conditions, and he answered in the affirmative.
Redding boarded his private plane, a twin-engine Beechcraft that he had purchased just a couple of months before the flight, with his assistant and five members of the music group the Bar-Kays. The group left at about 12:30pm and according to reports, they were just a few miles near their destination some three hours later when something went wrong.
Fraser contacted the Dane County Regional Airport in Madison, asking for clearance to land, which he received. The plane started descending from the thick clouds just above Lake Monona, four miles away from the airport. The air traffic controller attempted to establish contact with Fraser to no avail. A witness on the lake said that the plane’s left side was lower than the right before it landed into the lake and slowly sank.
Rescue teams descended on the scene within minutes, but upon their arrival, the plane was already submerged. It was a difficult rescue mission due to the freezing water, but they spotted one person in the water. He was identified as trumpet player Ben Cauley, who was still strapped in his seat but was floating. Close to him were two others — the pilot and Redding’s assistant — but they were already gone. The others were also presumed dead, but the retrieval of their bodies was postponed to the next day as daylight had gone. Redding and the other passengers were discovered later, all deceased.
The aftermath
Cauley recalled the events leading up to the crash. He had been asleep during the flight when he awoke to the sounds of the engine and the pilot saying that he was having difficulties and then experienced a “funny spinning sensation” before the plane went into the water. He was seated behind Redding and said the singer remained calm and didn’t say or do anything before the crash.
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California - List View
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Alcatraz Island
San Francisco, CA
Alcatraz reveals stories of American incarceration, justice, and our common humanity. This small island was once a fort, a military prison, and a maximum security federal penitentiary. In 1969, the Indians of All Tribes occupied Alcatraz for 19 months in the name of freedom and Native American civil rights. We invite you to explore Alcatraz's complex history and natural beauty.
National Historic Trail
Butterfield Overland
MO, AR, OK, TX, NM, AZ, CA
In 1857, businessman and transportation entrepreneur John Butterfield was awarded a contract to establish an overland mail route between the eastern United States and growing populations in the Far West. What became known as the Butterfield Overland Trail made an arcing sweep across the southern rim of the country. Stagecoaches left twice a week carrying passengers, freight, and mail.
National Monument
Cabrillo
San Diego, CA
Climbing out of his boat and onto shore in 1542, Juan Rodriguez Cabrillo stepped into history as the first European to set foot on what is now the West Coast of the United States. In addition to telling the story of 16th century exploration, the park is home to a wealth of cultural and natural resources. Join us and embark on your own Voyage of Exploration.
National Historic Trail
California
Various States CA,CO,ID,KS,MO,NE,NV,OR,UT,WY
Follow in the footsteps of over 250,000 emigrants who traveled to the gold fields and rich farmlands of California during the 1840s and 1850s: the greatest mass migration in American history. The California National Historic Trail is over 5,000 miles long and covers portions of 10 states. Step into history along more than 1,000 miles of ruts and traces from travelers and their overland wagons.
National Monument
Castle Mountains
Barstow, CA
Castle Mountains represents some of the most unique elements of the Mojave Desert. Nestled between the Nevada state line and Mojave National Preserve, the nearly 21,000 acres of Castle Mountains boasts Joshua tree forests, unbroken natural landscapes, rare desert grasslands, and rich human history. This intriguing area provides serenity and solitude from nearby metropolitan areas.
National Monument
César E. Chávez
CA
Yes, we can! Widely recognized as the most important Latino leader in the United States during the twentieth century, César E. Chávez led farm workers and supporters in the establishment of the country's first permanent agricultural union. His leadership brought sustained international attention to the plight of U.S. farm workers, and secured for them higher wages and safer working conditions
National Park
Channel Islands
Ventura, CA
Channel Islands National Park encompasses five remarkable islands and their ocean environment, preserving and protecting a wealth of natural and cultural resources. Isolation over thousands of years has created unique animals, plants, and archeological resources found nowhere else on Earth and helped preserve a place where visitors can experience coastal southern California as it once was.
National Park
Death Valley
Death Valley, CA,NV
In this below-sea-level basin, steady drought and record summer heat make Death Valley a land of extremes. Yet, each extreme has a striking contrast. Towering peaks are frosted with winter snow. Rare rainstorms bring vast fields of wildflowers. Lush oases harbor tiny fish and refuge for wildlife and humans. Despite its morbid name, a great diversity of life thrives in Death Valley.
National Monument
Devils Postpile
the Sierra Nevada near Mammoth Lakes, CA
Established in 1911 by presidential proclamation, Devils Postpile National Monument protects and preserves the Devils Postpile formation, the 101-foot high Rainbow Falls, and pristine mountain scenery. The formation is a rare sight in the geologic world and ranks as one of the world's finest examples of columnar basalt. Its' columns tower up to 60 feet and display a striking symmetry.
National Historic Site
Eugene O'Neill
Danville, CA
America's only Nobel Prize-winning playwright, Eugene O'Neill, chose Northern California as his sanctuary at the pinnacle of his writing career. Secluded from the outside world within the serene walls of his Tao House, O'Neill crafted his final and most memorable masterpieces: The Iceman Cometh, Long Day's Journey Into Night, and A Moon for the Misbegotten.
National Recreation Area
Golden Gate
San Francisco, CA
Experience a park so rich it supports 19 distinct ecosystems with over 2,000 plant and animal species. Go for a hike, enjoy a vista, have a picnic or learn about the centuries of overlapping history from California’s indigenous cultures, Spanish colonialism, the Mexican Republic, US military expansion and the growth of San Francisco. All of this and more awaits you, so get out and find your park.
National Historic Site
John Muir
Martinez, CA
John Muir played many roles in his life, all of which helped him succeed in his role as an advocate for Nature. As America’s most famous naturalist and conservationist, Muir fought to protect the wild places he loved, places we can still visit today. Muir’s writings convinced the U.S. government to protect Yosemite, Sequoia, Grand Canyon and Mt. Rainier as national parks.
National Park
Joshua Tree
Southern California between I-10 and Hwy 62; headquarters in Twentynine Palms, CA
Two distinct desert ecosystems, the Mojave and the Colorado, come together in Joshua Tree National Park. A fascinating variety of plants and animals make their homes in a land sculpted by strong winds and occasional torrents of rain. Dark night skies, a rich cultural history, and surreal geologic features add to the wonder of this vast wilderness in southern California. Come explore for yourself!
National Historic Trail
Juan Bautista de Anza
Nogales, AZ to San Francisco, CA, AZ,CA
The Juan Bautista de Anza National Historic Trail covers over 1200 miles through the homelands of 70+ Tribal communities. It follows the historic route of the 1775-76 Spanish colonizing expedition from Sonora, Mexico to San Francisco, CA. Whether urban or rural, the trail offers adventure, diverse cultural perspectives, and an opportunity to experience history.
National Park
Lassen Volcanic
Mineral, CA
Lassen Volcanic National Park is home to steaming fumaroles, meadows freckled with wildflowers, clear mountain lakes, and numerous volcanoes. Jagged peaks tell the story of its eruptive past while hot water continues to shape the land.
National Monument
Lava Beds
Tulelake, CA
Lava Beds National Monument is a land of turmoil, both geological and historical. Over the last half-million years, volcanic eruptions on the Medicine Lake shield volcano have created a rugged landscape dotted with diverse volcanic features. More than 800 caves, Native American rock art sites, historic battlefields and campsites, and a high desert wilderness experience await you!
National Historic Site
Manzanar
Independence, CA
In 1942, the United States government ordered more than 110,000 men, women, and children to leave their homes and detained them in remote, military-style camps. Manzanar War Relocation Center was one of ten camps where the US government incarcerated Japanese immigrants ineligible for citizenship and Japanese American citizens during World War II.
National Preserve
Mojave
Southern California between I-15 and I-40; headquarters in Barstow, CA
Mojave preserves a diverse mosaic of ecological habitats and a 10,000 year history of human connection with the desert. Offering extensive opportunities to experience desert landscapes, the preserve promotes understanding and appreciation for the increasingly threatened resources of the Mojave Desert. This remote preserve encourages a sense of discovery and a connection to wild places.
National Monument
Muir Woods
Mill Valley, CA
Walk among old growth coast redwoods, cooling their roots in the fresh water of Redwood Creek and lifting their crowns to reach the sun and fog. Federally protected as a National Monument since 1908, this primeval forest is both refuge and laboratory, revealing our relationship with the living landscape. What will you discover in Muir Woods?
National Historic Trail
Old Spanish
AZ,CA,CO,NV,NM,UT
Follow the routes of mule pack trains across the Southwest on the Old Spanish National Historic Trail between Santa Fe, New Mexico, and Los Angeles, California. New Mexican traders moved locally produced merchandise across what are now six states to exchange for mules and horses.
National Park
Pinnacles
Paicines, CA
Some 23 million years ago multiple volcanoes erupted, flowed, and slid to form what would become Pinnacles National Park. What remains is a unique landscape. Travelers journey through chaparral, oak woodlands, and canyon bottoms. Hikers enter rare talus caves and emerge to towering rock spires teeming with life: prairie and peregrine falcons, golden eagles, and the inspiring California condor.
National Seashore
Point Reyes
Point Reyes, CA
From its thunderous ocean breakers crashing against rocky headlands and expansive sand beaches to its open grasslands, brushy hillsides, and forested ridges, Point Reyes offers visitors over 1500 species of plants and animals to discover. Home to several cultures over thousands of years, the Seashore preserves a tapestry of stories and interactions of people. Point Reyes awaits your exploration.
National Historic Trail
Pony Express
Various States CA,CO,KS,MO,NE,NV,UT,WY
It is hard to believe that young men once rode horses to carry mail from Missouri to California in the unprecedented time of only 10 days. This relay system along the Pony Express National Historic Trail in eight states was the most direct and practical means of east-west communications before the telegraph.
National Memorial
Port Chicago Naval Magazine
Concord Naval Weapons Station, CA
On July 17, 1944, a massive explosion jolted the San Francisco East Bay area, shattering windows and lighting up the night sky. At Port Chicago Naval Magazine, 320 men were killed instantly when two ships loading ammunition for Pacific troops exploded. It was WWII's worst home front disaster.
Presidio of San Francisco
San Francisco, CA
For 218 years, the Presidio served as an army post for three nations. World and local events, from military campaigns to World Fairs and earthquakes, left their mark. Come enjoy the history and the natural beauty of the Presidio. Explore centuries of architecture. Reflect in a national cemetery. Walk along an historic airfield, through forests or to beaches, and admire spectacular vistas.
National and State Parks
Redwood
Del Norte & Humboldt counties , CA
Most people know Redwood as home to the tallest trees on Earth. But the Parks also protect vast prairies, oak woodlands, wild rivers, and 40 miles of rugged coastline. People have lived in this verdant landscape since time immemorial. Together, the National Park Service and California State Parks are managing and restoring these lands for the inspiration, enjoyment, and education of all.
National Historical Park
Rosie the Riveter WWII Home Front
Richmond, CA
Celebrate and honor the contributions and sacrifices of American civilians on the WWII home front. Discover how diverse communities lived, worked, and interacted. Many faces, many stories, many truths, weave a rich tapestry of experiences from this era of opportunity and loss.
National Recreation Area
Whiskeytown
Whiskeytown, CA
Whiskeytown Lake’s crystal-clear water is perhaps the most recognized feature of the park. However, water-based recreation is only a part of what the 42,000-acre Whiskeytown National Recreation Area has to offer. Visit waterfalls, hike through rugged mountains, explore California Gold Rush history, and observe post-fire ecology in action. Your national park is calling...
National Park
Yosemite
the Sierra Nevada, CA
Not just a great valley, but a shrine to human foresight, the strength of granite, the power of glaciers, the persistence of life, and the tranquility of the High Sierra. First protected in 1864, Yosemite National Park is best known for its waterfalls, but within its nearly 1,200 square miles, you can find deep valleys, grand meadows, ancient giant sequoias, a vast wilderness area, and much more.
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https://www.facebook.com/otisredding/posts/mrs-christine-redding-lowder-of-macon-departed-this-life-on-sunday-august-26-201/10161042553400107/
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Otis Redding
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Mrs. Christine Redding-Lowder of Macon departed this life on Sunday, August 26, 2018 in Los Angeles, CA. She was born on March 14, 1938 in Dawson,...
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https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
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https://www.facebook.com/otisredding/posts/mrs-christine-redding-lowder-of-macon-departed-this-life-on-sunday-august-26-201/10161042553400107/
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FactBench
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| 62
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https://www.key.aero/forum/historic-aviation/78352-otis-redding-crash
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en
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Otis Redding crash.
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https://supersocial.fullfatthings.com/i/1/https://www.key.aero/forum/historic-aviation/78352-otis-redding-crash
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https://supersocial.fullfatthings.com/i/1/https://www.key.aero/forum/historic-aviation/78352-otis-redding-crash
|
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It will be 40 years ago on 10th December that Otis died. http://oldies.about.com/b/2007/12/03/the-otis-redding-plane-crash-40-years-later.htm December 10, 1967: Rock 'n roll singer Otis Redding (26) and four members of his Bar-Kays band were killed when their Beechcraft H18 plane crashed in icy Lake Monoma near Madison, Wisconsin, on a foggy night. Redding is best known for his hit, “Sittin' on the Dock of the Bay,” which was released after his death. Redding had recorded the song just three days earlier.
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/sites/keyaero/themes/keyaero/favicon.ico
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Key Aero
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https://www.key.aero/forum/historic-aviation/78352-otis-redding-crash
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And there are more famous people who have died in plane crashes.
http://www.planecrashinfo.com/famous.htm
T J
New
And one who didn't... but for the intervention of a virus.
And a less-famous one who didn't due to the flip of a coin.
Waylon Jennings.
He had been touring with Buddy Holly, Richie Valens (Ricardo Valenzuela), "The Big Bopper" (J.P. Richardson), and Tommy Allsup (Waylon & Tommy were backup musicians).
They were to travel on their bus, but it had developed problems with its heater. Disgusted with the cold bus, and because Richardson had developed a fever, they chartered a single-engined aircraft... a Beechcraft Bonanza. There wasn't room for everyone, and Waylon told Richardson "go ahead, I'll ride the bus".
Allsup and Valens flipped a coin for the remaining seat, and Valens "won".
Waylon & Allsup, thinking they had got the worse deal, got on the bus, along with Dion and the Belmonts.
Shortly after takeoff into a snowstorm, the Beech crashed, killing all aboard.
Many know of Waylon Jennings, but Allsup became a producer, working with many big names in music.
New
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https://www.vintageguitar.com/62651/otis-redding-2/
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Vintage Guitar® magazine
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[
""
] | null |
[
"Sean McDevitt"
] |
2024-05-13T21:53:40-05:00
|
Otis Redding’s death in a plane crash in late 1967 created a monumental task for producer and guitarist Steve Cropper – the posthumous presentation of Redding’s unreleased work. Ultimately, four collections were released, including The Dock of the Bay (February ’68); The Immortal Otis Redding (June ’68); Love Man (June ’69); and Tell the Truth
|
en
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https://www.vintageguitar.com/62651/otis-redding-2/
|
Otis Redding’s death in a plane crash in late 1967 created a monumental task for producer and guitarist Steve Cropper – the posthumous presentation of Redding’s unreleased work. Ultimately, four collections were released, including The Dock of the Bay (February ’68); The Immortal Otis Redding (June ’68); Love Man (June ’69); and Tell the Truth (July ’70). They’re all reissued in this new vinyl box, along with two other LPs that collect mono versions of Redding’s singles issued from ’68 to ’70.
While Redding’s voice will always be the star of the show, this set is also a deep dive into soul guitar, courtesy of the genre’s primary architect. Cropper’s thoughtful restraint is evident on achingly beautiful ballads like “I Love You More Than Words Can Say,” “I’ve Got Dreams to Remember” and “A Waste of Time.” But he’s in his element on uptempo numbers like “Nobody’s Fault But Mine” and the driving “Hard to Handle,” where Cropper, never one to compete with the horns, stays close to the chords and simply locks in a wide groove.
A master class in unflashy guitar – and a document of one of the most-consequential musical partnerships ever forged between a singer and a guitarist.
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| 23
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http://www.hpten.com/all-content/2021/9/14/the-great-otis-redding-at-80
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The Great Otis Redding At 80 — Half Past Ten
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[] |
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[
""
] | null |
[
"Gregory Fitton"
] |
2021-09-14T00:00:00
|
The singer-songwriter left an unparalleled musical legacy.
|
en
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Half Past Ten
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http://www.hpten.com/all-content/2021/9/14/the-great-otis-redding-at-80
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Otis Redding, born September 9, 1941, would have turned 80 last week. The legendary soul singer died in a plane crash at the end of 1967, a few months after turning 26.
A water-well driller turned aspiring musician, Otis caught his break after driving his friend Johnny Jenkins to a recording session in Memphis. As Redding explains in a 1967 American Bandstand interview, when the session wrapped, Redding sang his original tune, “These Arms of Mine,” to great praise and a record deal with Stax Records. (I had a chance to visit the Stax Museum of American Soul in Memphis. There was something special, deeply American, and, of course, soulful about the experience.)
With this single’s release in the fall of 1962, Otis Redding’s active career only amounted to five years by the time of his death in December 1967. His impact, though, was immense. We remember him for a number of timeless songs: “Respect “(which Aretha Franklin’s cover also took to great heights), “I’ve Got Dreams to Remember,” and more, as well as renditions of songs by Sam Cooke, the Beatles, and the Rolling Stones.
I recall first learning that Otis Redding was 26 when he died. I couldn’t believe it. His voice and appearance came across as older. The depth of his words and soulful resonance of his songs felt like he had lived a full life of experience. An Otis Redding song will always have impact when I hear it—the sheer power of his presence is unmatched. Beyond pure talent, there is a special wisdom, empathy, and passion in his work.
Take “Try a Little Tenderness.” In an interview with NPR, Jonathan Gould, author of Otis Redding: Unfinished Life, explains that this 1932 song was already well-known at the time. (An anecdote from the interview: Otis was would sing the exact horn lines he wanted to the players in studio sessions). Otis opens “Try a Little Tenderness” in a similar fashion to other versions at the outset, succeeding in crafting a memorable classic with a faithful rendition. As the song develops, however, Redding begins to further make the song his own by upping the intensity and adding in rhythmic vocal exclamations. Jay-Z and Kanye West’s aptly-named 2011 track, “Otis,” that samples the song, exemplifies the rare energy of Redding’s art. West’s sample chops, rearranged without additional instrumentation, reverberate as a driving foundation for the pair’s rhymes.
In the summer of 1967, Otis Redding performed in California at the Monterey Pop Festival, a defining concert for 20th-century music. Featuring Janis Joplin, Jimi Hendrix, The Who, and many others, the concert was a noted cultural moment.
Filmmaker D.A. Pennebaker and a crew captured the performances on textured 16mm film for a documentary, Monterey Pop.
Writing for the Criterion Collection, Andrew Chan calls Redding’s filmed performance at Monterey Pop of “I’ve Been Loving You for Too Long,” an original song written with Jerry Butler, “one of the most overpowering moments in the concert-doc canon.”
Moving in and out of silhouette in a cinematic abstraction, the footage expresses the grand scope of Otis Redding’s talent. His soul, his style, his vocal mastery, and his emotion blend with fluidity and ease. Chan concludes: “that voice we’re hearing—as viscerally, palpably there as any sound in American music—comes from a place and a time and an inner life we can never see clearly.”
To open his book, Jonathan Gould quotes Bob Weir from Grateful Dead who said “I was pretty sure that I’d seen God on stage” after Otis Redding’s performance at Monterey Pop. Otis Redding’s monumental talent produced such great work, yet it is clear that he had so much more still to offer had he lived.
My favorite Otis Redding song—and one of my favorite songs in general—is “(Sittin’ on) the Dock of the Bay.” Recorded in the month before Redding died after recovering well from throat surgery, he was still working on the song before his death. Written with producer Steve Cropper, the song captures Otis’s soulful pondering, likely informed by his desire to explore new sounds, his love for his home of Georgia, and his contemplations on the future. Mixed and released in early 1968, the song became a number one hit—his first and the first ever for a posthumous release.
in 2018, to commemorate the 50th anniversary of the song, the Otis Redding Foundation, Playing for Change, and Princess Cruises collaborated to release a “Song Around the World” rendition, featuring artists Corinne Bailey Rae, Jack Johnson, Aloe Blacc, a student chorus, Otis Redding’s sons: Otis Redding III and Dexter Redding, and more. It’s a touching, appropriate homage to the power of music and Otis Redding’s soulful legacy. Enjoy below.
- GJF
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https://www.knkx.org/blues/2023-09-09/otis-redding-on-the-jukebox-launched-me-into-the-music-i-love
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en
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A jolt at the jukebox: The first time I heard this Otis Redding song
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2023-09-09T00:00:00
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On what would have been Otis Redding’s 82nd birthday, KNKX's Nick Morrison recalls one Sunday morning in a closed bar in Eastern Washington when he heard a song that floored him.
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en
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/apple-touch-icon.png
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KNKX Public Radio
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https://www.knkx.org/blues/2023-09-09/otis-redding-on-the-jukebox-launched-me-into-the-music-i-love
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Soul singer, Otis Redding, was the booster rocket that finally launched me into the music I’ve loved all my life—soul music, blues, and rhythm & blues. I first heard Otis when I was a junior in high school. I heard him on a Sunday morning on a jukebox in a temporarily closed bar and gambling house owned by the father of a Black friend of mine. The joint was only open at night and my friend’s dad had given him a handful of marked quarters so he could turn me on to the music he loved—the Black music he grew up on but which was nonexistent on the white radio stations of Eastern Washington.
I remember being thrilled to hear for the first time songs like Little Willie John’s "I’m Shakin,'" and Hank Ballard & The Midnighters’ "Work With Me, Annie." But what really floored me was a song by this guy named Otis Redding. The song was "Pain In My Heart," and there was something about his voice that lifted me up from simply enjoying the song, to actually feeling it. And I liked feeling it. I wanted more. And I’m still always on the look-out. And it was Redding who planted the seed.
September 9th would have been Redding’s 82nd birthday had he not died in a plane crash in in 1967, at age 26. His career as a recording artist and performer only lasted 5 years but his contribution was massive and his music is as vital and as stirring now as it was when he was alive.
When I began this piece I wanted to write a brief overview of Redding’s life and music but in my research I came across a piece in The New Yorker from 2017. It’s by Jonathan Gould, who wrote a beautiful biography of Otis called Otis Redding: An Unfinished Life. Instead of cribbing from Gould’s article, I yield to it and include it here.
And below are two more not-to-be-missed Otis Redding songs:
"Too Hot To Handle"
"(Sittin' On) The Dock of The Bay"
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https://en.wikipedia.org/wiki/Otis_Redding
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Otis Redding
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2002-11-15T19:25:41+00:00
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en
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/static/apple-touch/wikipedia.png
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https://en.wikipedia.org/wiki/Otis_Redding
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American singer and songwriter (1941–1967)
Otis Ray Redding Jr. (September 9, 1941 – December 10, 1967) was an American singer and songwriter. He is regarded as one of the greatest singer-songwriters in the history of American popular music and a seminal artist in soul music and rhythm and blues. Nicknamed the "King of Soul", Redding's style of singing gained inspiration from the gospel music that preceded the genre. His singing style influenced many other soul artists of the 1960s.
Redding was born in Dawson, Georgia, and his family soon moved to Macon. Redding quit school at age 15 to support his family, working with Little Richard's backing band, the Upsetters, and performing in talent shows at Macon's historic Douglass Theatre. In 1958, he joined Johnny Jenkins's band, the Pinetoppers, with whom he toured the Southern states as a singer and driver. An unscheduled appearance on a Stax recording session led to a contract and his first hit single, "These Arms of Mine", in 1962.
Stax released Redding's debut album, Pain in My Heart, two years later. Initially popular mainly with African-Americans, Redding later reached a wider American pop music audience. Along with his group, he first played small shows in the American South. Redding later performed at the popular Los Angeles night club Whisky a Go Go and toured Europe, performing in London, Paris and other major cities. In 1967, he performed at the Monterey Pop Festival.
Shortly before his death in a plane crash, Redding wrote and recorded his iconic "(Sittin' On) The Dock of the Bay" with Steve Cropper. The song became the first posthumous number-one record on both the Billboard Hot 100 and R&B charts. The album The Dock of the Bay was the first posthumous album to reach number one on the UK Albums Chart. Redding's premature death devastated Stax. Already on the verge of bankruptcy, the label soon discovered that the Atco division of Atlantic Records owned the rights to his entire song catalog.
Redding received many posthumous accolades, including two Grammy Awards, the Grammy Lifetime Achievement Award and induction into the Rock and Roll Hall of Fame, the Black Music & Entertainment Walk of Fame,[4] and the Songwriters Hall of Fame. In addition to "(Sittin' On) The Dock of the Bay", some of his best-known songs include "Respect" and "Try a Little Tenderness".
Redding was born in Dawson, Georgia, the fourth of six children, and the first son of Otis Redding Sr. and Fannie Roseman. Redding Sr. was a sharecropper and then worked at Robins Air Force Base, near Macon, and occasionally preached in local churches. When Redding was three, the family moved to Tindall Heights, a predominantly African-American public housing project in Macon. At an early age, he sang in the Vineville Baptist Church choir and learned guitar and piano. From age 10, Redding took drum and singing lessons. At Ballard-Hudson High School, he sang in the school band. Every Sunday he earned $6 by performing gospel songs for Macon radio station WIBB, and he won the $5 prize in a teen talent show for 15 consecutive weeks.[8] His passion was singing, and he often cited Little Richard and Sam Cooke as influences. Redding said that he "would not be here" without Little Richard and that he "entered the music business because of Richard – he is my inspiration. I used to sing like Little Richard, his rock 'n' roll stuff ... My present music has a lot of him in it."
At age 15, Redding left school to help financially support his family; his father had contracted tuberculosis and was often hospitalized, leaving his mother as the family's primary income earner. He worked as a well digger, as a gasoline station attendant, and occasionally as a musician. Pianist Gladys Williams, a locally well-known musician in Macon and another who inspired Redding, often performed at the Hillview Springs Social Club, and Redding sometimes played piano with her band there. Williams hosted Sunday talent shows, which Redding attended with two friends, singers Little Willie Jones and Eddie Ross.
Redding's breakthrough came in 1958 on disc jockey Hamp Swain's "The Teenage Party", a talent contest at the local Roxy and Douglass Theatres. Johnny Jenkins, a locally prominent guitarist, was in the audience and, finding Redding's backing band lacking in musical skills, offered to accompany him. Redding sang Little Richard's "Heebie Jeebies". The combination enabled Redding to win Swain's talent contest for fifteen consecutive weeks; the cash prize was $5 (US$53 in 2023 dollars).[14] Jenkins later worked as lead guitarist and played with Redding during several later gigs. Redding was soon invited to replace Willie Jones as frontman of Pat T. Cake and the Mighty Panthers, featuring Johnny Jenkins. Redding was then hired by the Upsetters when Little Richard abandoned rock and roll in favor of gospel music. Redding was well paid, making about $25 per gig (US$264 in 2023 dollars),[14] but did not stay long. In mid-1960, Otis moved to Los Angeles with his sister, Deborah, while his wife, Zelma, and their children stayed in Macon, Georgia.[18] In Los Angeles, Redding recorded his first songs, including "Tuff Enuff" written by James McEachin, "She's All Right", written with McEachin, and two Redding wrote alone, called "I'm Gettin' Hip" and "Gamma Lamma" (which he recorded as a single in 1961, under the title "Shout Bamalama").
A member of Pat T. Cake and the Mighty Panthers, Redding toured the Southern United States on the Chitlin' Circuit, a string of venues that were hospitable to African-American entertainers during the era of racial segregation, which lasted into the early 1960s.[19] Johnny Jenkins left the band to become the featured artist with the Pinetoppers. Around this time, Redding met Phil Walden, the future founder of the recording company Phil Walden and Associates, and later Bobby Smith, who ran the small label Confederate Records. He signed with Confederate and recorded a single, "Shout Bamalama" (a rewrite of "Gamma Lamma") and "Fat Girl", together with his band Otis and the Shooters. Around this time he and the Pinetoppers attended a "Battle of the Bands" show in Lakeside Park. Wayne Cochran, the only solo artist signed to Confederate, became the Pinetoppers' bassist.
When Walden started to look for a record label for Jenkins, Atlantic Records representative Joe Galkin showed interest and around 1962 sent him to the Stax studio in Memphis. Redding drove Jenkins to the session, as the latter did not have a driver's license.[23] The session with Jenkins, backed by Booker T. & the M.G.'s, was unproductive and ended early; Redding was allowed to perform two songs. The first was "Hey Hey Baby", which studio chief Jim Stewart thought sounded too much like Little Richard. The second was "These Arms of Mine", featuring Jenkins on guitar and Steve Cropper on piano. Stewart later praised Redding's performance, saying, "Everybody was fixin' to go home, but Joe Galkin insisted we give Otis a listen. There was something different about [the ballad]. He really poured his soul into it." Stewart signed Redding and released "These Arms of Mine", with "Hey Hey Baby" on the B-side. The single was released by Volt in October 1962 and charted in March the following year. It became one of his most successful songs, selling more than 800,000 copies.
"These Arms of Mine" and other songs from the 1962–1963 sessions were included on Redding's debut album, Pain in My Heart. "That's What My Heart Needs" and "Mary's Little Lamb" were recorded in June 1963. The latter is the only Redding track with both background singing and brass. It became his worst-selling single. The title track, recorded in September 1963, sparked copyright issues, as it sounded like Irma Thomas's "Ruler of My Heart". Despite this, Pain in My Heart was released in March 1964,[29][30] with the single peaking at number 11 on the R&B chart, number 61 on the Billboard Hot 100, and the album at number 103 on the Billboard 200.[31]
In November 1963, Redding, accompanied by his brother Rodgers and an associate, former boxer Sylvester Huckaby (a childhood friend of Redding's), traveled to New York to perform at the Apollo Theater for the recording of a live album for Atlantic Records. Redding and his band were paid $400 per week (US$3,981 in 2023 dollars)[14] but had to pay $450 (US$4,478 in 2023 dollars)[14] for sheet music for the house band, led by King Curtis, which left them in financial difficulty. The trio asked Walden for money. Huckaby's description of their circumstances living in the "big old raggedy" Hotel Theresa is quoted by Peter Guralnick in his book Sweet Soul Music. He noted meeting Muhammad Ali and other celebrities. Ben E. King, who was the headliner at the Apollo when Redding performed there, gave him $100 (US$995 in 2023 dollars)[14] when he learned about Redding's financial situation. The resulting album featured King, the Coasters, Doris Troy, Rufus Thomas, the Falcons and Redding. Around this time Walden and Rodgers were drafted by the army; Walden's younger brother Alan joined Redding on tour, while Earl "Speedo" Simms replaced Rodgers as Redding's road manager.
Most of Redding's songs after "Security", from his first album, had a slow tempo. Disc jockey A. C. Moohah Williams accordingly labeled him "Mr. Pitiful", and subsequently, Cropper and Redding wrote the eponymous song. That and top 100 singles " Chained and Bound", "Come to Me" and "That's How Strong My Love Is"[35] were included on Redding's second studio album, The Great Otis Redding Sings Soul Ballads, released in March 1965. Jenkins began working independently from the group out of fear Galkin, Walden and Cropper would plagiarize his playing style, and so Cropper became Redding's leading guitarist. Around 1965, Redding co-wrote "I've Been Loving You Too Long" with Jerry Butler, formerly the lead singer of the Impressions. That summer, Redding and the studio crew arranged new songs for his next album. Ten of the eleven songs were recorded in a 24-hour period on July 9 and 10 in Memphis. Two songs, "Ole Man Trouble" and "Respect", had been finished earlier, during the Otis Blue session. "Respect" and "I've Been Loving You" were later recut in stereo. The album, titled Otis Blue: Otis Redding Sings Soul, was released in September 1965.[38] Otis Blue also includes Redding's much-loved cover of "A Change Is Gonna Come" in 1965.[39]
Redding's success allowed him to buy a 300-acre (1.2 km2) ranch in Georgia, which he called the "Big O Ranch".[42] Stax was also doing well. Walden signed more musicians, including Percy Sledge, Johnnie Taylor, Clarence Carter and Eddie Floyd, and together with Redding, they founded two production companies. "Jotis Records" (derived from Joe Galkin and Otis) released four recordings, two by Arthur Conley and one by Billy Young and Loretta Williams. The other was named Redwal Music (derived from Redding and Walden), which was shut down shortly after its creation. Since Afro-Americans still formed the majority of fans, Redding chose to perform at Whisky a Go Go on the Sunset Strip in Los Angeles. Redding was one of the first soul artists to perform for rock audiences in the western United States. His performance received critical acclaim, including positive press in the Los Angeles Times, and he penetrated mainstream popular culture. Bob Dylan attended the performance and offered Redding an altered version of one of his songs, "Just Like a Woman".
In late 1966, Redding returned to the Stax studio and recorded several tracks, including "Try a Little Tenderness", written by Jimmy Campbell, Reg Connelly and Harry M. Woods in 1932. This song had previously been recorded by Bing Crosby and Frank Sinatra, and the publishers unsuccessfully tried to stop Redding from recording the song from a "negro perspective". Today often considered his signature song, Jim Stewart reckoned, "If there's one song, one performance that really sort of sums up Otis and what he's about, it's 'Try a Little Tenderness'. That one performance is so special and so unique that it expresses who he is." On this version Redding was backed by Booker T. & the M.G.'s, while staff producer Isaac Hayes worked on the arrangement. "Try a Little Tenderness" was included on his next album, Complete & Unbelievable: The Otis Redding Dictionary of Soul. The song and the album were critically and commercially successful—the former peaked at number 25 on the Billboard Hot 100 chart and at number 4 on the R&B chart.[47]
The spring of 1966 marked the first time that Stax booked concerts for its artists. The majority of the group arrived in London on March 13, but Redding had flown in days earlier for interviews, such as at "The Eamonn Andrews Show". When the crew arrived in London, the Beatles sent a limousine to pick them up. Booking agent Bill Graham proposed that Redding play at the Fillmore Auditorium in late 1966. The gig was commercially and critically successful, paying Redding around $800 to $1000 (US$9,391 in 2023 dollars)[14] a night. It prompted Graham to remark afterward, "That was the best gig I ever put on in my entire life." Redding began touring Europe six months later.
In March 1967, Stax released King & Queen, an album of duets between Redding and Carla Thomas, which became a certified gold record. It was Jim Stewart's idea to produce a duet album, as he expected that "[Redding's] rawness and [Thomas's] sophistication would work". The album was recorded in January 1967, while Thomas was earning her M.A. in English at Howard University. Six out of ten songs were cut during their joint session; the rest were overdubbed by Redding in the days following, because of his concert obligations. Three singles were lifted from the album: "Tramp" was released in April, followed by "Knock on Wood" and "Lovey Dovey". All three reached at least the top 60 on both the R&B and Pop charts. The album charted at number 5 and 36 on the Billboard Pop and R&B charts, respectively.[35]
Redding returned to Europe to perform at the Paris Olympia. The live album Otis Redding: Live in Europe was released three months later, featuring this and other live performances in London and Stockholm, Sweden.[42] His decision to take his protege Conley (whom Redding and Walden had contracted directly to Atco/Atlantic Records rather than to Stax/Volt) on the tour, instead of more established Stax/Volt artists such as Rufus Thomas and William Bell, produced negative reactions.
In 1967, Redding performed at the influential Monterey Pop Festival as the closing act on Saturday night, the second day of the festival. He was invited through the efforts of promoter Jerry Wexler.[55] Until that point, Redding was still performing mainly for black audiences. At the time, he "had not been considered a commercially viable player in the mainstream white American market." But after delivering one of the most electric performances of the night, and having been the act to most involve the audience, "his performance at Monterey Pop was therefore a natural progression from local to national acclaim,...the decisive turning-point in Otis Redding's career." His act included his own song "Respect" and a version of the Rolling Stones' "Satisfaction". Redding and his backing band (Booker T. & the M.G.'s with the Mar-Keys horn section) opened with Cooke's "Shake", after which he delivered an impromptu speech, asking the audience if they were the "love crowd" and looking for a big response. The ballad "I've Been Loving You" followed. The last song was "Try a Little Tenderness", including an additional chorus. "I got to go, y'all, I don't wanna go", said Redding and left the stage of his last major concert. According to Booker T. Jones, "I think we did one of our best shows, Otis and the MG's. That we were included in that was also something of a phenomenon. ... They were accepting us and that was one of the things that really moved Otis. He was happy to be included and it brought him a new audience. It was greatly expanded in Monterey." According to Sweet Soul Music, musicians such as Brian Jones and Jimi Hendrix were captivated by his performance; Robert Christgau wrote in Esquire, "The Love Crowd screamed one's mind to the heavens."
Before Monterey, Redding wanted to record with Conley, but Stax was against the idea. The two moved from Memphis to Macon to continue writing. The result was "Sweet Soul Music" (based on Cooke's "Yeah Man"), which peaked at number 2 on the Billboard Hot 100.[63] By that time, Redding had developed polyps on his larynx, which he tried to treat with tea and lemon or honey. He was hospitalized in September 1967 at Mount Sinai Hospital in New York to undergo surgery.
In early December 1967, Redding again recorded at Stax. One new song was "(Sittin' On) The Dock of the Bay", which was written with Cropper. Redding was inspired by the Beatles album Sgt. Pepper's Lonely Hearts Club Band and tried to create a similar sound, against the label's wishes. His wife Zelma disliked its atypical melody. The Stax crew were also dissatisfied with the new sound; Stewart thought that it was not R&B, while bassist Donald "Duck" Dunn feared it would damage Stax's reputation. However, Redding wanted to expand his musical style and thought it was his best song, correctly believing it would top the charts. He whistled at the end, either forgetting Cropper's "fadeout rap" or paraphrasing it intentionally.
Redding, who was 6 feet 1 inch (1.85 m) tall and weighed 220 pounds (100 kg), was an athletic family man who loved American football and hunting. He was active in philanthropic projects. He had a keen interest in supporting Black youth and, at the time of his death, had plans to construct a summer camp for disadvantaged children.
At age 18, Redding met 17-year-old Zelma Atwood at "The Teenage Party". Approximately one year later, she gave birth to their son Dexter in the summer of 1960 and married Redding in August 1961. In mid-1960, Otis moved to Los Angeles with his sister, Deborah, while Zelma and the children stayed in Macon, Georgia.[18]
Redding and his wife had four children: Dexter, Demetria, Karla, and Otis III (December 17, 1964 – April 18, 2023).[71][72] Otis, Dexter, and cousin Mark Lockett later founded the Reddings, a band managed by Zelma. She also maintained or worked at the janitorial service Maids Over Macon, several nightclubs, and booking agencies. I
Redding's music made him wealthy. According to several advertisements, he had around 200 suits and 400 pairs of shoes, and he earned about $35,000 per week for his concerts. He spent about $125,000 in the "Big O Ranch". As the owner of Otis Redding Enterprises, his performances, music publishing ventures and royalties from record sales earned him more than a million dollars in 1967 alone. That year, one columnist said, "he sold more records than Frank Sinatra and Dean Martin combined." After the release of Otis Blue, Redding became a "catalogue" artist, meaning his albums were not immediate blockbusters, but rather sold steadily over time.
By 1967, the band was traveling to performances in Redding's Beechcraft H18 airplane. On December 9, they appeared on the Upbeat television show produced in Cleveland. They played three concerts in two nights at a club called Leo's Casino.[79] After a phone call with his wife and children, Redding's next stop was Madison, Wisconsin; the next day, Sunday, December 10, they were to play at the Factory nightclub, near the University of Wisconsin.[80][81]
Although the weather was poor, with heavy rain and fog, and despite warnings, the plane took off.[82][83] Four miles (6.5 km) from their destination at Truax Field in Madison, pilot Richard Fraser radioed for permission to land. Shortly thereafter, the plane crashed into Lake Monona. Bar-Kays member Ben Cauley, the accident's only survivor, was sleeping shortly before the accident. He woke just before impact to see bandmate Phalon Jones look out a window and exclaim, "Oh, no!" Cauley said the last thing he remembered before the crash was unbuckling his seat belt. He then found himself in frigid water, grasping a seat cushion to keep afloat.[82] As a non-swimmer, he was unable to rescue the others. The cause of the crash was never determined.[85] Besides Redding, the other victims of the crash were four members of the Bar-Kays—guitarist Jimmy King, tenor saxophonist Phalon Jones, organist Ronnie Caldwell, and drummer Carl Cunningham; their valet, Matthew Kelly; and the pilot Fraser.[82]
Redding's body was recovered the next day when the lake was searched.[87] The family postponed the funeral from December 15, to December 18, so that more could attend, and the service took place at the City Auditorium in Macon. More than 4,500 people came to the funeral, overflowing the 3,000-seat hall. Redding was entombed at his ranch in Round Oak, about twenty miles (30 km) north of Macon.[88] Jerry Wexler delivered the eulogy. Redding died just three days after re-recording "(Sittin' On) The Dock of the Bay", and was survived by Zelma and four children, Otis III, Dexter, Demetria, and Karla.[72] August 1997, a memorial plaque was placed on the lakeside deck of the Madison convention center, Monona Terrace.[91]
"(Sittin' On) The Dock of the Bay" was released in January 1968. It became Redding's only single to reach number one on the Billboard Hot 100 and the first posthumous number-one single in U.S. chart history.[92] It sold approximately four million copies worldwide and received more than eight million airplays.[94] The album The Dock of the Bay was the first posthumous album to reach the top spot on the UK Albums Chart.[95]
Shortly after Redding's death, Atlantic Records, distributor of the Stax/Volt releases, was purchased by Warner Bros. Stax was required to renegotiate its distribution deal and was surprised to learn that Atlantic actually owned the entire Stax/Volt catalog. Stax was unable to regain the rights to its recordings and severed its Atlantic relationship. Atlantic also held the rights to all unreleased Otis Redding masters. It had enough material for three studio albums—The Immortal Otis Redding (1968), Love Man (1969), and Tell the Truth (1970)—all issued on its Atco Records label. A number of successful singles emerged from these LPs, among them "Amen" (1968), "Hard to Handle" (1968), "I've Got Dreams to Remember" (1968), "Love Man" (1969), and "Look at That Girl" (1969). Singles were also lifted from two live Atlantic-issued Redding albums, In Person at the Whisky a Go Go, recorded in 1966 and issued in 1968 on Atco, and Historic Performances Recorded at the Monterey International Pop Festival, a Reprise Records release featuring some of the live performances at the festival by the Jimi Hendrix Experience on side one and Redding on side two.[97]
Redding had at least two television appearances booked for 1968; one on The Ed Sullivan Show and the other on The Smothers Brothers Comedy Hour.
In September 2007, the first official DVD anthology of Redding's live performances was released by Concord Music Group, then owners of the Stax catalog. Dreams to Remember: The Legacy of Otis Redding featured 16 full-length performances and 40 minutes of new interviews documenting his life and career.[98] On May 18, 2010, Stax Records released a two-disc recording of three complete sets from his Whisky a Go Go date in April 1966.[99] All seven sets from his three-day residency at the venue were released as Live at the Whisky a Go Go: The Complete Recordings in 2016,[100] a 6-CD box set that won a Grammy Award for Best Album Notes.[101]
Carla Thomas claimed that the pair had planned to record another duet album in December the same year, but Phil Walden denied this. Redding had proposed to record an album featuring cut and rearranged songs in different tempos; for example, ballads would be uptempo and vice versa. Another suggestion was to record an album entirely consisting of country standards.
In 2011, Kanye West and Jay-Z released "Otis" as a single off of their collaborative album, Watch the Throne.[103] Redding was credited as a feature on the song. The song was produced by West who built it off of a sample of Redding's version of "Try a Little Tenderness".
Early on Redding copied the rock and soul style of his role model Little Richard. He was also influenced by soul musicians such as Sam Cooke, in particular, the live album Sam Cooke at the Copa, later exploring other popular genres. He studied the recordings of the Beatles and Bob Dylan. His song "Hard to Handle" has elements of rock and roll and influences of Eric Clapton and Jimi Hendrix. Most of his songs were categorized as Southern soul and Memphis soul.[107]
His hallmark was his raw voice and ability to convey strong emotion. Richie Unterberger of Allmusic noted his "hoarse, gritty vocals, brassy arrangements, an emotional way with both party tunes and aching ballads."[108] In the book Rock and Roll: An Introduction, authors Michael Campbell and James Brody suggested that "Redding's singing calls to mind a fervent black preacher. Especially in up-tempo numbers, his singing is more than impassioned speech but less than singing with precise pitch." According to the book, "Redding finds a rough midpoint between impassioned oratory and conventional singing. His delivery overflows with emotion" in his song "I Can't Turn You Loose". Booker T. Jones described Redding's singing as energetic and emotional but said that his vocal range was limited, reaching neither low nor high notes.[110] Peter Buckley, in The Rough Guide to Rock, describes his "gruff voice, which combined Sam Cooke's phrasing with a brawnier delivery" and later suggested he "could testify like a hell-bent preacher, croon like a tender lover or get down and dirty with a bluesy yawp".
Redding received advice from Rufus Thomas about his clumsy stage appearance. Jerry Wexler said Redding "didn't know how to move", and stood still, moving only his upper body, although he acknowledged that Redding was well received by audiences for his strong message. Guralnick described Redding's painful vulnerability in Sweet Soul Music, as an attractive one for the audience, but not for his friends and partners. His early shyness was well known.
In his early career Redding mostly covered songs from popular artists, such as Richard, Cooke and Solomon Burke. Around the mid-1960s he began writing his own songs—always taking along his cheap red acoustic guitar—and sometimes asked for Stax members' opinion of his lyrics. He often worked on lyrics with other musicians, such as Simms, Rodgers, Huckaby, Phil Walden, and Cropper. During his recovery from his throat operation, Redding wrote about 30 songs in two weeks. Redding was the sole copyright holder on all of his songs.
In "(Sittin' On) The Dock of the Bay" he abandoned familiar romantic themes for "sad, wistful introspections, amplified by unforgettable descending guitar riffs by Cropper". The website of the Songwriters Hall of Fame noted that the song "was a kind of brooding, dark voicing of despair, ('I've got nothin' to live for/Look like nothin's gonna come my way')" although "his music, in general, was exultant and joyful." According to journalist Ruth Robinson, author of the liner notes for the 1993 box set, "It is currently a revisionist theory to equate soul with the darker side of man's musical expression, blues. That fanner of the flame of 'Trouble's got a hold on me' music, might well be the father of the form if it is, the glorified exaltation found in church on any Sunday morning is its mother." The Songwriters Hall of Fame website adds that "glorified exaltation indeed was an apt description of Otis Redding's songwriting and singing style."[116] Booker T. Jones compared Redding with Leonard Bernstein, stating, "He was the same type person. He was a leader. He'd just lead with his arms and his body and his fingers."
Redding favored short and simple lyrics; when asked whether he intended to cover Dylan's "Just Like a Woman", he responded that the lyrics contained "too much text". Furthermore, he stated in an interview,
Basically, I like any music that remains simple and I feel this is the formula that makes "soul music" successful. When any music form becomes cluttered and/or complicated you lose the average listener's ear. There is nothing more beautiful than a simple blues tune. There is beauty in simplicity whether you are talking about architecture, art or music.
Redding also authored his (sometimes difficult) recordings' horn arrangements, humming to show the players what he had in mind. The recording of "Fa-Fa-Fa-Fa-Fa (Sad Song)" captures his habit of humming with the horn section.
Redding has been called the "King of Soul",[118] an honorific also given to Brown[119] and Cooke. He remains one of the genre's most recognized artists. His lean and powerful style exemplified the Stax sound;[123] he was said to be "the heart and soul of Stax", while artists such as Al Jackson, Dunn and Cropper helped to expand its structure. His open-throated singing,[123] the tremolo/vibrato, the manic, electrifying stage performances and perceived honesty were particular hallmarks, along with the use of interjections (such as "gotta, gotta, gotta"), some of which came from Cooke. Producer Stewart thought the "begging singing" was stress-induced and enhanced by Redding's shyness. His LP releases earned him recognition from music critic Robert Christgau as "one of soul's few reliable long-form artists"; Christgau deems Otis Blue his "first great album",[127] and Mat Snow regards it as an early indication of the album era, in which the LP would overtake singles in commercial and artistic importance.[128]
Along with soul and R&B, Redding's contributions to rock music have been noted by music scholars, particularly the "black rock" performed by his contemporaries Wilson Pickett and Sly and the Family Stone.[129] "His musical palette, a cosmic alloy of gospel and blues, hammered into a gritty but elegant template by both black and white musicians, remodeled soul and rock and anchored the most infectious native music America had heard since the big bands", wrote biographer Mark Ribowsky. Artists from many genres have named Redding as a musical influence. George Harrison called "Respect" an inspiration for "Drive My Car". The Rolling Stones also mentioned Redding as a major influence. Other artists influenced by Redding include Led Zeppelin, the Grateful Dead,[136] Lynyrd Skynyrd, the Doors,[136] and virtually every soul and R&B musician from the early years, such as Al Green, Etta James,[42] William Bell,[136] Aretha Franklin, Marvin Gaye and Conley. Janis Joplin was influenced by his singing style, according to Sam Andrew, a guitarist in her band Big Brother and the Holding Company. She stated that she learned "to push a song instead of just sliding over it" after hearing Redding.[139]
The Bee Gees' Barry Gibb and Robin Gibb wrote the song "To Love Somebody" for Redding to record. He loved it, and he was going to "cut it", as Barry put it, on his return from his final concert. They dedicated the song to his memory.[140]
After Redding's death, the Académie du Jazz in France named an award after him. The Prix Otis Redding is given to the best record release in the field of R&B. Redding was the first recipient of the award for The Otis Redding Story on Stax;[141] following winners of the award include Aretha Franklin, Ike & Tina Turner, and Curtis Mayfield.[142][143] In 1968, the National Association of Television and Radio Announcers (NATRA) created the Otis Redding Award in his honor.[144]
Readers of the British music newspaper Melody Maker voted Redding the top vocalist of 1967, superseding Elvis Presley, who had topped the list for the prior 10 years.
Redding posthumously won two Grammy Awards for "(Sittin' On) The Dock of the Bay" at the 11th Annual Grammy Awards in 1969.[146] The Rock and Roll Hall of Fame inducted Redding in 1989, declaring his name to be "synonymous with the term soul music that arose out of the black experience in America through the transmutation of gospel and rhythm and blues into a form of funky, secular testifying."[147] In 1988, he was inducted into the Georgia Music Hall of Fame.[94] Five years later, the United States Post Office issued a 29-cent commemorative postage stamp in his honor.[148] Redding was inducted into the Songwriters Hall of Fame in 1994,[116] and in 1999 he received the Grammy Lifetime Achievement Award.[149] The Rock and Roll Hall of Fame included three Redding recordings, "Shake", "(Sittin' On) The Dock of the Bay", and "Try a Little Tenderness", on its list of "The 500 Songs That Shaped Rock and Roll".[150]
American music magazine Rolling Stone ranked Redding at number 21 on their list of the "100 Greatest Artists of All Time"[151] and eighth on their list of the "100 Greatest Singers of All Time".[110] Q ranked Redding fourth among "100 Greatest Singers", after only Frank Sinatra, Franklin and Presley.[152]
Five of his albums, Otis Blue: Otis Redding Sings Soul, Dreams to Remember: The Otis Redding Anthology, The Dock of the Bay, Complete & Unbelievable: The Otis Redding Dictionary of Soul and Live in Europe, were ranked by Rolling Stone on its list of the 500 Greatest Albums of All Time. The first album was singled out for praise by music critics; apart from the Rolling Stone listing at number 74, NME ranked it 35th on their list of the "Greatest Albums of All Time".[153] Music critic Robert Christgau said that Otis Blue was "the first great album by one of soul's few reliable long-form artists",[154] and that Redding's "original LPs were among the most intelligently conceived black albums of the '60s".[155]
In 2002, the city of Macon honored its native son by unveiling a memorial statue () in the city's Gateway Park. The park is next to the Otis Redding Memorial Bridge, which crosses the Ocmulgee River. The Rhythm and Blues Foundation named Redding as the recipient of its 2006 Pioneer Award.[156] Billboard awarded Redding the "Otis Redding Excellence Award" the same year.[42] A year later he was inducted into the Hollywood's Rockwalk in California.[94]
In 2007, Otis Redding's widow founded the Otis Redding Foundation[157] in her husband's honor. The Foundation continues to offer music and arts education programs in Macon.
On August 17, 2013, in Cleveland, Ohio, the city where he did his last show at Leo's Casino, Redding was inducted into the inaugural class of the Rhythm & Blues Music Hall of Fame at Cleveland State University.[158]
Main article: Otis Redding discography
Album era
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https://www.smh.com.au/culture/music/how-jack-johnson-found-the-love-of-his-life-at-18-20221214-p5c68m.html
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How Jack Johnson found the love of his life at 18
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"Jane Rocca"
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2022-12-17T18:30:00+00:00
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The musician opens up about being a mamma’s boy, his college sweetheart Kim, and working with Hawaiian singer-songwriter Paula Fuga.
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en
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/favicons/smh.ico
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The Sydney Morning Herald
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https://www.smh.com.au/culture/music/how-jack-johnson-found-the-love-of-his-life-at-18-20221214-p5c68m.html
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Jack Johnson is a musician best known for being a roots and folk performer. The 47-year-old opens up about being a mamma’s boy, his college sweetheart Kim, and working with Hawaiian singer-songwriter Paula Fuga.
My maternal grandma, June, moved next door to us in Hawaii when I was a teenager, after my grandpa died. She was a big influence, nurturing and supportive, similar to my mom [Patti].
My grandma was the first person I ever shared a cassette demo of my music with. It was nerve-racking to share those songs, but I remember her saying to me in my early 20s that it was brave of me to share personal thoughts and ideas with people. She would come for dinner and sit with us on the porch and listen to me sing Bob Marley and Beatles songs. Subconsciously, every song I’ve ever written since has been in honour of her encouragement.
I could always trust Mom with my songs. She was the first person I sang to. I am one of three: my brother Pete is 10 years older and Trent is seven years older. We all grew up as mamma’s boys.
My dad, Jeff, was an eccentric guy, and while he was sweet and present when he was around, sometimes he would leave for a month. He sometimes worked as a sailor and would get hired by friends to sail across the Pacific or to Fiji, Tahiti or California. Mom became very independent – I think she enjoyed some quiet, too, when he was away.
I’ve collaborated with the amazing Hawaiian singer-songwriter Paula Fuga. She is the only female singer I have co-written with in my career. Her voice is so powerful. My dad, who died in 2009, said I should record with her. He told me to sing more with Paula because she makes me sound better. Paula has sung with Ben Harper and Ziggy Marley. We met in the early 2000s and became good friends.
My wife, Kim, and I have been together since we were teenagers. We met at the University of California in Santa Barbara. I was 18, she was 17. She is the first love of my life and the only long-term relationship I have had.
Kim’s CD collection was cooler than mine at uni – I discovered Nina Simone, Otis Redding and the Pixies. She became my editor, in a way, when it came to my own music. She gave me feedback and helped shape the songs on my debut album, Brushfire Fairytales (2001). She is now my co-manager, alongside Kizzy O’Neal, another female force in my life.
Kim used to help me with my maths major at college. She started tutoring me because as the maths got harder, my grades went from a B to a D. She suggested I switch my major. She took me to an event called Real Loud, a silent-film festival, and that was when I realised I wanted to be a film major and make surf documentaries.
Kim and I are best friends and still find each other interesting. We have shared dreams and ambitions and, between us, always figure out what’s possible. We lived in California for eight years before moving back to Hawaii after college. She worked as a high school teacher and now runs Kokua Learning Farm. Our goal is for elementary kids to come on field trips to our eight-acre [three- hectare] farm with its outdoor classroom.
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I have written many songs about my wife, but one that I worked on while in Australia is from my 2017 album, All the Light Above It Too. It’s called Love Song #16. The title is tongue-in-cheek because I’ve written so many songs about her.
I never had a big plan to find my life partner so young, but I guess I saw my parents happily married and figured it would happen to me one day. My parents would always watch the sunset, have a glass of wine and laugh a lot.
Kim and I have two sons and a daughter. Our daughter is the youngest and the only one in the family who knows how to read music. She’s very loved by her brothers.
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R&B legend Otis Redding died in Lake Monona just days after recording ‘(Sittin’ On) The Dock of the Bay’
|
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[
"https://www.youtube.com/embed/UCmUhYSr-e4?feature=oembed"
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[] |
[
""
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[
"Jack Finnegan"
] |
2014-12-08T00:00:00
|
Almost exactly 47 years ago, music legend Otis Redding died after his plane crashed in Lake Monona. Now his memory is eternalized through a plaque in front of a marble bench on the roof of Monona Terrace. The heading reads, “Otis Redding, The King Of The Soul Singers 1941-1967.” The incident occurred Dec. 10, 1967...
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en
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/wp-content/uploads/2024/02/Favicon-70x70.png
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The Badger Herald
|
https://badgerherald.com/artsetc/arts-feature/2014/12/08/rb-legend-otis-redding-died-in-lake-monona-just-days-after-recording-sittin-on-the-dock-of-the-bay/
|
Almost exactly 47 years ago, music legend Otis Redding died after his plane crashed in Lake Monona. Now his memory is eternalized through a plaque in front of a marble bench on the roof of Monona Terrace. The heading reads, “Otis Redding, The King Of The Soul Singers 1941-1967.”
The incident occurred Dec. 10, 1967 at 3:28 p.m., approximately three miles from the landing strip at Madison Municipal Airport. Among the deceased were five young members of Reddings’ backing band The Bar-Kays: Phalon Jones, Jimmie King, Carl Cunningham, Matthew Kelly and Ronnie Caldwell. The pilot of the plane Richard Fraser also died in the crash.
The only survivor was the trumpet player of the Bar-Kays, Ben Cauley, who was 20 years old in 1967. He woke up in the airplane feeling the sensation of falling, Cauley said. His next move may have saved his life.
“I reached down and unbuckled my seat, I don’t know why, I just reached down and unbuckled it.”
Cauley was not able to swim and had to grab onto a seat cushion to stay afloat. He remembers hearing the cries for help of Caldwell, 19, and Cunningham, 18, but was unable to reach them. All victims of the crash went down with the aircraft. Newsreel footage from the time shows the recovery of Redding’s body from the lake, pulled from the water still strapped to his seat.
No official reason for the crash was ever released. The aircraft was a twin-engine Beechcraft plane, purchased from singer James Brown by Redding only a few months prior. Brown is reported to have warned Redding against using the aircraft. Weather conditions Dec. 10 were less than ideal, cold and foggy with a light drizzle. Air traffic controllers reported that the pilot indicated no problems with the flight as late as 3:25 p.m., three minutes before the plane went down. They never received any messages from the pilot suggesting otherwise.
All theories regarding the cause of the crash are best guesses. Some say the pilot mistook his distance from the runway due to the fog and realized after it was too late. Others say the plane lost power for some reason and that’s why it went down. A Capital Times report from the day after the crash said Cauley described hearing a mechanic tell the pilot a day before about problems with the plane’s battery. This would support the theory that the plane lost power, but again, nothing could ever be confirmed.
Redding and The Bar-Kays had taken off from Cleveland and were en route to Madison for a show that night at The Factory, a club located at 315 W. Gorham St. (just off State Street). Concertgoers began lining up late in the afternoon. Jim Danky was among them, his group having arrived to the show early hoping to get spots close to the stage.
Danky shed some light on what Redding’s notoriety was like among college-age Wisconsinites at the time.
“[It was] less common for people to listen to music across racial divides,” Danky said.
Danky recognized this was an unfortunate reality for the 60’s music scene and one that still applies today in some ways.
Redding was only beginning to find a mainstream audience in ‘67. A black R&B artist out of Macon, Georgia, Rolling Stone referred to him as the “Crown Prince of Soul.” He was signed to Stax Records out of Memphis, Tennessee. The city had a growing reputation as a mecca of soul music, which led to a request from The Beatles to record there. The deal leaked and “Beatlemania” made recording in Memphis impossible, but the request is indicative of the notoriety of Stax at that time.
Redding himself was coming off well-received performances in Europe and at the Monterey Pop Festival. The popularity of these shows had given him access to white audiences that dominated mainstream music. White performers released all of the top ten songs on Billboards’ year-end chart for 1967. Aretha Franklin is the first black artist to make the list at No. 12 with “Respect,” a cover of a song written by Redding.
He had recorded the song “(Sittin’ On) The Dock of the Bay” just three days before the crash. It had more of a pop feel than what many of his contemporaries in the Memphis scene were used to, but Redding believed it could serve as a crossover between R&B and pop listeners. He was right. The song would be released posthumously in 1968 and skyrocketed to the top of both the pop and R&B charts, eventually landing at No. 4 in Billboard’s year-end rankings. Redding was only 26 years old when he passed.
The Factory’s owner Ken Adamany was anticipating Redding’s arrival when he received multiple calls from police asking if the venue was expecting an “orchestra.” After some confusion, the miscommunication was cleared with another call.
“Then we got a call asking if we would come down and identify the bodies, at that point we figured it out,” he said.
Gary Karp, a member of a popular local act The White Trash Blues Band, was sent to the second floor with a megaphone by police to tell the crowd outside what had happened.
“The response was a lot of boo’s and ‘BS’ and ‘I bet he was never booked to come here anyway’ … [It was] a period where people thought music should be free, there was a lot of distrust as far as ‘you’re charging too much,’ not just [The Factory] but for shows in general,” Adamany said.
The police were afraid of a riot. An R&B group called Harvey Scales & The Seven Sounds flew in from Milwaukee to play a free show with the hopes of quelling tensions.
Cauley went on to have a successful music career as a trumpet player. This included a temporary reformation of the Bar-Kays with original member James Alexander, who had taken a commercial flight to Milwaukee on the day of the crash due to the Beechcraft’s 8-person capacity. Cauley would return to Madison for the first time in 2007 for the 40th anniversary of the crash and sing a rendition of “(Sittin’ On) The Dock of the Bay)” as a tribute to Redding and his bandmates in The Bar-Kays.
The plaque at Monona Terrace serves as a reminder of Madison’s tragic place in the history of R&B music. From its perspective, the lake looks a bit more ominous.
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wrong_mix_domainrange_death_00138
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FactBench
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1
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https://www.wmtv15news.com/2022/12/09/honoring-otis-foundation-late-singer-who-died-madison-nurtures-aspiring-musicians/
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en
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Honoring Otis: Foundation of late singer who died in Madison nurtures aspiring musicians
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"Zelma Redding",
"Karla Redding",
"Macon",
"music",
"Madison",
"Wisconsin",
"Lake Monona"
] | null |
[
"John Stofflet"
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2022-12-09T00:00:00
|
55 years ago this weekend (Dec. 10, 1967), soul singer Otis Redding and 6 others died in a plane crash in Lake Monona, on their way to perform at a concert in Madison. Otis' daughter, Karla Redding-Andrews, shares her memories of that fateful day and how the Otis Redding Foundation is not only keeping his music alive, but also furthering Otis Redding's dream of helping children from underserved communities.
|
en
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//webpubcontent.gray.tv/gray/arc-fusion-assets/images/favicons/wmtv/favicon.ico?d=420
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https://www.wmtv15news.com
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https://www.wmtv15news.com/2022/12/09/honoring-otis-foundation-late-singer-who-died-madison-nurtures-aspiring-musicians/
|
MADISON, Wis. (WMTV) - Some called Otis Redding “The King of Soul”. Karla Redding called him “Dad”.
Reflecting on her late father 55 years after his death in a Lake Monona plane crash, Karla Redding-Andrews said, “I think what made him a success was the fact that he was so talented…but also he was a very humble person. He didn’t really think he could sing that well. According to my Mother, he’d say, ‘Well, you know I don’t dance well, I don’t really sing that great. But I just do what I can do.’”
Audiences sure loved what he could do...and he spent much of the year performing on the road. On December 10, 1967, Redding’s career was skyrocketing when he and band members flew on his private jet from Cleveland to Madison to perform a concert. The plane crashed into Lake Monona in bad weather. Redding and six others on-board died.
Redding-Andrews was just 5 years old at the time. She said, ”I just remember how sad and just grieving my Mom was. You know someone called her on the phone and told her that the plane had crashed in Madison, Wisconsin in Lake Monona. To see the grief in her, the moaning and the wailing…yeah, it got very real for us kids—me, my brothers—because we knew something had happened at that time. You know, I think just realizing that Dad was actually not coming back and realizing that people loved him just as much as we did. They were hurting and in pain just as much as I could see my Mom, and my Uncle and my Dad’s sisters, my aunts…even the Macon community. You know everyday it was a tear, everyday just saying how hurt they are. ”
Redding-Andrews added, “We still get those same sentiments. Every day…just like Dad died two years ago….and here we are fifty-plus years. People are still saying how sad they are that he’s gone.”
The last song he recorded before his death, “(Sittin’ On) The Dock Of The Bay” became Redding’s biggest hit, topping the charts in the U.S. It was released in early 1968, soon after his death.
Karla Redding-Andrews added, “You know I think I appreciate the world—not just Macon, not just Madison, because I know that there are certainly some feelings and true commitment to the legacy of Otis Redding there--but I just thank the community, the world for still always uplifting and honoring Otis Redding. The music will live on forever... but he was more than that.”
While Otis Redding is gone, his music didn’t die that day in 1967, nor did his dream to give back to others, especially children. Prior to his death, Otis encouraged kids to not drop out of school, held a summer educational camp for underprivileged kids, and awarded scholarships to youth from underserved communities.
Redding-Andrews said, “It was important to him because he knew he didn’t get a chance to finish school…and he felt like music and the arts was that one channel for self expression and creativity, which is exactly what it was for him. He wanted to make sure that every kid from underserved communities has access to that.”
Since his death, his widow Zelma has worked tirelessly to carry on Otis’ memory and that dream to give back. She established the Otis Redding Foundation in 2007.
According to Redding-Andrews, “My Dad’s legacy remains at the forefront that it is because of my Mom. She loved him then and loves him dearly, like he’s just on vacation somewhere. She never let anyone tarnish his name, image, or likeness. She controls everything as it relates to Otis Redding and has done so for years.”
Through the Otis Redding Foundation Zelma established in 2007, each summer kids are able to attend music camps, learning how to produce, write, sing, and record music.
Redding-Andrews said, “She just stuck to her goal. Her goal was that one, her husband’s legacy remained relevant through his music…but also to know that he was more than that. He was more than just a man writing these amazing songs. He was a community advocate, he was a great father, he was passionate about what happens in his community—particularly for young people. I think that’s the goal she set, and here we are, keeping it alive every single day.”
Redding-Andrews said it’s wonderful to see kids excel in Otis Music Camp.
“It’s been great for some of the lives we’ve been able to touch. Some of the kids come in and they have no idea of what to expect. But by day 2, they’re all collaborating with each other, they’re having these amazing ideas of how to put the music down, how to write the lyrics. It’s just amazing…and not only that, we have so many celebrity artists who come in and speak to the kids again, about the importance of an education. Making sure that you stay in school, get those grades, those good grades if you can. But it makes them feel really proud of what they’re doing with each other.”
Now the Otis Redding Foundation is working to build the 9,300-square-foot state-of-the-art Otis Redding Center for the Arts, on the same street that housed Otis’ office in the 1960s. ”So we are really following in my father’s footsteps again to really do great things here in Macon on Cotton Avenue,” Redding-Andrews said.
She added, “Macon is all about music. I mean you think about who comes out of Macon—Little Richard, Otis Redding, Lena Horne, the Allman Brothers, Jason Aldean…all of that great music history and heritage comes right out of these waters. And we are creating what could be one day the next Otis Redding, the next Allman Brothers Band, or the next Lena Horne. We want to be on the forefront of making that happen. We hope the next Otis Redding will come from right here.”
Asked what her father would think of the work his foundation is doing, Redding-Andrews answered, “Oh my goodness. He’d be so proud. He is proud. He’d be 81 this year, and I think he’d be right here working with us to make sure that that center is a success...I think he would just love that.”
The King of Soul...long may his legacy live.
Click here for more information on the Otis Redding Foundation, Otis Redding Center for the Arts, or to Donate to the Otis Redding Foundation.
Click here to download the NBC15 News app or our NBC15 First Alert weather app.
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wrong_mix_domainrange_death_00138
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FactBench
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https://www.newyorker.com/culture/culture-desk/in-memory-of-otis-redding-and-his-revolution
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In Memory of Otis Redding and His Revolution
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[
"otis redding",
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[
"Jonathan Gould",
"Amanda Petrusich",
"Jason Heller",
"Kelefa Sanneh",
"Condé Nast"
] |
2017-12-10T05:00:00-05:00
|
Jonathan Gould writes about the life, music, and death of Otis Redding, the legendary African-American singer, songwriter, and record producer.
|
en
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https://www.newyorker.com/verso/static/the-new-yorker/assets/favicon.ico
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The New Yorker
|
https://www.newyorker.com/culture/culture-desk/in-memory-of-otis-redding-and-his-revolution
|
Fifty years ago, on December 10, 1967, a private plane carrying Otis Redding and the members of his touring band stalled on its final approach to the municipal airport in Madison, Wisconsin, and crashed into the waters of Lake Monona, killing all but one of the eight people onboard. Though Redding was only twenty-six years old at the time of his death, he was regarded by growing numbers of black and white listeners in the United States and Europe as the most charismatic and beloved soul singer of his generation, the male counterpart to Aretha Franklin, whom he had recently endowed with the hit song “Respect.” In the preceding year, on the strength of his triumphant tours of Britain, France, and Scandinavia, his appearances at the Fillmore Auditorium in San Francisco, and his domineering performance at the Monterey Pop Festival, Redding had pushed beyond the commercial constraints of the so-called “Chitlin’ Circuit” of ghetto theatres and Southern night clubs. He was determined to become the first African-American artist to connect with the burgeoning audience for album rock that had transformed the world of popular music since the arrival of the Beatles in America, in 1964.
Redding’s success with this new, ostensibly hip, predominantly white audience had brought him to a turning point in his career. Thrilled with the results of a throat surgery that left his voice stronger and suppler than ever before, he resolved to scale back his relentless schedule of live performances in order to place a greater emphasis on recording, songwriting, and production. In the weeks before his death, he had written and recorded a spate of ambitious new songs. One of these, the contemplative ballad “(Sittin’ On) The Dock of the Bay,” became his self-written epitaph when it was released as a single, in January of 1968. A sombre overture to the year of the Tet Offensive, the assassinations of Dr. Martin Luther King, Jr., and Senator Robert Kennedy, and the election of Richard Nixon as President, the song went on to become the first posthumous No. 1 record in the history of the Billboard charts, selling more than two million copies and earning Redding the unequivocal “crossover” hit he had sought since his début on the Memphis-based label Stax, in 1962. To this day, according to the performance-rights organization BMI, “(Sittin’ On) The Dock of the Bay” remains one of the most frequently played (and streamed) recordings in the annals of American music.
In an age of pop culture replete with African-American superstars like Michael Jackson, Prince, Usher, Kanye West, and Jay-Z, it is hard for modern audiences to appreciate how revolutionary the self-presentations of soul singers like Otis Redding were when they first came on the scene. Prior to the mid-fifties, it had simply been taboo for a black man to perform in an overtly sexualized manner in front of a white audience in America. (Female black entertainers, by contrast, had been all but required to do so.) In the South, especially, the social psychology of the Jim Crow regime was founded on a paranoid fantasy of interracial rape that was institutionalized by the press and popular culture in the malignant stereotype of the “black brute,” which explicitly sexualized the threat posed by black men to white women and white supremacy. Born in Georgia in 1941, the same year as Emmett Till, Otis Redding grew up in a world where any “suggestive” behavior by a black male in the presence of whites was potentially suicidal.
This dire imperative began to change with the proliferation of black-oriented radio stations, in the nineteen-fifties, which enabled rhythm-and-blues singers like Fats Domino, Little Richard, and Ray Charles to sell large numbers of their records, sight unseen, to white teen-agers. Yet it was significant that these early black crossover stars were piano players, who performed behind keyboards, and whose sexuality was further qualified, in Domino’s case, by his corpulence; in Charles’s case, by his blindness; and, in Richard’s case, by the effeminacy that he deliberately played up as a way of neutering the threat of his outlandish stage presence. It was no accident that the one black crossover star of the nineteen-fifties who made no effort to qualify his sexuality, the guitarist Chuck Berry, was also the one black star to be arrested, convicted, and imprisoned, in 1960, on a trumped-up morals charge. By that time, a new contingent of black singers led by Sam Cooke and Jackie Wilson was making its mark on white listeners with a more polished style of self-presentation that became the model for Berry Gordy’s carefully choreographed Motown groups.
Otis Redding was something else again. When he came up, in 1962, he was a completely unschooled performer who stood stock still onstage as he sang the pining, courtly ballads that brought him his first success. Over time, however, as his repertoire broadened to include driving, up-tempo songs, Redding found a way to use his imposing size and presence as a foil for his heartfelt emotionality, eschewing the conventions of graceful stagecraft in favor of a raw physicality that earned him comparisons to athletes like the football star Jim Brown. Marching in place to keep pace with the beat, pumping his fists in the air, striding across stages with a long-legged gait that parodied his “down home” origins, Redding’s confident yet unaffected eroticism epitomized the African-American ideal of a “natural man.” White audiences of the time had never seen anything like it. The effect was so powerful that Bob Weir, of the Grateful Dead, said, of Redding’s performance at the Monterey Pop Festival, “I was pretty sure I’d seen God onstage.”
And then he was no more. Redding’s sudden death thrust him into the ranks of a mythic group of musical performers that included Bix Beiderbecke, Robert Johnson, Hank Williams, Charlie Parker, Buddy Holly, Patsy Cline, and Redding’s own favorite, Sam Cooke––artists whose careers ended not only before their time but in their absolute prime, when there was every reason to expect that their finest work was yet to come. (Eerily, within a few years, he would be joined in this company by two of his co-stars at Monterey, Jimi Hendrix and Janis Joplin.) Redding’s record labels, Stax and Atlantic, culled enough material from the unmixed and unfinished tracks he recorded in the fall of 1967 to release a series of singles and albums in the years ahead. Some of these records, such as the singles “Hard to Handle,” “I’ve Got Dreams to Remember” (co-written with his wife, Zelma), and “Love Man,” stood with his very best work. But, inevitably, they still only hinted at what might have been. The informality of the Stax studio had afforded Redding the freedom to function, uncredited, as the producer and arranger on the records he made there. There is no question that he would have continued in this vein, blazing a path that musical auteurs like Sly Stone, Marvin Gaye, and Stevie Wonder would follow with the self-produced albums that established them as mainstream pop stars, in the late nineteen-sixties and early seventies.
In 2007, forty years on, a panel of artists, critics, and music-business professionals assembled by Rolling Stone ranked Otis Redding eighth on a list of the “100 Greatest Singers of All Time.” This placed him in a constellation of talent that included his contemporaries Aretha Franklin, Ray Charles, Sam Cooke, Marvin Gaye, Stevie Wonder, and James Brown, who together represented the greatest generation of church-bred African-American singers in the history of popular music. What distinguished Redding in this august company was the heartbreaking brevity of his career. In his five short years as a professional entertainer, his incomparable voice and vocal persona established him as soul music’s foremost apostle of devotion, a singer who implored his listeners to “try a little tenderness” with a ferocity that defied the meaning of the word. His singular combination of strength and sensitivity, dignity and self-discipline, made him the musical embodiment of the “soul force” that Martin Luther King, Jr., extolled in his epic “I Have a Dream” speech as the African-American counterweight to generations of racist oppression. In the way he looked and the way he sang and the way he led his tragically unfinished life, this princely son of Georgia sharecroppers was a one-man repudiation of the depraved doctrine of “white supremacy,” whose dark vestiges still contaminate our world.
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History, Highlights & Music Foundation
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Otis Redding, who grew up in Macon, left an indelible mark on American music. Learn more about his extraordinary career and his musical legacy that lives on.
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https://visitmacon.org/music/otis-redding/
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https://en.wikipedia.org/wiki/Otis_Redding
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American singer and songwriter (1941–1967)
Otis Ray Redding Jr. (September 9, 1941 – December 10, 1967) was an American singer and songwriter. He is regarded as one of the greatest singer-songwriters in the history of American popular music and a seminal artist in soul music and rhythm and blues. Nicknamed the "King of Soul", Redding's style of singing gained inspiration from the gospel music that preceded the genre. His singing style influenced many other soul artists of the 1960s.
Redding was born in Dawson, Georgia, and his family soon moved to Macon. Redding quit school at age 15 to support his family, working with Little Richard's backing band, the Upsetters, and performing in talent shows at Macon's historic Douglass Theatre. In 1958, he joined Johnny Jenkins's band, the Pinetoppers, with whom he toured the Southern states as a singer and driver. An unscheduled appearance on a Stax recording session led to a contract and his first hit single, "These Arms of Mine", in 1962.
Stax released Redding's debut album, Pain in My Heart, two years later. Initially popular mainly with African-Americans, Redding later reached a wider American pop music audience. Along with his group, he first played small shows in the American South. Redding later performed at the popular Los Angeles night club Whisky a Go Go and toured Europe, performing in London, Paris and other major cities. In 1967, he performed at the Monterey Pop Festival.
Shortly before his death in a plane crash, Redding wrote and recorded his iconic "(Sittin' On) The Dock of the Bay" with Steve Cropper. The song became the first posthumous number-one record on both the Billboard Hot 100 and R&B charts. The album The Dock of the Bay was the first posthumous album to reach number one on the UK Albums Chart. Redding's premature death devastated Stax. Already on the verge of bankruptcy, the label soon discovered that the Atco division of Atlantic Records owned the rights to his entire song catalog.
Redding received many posthumous accolades, including two Grammy Awards, the Grammy Lifetime Achievement Award and induction into the Rock and Roll Hall of Fame, the Black Music & Entertainment Walk of Fame,[4] and the Songwriters Hall of Fame. In addition to "(Sittin' On) The Dock of the Bay", some of his best-known songs include "Respect" and "Try a Little Tenderness".
Redding was born in Dawson, Georgia, the fourth of six children, and the first son of Otis Redding Sr. and Fannie Roseman. Redding Sr. was a sharecropper and then worked at Robins Air Force Base, near Macon, and occasionally preached in local churches. When Redding was three, the family moved to Tindall Heights, a predominantly African-American public housing project in Macon. At an early age, he sang in the Vineville Baptist Church choir and learned guitar and piano. From age 10, Redding took drum and singing lessons. At Ballard-Hudson High School, he sang in the school band. Every Sunday he earned $6 by performing gospel songs for Macon radio station WIBB, and he won the $5 prize in a teen talent show for 15 consecutive weeks.[8] His passion was singing, and he often cited Little Richard and Sam Cooke as influences. Redding said that he "would not be here" without Little Richard and that he "entered the music business because of Richard – he is my inspiration. I used to sing like Little Richard, his rock 'n' roll stuff ... My present music has a lot of him in it."
At age 15, Redding left school to help financially support his family; his father had contracted tuberculosis and was often hospitalized, leaving his mother as the family's primary income earner. He worked as a well digger, as a gasoline station attendant, and occasionally as a musician. Pianist Gladys Williams, a locally well-known musician in Macon and another who inspired Redding, often performed at the Hillview Springs Social Club, and Redding sometimes played piano with her band there. Williams hosted Sunday talent shows, which Redding attended with two friends, singers Little Willie Jones and Eddie Ross.
Redding's breakthrough came in 1958 on disc jockey Hamp Swain's "The Teenage Party", a talent contest at the local Roxy and Douglass Theatres. Johnny Jenkins, a locally prominent guitarist, was in the audience and, finding Redding's backing band lacking in musical skills, offered to accompany him. Redding sang Little Richard's "Heebie Jeebies". The combination enabled Redding to win Swain's talent contest for fifteen consecutive weeks; the cash prize was $5 (US$53 in 2023 dollars).[14] Jenkins later worked as lead guitarist and played with Redding during several later gigs. Redding was soon invited to replace Willie Jones as frontman of Pat T. Cake and the Mighty Panthers, featuring Johnny Jenkins. Redding was then hired by the Upsetters when Little Richard abandoned rock and roll in favor of gospel music. Redding was well paid, making about $25 per gig (US$264 in 2023 dollars),[14] but did not stay long. In mid-1960, Otis moved to Los Angeles with his sister, Deborah, while his wife, Zelma, and their children stayed in Macon, Georgia.[18] In Los Angeles, Redding recorded his first songs, including "Tuff Enuff" written by James McEachin, "She's All Right", written with McEachin, and two Redding wrote alone, called "I'm Gettin' Hip" and "Gamma Lamma" (which he recorded as a single in 1961, under the title "Shout Bamalama").
A member of Pat T. Cake and the Mighty Panthers, Redding toured the Southern United States on the Chitlin' Circuit, a string of venues that were hospitable to African-American entertainers during the era of racial segregation, which lasted into the early 1960s.[19] Johnny Jenkins left the band to become the featured artist with the Pinetoppers. Around this time, Redding met Phil Walden, the future founder of the recording company Phil Walden and Associates, and later Bobby Smith, who ran the small label Confederate Records. He signed with Confederate and recorded a single, "Shout Bamalama" (a rewrite of "Gamma Lamma") and "Fat Girl", together with his band Otis and the Shooters. Around this time he and the Pinetoppers attended a "Battle of the Bands" show in Lakeside Park. Wayne Cochran, the only solo artist signed to Confederate, became the Pinetoppers' bassist.
When Walden started to look for a record label for Jenkins, Atlantic Records representative Joe Galkin showed interest and around 1962 sent him to the Stax studio in Memphis. Redding drove Jenkins to the session, as the latter did not have a driver's license.[23] The session with Jenkins, backed by Booker T. & the M.G.'s, was unproductive and ended early; Redding was allowed to perform two songs. The first was "Hey Hey Baby", which studio chief Jim Stewart thought sounded too much like Little Richard. The second was "These Arms of Mine", featuring Jenkins on guitar and Steve Cropper on piano. Stewart later praised Redding's performance, saying, "Everybody was fixin' to go home, but Joe Galkin insisted we give Otis a listen. There was something different about [the ballad]. He really poured his soul into it." Stewart signed Redding and released "These Arms of Mine", with "Hey Hey Baby" on the B-side. The single was released by Volt in October 1962 and charted in March the following year. It became one of his most successful songs, selling more than 800,000 copies.
"These Arms of Mine" and other songs from the 1962–1963 sessions were included on Redding's debut album, Pain in My Heart. "That's What My Heart Needs" and "Mary's Little Lamb" were recorded in June 1963. The latter is the only Redding track with both background singing and brass. It became his worst-selling single. The title track, recorded in September 1963, sparked copyright issues, as it sounded like Irma Thomas's "Ruler of My Heart". Despite this, Pain in My Heart was released in March 1964,[29][30] with the single peaking at number 11 on the R&B chart, number 61 on the Billboard Hot 100, and the album at number 103 on the Billboard 200.[31]
In November 1963, Redding, accompanied by his brother Rodgers and an associate, former boxer Sylvester Huckaby (a childhood friend of Redding's), traveled to New York to perform at the Apollo Theater for the recording of a live album for Atlantic Records. Redding and his band were paid $400 per week (US$3,981 in 2023 dollars)[14] but had to pay $450 (US$4,478 in 2023 dollars)[14] for sheet music for the house band, led by King Curtis, which left them in financial difficulty. The trio asked Walden for money. Huckaby's description of their circumstances living in the "big old raggedy" Hotel Theresa is quoted by Peter Guralnick in his book Sweet Soul Music. He noted meeting Muhammad Ali and other celebrities. Ben E. King, who was the headliner at the Apollo when Redding performed there, gave him $100 (US$995 in 2023 dollars)[14] when he learned about Redding's financial situation. The resulting album featured King, the Coasters, Doris Troy, Rufus Thomas, the Falcons and Redding. Around this time Walden and Rodgers were drafted by the army; Walden's younger brother Alan joined Redding on tour, while Earl "Speedo" Simms replaced Rodgers as Redding's road manager.
Most of Redding's songs after "Security", from his first album, had a slow tempo. Disc jockey A. C. Moohah Williams accordingly labeled him "Mr. Pitiful", and subsequently, Cropper and Redding wrote the eponymous song. That and top 100 singles " Chained and Bound", "Come to Me" and "That's How Strong My Love Is"[35] were included on Redding's second studio album, The Great Otis Redding Sings Soul Ballads, released in March 1965. Jenkins began working independently from the group out of fear Galkin, Walden and Cropper would plagiarize his playing style, and so Cropper became Redding's leading guitarist. Around 1965, Redding co-wrote "I've Been Loving You Too Long" with Jerry Butler, formerly the lead singer of the Impressions. That summer, Redding and the studio crew arranged new songs for his next album. Ten of the eleven songs were recorded in a 24-hour period on July 9 and 10 in Memphis. Two songs, "Ole Man Trouble" and "Respect", had been finished earlier, during the Otis Blue session. "Respect" and "I've Been Loving You" were later recut in stereo. The album, titled Otis Blue: Otis Redding Sings Soul, was released in September 1965.[38] Otis Blue also includes Redding's much-loved cover of "A Change Is Gonna Come" in 1965.[39]
Redding's success allowed him to buy a 300-acre (1.2 km2) ranch in Georgia, which he called the "Big O Ranch".[42] Stax was also doing well. Walden signed more musicians, including Percy Sledge, Johnnie Taylor, Clarence Carter and Eddie Floyd, and together with Redding, they founded two production companies. "Jotis Records" (derived from Joe Galkin and Otis) released four recordings, two by Arthur Conley and one by Billy Young and Loretta Williams. The other was named Redwal Music (derived from Redding and Walden), which was shut down shortly after its creation. Since Afro-Americans still formed the majority of fans, Redding chose to perform at Whisky a Go Go on the Sunset Strip in Los Angeles. Redding was one of the first soul artists to perform for rock audiences in the western United States. His performance received critical acclaim, including positive press in the Los Angeles Times, and he penetrated mainstream popular culture. Bob Dylan attended the performance and offered Redding an altered version of one of his songs, "Just Like a Woman".
In late 1966, Redding returned to the Stax studio and recorded several tracks, including "Try a Little Tenderness", written by Jimmy Campbell, Reg Connelly and Harry M. Woods in 1932. This song had previously been recorded by Bing Crosby and Frank Sinatra, and the publishers unsuccessfully tried to stop Redding from recording the song from a "negro perspective". Today often considered his signature song, Jim Stewart reckoned, "If there's one song, one performance that really sort of sums up Otis and what he's about, it's 'Try a Little Tenderness'. That one performance is so special and so unique that it expresses who he is." On this version Redding was backed by Booker T. & the M.G.'s, while staff producer Isaac Hayes worked on the arrangement. "Try a Little Tenderness" was included on his next album, Complete & Unbelievable: The Otis Redding Dictionary of Soul. The song and the album were critically and commercially successful—the former peaked at number 25 on the Billboard Hot 100 chart and at number 4 on the R&B chart.[47]
The spring of 1966 marked the first time that Stax booked concerts for its artists. The majority of the group arrived in London on March 13, but Redding had flown in days earlier for interviews, such as at "The Eamonn Andrews Show". When the crew arrived in London, the Beatles sent a limousine to pick them up. Booking agent Bill Graham proposed that Redding play at the Fillmore Auditorium in late 1966. The gig was commercially and critically successful, paying Redding around $800 to $1000 (US$9,391 in 2023 dollars)[14] a night. It prompted Graham to remark afterward, "That was the best gig I ever put on in my entire life." Redding began touring Europe six months later.
In March 1967, Stax released King & Queen, an album of duets between Redding and Carla Thomas, which became a certified gold record. It was Jim Stewart's idea to produce a duet album, as he expected that "[Redding's] rawness and [Thomas's] sophistication would work". The album was recorded in January 1967, while Thomas was earning her M.A. in English at Howard University. Six out of ten songs were cut during their joint session; the rest were overdubbed by Redding in the days following, because of his concert obligations. Three singles were lifted from the album: "Tramp" was released in April, followed by "Knock on Wood" and "Lovey Dovey". All three reached at least the top 60 on both the R&B and Pop charts. The album charted at number 5 and 36 on the Billboard Pop and R&B charts, respectively.[35]
Redding returned to Europe to perform at the Paris Olympia. The live album Otis Redding: Live in Europe was released three months later, featuring this and other live performances in London and Stockholm, Sweden.[42] His decision to take his protege Conley (whom Redding and Walden had contracted directly to Atco/Atlantic Records rather than to Stax/Volt) on the tour, instead of more established Stax/Volt artists such as Rufus Thomas and William Bell, produced negative reactions.
In 1967, Redding performed at the influential Monterey Pop Festival as the closing act on Saturday night, the second day of the festival. He was invited through the efforts of promoter Jerry Wexler.[55] Until that point, Redding was still performing mainly for black audiences. At the time, he "had not been considered a commercially viable player in the mainstream white American market." But after delivering one of the most electric performances of the night, and having been the act to most involve the audience, "his performance at Monterey Pop was therefore a natural progression from local to national acclaim,...the decisive turning-point in Otis Redding's career." His act included his own song "Respect" and a version of the Rolling Stones' "Satisfaction". Redding and his backing band (Booker T. & the M.G.'s with the Mar-Keys horn section) opened with Cooke's "Shake", after which he delivered an impromptu speech, asking the audience if they were the "love crowd" and looking for a big response. The ballad "I've Been Loving You" followed. The last song was "Try a Little Tenderness", including an additional chorus. "I got to go, y'all, I don't wanna go", said Redding and left the stage of his last major concert. According to Booker T. Jones, "I think we did one of our best shows, Otis and the MG's. That we were included in that was also something of a phenomenon. ... They were accepting us and that was one of the things that really moved Otis. He was happy to be included and it brought him a new audience. It was greatly expanded in Monterey." According to Sweet Soul Music, musicians such as Brian Jones and Jimi Hendrix were captivated by his performance; Robert Christgau wrote in Esquire, "The Love Crowd screamed one's mind to the heavens."
Before Monterey, Redding wanted to record with Conley, but Stax was against the idea. The two moved from Memphis to Macon to continue writing. The result was "Sweet Soul Music" (based on Cooke's "Yeah Man"), which peaked at number 2 on the Billboard Hot 100.[63] By that time, Redding had developed polyps on his larynx, which he tried to treat with tea and lemon or honey. He was hospitalized in September 1967 at Mount Sinai Hospital in New York to undergo surgery.
In early December 1967, Redding again recorded at Stax. One new song was "(Sittin' On) The Dock of the Bay", which was written with Cropper. Redding was inspired by the Beatles album Sgt. Pepper's Lonely Hearts Club Band and tried to create a similar sound, against the label's wishes. His wife Zelma disliked its atypical melody. The Stax crew were also dissatisfied with the new sound; Stewart thought that it was not R&B, while bassist Donald "Duck" Dunn feared it would damage Stax's reputation. However, Redding wanted to expand his musical style and thought it was his best song, correctly believing it would top the charts. He whistled at the end, either forgetting Cropper's "fadeout rap" or paraphrasing it intentionally.
Redding, who was 6 feet 1 inch (1.85 m) tall and weighed 220 pounds (100 kg), was an athletic family man who loved American football and hunting. He was active in philanthropic projects. He had a keen interest in supporting Black youth and, at the time of his death, had plans to construct a summer camp for disadvantaged children.
At age 18, Redding met 17-year-old Zelma Atwood at "The Teenage Party". Approximately one year later, she gave birth to their son Dexter in the summer of 1960 and married Redding in August 1961. In mid-1960, Otis moved to Los Angeles with his sister, Deborah, while Zelma and the children stayed in Macon, Georgia.[18]
Redding and his wife had four children: Dexter, Demetria, Karla, and Otis III (December 17, 1964 – April 18, 2023).[71][72] Otis, Dexter, and cousin Mark Lockett later founded the Reddings, a band managed by Zelma. She also maintained or worked at the janitorial service Maids Over Macon, several nightclubs, and booking agencies. I
Redding's music made him wealthy. According to several advertisements, he had around 200 suits and 400 pairs of shoes, and he earned about $35,000 per week for his concerts. He spent about $125,000 in the "Big O Ranch". As the owner of Otis Redding Enterprises, his performances, music publishing ventures and royalties from record sales earned him more than a million dollars in 1967 alone. That year, one columnist said, "he sold more records than Frank Sinatra and Dean Martin combined." After the release of Otis Blue, Redding became a "catalogue" artist, meaning his albums were not immediate blockbusters, but rather sold steadily over time.
By 1967, the band was traveling to performances in Redding's Beechcraft H18 airplane. On December 9, they appeared on the Upbeat television show produced in Cleveland. They played three concerts in two nights at a club called Leo's Casino.[79] After a phone call with his wife and children, Redding's next stop was Madison, Wisconsin; the next day, Sunday, December 10, they were to play at the Factory nightclub, near the University of Wisconsin.[80][81]
Although the weather was poor, with heavy rain and fog, and despite warnings, the plane took off.[82][83] Four miles (6.5 km) from their destination at Truax Field in Madison, pilot Richard Fraser radioed for permission to land. Shortly thereafter, the plane crashed into Lake Monona. Bar-Kays member Ben Cauley, the accident's only survivor, was sleeping shortly before the accident. He woke just before impact to see bandmate Phalon Jones look out a window and exclaim, "Oh, no!" Cauley said the last thing he remembered before the crash was unbuckling his seat belt. He then found himself in frigid water, grasping a seat cushion to keep afloat.[82] As a non-swimmer, he was unable to rescue the others. The cause of the crash was never determined.[85] Besides Redding, the other victims of the crash were four members of the Bar-Kays—guitarist Jimmy King, tenor saxophonist Phalon Jones, organist Ronnie Caldwell, and drummer Carl Cunningham; their valet, Matthew Kelly; and the pilot Fraser.[82]
Redding's body was recovered the next day when the lake was searched.[87] The family postponed the funeral from December 15, to December 18, so that more could attend, and the service took place at the City Auditorium in Macon. More than 4,500 people came to the funeral, overflowing the 3,000-seat hall. Redding was entombed at his ranch in Round Oak, about twenty miles (30 km) north of Macon.[88] Jerry Wexler delivered the eulogy. Redding died just three days after re-recording "(Sittin' On) The Dock of the Bay", and was survived by Zelma and four children, Otis III, Dexter, Demetria, and Karla.[72] August 1997, a memorial plaque was placed on the lakeside deck of the Madison convention center, Monona Terrace.[91]
"(Sittin' On) The Dock of the Bay" was released in January 1968. It became Redding's only single to reach number one on the Billboard Hot 100 and the first posthumous number-one single in U.S. chart history.[92] It sold approximately four million copies worldwide and received more than eight million airplays.[94] The album The Dock of the Bay was the first posthumous album to reach the top spot on the UK Albums Chart.[95]
Shortly after Redding's death, Atlantic Records, distributor of the Stax/Volt releases, was purchased by Warner Bros. Stax was required to renegotiate its distribution deal and was surprised to learn that Atlantic actually owned the entire Stax/Volt catalog. Stax was unable to regain the rights to its recordings and severed its Atlantic relationship. Atlantic also held the rights to all unreleased Otis Redding masters. It had enough material for three studio albums—The Immortal Otis Redding (1968), Love Man (1969), and Tell the Truth (1970)—all issued on its Atco Records label. A number of successful singles emerged from these LPs, among them "Amen" (1968), "Hard to Handle" (1968), "I've Got Dreams to Remember" (1968), "Love Man" (1969), and "Look at That Girl" (1969). Singles were also lifted from two live Atlantic-issued Redding albums, In Person at the Whisky a Go Go, recorded in 1966 and issued in 1968 on Atco, and Historic Performances Recorded at the Monterey International Pop Festival, a Reprise Records release featuring some of the live performances at the festival by the Jimi Hendrix Experience on side one and Redding on side two.[97]
Redding had at least two television appearances booked for 1968; one on The Ed Sullivan Show and the other on The Smothers Brothers Comedy Hour.
In September 2007, the first official DVD anthology of Redding's live performances was released by Concord Music Group, then owners of the Stax catalog. Dreams to Remember: The Legacy of Otis Redding featured 16 full-length performances and 40 minutes of new interviews documenting his life and career.[98] On May 18, 2010, Stax Records released a two-disc recording of three complete sets from his Whisky a Go Go date in April 1966.[99] All seven sets from his three-day residency at the venue were released as Live at the Whisky a Go Go: The Complete Recordings in 2016,[100] a 6-CD box set that won a Grammy Award for Best Album Notes.[101]
Carla Thomas claimed that the pair had planned to record another duet album in December the same year, but Phil Walden denied this. Redding had proposed to record an album featuring cut and rearranged songs in different tempos; for example, ballads would be uptempo and vice versa. Another suggestion was to record an album entirely consisting of country standards.
In 2011, Kanye West and Jay-Z released "Otis" as a single off of their collaborative album, Watch the Throne.[103] Redding was credited as a feature on the song. The song was produced by West who built it off of a sample of Redding's version of "Try a Little Tenderness".
Early on Redding copied the rock and soul style of his role model Little Richard. He was also influenced by soul musicians such as Sam Cooke, in particular, the live album Sam Cooke at the Copa, later exploring other popular genres. He studied the recordings of the Beatles and Bob Dylan. His song "Hard to Handle" has elements of rock and roll and influences of Eric Clapton and Jimi Hendrix. Most of his songs were categorized as Southern soul and Memphis soul.[107]
His hallmark was his raw voice and ability to convey strong emotion. Richie Unterberger of Allmusic noted his "hoarse, gritty vocals, brassy arrangements, an emotional way with both party tunes and aching ballads."[108] In the book Rock and Roll: An Introduction, authors Michael Campbell and James Brody suggested that "Redding's singing calls to mind a fervent black preacher. Especially in up-tempo numbers, his singing is more than impassioned speech but less than singing with precise pitch." According to the book, "Redding finds a rough midpoint between impassioned oratory and conventional singing. His delivery overflows with emotion" in his song "I Can't Turn You Loose". Booker T. Jones described Redding's singing as energetic and emotional but said that his vocal range was limited, reaching neither low nor high notes.[110] Peter Buckley, in The Rough Guide to Rock, describes his "gruff voice, which combined Sam Cooke's phrasing with a brawnier delivery" and later suggested he "could testify like a hell-bent preacher, croon like a tender lover or get down and dirty with a bluesy yawp".
Redding received advice from Rufus Thomas about his clumsy stage appearance. Jerry Wexler said Redding "didn't know how to move", and stood still, moving only his upper body, although he acknowledged that Redding was well received by audiences for his strong message. Guralnick described Redding's painful vulnerability in Sweet Soul Music, as an attractive one for the audience, but not for his friends and partners. His early shyness was well known.
In his early career Redding mostly covered songs from popular artists, such as Richard, Cooke and Solomon Burke. Around the mid-1960s he began writing his own songs—always taking along his cheap red acoustic guitar—and sometimes asked for Stax members' opinion of his lyrics. He often worked on lyrics with other musicians, such as Simms, Rodgers, Huckaby, Phil Walden, and Cropper. During his recovery from his throat operation, Redding wrote about 30 songs in two weeks. Redding was the sole copyright holder on all of his songs.
In "(Sittin' On) The Dock of the Bay" he abandoned familiar romantic themes for "sad, wistful introspections, amplified by unforgettable descending guitar riffs by Cropper". The website of the Songwriters Hall of Fame noted that the song "was a kind of brooding, dark voicing of despair, ('I've got nothin' to live for/Look like nothin's gonna come my way')" although "his music, in general, was exultant and joyful." According to journalist Ruth Robinson, author of the liner notes for the 1993 box set, "It is currently a revisionist theory to equate soul with the darker side of man's musical expression, blues. That fanner of the flame of 'Trouble's got a hold on me' music, might well be the father of the form if it is, the glorified exaltation found in church on any Sunday morning is its mother." The Songwriters Hall of Fame website adds that "glorified exaltation indeed was an apt description of Otis Redding's songwriting and singing style."[116] Booker T. Jones compared Redding with Leonard Bernstein, stating, "He was the same type person. He was a leader. He'd just lead with his arms and his body and his fingers."
Redding favored short and simple lyrics; when asked whether he intended to cover Dylan's "Just Like a Woman", he responded that the lyrics contained "too much text". Furthermore, he stated in an interview,
Basically, I like any music that remains simple and I feel this is the formula that makes "soul music" successful. When any music form becomes cluttered and/or complicated you lose the average listener's ear. There is nothing more beautiful than a simple blues tune. There is beauty in simplicity whether you are talking about architecture, art or music.
Redding also authored his (sometimes difficult) recordings' horn arrangements, humming to show the players what he had in mind. The recording of "Fa-Fa-Fa-Fa-Fa (Sad Song)" captures his habit of humming with the horn section.
Redding has been called the "King of Soul",[118] an honorific also given to Brown[119] and Cooke. He remains one of the genre's most recognized artists. His lean and powerful style exemplified the Stax sound;[123] he was said to be "the heart and soul of Stax", while artists such as Al Jackson, Dunn and Cropper helped to expand its structure. His open-throated singing,[123] the tremolo/vibrato, the manic, electrifying stage performances and perceived honesty were particular hallmarks, along with the use of interjections (such as "gotta, gotta, gotta"), some of which came from Cooke. Producer Stewart thought the "begging singing" was stress-induced and enhanced by Redding's shyness. His LP releases earned him recognition from music critic Robert Christgau as "one of soul's few reliable long-form artists"; Christgau deems Otis Blue his "first great album",[127] and Mat Snow regards it as an early indication of the album era, in which the LP would overtake singles in commercial and artistic importance.[128]
Along with soul and R&B, Redding's contributions to rock music have been noted by music scholars, particularly the "black rock" performed by his contemporaries Wilson Pickett and Sly and the Family Stone.[129] "His musical palette, a cosmic alloy of gospel and blues, hammered into a gritty but elegant template by both black and white musicians, remodeled soul and rock and anchored the most infectious native music America had heard since the big bands", wrote biographer Mark Ribowsky. Artists from many genres have named Redding as a musical influence. George Harrison called "Respect" an inspiration for "Drive My Car". The Rolling Stones also mentioned Redding as a major influence. Other artists influenced by Redding include Led Zeppelin, the Grateful Dead,[136] Lynyrd Skynyrd, the Doors,[136] and virtually every soul and R&B musician from the early years, such as Al Green, Etta James,[42] William Bell,[136] Aretha Franklin, Marvin Gaye and Conley. Janis Joplin was influenced by his singing style, according to Sam Andrew, a guitarist in her band Big Brother and the Holding Company. She stated that she learned "to push a song instead of just sliding over it" after hearing Redding.[139]
The Bee Gees' Barry Gibb and Robin Gibb wrote the song "To Love Somebody" for Redding to record. He loved it, and he was going to "cut it", as Barry put it, on his return from his final concert. They dedicated the song to his memory.[140]
After Redding's death, the Académie du Jazz in France named an award after him. The Prix Otis Redding is given to the best record release in the field of R&B. Redding was the first recipient of the award for The Otis Redding Story on Stax;[141] following winners of the award include Aretha Franklin, Ike & Tina Turner, and Curtis Mayfield.[142][143] In 1968, the National Association of Television and Radio Announcers (NATRA) created the Otis Redding Award in his honor.[144]
Readers of the British music newspaper Melody Maker voted Redding the top vocalist of 1967, superseding Elvis Presley, who had topped the list for the prior 10 years.
Redding posthumously won two Grammy Awards for "(Sittin' On) The Dock of the Bay" at the 11th Annual Grammy Awards in 1969.[146] The Rock and Roll Hall of Fame inducted Redding in 1989, declaring his name to be "synonymous with the term soul music that arose out of the black experience in America through the transmutation of gospel and rhythm and blues into a form of funky, secular testifying."[147] In 1988, he was inducted into the Georgia Music Hall of Fame.[94] Five years later, the United States Post Office issued a 29-cent commemorative postage stamp in his honor.[148] Redding was inducted into the Songwriters Hall of Fame in 1994,[116] and in 1999 he received the Grammy Lifetime Achievement Award.[149] The Rock and Roll Hall of Fame included three Redding recordings, "Shake", "(Sittin' On) The Dock of the Bay", and "Try a Little Tenderness", on its list of "The 500 Songs That Shaped Rock and Roll".[150]
American music magazine Rolling Stone ranked Redding at number 21 on their list of the "100 Greatest Artists of All Time"[151] and eighth on their list of the "100 Greatest Singers of All Time".[110] Q ranked Redding fourth among "100 Greatest Singers", after only Frank Sinatra, Franklin and Presley.[152]
Five of his albums, Otis Blue: Otis Redding Sings Soul, Dreams to Remember: The Otis Redding Anthology, The Dock of the Bay, Complete & Unbelievable: The Otis Redding Dictionary of Soul and Live in Europe, were ranked by Rolling Stone on its list of the 500 Greatest Albums of All Time. The first album was singled out for praise by music critics; apart from the Rolling Stone listing at number 74, NME ranked it 35th on their list of the "Greatest Albums of All Time".[153] Music critic Robert Christgau said that Otis Blue was "the first great album by one of soul's few reliable long-form artists",[154] and that Redding's "original LPs were among the most intelligently conceived black albums of the '60s".[155]
In 2002, the city of Macon honored its native son by unveiling a memorial statue () in the city's Gateway Park. The park is next to the Otis Redding Memorial Bridge, which crosses the Ocmulgee River. The Rhythm and Blues Foundation named Redding as the recipient of its 2006 Pioneer Award.[156] Billboard awarded Redding the "Otis Redding Excellence Award" the same year.[42] A year later he was inducted into the Hollywood's Rockwalk in California.[94]
In 2007, Otis Redding's widow founded the Otis Redding Foundation[157] in her husband's honor. The Foundation continues to offer music and arts education programs in Macon.
On August 17, 2013, in Cleveland, Ohio, the city where he did his last show at Leo's Casino, Redding was inducted into the inaugural class of the Rhythm & Blues Music Hall of Fame at Cleveland State University.[158]
Main article: Otis Redding discography
Album era
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Otis Redding III Has Died at Age 59 — His Cause of Death, Revealed
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2023-04-20T14:51:50.850000+00:00
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Otis Redding III, the son of Otis Redding, died at age 59. A statement from the guitarist's sister, Karla Redding-Andrews, confirmed his death.
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en
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https://www.distractify.com/favicon.ico
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Distractify
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https://www.distractify.com/p/otis-redding-iii-cause-of-death
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By Elizabeth Randolph
Apr. 20 2023, Published 10:51 a.m. ET
Singer and guitarist Otis Redding III, son of legendary R&B musician Otis Redding, died on Tuesday, April 18, 2023. He was 59 years old.
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Otis III followed in his father’s footsteps and found his own audience within the music scene. He also preserved his dad's legacy until his death.
What was Otis Redding III’s cause of death? Here’s what we know.
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Otis Redding's daughter confirmed Otis Redding III’s cause of death in a statement.
The news of Otis III's passing came from his sister Karla Redding-Andrews, who explained that Otis had cancer before he died and succumbed to the illness.
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“It is with heavy hearts that the family of Otis Redding III confirms that he lost his battle with cancer last evening at Atrium Health Navicent in Macon, Ga.," Karla wrote on the Otis Redding Foundation Facebook page.
“Otis was 59 years old. Please keep our family in your prayers at this time, and please respect our privacy as we consume this huge loss," her statement continued.
Karla never specified what cancer Otis III had leading up to his death, and Otis also didn’t tell his fans about his health on social media. The artist’s last few Instagram posts show him celebrating his birthday in December 2022 and a photo of his mom, Zelma Redding, holding a plaque with Jim Stewart.
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Otis Redding III once admitted he couldn’t “live up” to his father, Otis Redding.
Throughout his life, Otis III found his own sound away from his famous name. In the 1980s, he and his brother, Dexter Redding, formed a funk band called the Reddings. Together, the band created six albums in the ‘80s: “The Awakening,” “Class,” “Steamin’ Hot,” “Back to Basics,” “If Looks Could Kill,” and “The Reddings.”
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According to NBC News, the group also had several Billboard charting hits like “Call the Law” and “Remote Control.” However, the outlet noted that Otis III’s band never saw the same success as his father, though he admitted surpassing his father wasn’t his goal.
“No matter how hard I try to do my own thing, you know, it’s like ... ‘Sing one of your daddy’s songs,’” Otis told Maine TV station WCSH-TV in 2018. “So I go ahead and do what people want, and I live with it. But I’m not under any pressure and don’t put myself mentally under any pressure to beg for record deals.”
Although Otis didn’t try to be his father, he often represented the Redding name by singing his father’s songs, including at Carnegie Hall in a 2018 tribute. He also helped his family with the Otis Redding Foundation before he died. The musician is survived by his mother, Zelma, siblings, family, and friends. It’s unclear if Otis had any children or a spouse before his passing.
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Otis Redding III Dies: Musician Son Of Iconic ‘Dock Of The Bay’ Singer Was 59
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[] |
[] |
[
""
] | null |
[
"Greg Evans"
] |
2023-04-20T13:42:28+00:00
|
Otis Redding III, the singer and guitarist who had followed his father Otis Redding into the music business, died of cancer Tuesday in Macon, Georgia. He was 59. Redding’s death was announced by his sister Karla Redding-Andrews on the Facebook page of the Otis Redding Foundation. “It is with heavy hearts that the family of […]
|
en
|
https://s.yimg.com/rz/l/favicon.ico
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https://deadline.com/2023/04/otis-redding-iii-dead-musician-son-dock-of-the-bay-singer-was-59-1235332539/
|
Otis Redding III, the singer and guitarist who had followed his father Otis Redding into the music business, died of cancer Tuesday in Macon, Georgia. He was 59.
Redding’s death was announced by his sister Karla Redding-Andrews on the Facebook page of the Otis Redding Foundation.
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“It is with heavy hearts that the family of Otis Redding III confirms that he lost his battle with cancer last evening at Atrium Health Navicent in Macon, Ga.,” Redding-Andrews wrote. “Otis was 59 years old. Please keep our family in your prayers at this time and please respect our privacy as we consume this huge loss.
Arrangements will be announced at a later date.”
Redding was three years old in 1967 when his father Otis and four members of the Bar-Kays band died in a plane crash outside Madison, Wisconsin. At the time of crash, Otis Redding had become one of the most popular and influential of the era’s soul singers, and he would soon have a posthumous hit with the mournful classic “(Sittin’ on) the Dock of the Bay.”
Otis Redding III, whose mother was Otis Redding’s wife Zelma Atwood, would also become a musician, forming the 1980s funk band the Reddings with brother Dexter and cousin Mark Lockett. Otis played guitar, with Dexter on bass and Lockett on keyboards.
Redding III would later become heavily involved in his family’s charitable foundation. In addition to his sister Karla Redding-Andrews, he is survived by sister Demetria Redding and brother Dexter Redding.
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Sign up for Deadline's Newsletter. For the latest news, follow us on Facebook, Twitter, and Instagram.
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wrong_mix_domainrange_death_00138
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FactBench
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3
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https://twitter.com/RetroNewsNow/status/1734145532996509927%3Flang%3Den
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en
|
x.com
|
[] |
[] |
[] |
[
""
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[] | null |
X (formerly Twitter)
| null | ||||||||
wrong_mix_domainrange_death_00138
|
FactBench
|
1
| 78
|
https://www.kxlh.com/otis-redding-iii-son-of-the-king-of-soul-dies-at-59
|
en
|
Otis Redding III, son of the King of Soul, dies at 59
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[
"entertainment",
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[
"Scripps News Staff"
] |
2023-04-19T14:11:53-06:00
|
Despite being overshadowed by his father's legacy, Redding III was a talented musician in his own right, and his music was a testament to his father.
|
en
|
/apple-touch-icon.png
|
KXLH News Helena
|
https://scrippsnews.com/stories/otis-redding-iii-son-of-the-king-of-soul-dies-at-59/
|
Otis Redding III, son of the legendary soul singer Otis Redding, died at 59 after a battle with cancer, his sister announced Wednesday on social media.
Born on Dec. 17, 1964, in Macon, Georgia, Otis was just three years old when his father died in a plane crash, but that didn't stop him from inheriting his father's love for music.
By the age of nine, Redding played guitar in the band Father's Pride and started working at a local record store two years later.
In 1975, the youngest Redding and his older brother, Dexter, created a new funk band called The Reddings and went on to release six records throughout the 1980s. Their biggest hit, "Remote Control," landed them on the Billboard Hot 100 chart and peaked at #6 on the Soul chart, but their music never matched the success of their father's.
Redding continued to perform and later was hired as a guitarist for soul singer Eddie Floyd, who encouraged him to start singing his father's songs.
“No matter how hard I try to do my own thing, you know, it’s like ... sing one of your daddy’s songs,” Redding said in a 2018 interview with WCSH-TV. "So I go ahead and do what people want, and I live with it. But I’m not under any pressure and I don’t put myself mentally under any pressure to go begging for record deals."
Despite being overshadowed by his father's legacy, Redding III was a talented musician in his own right, and his music was a testament to his father and the impact he had on the world of music.
He was also actively involved in his family's philanthropic organization, The Otis Redding Foundation, and participated in an annual camp dedicated to mentoring children with musical aspirations.
The Redding family has requested the public respect their privacy during this difficult time. Funeral arrangements have not yet been announced.
Trending stories at Scrippsnews.com
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wrong_mix_domainrange_death_00138
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FactBench
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2
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https://www.kgns.tv/2023/04/19/otis-redding-iii-who-followed-father-into-music-dies-59/
|
en
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Otis Redding III, who followed father into music, dies at 59
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[
"Otis Redding III",
"Otis Redding",
"Redding family",
"Dexter Redding",
"The Reddings"
] | null |
[
"Associated Press"
] |
2023-04-19T00:00:00
|
Otis Redding III and his brother, Dexter, formed the funk band The Reddings, which recorded six albums in the 1980s.
|
en
|
//webpubcontent.gray.tv/gray/arc-fusion-assets/images/favicons/kgns/favicon.ico?d=420
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https://www.kgns.tv
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https://www.kgns.tv/2023/04/19/otis-redding-iii-who-followed-father-into-music-dies-59/
|
MACON, Ga. (AP) — Singer and guitarist Otis Redding III, the son and namesake of the legendary 1960s soul singer, has died from cancer at age 59, his family said Wednesday.
Redding was just 3 years old when his father, Otis Redding, perished along with several band members in a plane crash on Dec. 10, 1967. More than a decade later, the younger Redding and his brother, Dexter, formed the funk band The Reddings, which recorded six albums in the 1980s.
“It is with heavy hearts that the family of Otis Redding III confirms that he lost his battle with cancer last evening,” said his sister, Karla Redding-Andrews, in a statement posted on the Facebook page of the Otis Redding Foundation, the family’s charity in Macon.
Though singles “Remote Control” and “Call The Law” by The Reddings made appearances on the Billboard music charts, the Redding brothers never matched their father’s success. Redding continued playing and performing after the band recorded its final album in 1988.
He was once hired for a European tour as guitarist for soul singer Eddie Floyd, under whose guidance the younger Redding became comfortable performing “(Sittin’ On) the Dock of the Bay” and other songs of his famous father.
“He said, `You can play guitar with me, but you’re going to have to sing a few of your dad’s songs,’” Redding recalled in a 2018 interview with WCSH-TV in Portland, Maine. “I was like, `Huh? I don’t sing,’ you know. And he was like, `Well, you’re going to sing “Dock of the Bay” with me tonight.’”
Redding worked with his family’s foundation to organize summer camps that teach children to play music, and served as board president for the local chapter of Meals on Wheels.
He continued to perform his father’s songs for audiences large and small, according to his website, from appearing onstage at Carnegie Hall for a 2018 Otis Redding tribute concert to singing at weddings and private parties. Redding said he was grateful for the enduring legacy even if it overshadowed efforts to make music of his own.
“No matter how hard I try to do my own thing, you know, it’s like ... ‘sing one of your daddy’s songs,’” he told the Maine TV station. “So I go ahead and do what people want, and I live with it. But I’m not under any pressure and I don’t put myself mentally under any pressure to go begging for record deals.”
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wrong_mix_domainrange_death_00138
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FactBench
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0
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https://californiaherps.com/info/songsaboutcaliforniaabridged.html
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en
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Songs That Mention California (listed by song title)
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[] |
[] |
[
"Songs About California",
"Songs that mention a place in California"
] | null |
[] | null |
Songs About California, Songs that mention a place in California
|
/images/speakerfavicon.ico
| null |
California is the main subject of some of these songs, but others simply mention something about the state such as a place, a street or highway, the weather, a person, or an attitude or lifestyle the state represents for the singer. This is not meant to be a list of favorite songs, just some interesting ones. Check out Wickipedia's List of Songs About California for a more complete list. Some of the songs on this list have been grouped by place, topic or genre on lists that can be found to the right.
Click on the Artist Name link to see lyrics and comments. Click on the Song Title link to hear the song. (These links were all working when I added them, but some of them might have been taken down. If so, just seach YouTube for the song and you'll most likely find another video.)
This list is a work in progress. I add new songs to it as I discover them. Let me know if you know any other interesting California songs that I should add.
California Dreaming
Listed Alphabetically by Artist (Band Name or Artist Last Name)
Numbers are on top. Ignore any article at the beginning such as "The" or "A" except for non-English languages.
(Artists name + band name combos are listed under the artist's last name: Tom Petty and the Heartbreakers is filed under "P".)
(Aliases are filed under the first name: Lana Del Rey is filed under "L".)
|
||||||
wrong_mix_domainrange_death_00138
|
FactBench
|
2
| 94
|
https://www.kttc.com/2023/04/19/otis-redding-iii-who-followed-father-into-music-dies-59/
|
en
|
Otis Redding III, who followed father into music, dies at 59
|
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[] |
[] |
[
"Otis Redding III",
"Otis Redding",
"Redding family",
"Dexter Redding",
"The Reddings"
] | null |
[
"Associated Press"
] |
2023-04-19T00:00:00
|
Otis Redding III and his brother, Dexter, formed the funk band The Reddings, which recorded six albums in the 1980s.
|
en
|
//webpubcontent.gray.tv/gray/arc-fusion-assets/images/favicons/kttc/favicon.ico?d=420
|
https://www.kttc.com
|
https://www.kttc.com/2023/04/19/otis-redding-iii-who-followed-father-into-music-dies-59/
|
MACON, Ga. (AP) — Singer and guitarist Otis Redding III, the son and namesake of the legendary 1960s soul singer, has died from cancer at age 59, his family said Wednesday.
Redding was just 3 years old when his father, Otis Redding, perished along with several band members in a plane crash on Dec. 10, 1967. More than a decade later, the younger Redding and his brother, Dexter, formed the funk band The Reddings, which recorded six albums in the 1980s.
“It is with heavy hearts that the family of Otis Redding III confirms that he lost his battle with cancer last evening,” said his sister, Karla Redding-Andrews, in a statement posted on the Facebook page of the Otis Redding Foundation, the family’s charity in Macon.
Though singles “Remote Control” and “Call The Law” by The Reddings made appearances on the Billboard music charts, the Redding brothers never matched their father’s success. Redding continued playing and performing after the band recorded its final album in 1988.
He was once hired for a European tour as guitarist for soul singer Eddie Floyd, under whose guidance the younger Redding became comfortable performing “(Sittin’ On) the Dock of the Bay” and other songs of his famous father.
“He said, `You can play guitar with me, but you’re going to have to sing a few of your dad’s songs,’” Redding recalled in a 2018 interview with WCSH-TV in Portland, Maine. “I was like, `Huh? I don’t sing,’ you know. And he was like, `Well, you’re going to sing “Dock of the Bay” with me tonight.’”
Redding worked with his family’s foundation to organize summer camps that teach children to play music, and served as board president for the local chapter of Meals on Wheels.
He continued to perform his father’s songs for audiences large and small, according to his website, from appearing onstage at Carnegie Hall for a 2018 Otis Redding tribute concert to singing at weddings and private parties. Redding said he was grateful for the enduring legacy even if it overshadowed efforts to make music of his own.
“No matter how hard I try to do my own thing, you know, it’s like ... ‘sing one of your daddy’s songs,’” he told the Maine TV station. “So I go ahead and do what people want, and I live with it. But I’m not under any pressure and I don’t put myself mentally under any pressure to go begging for record deals.”
|
||||
wrong_mix_domainrange_death_00138
|
FactBench
|
0
| 62
|
https://usghostadventures.com/madison-ghost-tour/
|
en
|
Madison's Scariest Ghost Tours
|
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[] |
[] |
[
""
] | null |
[] |
2022-04-04T00:24:35+00:00
|
Ready to experience the spirits of Madison? Join Madison Ghosts to uncover the dark history of the Mad City and meet the spirits that stalk the living.
|
en
|
Madison Ghost Tour - US Ghost Adventures
|
https://usghostadventures.com/madison-ghost-tour/
|
The gorgeous lakes that surround Lake City act as a conduit for the dead, helping them taunt the living. Discover the heavy energy that engulfs Madison’s most haunted locations and the ghosts that emerge from the depths of the city’s dark underbelly.
They Come From the Lake
Madison is known for its outdoor beauty, serving as a place of tranquility and serenity for those looking to recharge their batteries with the help of Mother Nature. But the unsuspecting visitors are far from a place of peace. Lake Monona may be a sight to behold, but it’s also the site of some of the city’s most unusual and unexplained activities.
Take a spine-chilling stroll to Monona Terrace Community Center, where you’ll hear unbelievable tales that will keep you looking over your shoulder, just like the locals. The rise of terror began when the graves of Ho-Chunk tribe members were destroyed in the building of Madison – a horrific act that continues to this day. The nonstop disturbances of the dead now create nonstop disturbances for the living.
For years, those who live close to the lake claim to experience constant unexplained activity, including moving and shaking furniture, odd noises, and the sight of floating orbs. Several people have claimed to have seen the apparition of a Native boy and his pony walking along the Seminole highway, hearing the distinct sound of the pony’s hooves. And it only gets more sinister from here.
Reports of a large, nightmarish creature with blazing eyes and a large jaw have been a staple since 1892. And then there is the case of the lake’s UFO. In the 70s, a couple was attacked by an oval-shaped craft one evening while on their boat. At the same time this occurred, four women near Bridge Road saw the same object hovering overhead. Its origin remains unknown, but the fear it evoked is still felt to this day.
In Madison, there’s no end to the otherworldly sightings you might experience on any given night. The strange and the unexplained don’t take a night off here in Madison. And tonight, you might just experience them yourself. Welcome to Madison Ghosts.
What Will I See?
Visit Madison’s Most Haunted Locations, Including:
Majestic Theater – One of a few theaters where the living aren’t the only ones that put on a show. Built in 1906, the Majestic Theater hosted some of the nation’s most famous acts, including Harry Houdini. But the good times wouldn’t last, and the theater would soon be filled with mischievous spirits that inhabit it to this day.
Great Dane Pub – A landmark brewery and restaurant today, the Great Dane Pub was once the site of the Fess Hotel, the longest-running family-owned business in the city. One could argue that the family still technically owns it since the original owner George Fess died here and is believed to still reside in his beloved hotel.
Tempest Oyster Bar – It’s a fun Friday night at your favorite neighborhood bar, that is until you discover it was once a funeral home that doubled as an apartment complex. And then you find out a former Heaven’s Gate member died in this very building. That’s exactly what you can expect from Tempest Oyster Bar.
A Hellish Gate to The Otherside
It’s not every day that a popular bar and grill’s backstory includes serving as a funeral parlor. But that’s the origin story of the Tempest Oyster Bar. Established in the early 1900s, Frautschi Funeral Home was the most successful in the city. This building once housed funeral parlors, embalming rooms, offices on the ground floors, and apartments for rent upstairs. 1997 however, would be the year that the building turned eerie.
Prepare to get the creeps as you hear the hair-raising details of the 40th member of the Heaven’s Gate cult who was found dead, hanging in the basement. His death was all but forgotten when the Tempest Oyster Bar opened in 2011. Since then, the dead have never been more alive than in this former funeral home.
Poltergeist-type activity has terrified staff members for years, spooking them with flying plates and a fire extinguisher launched in an employee’s direction. Doors open and close on their own, objects slide across tables, and, creepier than this, disembodied voices can be heard in the hallways and even inside the apartments. The Tempest is a great place to grab a drink and some good food; just be sure to be on your guard. You never know when the spirits might be feeling mischievous.
Eat, Drink, And Be Ghostly
Most patrons don’t think about the establishment they’re dining at to also be the place of someone’s final demise. In Madison, it’s a part of being a local. Walk with Madison Ghosts to the Draper Brothers Building, where the chophouse steaks are hot, and the otherworldly cold spots are chilly.
Constructed in 1867, the building has been home to numerous businesses, including a meat market, a dry cleaner, a rooming house, and a variety of restaurants. Today, a popular chophouse occupies the building, hoping to break the curse that has claimed so many other businesses. It could just be a string of bad luck. Or it could be the construction worker who died in the building during one of its renovations.
Experience a chill run down your spine when you uncover the sightings of his spirit by both employees and patrons. The construction worker’s apparition has been striking fear in those he appears to, as he’ll show himself at any given time. As you pass by this building, be sure to look up. He’s been known to stare out of the second-floor window.
Why is Madison so Haunted?
Phone Calls From The Great Beyond
The stunning aesthetics of Madison are enhanced by the well-preserved buildings of its ominous past. And though they may possess the same charm and history of their inception, they also harbor the entities that once frequented these old haunts. You’re about to embark on a journey to one of Madison’s most haunted buildings, the Great Dane Pub & Brewing Co.
Prior to becoming a hotspot for paranormal investigators, the building operated as the Fess Hotel, a place considered to be every man’s hotel that sheltered everyone from travelers to legislators. The hotel stayed in the family until 1972, but its original owner, George Fess, has remained since he died in the hotel in 1875.
Great Dane Pub & Brewing Company opened in 1994, and aside from its amazing brews, it is known for its numerous hauntings. Items eerily move around on their own with one incident, including the spine-chilling sight of pool cues falling from the rack, one by one. One employee claimed to have seen an apparition walking up the stairs before he completely vanished. Disembodied voices can be heard, and cold spots accompanied by a deep feeling of dread keep employees avoiding the storage room, appropriately called the “spooky room,” located in the basement.
But the real unexplained activity that gives the staff a daily dose of scare is the phone calls from nowhere. They began in 1973 when staff members would receive phone calls on the old hotel switchboard from rooms that were no longer hotel rooms. Even with the newest technology, the phantom phone calls continue to this day – and their origins are still believed to be from the other side.
Why Madison’s Past Continues to Be Resurrected
In most cities, theaters are the places you go to see your favorite acts. In Madison, they’re where the spirits run the show. Embark on a journey to the magnificent Majestic Theater, Madison’s oldest theater which is also one of the most haunted. Almost from its inception, the Majestic was subject to mysterious and eerie happenings.
In April 1912, the theater was set to show a film that featured the construction of the Titanic and its maiden voyage. However, the tragedy of the Titanic would alter their plans, and the macabre events would continue from there. One of the most horrific was that of a former performer who hung himself from the balcony.
Though it would undergo makeovers throughout the years, its reputation would continue to deteriorate. It would make a comeback in 2007, but the damage had been done; the spirits were the real owners of the theater. And these entities are unlike any that haunt Madison. Uncover the tale of the Putty Man, an entity that appears as a tall man with a rubber-like body that moves as though it’s boneless. Discover the popular theories of this creature, including the theory that it’s the spirit of a performer from the vaudeville days.
Just as ominous as the Putty Man is the waving ghost. Like a scene from a horror film, a former employee saw a shadowy figure on the balcony, waving at her. Believing it was an audience member, she asked it to leave, but the figure continued waving and disappeared before the employee could reach the balcony. She would soon discover that the waving entity had been busy making its presence known to other employees. So, be wary of who you wave back at when you’re walking with Madison Ghosts.
What’s So Special About a Madison Ghosts Tour?
See the Spookier Side of The Mad City – Madison Municipal Building
Madison Ghosts takes you to some of Madison’s oldest locations that helped establish the city and continue to play an integral role in its operation today. There is an endless amount of history in the building of Madison, but not all of it is as sunny as the city’s beautiful weather. Visit the Madison Municipal Building, home of Madison’s Post Office and Federal Courthouse, and some terrifying spirits.
Get a history lesson in the macabre and unveil the origins of this site. Learn more about the old jail where the only thing more terrifying than the prisoner’s crimes are the ghostly stories from the former prisoners themselves. Stories of prisoners witnessing phantom lights in front of their cells were passed down, adding a touch of fear to their punishments.
These stories and true accounts from Madison’s infamous Sanitorium Hill are just a few of the petrifying tales you’ll hear with Madison Ghosts.
A Once-in-a-Lifetime Experience That Will Haunt Your Memories
Madison is the type of city that offers a variety of events and reasons to visit. From its amazing craft beer and events such as Great Taste of the Midwest to worldwide competitions such as the No Bull CrossFit Games, Madison is known for its accommodating and inviting atmosphere, making it the perfect spot for these affairs. But the inviting nature of the city extends beyond the living.
Since 1926, the Orpheum Theater has been a beacon for the otherworldly. Join Madison Ghosts to see the city’s premier music venue, which is also the ghostly home for its former manager, an usher, and a popular projectionist who tragically lost their lives in the theater. Keep your eyes on the windows, as their spirits have been known to attract attention with their paralyzing poltergeist activity. You won’t soon forget what you’ll see and hear with Madison Ghosts.
Be a Part of a Growing Ghostly Community
From the stunning architecture and haunted stories of the Wisconsin State Capitol to the Old Jail that still imprisons the tortured souls of former prisoners, you’ll see and hear it all with Madison Ghosts. Here, you’re part of a growing community of those who want to lift up the veil of what’s possible and take a peek into the other side. Like you, they want to experience the otherworldly side of the city and learn about the unbelievable they know to be true. It’s all here with Madison Ghosts. Book your ghost tour today!
* This is a walking tour and we do not enter privately-owned buildings or private property *
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https://www.foxnews.com/us/otis-redding-iii-followed-father-music-dies-59
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en
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Otis Redding III, who followed father into music, dies at 59
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2023-04-19T15:30:31-04:00
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Otis Redding III, who followed his father into the music industry, died at the age of 59 after losing a battle with cancer. Redding was 3 years old when his father died in a 1967 plane crash
|
en
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//static.foxnews.com/static/orion/styles/img/fox-news/favicons/favicon.ico
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Fox News
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https://www.foxnews.com/us/otis-redding-iii-followed-father-music-dies-59
|
Singer and guitarist Otis Redding III, the son and namesake of the legendary 1960s soul singer, has died from cancer at age 59, his family said Wednesday.
Redding was just 3 years old when his father, Otis Redding, perished along with several band members in a plane crash on Dec. 10, 1967. More than a decade later, the younger Redding and his brother, Dexter, formed the funk band The Reddings, which recorded six albums in the 1980s.
"It is with heavy hearts that the family of Otis Redding III confirms that he lost his battle with cancer last evening," said his sister, Karla Redding-Andrews, in a statement posted on the Facebook page of the Otis Redding Foundation, the family's charity in Macon.
Though singles "Remote Control" and "Call The Law" by The Reddings made appearances on the Billboard music charts, the Redding brothers never matched their father's success. Redding continued playing and performing after the band recorded its final album in 1988.
He was once hired for a European tour as guitarist for soul singer Eddie Floyd, under whose guidance the younger Redding became comfortable performing "(Sittin' On) the Dock of the Bay" and other songs of his famous father.
RACHEL MCADAMS TURNED DOWN ‘IRON MAN,’ ‘CASINO ROYALE’ ROLES FOR THIS REASON
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"He said, `You can play guitar with me, but you’re going to have to sing a few of your dad’s songs,'" Redding recalled in a 2018 interview with WCSH-TV in Portland, Maine. "I was like, `Huh? I don’t sing,' you know. And he was like, `Well, you’re going to sing "Dock of the Bay" with me tonight.'"
Redding worked with his family's foundation to organize summer camps that teach children to play music, and served as board president for the local chapter of Meals on Wheels.
He continued to perform his father's songs for audiences large and small, according to his website, from appearing onstage at Carnegie Hall for a 2018 Otis Redding tribute concert to singing at weddings and private parties. Redding said he was grateful for the enduring legacy even if it overshadowed efforts to make music of his own.
"No matter how hard I try to do my own thing, you know, it’s like ... ‘sing one of your daddy’s songs,’" he told the Maine TV station. "So I go ahead and do what people want, and I live with it. But I’m not under any pressure and I don’t put myself mentally under any pressure to go begging for record deals."
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In Memory of Otis Redding and His Revolution
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[
"Jonathan Gould",
"Amanda Petrusich",
"Jason Heller",
"Kelefa Sanneh",
"Condé Nast"
] |
2017-12-10T05:00:00-05:00
|
Jonathan Gould writes about the life, music, and death of Otis Redding, the legendary African-American singer, songwriter, and record producer.
|
en
|
https://www.newyorker.com/verso/static/the-new-yorker/assets/favicon.ico
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The New Yorker
|
https://www.newyorker.com/culture/culture-desk/in-memory-of-otis-redding-and-his-revolution
|
Fifty years ago, on December 10, 1967, a private plane carrying Otis Redding and the members of his touring band stalled on its final approach to the municipal airport in Madison, Wisconsin, and crashed into the waters of Lake Monona, killing all but one of the eight people onboard. Though Redding was only twenty-six years old at the time of his death, he was regarded by growing numbers of black and white listeners in the United States and Europe as the most charismatic and beloved soul singer of his generation, the male counterpart to Aretha Franklin, whom he had recently endowed with the hit song “Respect.” In the preceding year, on the strength of his triumphant tours of Britain, France, and Scandinavia, his appearances at the Fillmore Auditorium in San Francisco, and his domineering performance at the Monterey Pop Festival, Redding had pushed beyond the commercial constraints of the so-called “Chitlin’ Circuit” of ghetto theatres and Southern night clubs. He was determined to become the first African-American artist to connect with the burgeoning audience for album rock that had transformed the world of popular music since the arrival of the Beatles in America, in 1964.
Redding’s success with this new, ostensibly hip, predominantly white audience had brought him to a turning point in his career. Thrilled with the results of a throat surgery that left his voice stronger and suppler than ever before, he resolved to scale back his relentless schedule of live performances in order to place a greater emphasis on recording, songwriting, and production. In the weeks before his death, he had written and recorded a spate of ambitious new songs. One of these, the contemplative ballad “(Sittin’ On) The Dock of the Bay,” became his self-written epitaph when it was released as a single, in January of 1968. A sombre overture to the year of the Tet Offensive, the assassinations of Dr. Martin Luther King, Jr., and Senator Robert Kennedy, and the election of Richard Nixon as President, the song went on to become the first posthumous No. 1 record in the history of the Billboard charts, selling more than two million copies and earning Redding the unequivocal “crossover” hit he had sought since his début on the Memphis-based label Stax, in 1962. To this day, according to the performance-rights organization BMI, “(Sittin’ On) The Dock of the Bay” remains one of the most frequently played (and streamed) recordings in the annals of American music.
In an age of pop culture replete with African-American superstars like Michael Jackson, Prince, Usher, Kanye West, and Jay-Z, it is hard for modern audiences to appreciate how revolutionary the self-presentations of soul singers like Otis Redding were when they first came on the scene. Prior to the mid-fifties, it had simply been taboo for a black man to perform in an overtly sexualized manner in front of a white audience in America. (Female black entertainers, by contrast, had been all but required to do so.) In the South, especially, the social psychology of the Jim Crow regime was founded on a paranoid fantasy of interracial rape that was institutionalized by the press and popular culture in the malignant stereotype of the “black brute,” which explicitly sexualized the threat posed by black men to white women and white supremacy. Born in Georgia in 1941, the same year as Emmett Till, Otis Redding grew up in a world where any “suggestive” behavior by a black male in the presence of whites was potentially suicidal.
This dire imperative began to change with the proliferation of black-oriented radio stations, in the nineteen-fifties, which enabled rhythm-and-blues singers like Fats Domino, Little Richard, and Ray Charles to sell large numbers of their records, sight unseen, to white teen-agers. Yet it was significant that these early black crossover stars were piano players, who performed behind keyboards, and whose sexuality was further qualified, in Domino’s case, by his corpulence; in Charles’s case, by his blindness; and, in Richard’s case, by the effeminacy that he deliberately played up as a way of neutering the threat of his outlandish stage presence. It was no accident that the one black crossover star of the nineteen-fifties who made no effort to qualify his sexuality, the guitarist Chuck Berry, was also the one black star to be arrested, convicted, and imprisoned, in 1960, on a trumped-up morals charge. By that time, a new contingent of black singers led by Sam Cooke and Jackie Wilson was making its mark on white listeners with a more polished style of self-presentation that became the model for Berry Gordy’s carefully choreographed Motown groups.
Otis Redding was something else again. When he came up, in 1962, he was a completely unschooled performer who stood stock still onstage as he sang the pining, courtly ballads that brought him his first success. Over time, however, as his repertoire broadened to include driving, up-tempo songs, Redding found a way to use his imposing size and presence as a foil for his heartfelt emotionality, eschewing the conventions of graceful stagecraft in favor of a raw physicality that earned him comparisons to athletes like the football star Jim Brown. Marching in place to keep pace with the beat, pumping his fists in the air, striding across stages with a long-legged gait that parodied his “down home” origins, Redding’s confident yet unaffected eroticism epitomized the African-American ideal of a “natural man.” White audiences of the time had never seen anything like it. The effect was so powerful that Bob Weir, of the Grateful Dead, said, of Redding’s performance at the Monterey Pop Festival, “I was pretty sure I’d seen God onstage.”
And then he was no more. Redding’s sudden death thrust him into the ranks of a mythic group of musical performers that included Bix Beiderbecke, Robert Johnson, Hank Williams, Charlie Parker, Buddy Holly, Patsy Cline, and Redding’s own favorite, Sam Cooke––artists whose careers ended not only before their time but in their absolute prime, when there was every reason to expect that their finest work was yet to come. (Eerily, within a few years, he would be joined in this company by two of his co-stars at Monterey, Jimi Hendrix and Janis Joplin.) Redding’s record labels, Stax and Atlantic, culled enough material from the unmixed and unfinished tracks he recorded in the fall of 1967 to release a series of singles and albums in the years ahead. Some of these records, such as the singles “Hard to Handle,” “I’ve Got Dreams to Remember” (co-written with his wife, Zelma), and “Love Man,” stood with his very best work. But, inevitably, they still only hinted at what might have been. The informality of the Stax studio had afforded Redding the freedom to function, uncredited, as the producer and arranger on the records he made there. There is no question that he would have continued in this vein, blazing a path that musical auteurs like Sly Stone, Marvin Gaye, and Stevie Wonder would follow with the self-produced albums that established them as mainstream pop stars, in the late nineteen-sixties and early seventies.
In 2007, forty years on, a panel of artists, critics, and music-business professionals assembled by Rolling Stone ranked Otis Redding eighth on a list of the “100 Greatest Singers of All Time.” This placed him in a constellation of talent that included his contemporaries Aretha Franklin, Ray Charles, Sam Cooke, Marvin Gaye, Stevie Wonder, and James Brown, who together represented the greatest generation of church-bred African-American singers in the history of popular music. What distinguished Redding in this august company was the heartbreaking brevity of his career. In his five short years as a professional entertainer, his incomparable voice and vocal persona established him as soul music’s foremost apostle of devotion, a singer who implored his listeners to “try a little tenderness” with a ferocity that defied the meaning of the word. His singular combination of strength and sensitivity, dignity and self-discipline, made him the musical embodiment of the “soul force” that Martin Luther King, Jr., extolled in his epic “I Have a Dream” speech as the African-American counterweight to generations of racist oppression. In the way he looked and the way he sang and the way he led his tragically unfinished life, this princely son of Georgia sharecroppers was a one-man repudiation of the depraved doctrine of “white supremacy,” whose dark vestiges still contaminate our world.
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FactBench
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2
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https://macon-newsroom.com/17320/news/local/macon-musician-otis-redding-iii-son-of-legendary-singer-dies-at-59/
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Macon musician Otis Redding III, son of legendary singer, dies at 59
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[
"Ida Adams",
"GPB News Staff"
] |
2023-04-20T13:00:14+00:00
|
Macon’s WMAZ reported that Otis Redding III died Tuesday at Atrium Health Navicent, according to Bibb County Coroner Leon Jones. He was 59 years old. His sister Karla Redding-Andrews released a statement on the Otis Redding Foundation Facebook page that said Redding died battling cancer. “It is with heavy hearts that the family of Otis Redding...
|
en
|
The Macon Newsroom
|
https://macon-newsroom.com/17320/news/local/macon-musician-otis-redding-iii-son-of-legendary-singer-dies-at-59/
|
Macon’s WMAZ reported that Otis Redding III died Tuesday at Atrium Health Navicent, according to Bibb County Coroner Leon Jones.
He was 59 years old.
His sister Karla Redding-Andrews released a statement on the Otis Redding Foundation Facebook page that said Redding died battling cancer.
“It is with heavy hearts that the family of Otis Redding III confirms that he lost his battle with cancer last evening at Atrium Health Navicent in Macon, Ga.,” she wrote. “Please keep our family in your prayers at this time and please respect our privacy as we consume this huge loss.”
Otis Redding III followed in his father Otis Redding Jr.’s footsteps as a singer, songwriter and guitarist, and he performed with his brothers as The Reddings.
The group included Otis III on guitar, his brother Dexter on bass and vocals and singer/drummer Mark Lockett. The trio was signed to CBS Records and Polydor Records and released six albums in the 1980s.
Arrangements for Redding’s services “will be announced at a later date,” Redding-Andrews wrote.
—
|
|||||
wrong_mix_domainrange_death_00138
|
FactBench
|
2
| 16
|
https://www.independentmail.com/story/opinion/columnists/2017/12/10/remembering-otis-redding-and-family-50-years-after-his-untimely-death/931336001/
|
en
|
Remembering Otis Redding and family, 50 years after his untimely death
|
[] |
[] |
[] |
[
""
] | null |
[
"Ron Barnett, Independent Mail",
"Ron Barnett"
] |
2017-12-10T00:00:00
|
I was only 14 years old when Otis Redding died 50 years ago today and never met him, but I played in a band that his widow, Zelma, managed back in the '70s.
|
en
|
Anderson Independent Mail
|
https://www.independentmail.com/story/opinion/columnists/2017/12/10/remembering-otis-redding-and-family-50-years-after-his-untimely-death/931336001/
|
Fifty years ago today, a small plane carrying the great soul singer Otis Redding crashed in a lake near Madison, Wisconsin, the town where I was born, killing him and all but one of his band members.
I was only 14 years old at the time (and living in Clemson) and I never met Otis, but I played in an an R&B band in Macon, Georgia, called the Underground Railroad that his widow, Zelma, managed back in 1975 and 76.
The band consisted of me – a skinny, curly-headed white boy from South Carolina – a trumpet player from Macon who had a red Afro; a bass player from Sarasota, Florida, who looked like Jesus; and four African American guys who had defected from the bands of James Brown and Bobby Womack to seek their own fame and fortune.
Zelma had us set up to record an album, and we figured we were on our way to glory.
But egos got in the way. Half of the guys wanted to do disco – which was the hot new thing at the time. The other half, of which I was a part, wanted to do jazz-funk fusion.
The arguments got out of hand and Zelma eventually got frustrated and gave up on the idea. So we found ourselves playing backup for her other artists, such as Clarence Carter and Percy Sledge.
Zelma ran a record shop and owned a club downtown. She had a couple of sons – one named Dexter, about 17 at the time, who played bass, and the other, a boy of about 12 who everybody just called "Junior."
Junior aspired to be a guitar player, and he was getting pretty good at it. Every time I visited the record shop, he was playing his guitar. He used to like to watch me play, too, when we practiced at his mom's club. He would ask me questions about the chords I played. He was a really smart and an incredibly sincere and humble kid.
I think Junior still missed his daddy a lot, even though he had been very young when he died. I know his mother did.
Zelma was a strong-willed woman who wore huge earrings, spoke in the gravely voice of a well-seasoned blues singer and smoked an endless chain of cigarettes. But she would get teary-eyed whenever the subject of her late husband came up. There was a big hole in her life, and in Junior's. Dexter's too, I imagine, although I never got to know him very well.
The Underground Railroad eventually broke up, as bands do, without fulfilling its dream of fame and fortune. Dexter and Junior went on to put together their own band, and they recorded some albums, too, but I lost track of them.
Through the wonder of the Internet, I have found videos of them, and they're both still playing music – some of which is their daddy's music, too. He would be proud. Actually, he was a "Junior" himself, which makes the "Junior" I knew Otis Redding III.
Big O. continues to have a huge influence on music and on the lives of those who knew him. And I'll never forget my time around Ms. Zelma and the Little O.
Celebrate Otis Redding's life this weekend by cranking up some of his music … and watching the tide roll away.
|
|||||
wrong_mix_domainrange_death_00138
|
FactBench
|
2
| 41
|
https://uproxx.com/music/otis-redding-50th-anniversary-plane-crash-death/
|
en
|
Otis Redding: Remembering His Life 50 Years After His Death
|
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[
"hip-hop",
"home page",
"music",
"airplane crash",
"lake monona",
"otis redding",
"sitting on the dock of the bay",
"wisconsin"
] | null |
[
"Corbin Reiff",
"Derrick Rossignol",
"Aaron Williams",
"Megan Armstrong",
"Corbin Reiff Music Contributor"
] |
2017-12-08T10:21:26-05:00
|
Looking back on the life of a soul legend who left far too early.
|
en
|
UPROXX
|
https://uproxx.com/music/otis-redding-50th-anniversary-plane-crash-death/
|
Lake Monona is a wide, flat expanse of open water. Ringed by lush trees, quaint homes, and the Wisconsin state capitol building, at the moment you’re standing on its shores, listening to the gentle waves lap against rock and sod, it can feel like the most idyllic place on the planet. That ethereal tranquility was shattered on December 10, 1967 on a cold and foggy afternoon when a Beechcraft 18 cracked the lake’s gentle surface and quickly submerged into its murky depths. Seven of the eight passengers aboard the plane were killed, including one of the greatest soul singers the world has ever known.
Otis Redding was only 26 years old when his life was cut tragically short. Given that truncated span however, he used his God-given talents to craft a legacy that would span generations. As a singer, he could alternate from tender vulnerability to raging, volcanic fury on a dime, expressing through his voice nearly every shade of the human condition. As a showman, there was hardly anyone this side of James Brown capable of matching his flashy, eye-popping histrionics. And as a songwriter, his compositions, though seemingly simple at first glance, contained multitudes that continue to reverberate through car speakers and hi-fi units around the globe.
The loss of Otis was especially cruel considering what could have been, had he remained amongst the land of the living. Over the course of 1967, his skills and acumen as a songwriter had not only sharpened, but deepened. So had his powers as an entertainer. The pinnacle of his career came in June when he was booked to appear at the Monterey Pop Festival, just a two-hour long drive south of San Francisco. Included among a bill that featured The Who, Jimi Hendrix, Janis Joplin, and almost every other up-and-coming name in the counter-culture rock scene, Otis damn-near stole the entire show. Backed by Booker T & The M.G.’s, the de facto house band at Stax Records, the soul singer hit the stage just after 1 AM, just as the clouds opened up and sprinkled light droplets of water on the heads of those gathered before him.
Beginning with his nitrous oxide-fueled take on Sam Cooke’s “Shake,” the be-suited singer gave the worn-down crowd the exact kick they needed. He stomped, he shimmied, he sang with a fire and passion that defied both logic and reason, bringing a little bit of Georgia countryside to the shores of the Pacific Ocean. “This is the love crowd right?” Otis asked the homegrown hippies gaping at him down below. “We all love each other, don’t we? Am I right?” They certainly loved him. Bob Weir of the Grateful Dead later remarked that watching Otis that night made him feel like he had “seen God onstage.”
At Monterey and beyond, Otis sensed a change in the atmosphere and was determined to change with it. In October, he underwent surgery to repair his vocal cords. For two weeks, he couldn’t speak, much less sing. While convalescing, he decided to grow out a beard to the bewilderment of his wife. Once he was finally able to regain the use of his instrument, she demanded that he shave it off, but he refused. As she recounted in Jonathan Gould’s expansive biography Otis Redding: An Unfinished Life, “He said, ‘When I go back out it’s going to be the new Otis Redding. I’ve got to change my style now. People are tired of hearing me plead and beg. I’ve got to be different. I’m gonna be new.’”
The impact of The Beatles’ magisterial Sgt. Pepper’s Lonely Heart’s Club Band was felt by everyone in that so-called “Summer Of Love” but few internalized it to the degree of Otis. While many gawked at the Fab Four’s brilliant, psychedelic textures, Redding was busy parsing the infrastructure. Taking a cue from John Lennon who sat down and lifted mundane sections from a newspaper to create his opus “A Day In The Life,” Otis decided to have a look around himself. While staying in Sausalito that August after a gig at the Fillmore, he gazed out at the “Frisco Bay” and penned what he saw. He studied the ships as they rolled in, then rolled out. He noted the tides. He felt the weariness in his bones as he thought back to his home in Macon.
When he returned to Stax Studios in Memphis in November, he brought his observations to the guitarist Steve Cropper who helped him put it together in a new song called “(Sittin’ On) The Dock Of The Bay.” They recorded it over three takes on December 7. Already an incredible piece of music, the song took on an extra added dimension when it dropped less than a month after his death. Its tender melodies, whistle-solo and seagull squawks, not to mention the rather dark line where he sings about having “nothing to live for” struck a chord with his audience still trying to come to grips with his absence.
The three weeks he spent in Memphis before taking off for a run of live shows in the Midwest were maybe the most fruitful period of songwriting and recording he enjoyed throughout his entire career. In addition to “(Sittin’ On) The Dock Of The Bay” he also cooked up a bevy of additional material, the majority of which would make its way onto the posthumous release The Immortal Otis Redding that hit the following year. Otis was clearly excited about the future, and incredibly grateful that his voice hadn’t left him in the wake of his procedure. “We just couldn’t record enough,” Cropper recalled. “When the band would leave at night, we’d break and go have a little dinner somewhere, and come back to the studio and start recording.”
On December 8, Otis swung by Stax Studios to check in on Cropper, then boarded his plane to make it to a well-received gig in Nashville. The next night, he and his band the Bar-Kays performed at 700-seat club called Leo’s Casino in Cleveland, taking over for The Temptations who had played the same venue the previous evening. At noon that Sunday, December 10, Otis and the rest of his band met up with the pilot Dick Fraser at the airport, and took off to make it to the gig at a venue called The Factory in Madison. Otis sat up front in the co-pilot chair.
Visibility was terrible that day. Fraser couldn’t see the ground below him because of a thick fog of clouds that obscured his view. He was forced to rely on his instruments to guide the way, and set the plane on autopilot, which caused it to follow a series of radio signals toward Dane County Municipal Airport. Sometime around 3:30 PM, the plane made its final approach and Fraser lowered the landing wheels. A few moments later, the plane suddenly stalled, and before it could soar over downtown, dipped nose-first into Lake Monona. Otis was immediately knocked unconscious by the force of impact, and was unable to escape his seat. His body was recovered by divers the very next day.
A few months back, I had occasion to visit Madison. While I was in town, I pulled my car into BB Clarke Beach Park, got out, and strolled along some of the lake’s shoreline. There was a boat launch not too far from where I parked, and I couldn’t resist the temptation to walk its weathered planks and have a seat. Sitting there, gazing out at the massive, opal expanse, my mind turned to Otis. I didn’t consider his final moments just then, but thought about the electric performer and the gentle soul. I thought about what might’ve been. As the sunlight refracted off the water, and ducks glided by, I took my phone out of my pocket and hit play on “(Sittin’ On) The Dock Of The Bay” letting Otis’s voice mingle with the wind, and the birds, and the waves. Just wasting time.
|
|||||
wrong_mix_domainrange_death_00138
|
FactBench
|
2
| 57
|
https://www.tiktok.com/%40iam4ranny72/video/7280356700681489706
|
en
|
Make Your Day
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
en
| null | ||||||||
wrong_mix_domainrange_death_00138
|
FactBench
|
1
| 1
|
https://www.history.com/this-day-in-history/soul-legend-otis-redding-dies-in-a-plane-crash-near-madison-wisconsin
|
en
|
Soul legend Otis Redding dies in a plane crash near Madison, Wisconsin
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] |
[] |
[] |
[
""
] | null |
[
"Missy Sullivan"
] |
2009-11-16T09:44:00+00:00
|
When he left his final recording session in Memphis, Otis Redding intended to return soon to the song he’d been working on—he still had to replace a whistled verse thrown in as a placeholder with additional lyrics that he’d yet to write. In the meantime, however, there was a television appearance to make in Cleveland, […]
|
en
|
HISTORY
|
https://www.history.com/this-day-in-history/soul-legend-otis-redding-dies-in-a-plane-crash-near-madison-wisconsin
|
When he left his final recording session in Memphis, Otis Redding intended to return soon to the song he’d been working on—he still had to replace a whistled verse thrown in as a placeholder with additional lyrics that he’d yet to write. In the meantime, however, there was a television appearance to make in Cleveland, followed by a concert in Madison, Wisconsin. On its final approach to Madison on December 10, 1967, however, the private plane carrying soul-music legend Otis Redding would crash into the frigid waters of a small lake three miles short of the runway, killing seven of the eight men aboard, including Redding. “Sittin’ On The Dock Of The Bay” would be released in its “unfinished” form several weeks later, with Redding’s whistled verse a seemingly indispensable part of the now-classic record. It would soon become history’s first posthumous #1 hit and the biggest pop hit of Redding’s career.
In the six months leading up to his death, Otis Redding had gone from one great success to another. In June, Aretha Franklin had taken a cover version of his song “Respect” all the way to #1 on the pop charts. Later that same month, the adulation of the young audience of rock fans at the Monterey International Pop Festival had transformed him into an icon of the blossoming counterculture thanks to his blistering, now-legendary live performance there. But if Otis Redding was only beginning to gain momentum within the largely white mainstream in 1967, he was already a giant in the world of soul music.
|
|||||
wrong_mix_domainrange_death_00138
|
FactBench
|
2
| 98
|
https://www.wbtv.com/2023/04/19/otis-redding-iii-who-followed-father-into-music-dies-59/
|
en
|
Otis Redding III, who followed father into music, dies at 59
|
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[] |
[] |
[
"Otis Redding III",
"Otis Redding",
"Redding family",
"Dexter Redding",
"The Reddings"
] | null |
[
"Associated Press"
] |
2023-04-19T00:00:00
|
Otis Redding III and his brother, Dexter, formed the funk band The Reddings, which recorded six albums in the 1980s.
|
en
|
//webpubcontent.gray.tv/gray/arc-fusion-assets/images/favicons/wbtv/favicon.ico?d=420
|
https://www.wbtv.com
|
https://www.wbtv.com/2023/04/19/otis-redding-iii-who-followed-father-into-music-dies-59/
|
MACON, Ga. (AP) — Singer and guitarist Otis Redding III, the son and namesake of the legendary 1960s soul singer, has died from cancer at age 59, his family said Wednesday.
Redding was just 3 years old when his father, Otis Redding, perished along with several band members in a plane crash on Dec. 10, 1967. More than a decade later, the younger Redding and his brother, Dexter, formed the funk band The Reddings, which recorded six albums in the 1980s.
“It is with heavy hearts that the family of Otis Redding III confirms that he lost his battle with cancer last evening,” said his sister, Karla Redding-Andrews, in a statement posted on the Facebook page of the Otis Redding Foundation, the family’s charity in Macon.
Though singles “Remote Control” and “Call The Law” by The Reddings made appearances on the Billboard music charts, the Redding brothers never matched their father’s success. Redding continued playing and performing after the band recorded its final album in 1988.
He was once hired for a European tour as guitarist for soul singer Eddie Floyd, under whose guidance the younger Redding became comfortable performing “(Sittin’ On) the Dock of the Bay” and other songs of his famous father.
“He said, `You can play guitar with me, but you’re going to have to sing a few of your dad’s songs,’” Redding recalled in a 2018 interview with WCSH-TV in Portland, Maine. “I was like, `Huh? I don’t sing,’ you know. And he was like, `Well, you’re going to sing “Dock of the Bay” with me tonight.’”
Redding worked with his family’s foundation to organize summer camps that teach children to play music, and served as board president for the local chapter of Meals on Wheels.
He continued to perform his father’s songs for audiences large and small, according to his website, from appearing onstage at Carnegie Hall for a 2018 Otis Redding tribute concert to singing at weddings and private parties. Redding said he was grateful for the enduring legacy even if it overshadowed efforts to make music of his own.
“No matter how hard I try to do my own thing, you know, it’s like ... ‘sing one of your daddy’s songs,’” he told the Maine TV station. “So I go ahead and do what people want, and I live with it. But I’m not under any pressure and I don’t put myself mentally under any pressure to go begging for record deals.”
|
||||
wrong_mix_domainrange_death_00138
|
FactBench
|
3
| 83
|
https://www.wbls.com/news/otis-redding-iii-son-of-legendary-soul-artist-diest-at-59/
|
en
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Otis Redding III, Son of Legendary Soul Artist, Dies At 59
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2023-04-21T15:26:43+00:00
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Otis Redding III, son of legendary soul artist Otis Redding, has passed away at 59 due to cancer according to the family.
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en
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WBLS
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https://www.wbls.com/news/otis-redding-iii-son-of-legendary-soul-artist-diest-at-59/
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Otis Redding III, the son of rock and soul sensation, Otis Redding, passed away on Tuesday due to complications with cancer.
Redding’s death was announced in a statement shared Wednesday by his sister, Karla Redding-Andrews.
“It is with heavy hearts that the family of Otis Redding III confirms that he lost his battle with cancer last evening at Atrium Health Navicent in Macon, Ga. Otis was 59 years old,” she wrote. “Please keep our family in your prayers at this time and please respect our privacy as we consume this huge loss. Arrangements will be announced at a later date.”
Redding III was only three years old when his father died with several band members in a plane crash on Dec. 10, 1967.
Following in his dad’s large footsteps, Redding III, along with brother Dexter and cousin Mark Lockett founded the soul band, The Reddings. The band peaked in the 1980s, releasing a total of six albums, notable for hits such as, “Remote Control,” and “Funkin on the One.” While the group made appearances on the Billboard charts, they were unable to gain the same success as their father.
Redding III later became heavily involved in his family’s charitable foundation, The “Otis Redding Foundation.” In addition to his sister Karla Redding-Andrews, he is survived by sister Demetria Redding and brother Dexter Redding.
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FactBench
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1
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https://www.kxxv.com/otis-redding-iii-son-of-the-king-of-soul-dies-at-59
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en
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Otis Redding III, son of the King of Soul, dies at 59
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2023-04-19T15:11:53-05:00
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Despite being overshadowed by his father's legacy, Redding III was a talented musician in his own right, and his music was a testament to his father.
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en
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/apple-touch-icon.png
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25 News KXXV and KRHD
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https://scrippsnews.com/stories/otis-redding-iii-son-of-the-king-of-soul-dies-at-59/
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Otis Redding III, son of the legendary soul singer Otis Redding, died at 59 after a battle with cancer, his sister announced Wednesday on social media.
Born on Dec. 17, 1964, in Macon, Georgia, Otis was just three years old when his father died in a plane crash, but that didn't stop him from inheriting his father's love for music.
By the age of nine, Redding played guitar in the band Father's Pride and started working at a local record store two years later.
In 1975, the youngest Redding and his older brother, Dexter, created a new funk band called The Reddings and went on to release six records throughout the 1980s. Their biggest hit, "Remote Control," landed them on the Billboard Hot 100 chart and peaked at #6 on the Soul chart, but their music never matched the success of their father's.
Redding continued to perform and later was hired as a guitarist for soul singer Eddie Floyd, who encouraged him to start singing his father's songs.
“No matter how hard I try to do my own thing, you know, it’s like ... sing one of your daddy’s songs,” Redding said in a 2018 interview with WCSH-TV. "So I go ahead and do what people want, and I live with it. But I’m not under any pressure and I don’t put myself mentally under any pressure to go begging for record deals."
Despite being overshadowed by his father's legacy, Redding III was a talented musician in his own right, and his music was a testament to his father and the impact he had on the world of music.
He was also actively involved in his family's philanthropic organization, The Otis Redding Foundation, and participated in an annual camp dedicated to mentoring children with musical aspirations.
The Redding family has requested the public respect their privacy during this difficult time. Funeral arrangements have not yet been announced.
Trending stories at Scrippsnews.com
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wrong_mix_domainrange_death_00138
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FactBench
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2
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https://dekerivers.wordpress.com/2018/12/10/remembering-otis-redding-on-december-10th/
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en
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Remembering Otis Redding On December 10th
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2018-12-10T00:00:00
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Living less than 70 of my footsteps to the shoreline of Lake Monona means December 10th is always noted. In 1967 Otis Redding was killed in a plane crash on Lake Monona, the 'lake of the rising sun'. The plane carrying Redding and his band crashed into icy waters near Madison. Just four miles from…
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en
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CAFFEINATED POLITICS
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https://dekerivers.wordpress.com/2018/12/10/remembering-otis-redding-on-december-10th/
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Living less than 70 of my footsteps to the shoreline of Lake Monona means December 10th is always noted.
In 1967 Otis Redding was killed in a plane crash on Lake Monona, the ‘lake of the rising sun’. The plane carrying Redding and his band crashed into icy waters near Madison. Just four miles from their destination at Madison’s Truax Field.
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