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National Medal of Arts 7/22/92 [OA 7577]
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National Medal of Arts 7/22/92 [OA 7577]
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This is not a textual record. This is used as an
administrative marker by the George Bush Presidential
Library Staff.
Record Group/Collection:
George H.W. Bush Presidential Records
Collection/Office of Origin:
Speechwriting, White House Office of
Series:
Speech File Backup Files
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Chron File, 1989-1993
OA/ID Number:
13822
Folder ID Number:
13822-007
Folder Title:
National Medal of Arts 7/22/92 [OA 7577]
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26
22
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THE WHITE HOUSE
Office of the Press Secretary
For Immediate Release
July 22, 1992
The President today awarded the National Medal of Arts to the
following individuals. The texts of the accompanying citations
read as follows:
Marilyn Horne
"For the genius of a brilliant career which has shaped this
country's view of music. American-born and -trained, she
embodies opera at its grandest, bringing composers such as
Rossini and Handel to audiences throughout the world."
Allan Houser
"For the eloquence of sculpture that echoes the heritage of
proud Chiricahua Apaches and speaks for all Americans. His
hands have captured the true meaning of this country's unbroken
spirit, and his vision has enriched this land. "
James Earl Jones
"For the richness of a distinguished career capturing the power
of dreams. With fierce integrity he brings to life roles that
explore man's quest for dignity and purpose, encouraging his
audience also to look deep within themselves."
Minnie Pearl
"For the sheer American vitality of her exuberant wit and
wisdom. Aided by Sarah Cannon, for a half century this
irrepressible national treasure has radiated her delight in
being alive, being American, and being country."
Robert Saudek
"For his pioneering work in cultural programming through shows
like "Omnibus," which brought arts of quality to all Americans
and for his passionate stewardship of television's legacy
through the Museum of Broadcasting."
Earl E. Scruggs
"For bringing joy to the American people by launching the
"bluegrass revolution." The path of this country-picking banjo
virtuoso has led from Nashville to Carnegie Hall, a fast and
furious "Foggy Mountain Breakdown" journey."
Robert Shaw
"For his vision of choral musical excellence which enriches this
Nation. He set new standards of performance and beauty, always
guided by his deep sense of religious devotion and strong
commitment to the music and its people."
more
(OVER)
2
Billy Taylor
"For his world-class jazz artistry, which so many have
experienced both live and through radio and television; his
frequent service as an ambassador for American arts abroad; and
his tireless advocacy of richer cultural opportunities for every
American."
Robert Venturi
"For his unique declaration of independence that created
Post-Modernism and for the breadth of originality of his
theories and work that weave clarity and contradiction,
led a generation of architects, and profoundly shape our
architectural landscape."
Denise Scott Brown
"For her insights into urban planning which have shaped our
understanding of the built landscape and her commitment to the
teaching of architecture and design, which have helped American
architects and designers to transcend the limits of modernism."
Robert Wise
"For the richness of a lifetime devoted to cinematic
excellence, touching the imagination and hearts of Americans
with motion pictures like "The Sound of Music" and "I Want
to Live, " broadening our understanding of the world through
entertainment."
AT & T Foundation
"For trailblazing the path of corporate sponsorship for the arts
through its support for innovative projects across this Nation,
ranging from tours by dance companies and ethnic artists to
original drama and music composition."
Lila Wallace-Reader's Digest Fund
"For their commitment to enhancing culture across this land by
aiding American performing, visual, and literary artists who
have a dream and for their vision for the future, symbolized by
generously funding arts education."
# # #
MEDIA CONTACTS - 1992 NATIONAL MEDAL OF ARTS RECIPIENTS
MARILYN HORNE
Larry Tucker
Opera Singer
212/841-9504
JAMES EARL JONES
Dale Olsen/David Lust
Actor
213/657-6681
ALLAN HOUSER
Glenn Green
Sculptor
505/988-4168
MINNIE PEARL/Sarah Cannon (Mrs. Henry) Marion Howard
Grand Ole Opry Performer
615/383-1906
ROBERT SAUDEK
Robert Saudek
Television Producer/Founding
207/633-3877
Director, Museum of Broadcasting202/965-0009
EARL SCRUGGS
Earl Scruggs
Banjo Player
615/868-3140
615/865-8907
ROBERT SHAW
Steven Tunnell
Orchestra Conductor/Choral Director404/898-9289
BILLY TAYLOR (Dr.)
Billy Taylor
Musician/Jazz Pianist
212/884-4613
ROBERT VENTURI
Susan Scanlon
DENISE SCOTT BROWN
215/487-0400
Architects
ROBERT WISE
Charlotte Sutterlin
Film Producer/Director
310/284-7932
AT&T
Sam Groner
Robert Allen/Chairman & CEO
212/841-4652
Corporate Patron
LILA WALLACE-READER'S DIGEST FUNDBruce Trachtenberg
George Grune/Chairman
212/953-1208
Corporate Patron
BIOGRAPHIES OF 1992 NATIONAL MEDAL OF THE ARTS RECIPIENTS
MARILYN HORNE, the leading exponent of the florid vocal style in
opera, is one of the most renowned mezzo-soprano performers. She
was born in Bradford, Pennsylvania, and began her career dubbing
songs for films in Hollywood. Soon, however, her true talent for
opera led to her debut with the Los Angeles Guild Opera in The
Bartered Bride.
Ms. Horne made her La Scala debut with Oedipus Rex in 1969; a
year later, she debuted at the Metropolitan Opera in New York as
Adalgisa in Norma. Numerous other roles at the Met led to
critical acclaim, including Rosina in Barber of Seville and
Cleonte in The Siege of Corinth. Ms. Horne has also graced the
stage of the Chicago Lyric Opera and the San Francisco Opera.
Other appearances include the Venice Festival by invitation of
Igor Stravinsky and the American Opera Society in New York City
for several seasons. Audiences in Vancouver, Paris, Dallas,
Houston, and at Covent Gardens in London have enjoyed her
beautiful voice, and she has also given recitals in Madrid,
Dresden, and East Berlin.
Honorary degrees from the University of Southern California,
Rutgers University, and St. Peters College testify to her skill
as a musician. Recordings of some of her most beautiful works
have been made for London, Columbia, and RCA records.
ALLAN HOUSER, a Native American sculptor and painter, was born in
Apache, Oklahoma in 1914. His early studies began at the
Chilocco Indian School in Oklahoma, and he went on to special
studies with Dorothy Dunn at the Santa Fe Indian School in New
Mexico, and further studies at Utah State University and St.
Michael's College in New Mexico.
Mr. Houser's years of study paid dividends as he served as an
instructor in art at the Intermountain Indian School in Brigham
city, Utah and later as the Head of the Department of Sculpture
at the Institute of American Indian Arts in Santa Fe. Besides
teaching, Mr. Houser has exhibited widely. In 1953, he was
included in an exhibition of American Indian Painters at the
National Gallery of Art. Among the other exhibition sites have
been the Art Institute of Chicago and the Sacred Circles Art
Exhibition in Kansas City.
As his reputation as an artist grew, Mr. Houser received numerous
commissions. He has painted murals for the Department of the
Interior in Washington and created dioramas for the Southern
Plains Indian Museum in Anadarko, Oklahoma. Among his many
honors are the Gold Medal in Bronze, Silver Medal in Stone, and
Silver Medal in Other Metal from the Heard Museum Sculpture Show
in 1973. His sculpture and paintings are included in numerous
private and public
- 2 -
collections worldwide including the U.S. Mission to the United
Nations, the Smithsonian Institution, the White House, the
British Royal Collection, the State Capitol of Oklahoma, the
Pompidou Museum in Paris and the Dahlem Museum in Berlin.
JAMES EARL JONES, stage and film actor, was born in Tate County,
Mississippi in 1931. He received a B.A. from the University of
Michigan in 1953 and a diploma from the American Theater Wing in
1957. His training in theater led to scores of roles on stage
and screen.
Mr. Jones' stage credits range from the classical to
contemporary. He has appeared in dozens of Shakespearian
productions, including numerous performances in Othello. In
1969, he received a Tony Award for best actor for his performance
in The Great White Hope. His other Tony award performance was
for Fences which ran on Broadway from 1985-87.
As a film actor, Mr. Jones has delighted audiences since 1963
when he appeared in Dr. Strangelove. Among his many memorable
films are: Bingo Long Traveling All-Stars and Motor Kings (1976) i
Field of Dreams (1989) i and The Hunt for Red October (1989)
Many of his fans recognize Mr. Jones as the voice of Darth Vader
in all three movies in the Star Wars trilogy.
On television, Mr. Jones has made his presence known through
roles in a score of movies, including Roots: The Next
Generation.
He has narrated a number of films as well and starred in several
television series. In 1976, he won a Grammy Award for recording,
and in 1985, he received an Emmy for his performance in the
children's program Soldier Boys.
EARL SCRUGGS was born in Cleveland County, North Carolina in
1924, and his country background and heritage prepared him well
for his long career in music. A remarkable banjo player, he has
been performing since 1945.
His major performances include Carnegie Hall, the Wembley
Festival in London, and the Washington Moratorium for Peace in
1969. With his partner Lester Flatt and the Foggy Mountain Boys,
Earl Scruggs was at the forefront of the bluegrass revolution
that swept the country in the '50s and '60s. Mr. Scruggs began
recording with Columbia Records in 1950, and his albums include:
Nashvilles Rock, Dueling Banjos, and others. He recorded the
familiar theme song for the television show The Beverly
Hillbillies in 1962 and made guest appearances on the show.
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- 3 -
In 1968, Mr. Scruggs received a Grammy Award for the instrumental
"Foggy Mountain Breakdown." Among his many other honors include
Artist of the Year, Hi-Fi Institute in 1975, the Best Country and
Bluegrass Banjoist, Frets Magazine in 1980, and the Country Music
Award for best instrumentalist group for the Earl Scruggs Review
in 1985. He was inducted into the Country Music Association Hall
of Fame in 1985, and in 1989, Mr. Scruggs was awarded the
National Heritage Award from the Folk Arts Program of the
National Endowment for the Arts.
MINNIE PEARL was born Sarah Ophelia Colley in Centerville,
Tennessee in 1912. From these roots, she fashioned a character,
Minnie Pearl, and a place, Grinder's Gulch, which have lived
through her long career as a performer with the Grand Old Opry.
After directing a series of amateur plays in Atlanta and the
surrounding areas, Ms. Pearl debuted on the stage of Nashville's
Grand Old Opry and on the WSM radio program which broadcast its
productions in 1940. She was an early favorite of the crowds
there and with audiences nationwide for her downhome storytelling
and comedy. An even larger audience enjoyed her performances on
television where she made numerous appearances, including A
Country Christmas, Hee Haw, and Johnny Cash and the Country
Girls.
She has recorded several albums of her act, and her wit and
wisdom are captured in such works as Story of Country Music,
Minnie Pearl at the Party, and Answer to Giddyup and Go. She has
made millions laugh and reminds us still of a kinder, gentler and
simpler time with tales of the Tennessee mountains.
Ms. Pearl received the Woman of the Year Award from Billboard
magazine and the 1987 Roy Acuff Community Service Award from the
Country Music Foundation. Together with her husband, Mr. Henry
Cannon, she is very active in many charitable works. She was
named to the Country Music Hall of Fame in 1972, and in 1987, she
received the Pioneer Award from the Academy of Country Music.
ROBERT SAUDEK, film and television producer and museum director,
was born in Pittsburgh in 1911. In 1932, he received his A.B.
from Harvard University and later did graduate work at Duquesne
University in Pittsburgh. As a young man, Mr. Saudek began his
career as a junior executive at NBC-TV in New York City from 1938
through 1942. Mr. Saudek went to ABC in 1942 where he served as
vice president until 1951.
In 1952, with the TV Workshop at the Ford Foundation, Mr. Saudek
launched the wonderful television series Omnibus which ran until
- over -
- 4 -
1961. He also produced Leonard Bernstein and the New York
Philharmonic from 1958 through 1964 and Profiles in Courage in
1964 among other programs dealing with culture and history. For
his work in television, Mr. Saudek received 11 Emmy Awards and
four Peabody Awards.
In addition to his seminal role in using television to its
capacity, Mr. Saudek has long been involved in preservation and
conservation. He directed the Museum of Broadcasting in New York
City from 1975 to 1981, and from 1983 to 1991, he was chief of
the motion picture and television division at the Library of
Congress. In these two vocations, he cast his saving vision back
along the fragile miles of film on which the history of this
century is spun. An Omnibus man for all seasons, Mr. Saudek has
added to and preserved the great media treasures of our cultural
memory.
DR. BILLY TAYLOR, renowned jazz pianist and educator, was born in
Greenville, North Carolina in 1921. He studied music at Virginia
State College, where he earned his degree in 1942. Soon Dr.
Taylor moved to New York where he began performing with such
luminaries as Dizzy Gillespie, Stuff Smith, Cozy Cole, Don
Redman, and Charlie Parker.
In 1951, Dr. Taylor became the house pianist at Birdland, where
he worked with more jazz greats, such as Roy Eldridge and Oscar
Pettiford. The following year, he formed his own trio, and in
the 1950s, the Billy Taylor Trio featured such musicians as Ed
Thigpen and Earl May. At the end of the 60s, Dr. Taylor led a
jazz band for the "David Frost Show" and he was later the founder
and director of "Jazz Alive!" a popular national radio program.
In 1965, he established the Jazzmobile, a program to bring music
to the community, in New York. Since 1981, he has appeared on
CBS television, making regular appearances with Charles Kurault
on Sunday Morning.
Equal to his passion for performing has been his commitment to
education. In 1975, he earned a DME at the University of
Massachusetts, writing a dissertation there on jazz piano styles.
He published the definitive Jazz Piano: History and Development
in 1982. He is an articulate and respected spokesman for the
arts, and Dr. Taylor's work endures through a number of
compositions and recordings.
ROBERT SHAW, one of America's most renowned symphony orchestra
conductors, was born in Red Bluff, California in 1916. He earned
a BA from Pomona College in 1938, and began a career in teaching
and conducting. Mr. Shaw directed the Fred Waring Glee Clubs for
- more -
- 5 -
seven years, and was the founder and conductor of the Collegiate
Chorale from 1941 through 1960. In 1945, he began a three year
stint as director of choral music at the Julliard School of
Music.
In 1948, he founded the Robert Shaw Chorale which performed
around the world and recorded extensively. Under his baton, the
Chorale received numerous Grammy Awards for its classical
recordings, and by 1965, when he stepped down, the Robert Shaw
Chorale was considered by many to be America's finest. In
addition to leading
the Chorale, Mr. Shaw was conductor of the San Diego Symphony
Orchestra from 1953 through 1957, musical director of the Alaska
Festival from 1956 through 1975. He was associate conductor and
director of choruses with the Cleveland Orchestra from 1956
through 1967. From there he went on to lead the Atlanta Symphony
Orchestra from 1967 through 1988. He is currently music director
emeritus and conductor laureate of the Atlanta Symphony.
In addition to the Grammy Awards for his recordings with several
orchestras, Mr. Shaw has received numerous accolades for his
brilliant career. Over a dozen colleges and universities have
presented him with honorary degrees, the Gold Baton Award from
the American Symphony Orchestra League, and in 1990, the George
Peabody Medal for outstanding contributions to music in America.
ROBERT VENTURI was born in 1925 in Philadelphia, where he
continues to live and work as an architect and partner at
Venturi, Scott Brown and Associates.
After graduating summa cum laude from Princeton in 1947, Mr.
Venturi went on to earn his MFA in 1950. He joined the designer
firm of Oskar Stonorov, Eero Saarinen and Associates, where he
worked and learned for eight years. In 1958 he began his own
firm, Venturi, Cope and Lippincott. Over the years, he has had
several different partnerships; the most recent is his
partnership with Denise Scott Brown.
Mr. Venturi has taught at the University of Pennsylvania and Yale
University and is the co-author of Learning from Las Vegas and A
View from the Campidoglio (with Denise Scott Brown). His
principal design works include the Vanna Venturi House in
Philadelphia, the Humanities Building at the State University of
New York, Franklin Court in Philadelphia, and the addition to the
Allen Memorial Art Museum at Oberlin College. He has helped
design the Seattle Art Museum and the Sainsbury Wing of the
National Gallery in London as well as the Orchestra Hall in
Philadelphia.
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- 6 -
Mr. Venturi received the Rome Prize from the American Academy of
Rome in 1954, and numerous other honors, including American
Institute of Architecture Awards in 1974, 1977, and 1978.
DENISE SCOTT BROWN, architect and urban planner, was born in
Nkana, Zambia in 1931 and came to the United States in 1958. Ms.
Brown earned a diploma from the Architectural Association in
London in 1955 and a Master of City Planning from the University
of Pennsylvania in 1960.
Teaching design and architecture has been a major part of Ms.
Brown's career. She taught at the University of Pennsylvania
before becoming head of the Urban Design Program at UCLA in 1965.
Ms. Brown has been a visiting professor at the University of
California, Berkeley, Yale University, the Massachusetts
Institute of Technology, and Harvard University. Since 1980, she
has been a member of the advisory committee for the department of
architecture at Temple University.
In addition to her academic pursuits, Ms. Brown is a working
architect and has been a partner with Venturi, Scott Brown and
Associates since 1965. In 1972, she, Robert Venturi, and Steven
Izenour published the seminal study on urban design problems,
Learning from Las Vegas. Ms. Brown has also written numerous
important essays and articles on urban design problems, including
a 1990 book Urban Concepts and a 1985 collection of essays
entitled From the Campidoglio.
She is the recipient of numerous awards, citations, and
commendations for her work in design and urban planning. In 1987
she received the Chicago Architecture Award and the Order of
Merit from the Republic of Italy.
ROBERT WISE, film producer and director, was born in Winchester,
Indiana in 1914. He began his career at an early age in 1933
with the staff cutting department at RKO pictures, and later
became a sound cutter, assistant editor, and film editor. From
1943 through 1949, he worked as a Director with RKO, and later
went on to work at 20th Century Fox and MGM. In 1958, he began
his freelance career which continues to this day.
As a producer and director, Mr. Wise is responsible for many fine
films in the American movie cannon. In 1961, he received the
Academy Award (with Jerome Robbins) as Best Director for West
Side Story, and he received another Oscar for direction in 1965
for The Sound of Music. Other noteworthy selections from his
- 7 -
work include The Day the Earth Stood Still, Somebody Up There
Likes Me, The Sand Pebbles, The Andromeda Strain, and Star Trek -
The Motion Picture.
He is a Member of the Directors Guild, for which he served as
President from 1971 to 1974 and the Academy of Motion Picture
Arts and Sciences (the Oscars), for which he served as President
from 1985 to 1987. He also served with distinction on the
National Council on the Arts. Unparalleled gentleman, an
editor's editor, beloved of actors, a true storyteller, Mr. Wise
has had a brilliant career, consistent in its seriousness and
inspiration.
THE AT&T FOUNDATION was established in 1984 in New York and is
the principal source of philanthropy for American Telephone &
Telegraph Company and its subsidiaries. The scope of the AT&T
Foundation is national, emphasizing support for the arts and
other areas of philanthropy.
Over the past two years, the AT&T Foundation has supported dance,
painting, literature and theater. Over 100 American cities are
on the AT&T Dance Tour. Music has benefitted from two new
programs: Meet the Composer/AT&T Jazz Program. Also among the
projects the Foundation supports are a six-city tour of Hispanic
and Contemporary African artists, Native American and
Contemporary Japanese Art. In theater, the AT&T "New Plays for
the Nineties" and the "AT&T: OnStage Classics" are doing much to
expand the audience for American drama.
The AT&T Foundation supports employee matching gifts, special
projects, research, annual campaigns, endowment funds, operating
budgets, technical assistance, capital campaigns and scholarship
funds.
THE LILA WALLACE-READER'S DIGEST FUND was incorporated in New
York in 1956. Its purpose is to promote the arts through
projects of national or regional impact in the performing, visual
and literary arts that target the following goals: audience
development, outreach or education; creation or presentation of
new work; revival and reinterpretation of masterworks; and
professional development of talented emerging artists.
Committed to excellence in programming and dedicated to
supporting worthy recipients across the country, the Lila
Wallace-Reader's Digest Fund has made over 200 grants totaling
more that $78 million since 1989. The fund channels dollars to
help put plays on local stages, to help audiences hear live
music, to assist the emerging artists paint and sculpt, to enable
novelists to find time to write and much more.
# # #
THE WHITE HOUSE
Office of the Press Secretary
For Immediate Release
July 21, 1992
President Bush will award the 1992 National Medal of Arts for
exceptional contribution to the cultural life of the Nation to
eleven American artists and two arts patrons at a White House
ceremony and luncheon on Wednesday, July 22.
The Medal honors those Americans who have encouraged the arts in
this country and offered inspiration to others either through
extraordinary achievement, support, or patronage.
The 1992 National Medal of Arts will be presented to: opera
singer Marilyn Horne, New York, New York; sculptor Allan Houser,
Santa Fe, New Mexico; actor James Earl Jones, Los Angeles,
California; performer Minnie Pearl, Nashville, Tennessee;
television producer/museum director Robert Saudek, New York, New
York and Washington, DC; banjo player Earl Scruggs, Nashville,
Tennessee; conductor/choral director Robert Shaw, Atlanta,
Georgia; musician/jazz pianist Billy Taylor, New York, New York;
architects Robert Venturi and Denise Scott Brown, Philadelphia,
Pennsylvania; film director Robert Wise, Los Angeles, California;
and corporate art patrons AT&T and the Lila Wallace-Reader's
Digest Fund, both headquartered in New York, New York.
This will be the eighth annual presentation of the National Medal
of Arts, which, unlike other arts awards, is not limited to a
single field or area of artistic endeavor.
The National Medal of Arts, proposed by President Reagan, was
approved by Congress and enacted into law in 1984. It
specifically authorizes the President to award the medals each
year "to individuals or groups who in the President's judgment
are deserving of special recognition by reason of their
outstanding contributions to the excellence, growth, support, and
availability of the arts in the United States."
Nominations for the National Medal of Arts are sought annually by
the National Endowment for the Arts. The National Council on the
Arts, the Endowment's Presidentially appointed advisory body,
reviews the nominees and recommends the most highly qualified to
the White House for the final selection by the President.
Information contacts:
Jill Collins, Director of Public Affairs
Katherine Christie, Press Officer
National Endowment for the Arts (202) 682-5570
NATIONAL MEDAL OF ARTS
FACT SHEET
List of Previous Recipients
History
The first National Medals of Arts were presented to seven
internationally known artists and five long-time patrons at White
House ceremonies on April 23, 1985. Since then, the Medal has
been awarded annually. To date, 79 distinguished American
artists, arts administrators, and patrons and five corporate
patrons have been honored as recipients of the National Medal of
Arts.
The National Medal of Arts was proposed by President Reagan.
It had been recommended by the President's Committee on the Arts
and the Humanities. The President asked the Chairman of the
National Endowment for the Arts to explore with the Congress the
establishment of the nation's first official medal in order to
recognize both artistic excellence and support of the arts.
The Congress agreed and on January 23, 1984 passed legislation
authorizing the President "to award the National Medal of Arts to
individuals or groups who in the President's judgment are
deserving of special recognition by reason of their outstanding
contributions to the excellence, growth, support and availability
of the arts in the United States."
Rationale
Unlike other arts awards, the National Medal of Arts is not
limited to a single field or area of artistic endeavor. It is
designed to honor those who have encouraged the arts in America
and offered inspiration to others either through their
distinguished achievement, support, or patronage.
Nomination/Selection Process
Recipients of the National Medal of Arts are selected by the
President of the United States. Annually the National Endowment
for the Arts helps in the selection process by soliciting
nominations for the Medal from the various arts fields. These
nominations, are reviewed by a special committee of the National
Council on the Arts, the Endowment's presidentially appointed
advisory body, and then by the full Council. A list of the most
highly qualified candidates is then forwarded to the White House
for final consideration, along with candidates of his own
choosing, by the President.
Following are previous National Medal of Arts recipients:
- over -
-2-
PREVIOUS NATIONAL MEDAL OF ARTS RECIPIENTS
1991
Maurice Abravanel - music director/conductor
Roy Acuff - country singer/bandleader
Pietro Belluschi - architect
J. Carter Brown - museum director
Charles "Honi" Coles - tap dancer
John O. Crosby - opera director/conductor/administrator
Richard Diebenkorn - painter
R. Philip Hanes, Jr. - arts patron
Kitty Carlisle Hart - actress/singer/arts administrator/dancer
Pearl Primus - choreographer/anthropologist
Isaac Stern - violinist
Texaco Inc. - arts patron
1990
George Francis Abbott - actor/playwright/producer/director
Hume Cronyn - actor/director
Jessica Tandy - actress
Merce Cunningham - choreographer/dance company director
Jasper Johns - painter/sculptor
Jacob Lawrence - painter
Riley "B. B." King - blues musician/ singer
David Lloyd Kreeger - arts patron
Harris & Carroll Sterling Masterson - arts patrons
Ian McHarg - landscape architect
Beverly Sills - opera singer/director
Southeastern Bell Corporation - corporate art patron
1989
Leopold Adler - preservationist/civic leader
Katherine Dunham - dancer/choreographer
Alfred Eisenstaedt - photographer
Martin Friedman - museum director
Leigh Gerdine - art patron/civic leader
John Birks "Dizzy" Gillespie - jazz trumpeter
Walker Kirtland Hancock - sculptor
Vladimir Horowitz (posthumous award) - pianist
Czelaw Milosz -writer
Robert Motherwell - painter
John Updike - writer
Dayton Hudson Corporation - corporate art patron
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-3-
1988
Saul Bellow - writer
Helen Hayes - actress
Gordon Parks - photographer/film director
I.M. Pei - architect
Jerome Robbins - dancer/choreographer
Rudolf Serkin - pianist
Virgil Thomson - composer/music critic
Sydney J. Freedberg - art historian/curator
Roger L. Stevens - arts administrator
(Mrs. Vincent) Brooke Astor - arts patron
Francis Goelet music patron
Obert C. Tanner - arts patron
1987
Romare Bearden - painter
Ella Fitzgerald singer
Howard Nemerov - writer/scholar
Alwin Nikolais - dancer/choreographer
Isamu Noguchi - sculptor
William Schuman - composer
Robert Penn Warren - poet
J.W. Fisher - arts patron
Dr. Armand Hammer - arts patron
Mr. and Mrs. Sydney Lewis -arts patron
1986
Marian Anderson - opera singer
Frank Capra - film director
Aaron Copland - composer
Willem de Kooning - painter
Agnes de Mille - choreographer
Eva Le Gallienne - actress/author
Alan Lomax - folklorist/scholar
Lewis Mumford - philosopher/literary critic
Eudora Welty - writer
Dominique de Menil - arts patron
Exxon Corporation - corporate art patron
Seymour H. Knox - arts patron
- over -
the
- 4 -
1985
Elliott Carter - composer
Ralph (Waldo) Ellison - writer
Jose Ferrer - actor
Martha Graham - dancer/choreographer
Louise Nevelson - sculptress
Georgia O'Keeffe - painter
Leontyne Price - soprano.
Dorothy Buffum Chandler - arts patron
Lincoln Kirstein - arts patron
Paul Mellon - arts patron
Alice Tully - arts patron
Hallmark Cards, Inc. - corporate art patron
# # #
07/15/92
10:21
6825610
NEA
002
As we celebrate the triumphs of the Medal of Art recipients today
let us reflect on what their achievements symbolize for our nation.
First, these honoree exhibit the very special creative gifts that
have helped make America an international cultural leader. Next we
celebrate that they have the ability to communicate these special
talents. Finally, we are awed by their individual and collective
contributions to our unique American culture.
I think our honorees epitomize how the arts belong to all people.
We should also recognize that in addition to the creative value of
the arts, the arts provide jobs for communities: they improve the
quality of all our lives. When the arts are used in schools
curricula we know that children do better in their other subjects.
We are very pleased that the National Endowment for the Arts
continues to serve all America. It's catalytic effect in
encouraging private partnership and donations support the creation
of new artistic capital. Endowment projects often attract a ten
fold contribution. The dynamic Arts in Education program has
become a very active partner with the Department of Education and
my America 2000 Program. In addition, the Arts Endowment continues
to initiate programs which preserve and disseminate our cultural
heritage. I am confident that The Endowment will continue to
invest in the best and serve the most creative nation in the world.
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LEVEL 1 - 1 OF 37 STORIES
Copyright 1992 The Houston Chronicle Publishing Company
The Houston Chronicle
May 3, 1992, Sunday, 2 STAR Edition
SECTION: OUTLOOK; On Language; Pg. 6
LENGTH: 840 words
HEADLINE: Which comes first, the name or the title?
BYLINE: WILLIAM SAFIRE; New York Times Syndicate
... King,''
a whole second; consider the differentiation value of the front-end
identifier in the case of three people.
James Jones wrote ""From Here to Eternity'' (a title taken
from ""The Whiffenpoof Song). Another James Jones, known better
as Jim, led a cult to mass suicide. And James Earl Jones is the
actor who was the voice of Darth Vader and who announces the
station breaks of CNN.
Not only does ""the author James Jones' I sound stilted, but
that restrictiveness may also make him seem like the only author.
""James Jones, a cult leader, suggests that the reader has
already forgotten who he was. == James Earl Jones, an actor'' (or
""the actor), slights his genuine renown.
How much clearer and less judgmental are ""author James
Jones, cult leader James Jones, actor James Earl Jones. "
Editors recognize this difference and are sensitive to
distortions of meaning by copy editors on the front lines, who try
to play
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PAGE 2
LEVEL 1 - 2 OF 37 STORIES
Copyright 1992 The New York Times Company
The New York Times
May 3, 1992, Sunday, Late Edition - Final
SECTION: Section 6; Page 16; Column 3; Magazine Desk
LENGTH: 1210 words
HEADLINE: ON LANGUAGE;
The Chinese Hamster Syndrome
BYLINE: By William Safire
... King," a whole second; consider the differentiation value of the
front-end identifier in the case of three people.
James Jones wrote "From Here to Eternity" (a title taken from "The
Whiffenpoof Song"). Another James Jones, known better as Jim, led a cult to
mass suicide. And James Earl Jones is the actor who was the voice of Darth
Vader and who announces the station breaks of CNN.
Not only does the author James Jones sound stilted, but that
restrictiveness may also make him seem like the only author. James Jones, a
cult leader suggests that the reader has already forgotten who he was. James
Earl Jones, an actor (or the actor) slights his genuine renown. How much
clearer and less judgmental are author James Jones, cult leader James Jones,
actor James Earl Jones.
Editors recognize this difference, and are sensitive to distortions of
meaning by copy editors on the front lines, who try to play
...
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LEVEL 1 - 3 OF 37 STORIES
Copyright 1992 The New York Times Company
The New York Times
March 27, 1992, Friday, Late Edition - Final
SECTION: Section B; Page 4; Column 2; Style Desk
LENGTH: 222 words
HEADLINE: CHRONICLE
BYLINE: By MARVINE HOWE
Daffy Duck and Elmer Fudd has been following that rule ever since. "It's
fun to draw and fun to make people laugh," Mr. Jones said.
He was in New York this week to help promote "The Creative Spirit," a new PBS
series starring his cartoons and some actors including PATTY DUKE, STEVE ALLEN,
BERNADETTE PETERS and JAMES EARL JONES. Saying he hoped the series would
encourage children "to speak up," Mr. Jones said the message is "give these
kids a chance to make their own mistakes."
The four one-hour programs are to be broadcast on
...
world to 522 creativity at work. The series was created by PAUL KAUFMAN.
Asked about his own creativity, Mr. Jones said: "You can't force
inspiration. It's like trying to catch a butterfly with a hoop, but no net. If
you
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PAGE 4
LEVEL 1 - 4 OF 37 STORIES
Copyright 1992 The Times Mirror Company
Los Angeles Times
March 14, 1992, Saturday, Home Edition
SECTION: Calendar; Part F; Page 1; Column 2; Entertainment Desk
LENGTH: 989 words
HEADLINE: TO SIDNEY, WITH LOVE;
AFI HONORS ACTOR FOR ACHIEVEMENT
BYLINE: By DAVID J. FOX, TIMES STAFF WRITER
growing list of leading black actors, including Danny Glover,
Oscar-winner Louis Gossett Jr., Morgan Freeman and James Earl Jones, who
recalled the days when Poitier was Hollywood's only leading black star.
"He played a great role in the life of our country," said Jones. "He
marched on Montgomery and Memphis with Dr. Martin Luther King Jr., who said of
Sidney: 'He's a man who never lost his concern for the least of God's children.'
и
Actor Jones noted Poitier last year took his commitment to human rights to
the television screen for his first role that medium in
Court Justice Thurgood Marshall who, as a lawyer, argued to strike down
segregation laws in the 1950s.
It was, as Jones, said, "A landmark actor portraying a landmark figure, in
one of the landmark moments of our history."
A surprise
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LEVEL 1 - 5 OF 37 STORIES
Copyright 1992 Chicago Tribune Company
Chicago Tribune
February 3, 1992, Monday, NORTH SPORTS FINAL EDITION
SECTION: BUSINESS; Pg. 4; ZONE: c; On marketing.
LENGTH: 877 words
HEADLINE: Wells hopes Jones will be perfect fit
BYLINE: George Lazarus
... who had qualities that we think we represent dependability, value,
ruggedness and tradition," said Lloyd F. Rogers, president-chief executive.
= James Earl Jones topped the list of a number of people that were considered."
Jones is no stranger as a pitchman, presently on TV for Atlantic Bell, as
well as voice work for Cable News Network.
Jones, who turned 61 two weeks ago, will identify himself in the Wells
Lamont radio spots.
"We're ...
TERMS: BRIEFS
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LEVEL 1 - 6 OF 37 STORIES
Copyright 1992 Star Tribune
Star Tribune
January 9, 1992, Metro Edition
SECTION: News; Jim Klobuchar; Pg. 3B
LENGTH: 880 words
HEADLINE: Hey, Northwest, it's time to cut the Hollywood hype
BYLINE: Jim Klobuchar; Staff Writer
reasons that seem to defy most rules of logic and sales figures. GM comes
out with a new model and hires James Earl Jones to sell it. James Earl Jones
sells more junk on television than Mike Ditka. James Earl Jones sells a car,
any car, the way King Lear tries to command the ocean. His voice rises
imperially from the Pre-
heroically through every Jonesian tube definable by an internist. Every
syllable is kneaded and sculpted and consigned to immortality. Jones is not
selling a car. He is selling the Chariot of Zeus. It is like Orson Welles doing
a monologue to sell Milk Duds.
Jones and his agent make a ton, a lot more than the car does.
The corporate imagers do this to us all the time, and I'm saying
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LEVEL 1 - 7 OF 37 STORIES
Copyright 1991 The Houston Chronicle Publishing Company
The Houston Chronicle
November 18, 1991, Monday, 4 STAR Edition
SECTION: SPORTS; Pg. 8
LENGTH: 264 words
HEADLINE: Oilers review;
Notes
BYLINE: Staff
rush like we thought, that didn't leave either the running lanes or the
passing lanes open to me.
Maybe next time
Sean Jones, not to be confused with Sean Penn or James Earl Jones, went
into his act again for the second consecutive week.
After the officials on the field ruled Browns running back Kevin Mack was
down by contact and did not fumble, Jones fell to the turf and grabbed his
right hamstring before Cleveland could run a play.
Jones and the Oilers were hoping that a replay might reverse the call and
give Houston the ball, but the play was not reviewed.
Jones did the same thing last week against the Cowboys.
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LEVEL 1 - 8 OF 37 STORIES
Copyright 1991 The Times Mirror Company
Los Angeles Times
November 7, 1991, Thursday, San Diego County Edition
SECTION: Calendar; Part F; Page 1; Column 4; Entertainment Desk
LENGTH: 1948 words
HEADLINE: BENEFIT ALBUMS ARE RIVALS FOR HOLIDAY SALES;
* COMPETITION: WHAT STARTED OUT AS A PROJECT TO AID CHILDREN'S HOSPITAL HAS
TURNED INTO A NOT-SO-MERRY RECORDING RIVALRY.
BYLINE: By JOHN D'AGOSTINO, SPECIAL TO THE TIMES
DATELINE: SAN DIEGO
ARTISTS INCLUDED: Frank Sinatra, Willie Nelson, Henry Mancini, Dionne
Warwick, Barry Manilow, Lou Rawls, Stryper, James Earl Jones, Nancy Sinatra,
Ricky Van Shelton, Magic Johnson, Bill Medley, Kenny Loggins, George Jones,
Tony Orlando, Pat Boone, the mother-son team of Shirley Jones and Shaun
Cassidy, and a trio consisting of 1950s-'60s teen idols Freddie Cannon, Johnny
Tillotson and Brian Hyland.
"THE
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Copyright 1991 Newsday, Inc.
Newsday
September 30, 1991, Monday, NASSAU AND SUFFOLK EDITION
SECTION: PART II; THE MARVIN KITMAN SHOW; Pg. 51
LENGTH: 1112 words
HEADLINE: Drama With a Tragic Flaw
BYLINE: Marvin Kitman
KEYWORD: TELEVISION; REVIEW; COLUMN; COMMISH; PROS & CONS; FBI: THE UNTOLD
STORIES; REASONABLE DOUBTS
ABC has gone from "China Beach" to "The Commish" in only six months?
PROS & CONS, aka Gabriel's Fire. Starring James Earl Jones and Richard Crenna.
WABC/7, Thursdays at 8.
I wasn't that knocked out about the original "Gabriel's Fire." Despite two
Emmys, it seemed like an ordinary private-eye show, distinguished by James
Earl Jones' acting. I preferred him in his New Jersey Bell commercials.
With great hoopla, the original, somber, dreary drama has been converted into
anew, improved lighter drama with a comedic approach. Richard Crenna has been
added to the cast as a private eye. Jones moves from Chicago to a place that
really needs a detective like a hole in the head: L.A.
The new show
... private eye. It's not twice as good.
Crenna has a nice sleazy edge about him, which fits the role he plays. And
Jones is still Jones.
As for the new comedy approach promised by the new producers and writers,
maybe if they added a laugh track the intent would be
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LEVEL 1 - 10 OF 37 STORIES
Copyright 1991 The Chronicle Publishing Co.
The San Francisco Chronicle
SEPTEMBER 26, 1991, THURSDAY, FINAL EDITION
SECTION: DAILY DATEBOOK; Pg. E1; TELEVISION
LENGTH: 988 words
HEADLINE: Two Sexy Stars Just Not Enough
Matlin and Harmon Join Forces in New Police Drama
BYLINE: JOHN CARMAN
sister cast to a relationship that should vibrate with sexual tension.
The jury of viewers will need further evidence.
CRENNA JOINS JAMES EARL JONES
* ''Pros & Cons' (8 tonight on channels 7, 11 and 13) was ''Bird and Katt''
for a while, and before that was
on ABC after a major tune-up, with a new locale and a new co-star for
James Earl Jones -- veteran actor Richard Crenna.
The failure of ''Gabriel's Fire'' extended the mortality rate for drama
series with black lead actors; none has ever succeeded. But the jinx doesn't
apply to black-white buddy shows, which is what ''Pros & Cons'' is.
Tonight, Jones' Gabriel Bird flies from Chicago to Los Angeles in the
employ of a woman seeking evidence that her husband is cheating. The guy
marital cheat. But he is a professional hit man.
Not that it matters. The story is only a contrivance to get Jones to LOS
Angeles, where he meets and eventually forms a partnership with a private eye
played by Crenna.
Pros & Cons'
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LEVEL 1 - 11 OF 37 STORIES
Copyright 1991 Gannett Company Inc.
USA TODAY
September 26, 1991, Thursday, FINAL EDITION
SECTION: LIFE; Pg. 3D
LENGTH: 261 words
HEADLINE: Cop shows: More cons than pros
BYLINE: Matt Roush
KEYWORD: TV REVIEW
James Earl Jones got an Emmy as haunted cop-turned-con Gabriel Bird, but
now it's as if he's sucked up laughing gas. Gliding through tonight's opener,
which teams him with a seedy L.A. private eye (Richard Crenna), Jones trades
his scowls and growls for a steady grin and a ready deep chuckle.
He's a goony bird.
While Jones coasts, Crenna is relaxed and natural as unflappable Mitch
0' 'Hannon, a rule-bending, easily bruised bruiser. If James Garner really
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LEVEL 1 - 12 OF 37 STORIES
Copyright 1991 The Times Mirror Company
Los Angeles Times
August 26, 1991, Monday, Home Edition
SECTION: Part A; Page 1; Column 2; Metro Desk
LENGTH: 1088 words
HEADLINE: JAMES EARL JONES, 'CHEERS' GARNER EMMYS
BYLINE: By RICK DU BROW, TIMES TELEVISION WRITER
James Earl Jones was honored for two major acting performances and "L.A.
Law" and "Cheers" joined the ranks of the most honored series in TV history
Sunday night at the 43rd annual Emmy Awards.
Jones won as best lead actor in a drama series for his portrayal of an
ex-convict turned investigator
a TNT cable channel recounting of the Watts riots in Los Angeles in 1965.
In "Heat Wave," Jones portrayed the owner of a shoe-repair business who was
a longtime resident of Watts and had witnessed the growing unrest. On
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Warfield's
Copyright Warfield's 1991;
Business Dateline; Copyright (c) 1991 UMI/Data Courier
July, 1991
SECTION: Vol 6; No 8; Sec 1; Pg 35
LENGTH: 1810 words
HEADLINE: Letting Their Fingers Do the Fighting
BYLINE: Roy Furchgott
DATELINE: Washington; DC; US
...
Baltimore use the C&P Yellow Pages. No other book can match it." Yellow
Pages spokesman James Earl Jones pushed the message in slick, high-saturation
TV ads created by Lewis Gilman Kynet, a Philadelphia
Pacunas, director of advertising for Bell Atlantic. "It was pretty
straightforward: We wanted to state our message, feature Baltimore, and use
James Earl Jones. =
The "9 out of 10" line will be the focus of future advertising efforts, says
Pacunas. "We have a product that is used by
...
people in Baltimore, and we thought people should know that. That's a
strong point, and it is very persuasive."
Nevertheless, the Donnelley people are counting the James Earl Jones ads a
win for their camp. They say the "No other book can match it" line merely
establishes The One Book's credibility. Says Feuerman: "We don't position
against James Earl Jones, we don't like the James Earl Jones work, we don't
like James Earl Jones. We will never knee-jerk respond. Let them respond to
us."
On the wisdom of acknowledging a competitor, Pacunas says, "There is
...
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LEVEL 1 - 14 OF 37 STORIES
Copyright 1991 Gannett Company Inc.
USA TODAY
May 28, 1991, Tuesday, FINAL EDITION
SECTION: LIFE; Pg. 3D
LENGTH: 647 words
HEADLINE: Fall schedule surprises mean changes of fortune
BYLINE: Jefferson Graham
KEYWORD: FALL SCHEDULE:TV SHOW
fall, in ABC's new Grownups, with Marsha Mason.
- Snatched from the Fire. Probably no prime-time star is happier than James
Earl Jones. His Gabriel's Fire seemed a sure bet for cancellation by ABC. But
at the last minute, Lorimar proposed that Jones get a new co-star in Richard
Crenna, a lighter tone to the show and a new name, Bird and Katt. And Jones is
still working.
- Big names you won't see. Debbie Allen, Pam Dawber, John Forsythe, Debbie
Reynolds, Robert
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LEVEL 1 - 15 OF 37 STORIES
Copyright 1991 The Times Mirror Company
Los Angeles Times
May 18, 1991, Saturday, Orange County Edition
SECTION: Calendar; Part F; Page 2; Column 5; Entertainment Desk
LENGTH: 167 words
HEADLINE: 'I CAN'T LOSE' PRODUCER QUITS AFTER DISPUTE
BYLINE: By ZAN DUBIN
Brown.
Brown said a production manager will be hired to replace McLean.
Initial announcements of the filming stated that actor James Earl Jones
would participate. Brown reasserted Thursday that Jones will film for five
days, starting June 4. Jones' agent, Richard Baumen, only would say that the
actor "in all probability" will take part, but that he could not say ...
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LEVEL 1 - 16 OF 37 STORIES
Copyright 1991 A/S/M Communications, Inc.
Adweek Marketing Week
May 13, 1991
SECTION: SPOTLIGHT; Yellow Pages; Pg. 27
LENGTH: 1010 words
HEADLINE: Which Yellow Pages Are 'Real';
Baltimore's battle of the directories has blown sky-high
BYLINE: By Roy Furchgott; Roy Furchgott covers marketing from Baltimore.
P Yellow Pages. No other book can match it," declares Yellow Pages
spokesman James Earl Jones.
"We have a product that is used by nine out of 10 people, and we thought
people should know," says Charles Pacunas, director of
...
line "No other book can match it" only establishes the credibility of The
One Book. "We don't position against James Earl Jones, we don't like the
James Earl Jones work, we don't like James Earl Jones, " says Earle Palmer
Brown's Feuerman. "We will never knee-jerk respond. Let them respond to us."
Pacunas admits the
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LEVEL 1 - 17 OF 37 STORIES
Copyright 1991 Gannett Company Inc.
USA WEEKEND
May 12, 1991, Sunday
SECTION: Pg. 2
LENGTH: 621 words
HEADLINE: WHO'S NEWS
Q After hearing James Earl Jones' voice in CNN promos, I saw him in an
interview where he said he didn't know how CNN got his voice. How could it
happen? Wasn't he paid?
David Rider, West Monroe, La.
Jones' agent for endorsements says the actor's contract with the Cable
News Network must have slipped his mind during that interview on the Fox show
Personalities. The agent and CNN confirm that the 60-year-old Jones is under a
multiyear contract to record promos.
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LEVEL 1 - 18 OF 37 STORIES
Copyright 1991 Chicago Tribune Company
Chicago Tribune
April 17, 1991, Wednesday, NORTH SPORTS FINAL EDITION
SECTION: SPORTS; Pg. 1; ZONE: C
LENGTH: 1244 words
HEADLINE: Here's George Foreman, and he's too big to ignore
BYLINE: By Skip Myslenski, Chicago Tribune
DATELINE: ATLANTIC CITY
... run toward a shadowy figure in the distance. "Jack Johnson! Jack Johnson!
Jack Johnson!" he screamed as he ran.
James Earl Jones, that shadowy figure, then was playing that great champion
in "The Great White Hope," and here he now heard Ali yelling, "Give me the line.
Give me the line."
Jones, the superb actor, immediately raised his arms toward the darkening
skies and shouted out the words Johnson had defiantly uttered after the U.S.
government had harrassed him into exile in Mexico. "Here I is," James Earl
Jones shouted.
"Here I is," George Foreman shouts on Tuesday afternoon. "Holyfield's people
are saying they're studying films of my
TERMS: PRO; BOXING; BIOGRAPHY
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Copyright 1991 The Times Mirror Company
Los Angeles Times
April 14, 1991, Sunday, Orange County Edition
SECTION: TV Times; Page 79; Television Desk
LENGTH: 792 words
HEADLINE: VIDEO KNOCKOUTS
BYLINE: By SUSAN KING, TIMES STAFF WRITER
world champion boxer and still manages to find the time to sing six
songs. Gig Young and Charles Bronson also star.
James Earl Jones became the second black performer to ever be nominated for
a best actor Oscar (Sidney Poitier was the first) thanks to his larger-than-
in 1970's The Great White Hope (CBS/Fox Video), based on the hit Broadway
play for which Jones won a Tony Award. Jones plays black heavyweight
champion Jack Jefferson, whose relationship with his white mistress (Jane
Alexander, also from the Broadway cast) ends his boxing
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Copyright 1991 The Chronicle Publishing Co.
The San Francisco Chronicle
FEBRUARY 21, 1991, THURSDAY, FINAL EDITION
SECTION: NEWS; Pg. A6; PERSONALS
LENGTH: 899 words
HEADLINE: PERSONALS
BYLINE: Leah Garchik
JAMES EARL JONES
SPEAKS FOR ALL
James Earl Jones reveals in an interview to be broadcast today on the
syndicated talk show ''Personalities'' that his is the voice of Cable News
Network, the voice that says 'This is CNN.
Jones told the interviewer that he didn't remember making the ad, and he
thought that maybe a CNN journalist conducting an interview with him had asked
him to say the words that wound up as the station's official identification. ''I
think it might have been a freebie,'' said Jones.
Steve Haworth of CNN told Personals yesterday that it was nothing of the
kind.
'We have a contract with him,'' Haworth said of Jones. ''He cut the spot
more than a year ago.''
Jones must have such a busy commercial career that he can't remember all
the endorsements he does. Later in the interview, he told ''Personalities'' that
he actually
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Copyright (c) 1991 The New York Times Company
The New York Times
January 27, 1991, Sunday, Late Edition - Final
SECTION: Section 2; Page 13; Column 1; Arts & Leisure Desk
LENGTH: 2317 words
HEADLINE: FILM;
Did Hollywood Sit on 'Fences'?
BYLINE: By JAMES GREENBERG; James Greenberg, a former reporter for Daily
Variety, writes frequently about the entertainment industry.
DATELINE: LOS ANGELES
seemingly had no choice but to go along with his demands. "August's
involvement is crucial to making the best film," said Mr. Jones.
Slowly, the Pieces Fall Into Place
Although the cameras are not about to roll any time soon, it appears that
the pieces are slowly coming together. Mr. Jones says that a director
acceptable to all parties has been found and should be officially hired shortly,
although he refuses to name him. Mr. Murphy will be the producer or executive
producer and is expected to play a supporting role. No further casting has been
discussed, but Mr. Jones has said that, in his view, the film is inconceivable
without James Earl Jones reprising his Tony Award-winning role as the
patriarch, Troy Maxson. If everything falls into place, the onus is on Mr.
Wilson to
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Copyright 1990 The Times Mirror Company
Los Angeles Times
November 21, 1990, Wednesday, Home Edition
SECTION: Calendar; Part F; Page 2; Column 1; Entertainment Desk
LENGTH: 113 words
HEADLINE: MORNING REPORT: TV & VIDEO
BYLINE: By CLAUDIA PUIG , Arts and entertainment reports from The Times,
national and international news services and the nation's press.
Teachers Honor Jones: Actor James Earl Jones received the Jean Renoir
Award from the Los Angeles Film Teachers Assn. Monday night. Upon receiving the
award, Jones said: "The interest of teachers in film as a means of education
is of particular interest to me because film can be 50 influential in the
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Copyright 1990 Globe Newspaper Company
The Boston Globe
October 23, 1990, Tuesday, City Edition
SECTION: ARTS & FILM; Pg. 62 P
LENGTH: 917 words
HEADLINE: Library dedicated to late Sen. Ervin;
NAMES AND FACES
BYLINE: by Michael Blowen, Globe Staff
James Earl Jones says black director Spike Lee and others are letting race
interfere with moviemaking. The 59-year-old star of ABC's $
at "so-called activists who let race get in the way of SO much. They
hamper good art." Jones said such was the problem in recent discussions about
a movie planned on Malcolm X. Denzel Washington was to play the
...
some people, like Spike Lee. Spike said the director ought to be black,
which was Spike's way of saying it should be Spike," Jones said. "When an
important project comes along and a Spike Lee suggests he must be involved, I
think that's destructive."
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LEVEL 1 - - 25 OF 37 STORIES
October 7, 1990, Sunday, FINAL EDITION
SECTION: TRANSPORTATION; Pg. 7; ZONE: C
LENGTH: 662 words
HEADLINE: Monroe tries safety pitch to shock buyers
BYLINE: By Rick Ratliff, Knight-Ridder Newspapers
DATELINE: DETROIT
... performance enhancers but as ways to protect one's family from harm.
In Monroe's new spots, the ominous voice of actor James Earl Jones warns us
that "Whenever you step on the brakes, it could happen ...
your tires could
actually lose contact with the road."
Jones goes on to urge us to have shocks and struts checked for wear every
25,000 miles.
The latest approach was created
... toddler into a safety seat while suspenseful music plays in the
background.
"There's no dashboard light to warn you," we hear Jones say. "No dipstick
to check. Yet when worn, they could cause your car to lose control ... and
braking.
"Don't find out
...
TERMS: VEHICLE; PRODUCT; REVIEW
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PAGE 26
LEVEL 1 - 26 OF 37 STORIES
Copyright 1990 Newsday, Inc.
Newsday
September 12, 1990, Wednesday, NASSAU AND SUFFOLK EDITION
SECTION: PART II; THE NEW SEASON; Pg. 9
Other Edition: City Pg. 7
LENGTH: 512 words
HEADLINE: 'Gabriel's Fire': Going for the Prestige Vote
BYLINE: By Diane Werts
KEYWORD: TELEVISION; REVIEW; GABRIEL'S FIRE
This is a prestige show, with a Tony-winning, Oscar-nominated star. James
Earl Jones is the voice of, if not God, then Darth Vader, CNN and the Yellow
Pages, three icons of America if ever there were three.
Keep this in mind as you
... 10 and Thursday at 9 on ABC / 7. Two premieres? Well, one couldn't
contain the size of this drama. Jones is larger than life, his adversary /
partner is larger than life - heck, even the lighting is larger than life.
Entirely too much happens in this introductory hour, from the moment that
Jones' face (larger than life!) fills the screen as a prison door slams.
Gabriel Bird ( Jones) has done 20 years for the murder of a fellow Chicago cop
when a slick and sexy lawyer (with a large
...
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PAGE 27
LEVEL 1 - 27 OF 37 STORIES
Copyright 1990 The Times Mirror Company
Los Angeles Times
September 2, 1990, Sunday, Home Edition
NAME: JAMES EARL JONES
SECTION: Calendar; Page 8; Calendar Desk
LENGTH: 2792 words
HEADLINE: THE UN-RETIRING JAMES EARL JONES;
THE ACTOR ISN'T LEAVING THE STAGE, JUST CURTAILING HIS INVOLVEMENT IN SERIOUS
DRAMAS IN FAVOR OF LESS-TAXING TV ROLES
BYLINE: By DAVID WALLACE
Reports that James Earl Jones is retiring from the stage were, as Mark
Twain would say, greatly exaggerated.
The news, which surfaced earlier this summer, sparked a brush fire of
disbelief -- after all, Jones has devoted his soul, if not all of his time, to
the stage since he began his apprenticeship in New York City 35 years
I heard that he was retiring," says playwright August Wilson, the
Pulitzer Prize-winning author of "The Piano Lesson" and "Fences," in which
Jones starred for three years, winning the Tony Award in 1987. "He can take a
role like Troy, his
hand it all to one actor. He went on to 'Hill Street Blues,' where he
created the family concept which now thrives," Jones says.
Bochco says, "He's been a friend for years and I always had a sense I wanted
to do something with him. I felt that if nobody could do a black cop better on
any level than James Earl Jones. II So why did "Paris" fail? "He was a black man
in a serious dramatic show," Bachco says. "A black
over whites with a complex personal life. And that made whites
uncomfortable, in my opinion."
While making "Paris," Jones met his second wife, actress Cecilia Hart.
Their 7-year-old son, Flynn Earl Jones, is his first child. Like other men who
come to fatherhood at a relatively advanced age, his thoughts and words are
...
my son," he says. "He understands a lot of what his mother and I do, but
he doesn't understand why I'm away 50 much."
Jones, despite a number of "trophys," as he refers to his numerous acting
awards, remains an outwardly simple man.
"I always
...
GRAPHIC: Photo, In "Gabriel's Fire," James Earl Jones plays an
ex-cop/ex-convict turned investigator. "Unlike a play, you are doing something
different with the character every day." KEN LUBAS / Los Angeles Times; Photo,
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PAGE 28
1990 Los Angeles Times, September 2, 1990
Jones with Courtney B. Vance in "Fences. " ; Photo, With Kevin Costner in
"Field of Dreams. " ; Photo, COLOR, (Cover) James Earl Jones Rosemary Kaul /
Los Angeles Times staff member
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PAGE 29
LEVEL 1 - 28 OF 37 STORIES
Copyright 1990 The Washington Post
The Washington Post
August 19, 1990, Sunday, Final Edition
SECTION: TV TAB; PAGE Y8
LENGTH: 1707 words
HEADLINE: 'The Last Elephant';
Dramatizing Audubon's Cause
SERIES: Occasional
BYLINE: Patricia Brennan, Washington Post Staff Writer
Leave it to James Earl Jones to find out.
Jones is one of three big-name stars in "The Last Elephant." The others are
John Lithgow and Isabella Rossellini. A formidable
novelist, afraid to fly, who nevertheless must go to Kenya to find out
what happened to Liz Page, his researcher/photographer; Jones is Nkuru, the
Nairobi police inspector who sets up a sting; and Rossellini is Dr. Maria
DiConti, a scientist/
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LEVEL 1 - 29 OF 37 STORIES
August 13, 1990, Monday, NORTH SPORTS FINAL EDITION
SECTION: TEMPO; Pg. 1; ZONE: C; TV review
LENGTH: 935 words
HEADLINE: 'Heat Wave' pursues the why of Watts
Cable movie captures the burning issues behind the 1965 riot that remain today
BYLINE: By Rick Kogan, TV/radio critic
GRAPHIC: PHOTO: James Earl Jones (left) and Blair Underwood give captivating
performances in Turner Network Television's "Heat Wave."
PHOTO: A California
... stands guard over a group of blacks outside a looted store in Watts in
1965.
PHOTO: James Earl Jones is caught in the Watts riot in "Heat Wave."
PHOTO (color): 'Heat Wave' catches fire
Cable TV's "Heat Wave" illuminates the 1965 Watts riot, with James Earl Jones,
Cicely Tyson and Blair Underwood. (Published on page 1, News section,
Chicagoland North edition.)
PHOTO: Watts riot trajedy captured in 'Heat Wave'. James Earl Jones and Blair
Underwood star. (Published on page 2, News scetion.)
TERMS: REVIEW; TELEVISION; MOVIE
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PAGE 31
LEVEL 1 - 30 OF 37 STORIES
Copyright 1990 Gannett Company Inc.
USA TODAY
May 22, 1990, Tuesday, FINAL EDITION
SECTION: LIFE; Pg. 3D
LENGTH: 442 words
HEADLINE: James Earl Jones' balancing act
BYLINE: Dylan Jones
DATELINE: SANTA MONICA, Calif.
GRAPHIC: EAR PHOTO; color, Rob Brown, USA TODAY ( James Earl Jones) ; PHOTO;
b/w, Rob Brown, USA TODAY ( James Earl Jones)
CUTLINE: JAMES EARL JONES: U.S. civilian in 'Last Flight Out' is his latest
acting project. CUTLINE: MASTER CRAFTSMAN: James Earl Jones is in much demand
these days. His latest project, 'The Last Flight Out,' airs tonight.
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PAGE 32
LEVEL 1 - 31 OF 37 STORIES
Copyright 1990 The Times Mirror Company
Los Angeles Times
May 21, 1990, Monday, Home Edition
SECTION: View; Part E; Page 2; Column 1; View Desk
LENGTH: 534 words
HEADLINE: TUTU EXCITES BENEFIT CROWD
BYLINE: By KEVIN ALLMAN
H. Borsch, and Dr. John Slaughter. Also there: Congresswoman Barbara
Boxer, gubernatorial candidate Dianne Feinstein, Assemblywoman Ruther Galanter,
James Earl Jones, Quincy Jones, L. A. Urban League President John Mack,
Lionel Richie, Mark Ridley Thomas, Stanley Sheinbaum, Assemblywoman
universities this month made speeches, emphasizing the need in South
Africa for educational as well as political freedom. Actor James Earl Jones
introduced the archbishop as "a man who exemplifies the fact that truth has no
national boundary, and knowledge has no race."
"Listening to that
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LEVEL 1 - 32 OF 37 STORIES
Copyright 1990 News World Communications, Inc.
The Washington Times
May 18, 1990, Friday, Final Edition
SECTION: Part E; LIFE; TELEVISION; Pg. E5
LENGTH: 651 words
HEADLINE: Nuclear disaster film hits close to home
BYLINE: David Klinghoffer; THE WASHINGTON TIMES
decision the men and women involved might believably have to make. As
the aloft chief of the Strategic Air Command's "Looking Glass" planes, James
Earl Jones must decide how to correct for a new commander in chief who
obviously is unprepared.
On waking
Emergency Management Agency bunker in Maryland, the president must
somehow contact his Soviet counterpart, attempting along with Mr. Jones to
counteract the rampaging interior secretary.
Meanwhile, inside a B-52 on its way to Soviet targets, pilots played
concise, crisp style. His big-name ensemble cast comes through with
economical, if occasionally overdramatized, performances. As usual, Mr.
Jones is particularly satisfying. Mr. Landau makes an inspiring hero,
issuing orders from his stretcher.
This is no "Hunt for Red
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PAGE 34
LEVEL 1 - 33 OF 37 STORIES
Copyright 1990 A/S/M Communications, Inc.
ADWEEK
April 23, 1990, Southwest Edition
SECTION: NEW CAMPAIGNS;
LENGTH: 259 words
BYLINE: Susanna Hickman
DATELINE: DALLAS
began running March 25, are short essays on particular animals and their
unusual and entertaining characteristics. The TV spots, which feature James
Earl Jones as the voice talent, are a montage of ZOO footage, coupled with
African music. Jones delivers soft-spoken messages such as, "The perfect ZOO
is one in which the animals run free and the people stay closed up."
Radio features Jones with the same music track and voiceovers.
The campaign will run through October with updated TV spots.
Working with Lidji on ...
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PAGE 35
LEVEL 1 - 34 OF 37 STORIES
Copyright 1990 The Times Mirror Company
Los Angeles Times
March 22, 1990, Thursday, Home Edition
SECTION: San Gabriel Valley; Part J; Page 1; Column 2
LENGTH: 1408 words
HEADLINE: NOT ALL HOMELESS ARE DOWN FOR THE COUNT -- NOR UP FOR IT;
CENSUS: ENUMERATORS TRYING TO LIST THE HOMELESS ENCOUNTER BOTH COOPERATION AND
RESISTANCE. AND AS GOOD WEATHER KEPT MANY HOMELESS OUTDOORS, MANY SAY THEY WERE
NEVER ASKED TO PARTICIPATE.
BYLINE: By IRENE CHANG and JESSE KATZ, TIMES STAFF WRITERS
expectantly on sofas and chairs. Children of all ages were sprawled on
the carpet.
"Is my son going to be counted in this?" James Earl Jones, 36, wanted to
know. His wife, Conchetta, 20, cuddled their infant son, Ernest Earl, born on
Monday in Pomona Valley Hospital Medical Center just across the street. Jones,
an auto dismantler who was laid off from his latest job, said he and his family
moved to the shelter three weeks ago. He
Sanders asked them to sit at a nearby table and handed them five forms
for themselves and their three children. James Jones picked up a pencil and
whipped through the papers with few questions.
"It's real simple," he said, scribbling away. "
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PAGE 36
LEVEL 1 - 35 OF 37 STORIES
Broadcasting Copyright (c) 1990 Information Access Company
Copyright Broadcasting Publications 1990
March 5, 1990
LENGTH: 942 words
HEADLINE: Lorimar reveals its fall line; Lorimar Television syndication
ABC, three for NBC, and two for Fox.
ABC
* Gabriel's Fire, a one-hour drama starring James Earl Jones, "is one of
our strongest projects," said Salzman. Jones stars as a former Chicago cop who
is freed from prison after 20 years by an aggressive woman
served as executive producer and writer on The Equalizer. Gabriel's Fire
has a pilot commitment from ABC. Included in the cast with Jones are Laila
Robbins, Madge Sinclair and Charlie Walsh.
*
The Danger Team, a one-hour drama, features three clay
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PAGE 37
LEVEL 1 - 36 OF 37 STORIES
Copyright 1990 The Times Mirror Company
Los Angeles Times
January 22, 1990, Monday, Home Edition
SECTION: View; Part E; Page 2; Column 1; View Desk
LENGTH: 202 words
HEADLINE: OPENING NIGHT CROWD SINGS THE PRAISES OF WILSON'S 'PIANO LESSON'
BYLINE: By BILL HIGGINS
... a born storyteller."
Out to hear Wilson's latest tale was a glittery crowd that included Billy Dee
Williams and James Earl Jones (both performed in "Fences" on Broadway), Denzel
Washington, Brenda Vaccaro, Corbin Bernsen and wife Amanda Pays, Spike Lee and
Estelle Getty.
"It made me feel good," Jones said after the performance. "After every good
play you should walk out and wish those people were in your life."
Wilson just wishes he can keep actors like Jones in his plays.
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PAGE 38
LEVEL 1 - 37 OF 37 STORIES
Copyright 1990 The Times Mirror Company
Los Angeles Times
January 9, 1990, Tuesday, Home Edition
SECTION: Calendar; Part F; Page 3; Column 1; Entertainment Desk
LENGTH: 480 words
HEADLINE: WILSON SEEKING BLACK DIRECTOR FOR FILM VERSION OF HIS 'FENCES'
BYLINE: By RAY LOYND
a black direct the movie.
In attendance at the program was a Paramount film production Vice president,
Kevin Jones (who is black), who later told The Times that "the reality is that
the studio wants August's co-operation and wants him to work with the director,
but we also want the best director for the job."
The project, Jones said, is in the hamper of Eddie Murphy Productions at
the studio. Jones also commented that "I've never thought of anyone else who
can play the lead role (of the father) besides James Earl Jones, # who played
it on stage.
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1 RDA
Leahy, Michael
Dabriel's fire
TV Ouide V30 p0 101 October 27 November 2 '90
Contains: illustration(s) portraits
SUBJECTS COVERED:
Jones, James Earl
ADDTRACT: James Carl Jones is revered by critics, colleagues, and fans 25.15
one of the prominent black actors of his generation. Jones stars in ADD's 3
dramatic series Cabriel's Fire, in which he plays an ex cop who has served
20 years in prison. Jones achieved his breakthrough 20 years ago, when he
starred in The Creat White Hope. He also starred in a short lived cop
series called Paris in the late 1970s and won E Tony Award in 1907 for his
starring +61e in Fences.
2 ROA
Fences, Jones, grab top Tonys for drama
Jet V72 p54 June 22 07
Dontains: |llustration(s) portraits
SUDJECTS COVERED:
Tony Awards
Jones, James Carl
ADDTRACT: August Wilson's Pulitzer Prize winning play Fences won the
award for Dest Drama at the recent Tony Awards ceremony in New York. Two
stat performers in the Drbadway play, James Carl Jones and Hary Alice; won
Dest Actor and Dest restured Actress Tonys respectively. Гепсез director
Lloyd Richards also garnered 23% Tony.
3 ROA
James Carl Jones stars in saga of miners' struggle (Hatewan)
Jet v71 p57 October 27 as x
Contains: portrait
DUDJECTS COVERED:
Dlack coal miners
Jones, James Carl
ADDTRACT: James Carl Jones will star in Hatewan, 25 feature film about the
role of black miners in the 1920 Hatewan Ha33acTe in West Virginia. The
film was written and will be directed by John Dayles.
1 RDA
Form Review
Hademoiselle Fifi
reviewed by Eder, Druce
Video v15 p03 December '91
SUBJECTS COVERED:
Hotlon picture reviews/Single works
Wise, Robert:1914
ADDTRACT: Director Robert Wise film Hademoiselle Fifi, made during
World WGT II and intended as E patriotic allegory, tells the story of E
coach journey during the 1070 Derman occupation of France. Kurt Kreuger
plays E Derman officer who wants to humiliate E laundress (Dimone Simon)
who refuses to consort with the enemy, unlike the 'respectable" company
with whom she is traveling The script is too obvious in its methods, and
the film would not work at all if not for the sincerity of Dimon and John
Emery as a flawed but noble idealist. The film is available on 18387 disc
from Image/Turner.
2 ROA
Torm Review
The sound of music
People Weekly v.34 p154 5 September 10 '90 x
Contains: illustration(s)
SUBJECTS COVERED:
Hotion picture reviews/Single works
Wise, Robert:1914
ADSTRACT: Hembers of the cast of The Sound of Husic were reunited
recently in Los Angeles to celebrate the film's S 25th anniversary. The
movie, directed by Robert Wise, won five Academy Awards and became one of
the most popular musical films of all time. Julie Andrews, Angela
Cartwright, Charmisn Carr, Kym Katath, Debble Turner, neather Henzies, and
Duane Chase WETE among those attending the festivities.
1 ROA
Daid, Edward W.
Husic (n. Shaw's Carnegie Hall concert)
The Nation V254 p315 16 Harch 9 92 X
DUDJECTD DOVERED:
Shaw, Robert
Orchestra of St. Luke's
ADDTRACT: Robert Shaw, who recently appeared at Carnegie Hall leading the
Orchestra of Dt. Luke =, the Robert Shaw Festival Chorus, and soloists
Denita Valente, Florence Quivar, Neil Rosenshein, and Alistair Hiles, gave
the best performance of Hissa Solemnis since Toscanini. Shaw allowed the
music to unfold instead of declaim OF announce itself.
2 ROA
Harcial, Dene 0.
Jensen)
Dusiness Week p72 Harch 00 '92
SUDJECTS GOVERED:
Reverse leveraged buyouts
Shaw, Robert
International Jensen Inc.
Kohlberg Kravis Roberts & Co.
ADOTRACT: Robert Shaw, chairman, president, and CEO of loudspeaker maker
International Jensen, has turned the company, which he bought from
Kohlberg Kravis Roberts in 1900, to profitability. Shaw gained ownership
of Jensen for nearly nothing and then made 22. bundle when he took the
company public on February 12 at 11 1/2 a share. The shares currently
trade at 14_
0 ROA
Ziegenhals, Harriet
Robert Shaw ministry of music
The Christian Century v106 p011 10 Harch 22 29 '09
Contains: illustration(s): portrait
SUDJECTS COVERED:
Religious music
Conductors (Husic)/Religious life
Shaw, Robert
ADDTRACT: Part of 22 Cover story on the relationship of the arts to
worship. A profile of choral and orchestral conductor Robert Shaw. Shaw
founded the Robert Shaw Chorale, the Collegiate Chorale, the Cleveland
Orchestra Chorus, and the Atlanta Symphony Orchestra Chorus. Shaw, who
came from three generations of ministers, chaplains, and missionaries,
studied comparative religion, philosophy, and English literature at Pomona
College with the intention of becoming 202 minister himself. At age 22,
however, he accepted Fred Waring's offer to form NV. glee club for a new
radio series, beginning his professional music career. Shaw is committed
to the commingling of art and religion and gives numerous addresses on the
relevance of the arts in worship. According to Shaw, good worshipful
music motivates the participants, displays craftsmanship, has a historical
perspective, and contains the possibility of creating the miracle of
revelation.
A ROA
Hall, David
Creat masses (n. Shaw conducting Deethoven Hissa solemnis and Hozart Hass
in 0 minor)
Stereo Review v50 p91 August '00
Contains: illustration(s): portrait
SUDJECTS COVERED:
Compact discs/Hass (Husic)
Shaw, Robert
ADSTRACT: A new two CD set from Telarc features Robert Shaw conducting
the Atlanta Symphony Orchestra and Chorus and assorted soloists in
Deethoven's imposing Hissa solemnis and Hozart's incomplete "Dreat" Hass
in 0 Hinor. The Deethoven performance is somewhat disappointing, compared
sobard
Derumbein
and
Herbert
von
Karaian
The Hozart Hass fares better. It has EL distinctly better choral presence
and some excellent work from the solpists, particularly Canadian
Edith Wiens.
5 noA
Libbey, Theodore W_
lie's the real thing (n. Shaw)
High Fidelity (New York, N.Y.) VOD p45 Hay 'DP
Contains: illustration(s)
SUDJECTS COVERED:
Shaw, Robert
Atlanta Symphony Orchestra
ADOTRACT: Robert Shaw, music director of the Atlanta Dymphony since 1967,
is about to PA35 the baton to the young Romanian born conductor Yoel Levi,
but not before he conducts #: pair of concerts in New York City and makes #:
whirlwind tour of Curope- Shaw, who im probably the most gifted choral
conductor the world has ever known, has also proved to be A capable
orchestra leader. Under his direction, the Atlanta Symphony has emerged
as 29. major American ensemble with 23. reputation that is about to become
international. After Shaw leaves the symphony, the will head [mory
University's newly created Robert Shaw Institute, which will eventually
grant El master's degree in sacred music with three possible specialties.
The institute has broad based support from Atlanta's business and cultural
communities.
6 ROA
Couples on the couch (interviews with O. Dilverstein and n. Show)
Vogue v177 p3071 February '07
DUDJECTO DOVERED:
Harriage counseling
Silverstein, Olga
Shaw, Robert
ADOTRACT: Part of a special section on the dynamics of successful and
unsuccessful relationships. Interviews with two experts on marriage.
Olga Dilverstein says that women who are unsatisfied with their marriage
often complain of their husbands' lack of intimacy and inability to
communicate. Doth men and women want intimacy, Dilverstein maintains, but
most ment have not been taught OT allowed to express it. Women, she says,
must teach them. Robert Shaw maintains that people have very different
ways of communicating, and that some people express their needs
nonverbally. If both partners are willing to make the песеззагу effort,
Shaw believes, most marriages can be made to work.
2 ROA
Fences, Jones, grab top Tonys for drama
Jet V72 p54 June 22 '07
Contains: illustration(s) portraits
SUBJECTS COVERED:
Tony Awards
Jones, James Carl
ADDTRACT: August Wilson's Pulitzer Prize winning play Fences WIDH the
award for Dest Drama at the recent Tony Awards ceremony in New York. Two
star performers TH the Droadway play, James Carl Jones and Hary Alice, won
Dest Actor and Dest Featured Actress Tonys respectively. rences director
Lloyd Richards also garnered 22 Tony
3 ROA
James Carl Jones stars in saga of miners' struggle (Hatewan)
Jet v71 p57 October 27 D6
Contains: portrait
SUBJECTS DOVERED:
Dlack coal miners
Jones, James Carl
ADOTRACT: James Carl Jones will star in Hatewan, a feature film about the
tole of black miners in the 1920 Hatewan Hassacre in West Virginia. The
film was written and will be directed by John Dayles.
T1/3/1-7
1/3/1
(Item 1 from file: 47)
01441428 DIALOG File 47: MAGAZINE INDEX
Stravinsky: Firebird suite. (Atlanta Symphony Orchestra and Chorus)
(phonorecord reviews)
Hemming, Roy
50 Plus v19 p42(1) Dec, 1979
SOURCE FILE: MI File 47
ARTICLE TYPE: review
GRADE: A
1/3/2
(Item 2 from file: 47)
01292040 DIALOG File 47: MAGAZINE INDEX
Schuman: Concerto on old English rounds. (Atlanta Symphony Orchestra)
(concert reviews)
High Fidelity v29 pMA27 (1) June, 1979
SOURCE FILE: MI File 47
ARTICLE TYPE: review
GRADE: B
1/3/3
(Item 3 from file: 47)
01241164 DIALOG File 47: MAGAZINE INDEX
Stravinsky: Firebird suite (1919). (Atlanta Symphony Orchestra)
(phonorecord reviews)
Payne, Ifan
American Record Guide v42 p50(3) April, 1979
SOURCE FILE: MI File 47
ARTICLE TYPE: review
GRADE: B
1/3/4
(Item 4 from file: 47)
01241160 DIALOG File 47: MAGAZINE INDEX
Borodin: Prince Igor: Polovetsian dances. (Atlanta Symphony Orchestra)
(phonorecord reviews)
Payne, Ifan
American Record Guide v42 p50 (3) April, 1979
SOURCE FILE: MI File 47
ARTICLE TYPE: review
GRADE: c-
1/3/5
(Item 5 from file: 47)
01217224 DIALOG File 47: MAGAZINE INDEX
Borodin: Prince Igor: Overture; Popvetsian dances. (Atlanta Symphony
Orchestra) (phonorecord reviews)
High Fidelity v29 p112 (1) March, 1979
SOURCE FILE: MI File 47
ARTICLE TYPE: review
GRADE: C-
1/3/6
(Item 6 from file: 47)
01196848 DIALOG File 47: MAGAZINE INDEX
Stravinsky: The firebird - - suite (1919 version). (Atlanta Symphony
Orchestra) (phonorecord reviews)
Freed, Richard
Stereo Review v42 p136 (1) Feb, 1979
SOURCE FILE: MI File 47
ARTICLE TYPE: review
GRADE: A
1/3/7
(Item 7 from file: 47)
01196845 DIALOG File 47: MAGAZINE INDEX
Borodin: Prince Igor: Overture; Polovetsian dances. (Atlanta Symphony
Orchestra) (phonorecord reviews)
Freed, Richard
Stereo Review v42 p136 (1) Feb, 1979
SOURCE FILE: MI File 47
ARTICLE TYPE: review
GRADE: A
?
5/3/1
(Item 1 from file: 47)
07989025 DIALOG File 47: MAGAZINE INDEX
Wise, Robert.
Current Biography v50 p57 (5) Sept, 1989
SOURCE FILE: MI File 47
ARTICLE TYPE: biography
MAIL-IT REQUESTED: JULY 13, 1992
100G7P
CLIENT: WHO
LIBRARY: NEXIS
FILE: MAJPAP, MAGS
YOUR SEARCH REQUEST AT THE TIME THIS MAIL-IT WAS REQUESTED:
DATE AFT 1989 AND (ROBERT PRE/2 WISE) W/50 WISE W/50 WISE W/50 WISE
NUMBER OF STORIES FOUND WITH YOUR REQUEST THROUGH:
LEVEL 1...
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THE SELECTED STORY NUMBERS:
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1
LEVEL 1 - - 1 OF 6 STORIES
Copyright 1992 The Seattle Times Company
The Seattle Times
May 17, 1992, Sunday, Final Edition
SECTION: ARTS, ENTERTAINMENT; Pg. L4
LENGTH: 2501 words
HEADLINE: RARE EVENT: SATYAJIT RAY'S LAST FILM DUE HERE TODAY
BYLINE: BY JOHN HARTL
BODY:
An Academy Award winner just weeks before he died in Calcutta April 23,
Satyajit Ray was India's greatest filmmaker, and a world-class director by any
standard.
His extraordinarily lyrical six-hour national epic, "The Apu Trilogy," was
completed in the 1950s, but he went on to make several equally brilliant films
about contemporary India ("The Adversary," "The Big City," "Days and Nights in
the Forest") as well as such exotic examinations of the country's past as "The
Chess Players" and "Distant Thunder."
His last completed film, "The Stranger," plays at the Seattle International
Film Festival, at 9:30 tonight at the Egyptian and 9:30 p.m. Tuesday at the
Neptune.
The story of a long-gone uncle who returns after many years to spend an
unsettling week with his family, it is likely to be very well-attended,
especially by the local Indian community, which showed up in force when the
festival screened Ray's "The Home and the World" a few years ago. After that
film was completed in 1984, Ray made two more movies ("An Enemy of the People,"
"Branches of the Tree") that haven't been seen here.
It's been a long, long time since any Seattle theater has scheduled a regular
run of a Ray film - which does not reflect well on this city's reputation as a
great movie town. Even video isn't much of an option; the quality of the "Apu"
tapes available in this country is scandalously poor. If you want to see Ray's
work, you see it at the festival.
Another Oscar-winner, Robert Wise, will be here this week for a festival
tribute. Although Wise won his Academy Awards for directing a pair of
blockbuster musicals ("West Side Story," It "The Sound of Music"), the festival
will concentrate on the smaller-scale classics that established his reputation.
The tribute began this weekend at the Egyptian with a free Saturday matinee
of Wise's 1945 horror film, "The Body Snatcher," and it will continue at the
same location with free showings of "The Set-Up" (next Saturday), "The Day the
Earth Stood Still* (May 301, and "Somebody Up There Likes Me" (June 6).
The main event, however, will be an in-person appearance at 7 p.m. Thursday,
when the Egyptian will screen clips from Wise's "I Want to Live!" and show
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his 1963 haunted-house classic, "The Haunting," in its original black-and-white
CinemaScope version.
Born in Indiana in 1914, Wise got his start editing Orson Welles' "Citizen
Kane," and he was recently involved in its restoration - as well as a showdown
with Ted Turner over colorizing "The Haunting." (Because of the explicit terms
in Wise's original contract, Turner lost.) Wise is working with a couple of
younger filmmakers on a Holocaust movie called "I Remember." He will no doubt
have many tales to tell.
Here's a roundup of other festival events this week:
TODAY
FACTORIA CINEMAS
10 a.m. - "Moonrise." The 81-year-old Al Lewis, best-known as Grandpa Munster
on "The Munsters," is the liveliest thing about this otherwise bloodless New
Zealand comedy about a kindlier, gentler variety of vampire. ($ 3.50-$ 5).
EAMES/IMAX THEATER
10 a.m. - "Creatures of the Seasons." The festival makes its Pacific Science
Center debut with this super-70-millimeter Japanese film about changing
landscapes and animals through the seasons. On the program is another IMAX
short, "Primiti Too Taa." ($ 3.50).
NEPTUNE THEATRE
Noon - "Enchanted April." An absurdly romantic tale, closely related to E.M.
Forster's "A Room With a View" and "Where Angels Fear to Tread," about repressed
Britons awakening to the pleasures of Italy in the 1920s. While it lacks the
Forster finesse, it's worth seeing for the performances of Joan Plowright and
Miranda Richardson. ($ 4.50).
2:15 p.m. - "Roy Rogers, King of the Cowboys." A new Dutch film about a
European director's fascination with American cowboy stars. ($ 4.50).
4:30 p.m. - "Night on Earth." In the vein of Jim Jarmusch's previous
collection of deadpan comedies, "Mystery Train," is a five-part movie that
follows cab drivers and their fares through five cities. The material ranges
from the wry to the obvious, starting out on a high note with a Los Angeles
session starring Gena Rowlands and Winona Ryder. ($ 4.50).
7 p.m. - "A Woman's Tale." Paul Cox's much-praised Australian character
study, about a 78-year-old woman (Sheila Florance) who is anything but retiring.
($ 6.50)
9:30 p.m. - "Ticket to Taj Mahal." Russian film about the post-war occupation
of a Lithuanian village by Stalinists. (This replaces another Russian movie,
"Cloud Paradise," that is not available.) ($ 6.50)
EGYPTIAN
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Noon - "The Secret Festival." This sold-out series is made up of unannounced
films.
2:15 p.m. - "Rocco and His Brothers." A three-hour restoration of Luchino
Visconti's tasty 1960 melodrama about a Sicilian family that tries to find a
better life by moving north to Milan. ($ 4.50)
7 p.m. - "Homework." Mexican answer to "sex, lies, and videotape," supposedly
about a woman who videotapes a visit from her former lover. Full frontal nudity
and a twist ending that really surprises. ($ 6.50).
9:30 p.m. - "The Stranger." The late Satyajit Ray's final film. ($ 6.50)
HARVARD EXIT
Noon - "Gas, Food Lodging." One of the most enjoyable of this year's American
independent movies, starring Fairuza Balk and Ione Skye as the teenage daughters
of a truck-stop waitress (Brooke Adams), an abandoned mother whose weak husband
(James Brolin) tries to make amends with one of his daughters. Balk is a
movie-mad matchmaker who lines up a disastrous new beau for her mother, while
Skye is the bitter, difficult sister who blossoms when she isn't being abused.
($ 4.50)
2:15 p.m. - "La Discrete." French tale of a spurned lover who plots an
elaborate revenge. ($ 4.50)
4:30 p.m. - "Above the Mountains." A Dutch road movie on foot, about six
friends on a cross-country hike. ($ 4.50)
7 p.m. - "Skinless Night." Japanese story of a porn filmmaker who is thwarted
when he tries to make a small, personal film. ($ 6.50)
9:30 p.m. - "Monster in a Box." A new monologue movie from Spalding Gray,
whose previous filmed solo act was "Swimming to Cambodia." ($ 6.50)
MONDAY
NEPTUNE
5 p.m. - TBA. "The Gulf War," previously announced for this slot, is an Arab
production without English subtitles, so the festival has canceled its
screenings. ($ 4.50)
7 p.m. - "Gay Shorts." A collection of short films that focus on AIDS, gay
pride and sensibility. ($ 6.50)
9:30 p.m. - "Homework." Repeat of a Mexican film about a woman who videotapes
a visit from her former lover. ($ 6.50)
EGYPTIAN
7 p.m. - "Once Upon a Time in China." Hong Kong martial-arts epic set in 19th
century China. ($ 6.50)
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9:30 p.m. - "A Woman's Tale." Repeat of Paul Cox's movie about a nonretiring
old lady. ($ 6.50)
HARVARD EXIT
7 p.m. - "The Bewildered King." Like a droll, non-graphic version of Ken
Russell's "The Devils," this Spanish comedy skewers the obsessions and
hypocrisies of the Spanish Inquisition at the beginning of the 17th century. The
unlikely hero is a nerdy young king who has just discovered the pleasures of the
flesh and is not about to let the church squash his appetites. ($ 6.50)
9:30 p.m. - "Brother's Keeper." A prize-winner at the Sundance Film Festival
in January, this engrossing documentary concerns a murder trial involving three
aging brothers who have lived together and slept together in a shack in upstate
New York since they were boys. ($ 6.50)
TUESDAY
NEPTUNE
5 p.m. - "The 600 Days of Salo." An 88-minute Italian collection of recently
discovered archival footage about the final months of Mussolini's puppet
republic. ($ 4.50)
7 p.m. - "The Secret Face." American premiere of a Turkish puzzler about an
obsessed photographer and a mystery woman. ($ 6.50)
9:30 p.m. - "The Stranger." Repeat of Satyajit Ray's final film. ($ 6.50)
EGYPTIAN
7 p.m. - "Children of Nature." Iceland's first Oscar nominee for best foreign
film, about an old couple who run away from a retirement home and hit the road.
($ 6.50)
9:30 p.m. - "Butterfly Wings." The American premiere of an elegant, mordant
Spanish film, reminiscent of "Spirit of the Beehive" but darker and more twisted
than that childhood-trauma classic. The six-year-old heroine and her obsessed
mother find themselves locked into an unhealthy relationship that continues well
into the girl's adulthood. ($ 6.50)
HARVARD EXIT
7 p.m. - "Monster in a Box." Repeat of Spalding Gray's monolog film. ($ 6.50)
9:30 p.m. - "Skinless Night." Repeat of a Japanese film about a would-be
filmmaker. ($ 6.50)
WEDNESDAY
NEPTUNE
5 p.m. - "Roy Rogers, King of the Cowboys." Repeat of the Dutch film about
cowboy movie obsessions. ($ 4.50)
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7 p.m. - "Above the Mountains." Repeat of a Dutch road movie. ($ 6.50)
9:30 p.m. - TBA. ($ 6.50)
EGYPTIAN
7 p.m. - "La Neige et La Feu" ("Snow and Fire"). Claude Pinoteau's
semi-auto-biographical drama about a platoon fighting for the liberation of
France in 1944-45. ($ 6.50)
9:30 p.m. - "Bix." This English-language Italian chronicle of the last years
of Bix Beiderbecke is switching places with "Daddy and the Muscle Academy,"
which is now scheduled to turn up May 27. ($ 6.50)
HARVARD EXIT
7 p.m. - "Cup Final." Israeli production about the political-personal battles
of fighters involved in the Israeli invasion of Lebanon. ($ 6.50)
9:30 p.m. - "Boiling Point." American premiere of a Japanese
David-and-Goliath movie about a small-time baseball team defying the yakuza. ($
6.50)
THURSDAY
NEPTUNE
5:00 p.m. - "Bix." Repeat of an English-language Italian film. ($ 4.50)
7 p.m. - "A Brighter Summer Day." A much-acclaimed, four-hour film from
Taiwan, about gangs of school kids searching for their identity in the 1960s. ($
6.50)
EGYPTIAN
7 p.m. - "A Tribute to Robert Wise." Film clips, a personal appearance by
Wise and a wide-screen presentation of the director's 1963 classic, "The
Haunting." ($ 6.50)
HARVARD EXIT
7 p.m. - "Get Thee Out!" Russian film about turn-of-the-century anti-Semitism
and village life. ($ 6.50)
9:30 p.m. - "Deadly Currents." Canadian documentary about the
Israeli-Palestinian conflict. ($ 6.50)
FRIDAY
BROADWAY MARKET
5 p.m. - "Get Thee Out!" The Broadway Market Cinemas joins this year's
festival with a repeat screening of this Russian movie. ($ 4.50)
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The Seattle Times, May 17, 1992
7 p.m. - "One Full Moon." American premiere of a British film about a Welsh
boy who becomes obsessed by the symbols and rituals of Christianity. ($ 6.50)
9 p.m. - "Love on a Slice of Bread." American premiere of an Indonesian road
movie set in Java. ($ 6.50).
NEPTUNE
5 p.m. - "Boiling Point." Repeat of a Japanese baseball movie. ($ 4.50)
7 p.m. - "Five Girls and a Rope." Feminist drama that was filmed in rural
China and has been banned in both China and Taiwan. ($ 6.50)
9:30 p.m. - "The Events Leading Up to My Death." Bill Robertson's Canadian
prize-winner about the troubled son of a disturbed family. ($ 6.50)
EGYPTIAN
5 p.m. - "A Brief History of Time." Errol Morris' prize-winning documentary
about the life and theories of Stephen Hawking. Score by Philip Glass, who
composed the music for Morris' "The Thin Blue Line." ($ 4.50)
7 p.m. - "The Hairdresser's Husband." Jean Rochefort is the retiring
narrator-protagonist of this bittersweet romantic drama from Patrice Leconte,
the director of "Monsieur Hire." ($ 6.50)
9:30 p.m. - "My New Gun." American premiere of a suburban melodrama about the
consequences of a handgun purchase. With Diane Lane, Tess Harper, Stephen
Collins. ($ 6.50)
HARVARD EXIT
5 p.m. - "Gay Shorts." Repeat screening. ($ 4.50)
7 p.m. - "Riff-Raff." Ken Loach's latest film, about a Scottish worker who
arrives in London and finds that his new co-workers are running a scam. ($ 6.50)
9:30 p.m. - "The Hours and Times." Christopher Munch's hour-long account of
the relationship between John Lennon and the Beatles' gay manager, Brian
Epstein. ($ 6.50)
SATURDAY
BROADWAY PERFORMANCE HALL
Noon - "Documentary Controversies" seminar. Michael Moore, Bobby Rock, Amy
Taubin, Jack Garner and others are scheduled to attend this discussion of the
new style and popularity of documentaries - and the annual controversy over
which of them gets noticed by the increasingly conservative Academy Awards
committee. Moore's "Roger & Me" is one of the ones that got shut out at the
Oscars. ($ 10)
BROADWAY MARKET
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The Seattle Times, May 17, 1992
Noon - "A Brighter Summer Day." Repeat of a four-hour Taiwanese film. ($
4.50).
4:30 p.m. - "The Secret Face." Repeat of the Turkish film. ($ 4.50)
7 p.m. - "North of Pittsburgh." American premiere of a Canadian film about a
young drug dealer working out of Ontario in 1975. ($ 6.50)
9:30 p.m. - "The Favor, the Watch and the Very Big Fish." British-french
comedy starring Bob Hoskins as a photographer and Jeff Goldblum as his new
model. ($ 6.50)
NEPTUNE
Noon - "Butterfly Wings." Repeat of the Spanish film. ($ 4.50)
2:15 p.m. - "Deadly Currents." Repeat of the Canadian film. ($ 4.50)
5 p.m. - "La Neige et Le Feu" ("Snow and Fire"). Repeat of the French film.
($ 4.50)
7 p.m. - "Lacenaire: The Elegant Criminal." Daniel Auteuil plays Lacenaire,
the thief in "Children of Paradise" who was based on a real person. ($ 6.50)
9:30 p.m. - "John Lurie and the Lounge Lizards." American premiere of a
concert documentary filmed at Berlin's Quartier Latin. ($ 6.50)
EGYPTIAN
Noon - "The Set-Up." The festival's Robert Wise tribute continues with a free
screening of this 1949 boxing classic, which may be the director's finest,
tightest piece of work.
2:15 p.m. - "Cup Final." Repeat of an Israeli film. ($ 4.50)
5 p.m. - "One Full Moon." American premiere of a British film about a Welsh
boy who becomes obsessed by the symbols and rituals of Christianity. ($ 6.50)
7 p.m. - "Spotswood." Australian comedy starring Anthony Hopkins as an
efficiency expert hired to reorganize a shoe factory. ($ 6.50)
9:30 p.m. - "Who Killed the Baby Jesus." World premiere of Douglas Stefan
Borghi's film about a mother-daughter heist in L.A. ($ 6.50)
Midnight - - "Vegas in Space." Midnight musical about an all-male space crew
forbidden to touch down on an all-female planet. ($ 5)
HARVARD EXIT
Noon - "The Big Wish and Other Short Tales." The festival's children's series
continues with an 87-minute collection of shorts from several countries. ($
3.50-$ 5)
2:15 p.m. - "My New Gun." Repeat of an American melodrama about handguns. ($
4.50)
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5 p.m. - "The End of the Golden Weather." New Zealand movie about a
precocious young boy who wants to become a famous writer. ($ 4.50)
7 p.m. - "Danzon." Mexican story of a telephone operator whose life takes an
unexpected turn. ($ 6.50)
9:30 p.m. - "The Living End." A gay buddy movie about two HIV positive gay
men who go on a cross-country sex and crime spree. ($ 6.50)
GRAPHIC: PHOTO REUTERS: THE LATE, WORLD-CLASS DIRECTOR SATYAJIT RAY, WHOSE FINAL
FILM, "THE STRANGER," WILL BE SCREENED TONIGHT AND TUESDAY AS PART OF THE
SEATTLE INTERNATIONAL FILM FESTIVAL.
SUBJECT: FAIRS AND FESTIVALS; MOTION PICTURES
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LEVEL 1 - 2 OF 6 STORIES
Copyright 1992 The Seattle Times Company
The Seattle Times
May 15, 1992, Friday, Final Edition
SECTION: TEMPO; REEL; Pg. 25
LENGTH: 1267 words
HEADLINE: FILM FEST KICKS OFF WITH A TRUE BLAST FROM THE PAST
BYLINE: BY JOHN HARTL
BODY:
According to a Variety report from last fall's New York Film Festival, "the
hottest ticket of the festival was a 31-year-old Italian film."
Luchino Visconti's "Rocco and His Brothers," which had never been screened
before in the United States in its original three-hour form, won raves from The
New York Times' Vincent Canby and other critics at that sold-out screening. It's
also among the main attractions during this opening weekend of the 18th Seattle
International Film Festival.
Available previously in versions that ran 95, 152 and 170 minutes, the
full-length edition will take up most of Sunday afternoon at the Egyptian
Theatre, beginning at 2:15 p.m. The British Film Institute supplied the
restoration materials for the New York and Seattle screenings.
Inspired by the biblical story of Joseph and his brothers, "Rocco" is a rich,
compelling and occasionally quite peculiar family saga about a Sicilian peasant
woman (Katina Paxinou) who takes her sons north to Milan to spare them from
poverty. Alain Delon plays the most saintly of the sons, while Renato Salvatori
is his savage, troubling opposite. Claudia Cardinale has a small role, while
Annie Girardot won most of the raves for her performance as a prostitute.
Originally released during 1960, at the same time that other Italian
filmmakers were transforming the national cinema with lengthy, semi-experimental
epics (Fellini with "La Dolce Vita," Antonioni with L'Avventura"), "Rocco and
His Brothers" seemed somewhat soapy and old-fashioned at the time.
But it has aged remarkably well, and its influence can be seen in such
American epics as "The Godfather" - which also features a flavorful,
atmosphere-defining Nino Rota score. "Rocco" was Visconti's personal favorite in
a directing career that included such landmark movies as "La Terra Trema,"
"Senso," "The Leopard" and "Death in Venice." He died in 1976.
Also being honored at the festival is another veteran director, Robert
Wise, who will attend a tribute in his honor at 7 p.m. Thursday at the
Egyptian. Five of Wise's movies will be screened in 35mm during the festival,
beginning with two pictures that demonstrate his ability to give us the creeps.
"The Body Snatcher," which will be shown free at noon tomorrow at the
Egyptian, was Wise's second solo directing job. Produced in 1945 at RKO
Studios, where Wise had edited "Citizen Kane," it was part of producer Val
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Lewton's series of classy scare films ("Cat People," "Bedlam") that emphasized
atmosphere over shock. Based on a Robert Louis Stevenson story, it stars Boris
Karloff as the grave-robber of the title and Henry Daniell as the surgeon who
uses his cadavers.
"The Haunting," which will be shown at the conclusion of Thursday evening's
program of film clips and on-stage discussion, applies the low-budget lessons
Wise learned at RKO to a 1963 MGM haunted-house thriller. Ingeniously playing
with sound effects, shadowy lighting and the CinemaScope frame, Wise makes the
most of a small cast that includes Julie Harris and Claire Bloom as psychically
gifted ghost-hunters and Rosalie Crutchley as a housekeeper who takes perverse
pleasure in trying to scare off the guests.
MARLENE AT THE METRO: Marlene Dietrich's death last week at age 90 has inspired
the Seven Gables management to bring back two of her most delirious 1930s
classics in glorious 35mm black and white.
"Shanghai Express" (1932), which won an Oscar for Lee Garmes' gauzy, smoky
photography, stars Dietrich as a prostitute who meets a former lover (Clive
Brook) aboard a train. One of Dietrich's most popular pictures, this is the one
that inspired her most frequently quoted line: "It took more than one man to
change my name to Shanghai Lily."
"The Scarlet Empress" (1934), in which she plays Catherine the Great, is an
absurd triumph of cinematic style over all else. One critic called it "the most
imaginative American film of the sound era prior to 'Citizen Kane. " Its
commercial failure also led to Dietrich being labeled "box-office poison" in the
late 1930s.
Both films were directed by Josef von Sternberg, whose reputation escalated
when he cast Dietrich in "The Blue Angel" and waned as the seven movies they
made together became increasingly stylized and baroque. Of course, that's one
reason why they seem 50 precious today.
Following last week's news, New Line Home Video has announced that it will
reissue Maximilian Schell's fascinating, Oscar-nominated 1984 documentary,
"Marlene," as a $ 15 cassette June 24. Perhaps the same urge will move MCA Home
Video, which is sitting on "The Devil Is a Woman,' "The Scarlet Empress" and
"Dishonored," to release them to the cassette market.
AROUND TOWN: 911 Media Arts Center's 8 p.m. show tonight is a collection of
experimental films, including Caroline Avery's "Simulated Experience," Nian
Fonoroff's "Some Phases of an Empire" and Steven Bade's "Solitary and Abhorred."
At 8 p.m. tomorrow, 911 will screen "Seattle's First Student Media Festival," a
program of films and videos by local high-school students. Thursday's 8 p.m.
show is "Works of Leslie Thornton," including a 1983 16mm film, "Adynata," and a
1987 video, "There Was an Unseen Cloud Moving." Tickets are $ 3 for 911 members,
$ 5 for others
The Wing Luke Asian Museum's series, "Issei/Nisei/Sansei:
Japanese America on Film," ends at 1 p.m. tomorrow at the Theater Off Jackson,
409 7th Ave. S., in the International District. The program is made up of the
locally produced "Beacon Hill Boys," which is set in Seattle in the early 1970s,
and Lise Yasui's "A Family Gathering," an hour-long movie about growing up in a
Japanese-American family. Tickets are $ 4
The
Queen
City
Film
Festival,
held every week at the Dream Theater, 1108 Pike Street (Pike at Boren), is
showing a program made up of "Scopitones," the 1960s forerunners of music
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videos, tonight through Sunday, and Joan Crawford's 1945 Oscar winner, "Mildred
Pierce," Thursday night. Tickets are $ 4 at the door
Ettore Scola's
historical drama, "La Nuit de Varennes," plays at 7:30 p.m. Thursday at Tacoma
Community College, as part of the college's International Film Festival. Tickets
are $ 4 at the door
"Screen Idols" is the title of a collection of
original vintage photographs from Hollywood's golden era, which runs through
June 7 at the Michael Pierce Gallery, 600 Pine St.
Extras are needed for a
scene for Paul Scoles' feature-length film, "The Recordist," which will be
shooting from 7:30 p.m. to midnight Sunday at Waldo's Tavern in Kirkland.
FUTURE FILE: The Northwest Folklife Festival, May 22-25 at Seattle Center, will
be screening several free movies, including "The Jews of Catalonia," "The
Sephardic Journey" and "Skokomish Salmon Ceremony"
The Neptune Theater
will be occupied with the Seattle International Film Festival, today through
June 7, but returns to regular programming June 8 with the Seattle premiere of
Marlon Riggs' "Color Adjustment" Super 8 filmmakers Jerry Orr and Gary
Adlestein will bring a collection of their short films, including "Behind the
Noise," "Amish" and "Shadow Hunting," to 911 Media Arts Center at 8 p.m. May 29.
One week later, 911 will bring back its "Documentaries Northwest" series for
another five Friday nights, including a program featuring the work of Oliver
Hockenhull.
GRAPHIC: PHOTO ANNIE GIRARDOT AND ALAIN DELON CO-STAR IN THE RESTORED VERSION OF
LUCHINO VISCONTI'S THREE-HOUR EPIC, "ROCCO AND HIS BROTHERS," AT 2: 15 P.M.
SUNDAY AT THE EGYPTIAN THEATRE. IT'S PART OF THE 18TH SEATTLE INTERNATIONAL FILM
FESTIVAL.
SUBJECT: MOTION PICTURES
TYPE: REVIEW
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LEVEL 1 - 4 OF 6 STORIES
Copyright 1991 Globe Newspaper Company
The Boston Globe
March 5, 1991, Tuesday, City Edition
SECTION: LIVING; Pg. 58
LENGTH: 928 words
HEADLINE: NAMES & FACES;
Party time at YWCA
BYLINE: By Michael Blowen, Globe Staff
BODY:
The Boston YWCA will mark its 125th anniversary on March 15 at 7 p.m. with a
celebration featuring Maya Angelou as the honored speaker at the club's
Clarendon Street location. Angelou, an accomplished writer, actress and
activist, will be kicking off a yearlong series of activities drawing attention
to the Boston branch as the first YWCA in America. Other honorees: Elsie Frank,
Mass. Association of Older Americans; Cecilia Soriano-Bresnahan, host of WBZ's
"E1 Centro"; Judith Kurland, commissioner of health and hospitals; Marta Rosa,
member of the Chelsea School Board; and Janet Wu of WCVB-TV.
He's still paying for his 'sins'
Three years after his tearful confession of sin, Jimmy Swaggart is fending
off creditors and struggling to rebuild his religious empire. His TV ratings are
one-fifth what they were at their peak, and seven stations from around the
country and a contractor have sued over the past 15 months, claiming they are
owed a total of $ 213,500, court records show. The Jimmy Swaggart Ministries
also is selling off or leasing land and buildings. In 1988, a sobbing Swaggart
confessed to unspecified sin after a prostitute claimed that the evangelist had
paid her to perform sexual acts while he watched. He was later cast out by his
denomination, the Assemblies of God. Neither Swaggart nor anyone else from Jimmy
Swaggart Ministries would answer questions about the ministries' finances. "He
doesn't do interviews. The press has not been very kind. All you want to do is
drag up trash," spokeswoman Norma Shaw said.
Military mementos
Persian Gulf update: According to Newsweek, the latest collectible craze is
Scud and Patriot missile fragments. GIs have been eagerly salvaging the
projectiles to bring home as mementos of the war
"How about that Stormin'
Norman Schwarzkopf? He's sort of like a cross between General George Patton and
Fozzy Bear." - Barbara Bush, saluting the US military commander in the Persian
Gulf. Sounds as if she wouldn't mind seeing the general replace Dan Quayle on
the Republican ticket.
Outward bound
The winter issue of Skeptical Inquirer, a "Journal of the Committee for the
Scientific Investigation of Claims of the Paranormal," reports the findings of a
Gallup poll that measures the public's belief in otherworldly experiences.
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The Boston Globe, March 5, 1991
The findings:
One in four Americans believes in ghosts.
One in 10 claims to have seen or spent time with ghosts.
One in four believes he or she has had a telepathic experience.
One in six claims to have talked to a deceased person.
More than half believe in the devil, and one in 10 claims to have had a
conversation with Satan.
One in seven claims to have personally seen a UFO.
If he runs, she's running out of time
Gen. Colin Powell's daughter is a struggling actress who hopes she makes it
big before anyone gets her dad interested in the White House. Linda Powell, 26,
said her father has no desire to be vice president. As for higher aspirations,
she said with a laugh: "Oh, president? I hope I become famous first." In the
movie "Reversal of Fortune," Powell played one of the law students who helps
Alan Dershowitz win Claus von Bulow's case. On Thursday, she opens at the Samuel
Beckett Theater in New York in "Judgment Day." She says her father doesn't talk
a lot about his work as chairman of the Joint Chiefs of Staff. "He guards his
privacy and his opinions," she said. "We're allowed to have our opinions and he
has his."
The puck stops here
Mike Eruzione, Jim Craig, Jack 0' Callahan and other members of the 1980 US
Olympic hockey team that won the Gold Medal will face off against movie and
television actors including Richard Dean Anderson ("MacGyver"), Matt Frewer
("Doctor, Doctor") and Jason Hervey ("The Wonder Years") in the Celebrity Gold
Medal Challenge at Boston Garden at 7 p.m. on March 16. The proceeds will
benefit the USO and the Boston Foundation/Commonwealth Rinks Fund for the
state's public skating rinks.
The Bay State's reel success
Encouraging economic news about Massachusetts from California. The Hollywood
Reporter, in its annual survey of money spent on location by film companies,
ranks Massachusetts fourth in the nation. California leads with $ 4.25 billion,
followed by North Carolina with $ 426 million, Florida at $ 294 million and
Massachusetts at $ 200 million.
Words from the Wise
Filmmaker Robert Wise, the man who made "West Side Story" and "The Sound
of Music," among others, will be spending the weekend in the Boston area.
Wise, who directed some of the best genre films in Hollywood history, was a
great collaborator who cut his creative teeth editing "Citizen Kane." Aside from
an appearance at the Brattle Theater, Wise also will be lecturing at the
Museum School on the Fenway. On Friday, he'll speak in the Museum School's main
auditorium at 12:30 p.m. after discussing his career with students in
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The Boston Globe, March 5, 1991
independent filmmaker/teacher Richard Broadman's class.
Speaking your mind
The New Republic joins the proliferation of 900 numbers with their readers
hotline. "Deliver your opinions - long-pondered or spontaneous - over the
phone," reads the announcement on the correspondence page of the March 18 issue.
Of course, it'll cost you $ 1.25 a minute, 50 don't be too ponderous. Better
still, use your 900 allowance on the World Wrestling Federation and get your
money's worth. Besides, what ever happened to writing? Maybe everyone should get
their own 900 number - then the magazine could read their stories to us while we
raked in the cash.
GRAPHIC: PHOTO, 1. Maya Angelou 2. Robert Wise
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MAIL-IT REQUESTED: JULY 13, 1992
10067P
CLIENT: WHO
LIBRARY: NEXIS
FILE: MAJPAP, MAGS
YOUR SEARCH REQUEST AT THE TIME THIS MAIL-IT WAS REQUESTED:
DATE AFT 1989 AND (ROBERT PRE/2 SHAW) W/50 SHAW W/50 SHAW
W/50 SHAW
W/50 SHAW
NUMBER OF STORIES FOUND WITH YOUR REQUEST THROUGH:
LEVEL 1
120 LEVEL 2...
54 LEVEL 3...
32
LEVEL
3 PRINTED
DISPLAY FORMAT: CITE
SEND TO: GERSHOWITZ, GARY
WHITE HOUSE COMMUNICATIONS OFFICE
OLD EXECUTIVE OFFICE BUILDING
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09320
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LEVEL 3 - 32 STORIES
1. The Washington Times, June 7, 1992, Sunday, Final Edition, Part D; ARTS;
MUSIC; Pg. D6, 441 words, Shaw wastes a glorious opportunity, Octavio Roca; THE
WASHINGTON TIMES
2. The Houston Chronicle, February 28, 1992, Friday, 2 STAR Edition, HOUSTON;
Pg. 1, 980 words, Don't call him maestro; Choral conductor 15 a stickler for
detail, CHARLES WARD; Staff, Houston
3. Chicago Tribune, February 18, 1992, Tuesday, SOUTH SPORTS FINAL EDITION,
CHICAGOLAND; Pg. 5; ZONE: C; Election 92., 579 words, Democrats seeing red in
state Senate battle Kelly, Shaw at odds in 15th District, By Edmund S. Tijerina
4. The New York Times, January 21, 1992, Tuesday, Late Edition - Final, Music,
Section C; Page 13; Column 1; Cultural Desk, 758 words, Critic's Notebook;
Robert Shaw Magic: It's Based on Sweat, By ALLAN KOZINN
5. Georgia Trend, January, 1992, Vol 7; No 5; Sec 1; pg 33, 11148 words, The
Georgia Trend 100, Atlanta; GA; US
6. The Washington Post, December 9, 1991, Monday, Final Edition, STYLE; PAGE
D1, 929 words, THE SEVEN-GUN SALUTE; At the Gala Show, A Chorus of Stars In
Touching Tribute, Roxanne Roberts, Dana Thomas, Special to The Washington Post,
DC NEWS
7. The Atlanta Journal and Constitution, December 8, 1991, NATIONAL NEWS;
SECTION A; PAGE 16, 887 words, Conductor Robert Shaw receives Kennedy arts
award; 7 are honored for contributions, By Bob Dart WASHINGTON BUREAU,
personalities; politics; entertainment; music
8. The Washington Times, December 3, 1991, Tuesday, Final Edition, Part E;
LIFE; KENNEDY CENTER HONORS '91; Pg. E1, 1798 words, Robert Shaw's wealth of
voices, Octavio Roca; THE WASHINGTON TIMES, NEW YORK
9. The Atlanta Journal and Constitution, December 1, 1991, ARTS &
ENTERTAINMENT; SECTION K; PAGE 03, 300 words, Robert Shaw's most cherished
memories, -Helen C. Smith, music; arts; entertainment
10. The Atlanta Journal and Constitution, December 1, 1991, ARTS &
ENTERTAINMENT; SECTION K; PAGE 02, 493 words, THE ESSENTIAL RECORDINGS, By
Derrick Henry CLASSICAL MUSIC CRITIC, music; arts; entertainment; records
11. The Atlanta Journal and Constitution, December 1, 1991, ARTS &
ENTERTAINMENT; SECTION K; PAGE 01, 2550 words, THE GENIUS AND HEART OF ROBERT
SHAW; His soul-stirring choral mastery drives singers to perfection;; his gifts
make him a Kennedy Center honoree, By Helen C. Smith STAFF WRITER, music; arts;
entertainment; profiles; personalities
12. Chicago Tribune, September 12, 1991, Thursday, NORTH SPORTS FINAL EDITION,
CHICAGOLAND; Pg. 3; ZONE: C, 710 words, City late fee rises for auto stickers,
By Robert Davis
13. Los Angeles Times, August 30, 1991, Friday, Home Edition, Calendar; Part
F; Page 13; Column 1; Entertainment Desk, 591 words, MOVIE REVIEWS; 'SPLIT': A
POLITICAL-RELIGIOUS PARABLE, By KEVIN THOMAS, TIMES STAFF WRITER, Motion Picture
Review
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14. Los Angeles Times, August 17, 1991, Saturday, San Diego County Edition,
Calendar; Part F; Page 2; Column 1; Entertainment Desk, 850 words, CLASSICAL
MUSIC / KENNETH HERMAN: SAN DIEGO SPOTLIGHT ; RAMPAL, MAESTRO OF FLUTE, TO
APPEAR AT SUMMERPOPS, By KENNETH HERMAN, Column
15. Chicago Tribune, July 8, 1991, Monday, NORTH SPORTS FINAL EDITION,
BUSINESS; Pg. 3; ZONE: C, 800 words, Industry town waits out rugged times Carpet
company wrestles with worst decline in 10 years, By Marc Rice, DALTON, Ga.
16. Chicago Tribune, April 4, 1991, Thursday, NORTH SPORTS FINAL EDITION,
NEWS; Pg. 1; ZONE: C, 1050 words, New faces, but same old council Fledgling
aldermen unlikely to ruffle many feathers, By Robert Davis
17. The Atlanta Journal and Constitution, February 20, 1991, FEATURES; SECTION
B; PAGE 04, 369 words, MUSIC; YOUR GUIDE TO THE GRAMMYS; In an industry built on
hype, Robert Shaw is a quiet superstar; ROBERT SHAW, By Derrick Henry Staff
writer, music; award; personalities; profiles
18. Chicago Tribune, February 7, 1991, Thursday, NORTH SPORTS FINAL EDITION,
NEWS; Pg. 1; ZONE: C, 453 words, Noise in hall shatters quiet of clerk's race,
By Robert Davis
19. Chicago Tribune, February 6, 1991, Wednesday, NORTH SPORTS FINAL EDITION,
CHICAGOLAND; Pg. 8; ZONE: c; Campaign 91, 763 words, Washington shadow still
shrouds 3 wards, By Tim Jones
20. Chicago Tribune, February 5, 1991, Tuesday, SOUTH SPORTS FINAL EDITION,
NEWS; Pg. 1; ZONE: C, 923 words, 3 South Side wards still in Washington's shadow
By Tim Jones
21. Chicago Tribune, November 22, 1990, Thursday, NORTH SPORTS FINAL EDITION,
TEMPO; Pg. 3; ZONE: C, 760 words, Waking up 'Vespers' Robert Shaw uses medieval
sites to make sounds of a lifetime, By Howard Reich, Entertainment writer
22. Chicago Tribune, November 17, 1990, Saturday, NORTH SPORTS FINAL EDITION,
NEWS; Pg. 1; ZONE: C, 990 words, Byrne back in spotlight, but can she keep it?,
By Robert Davis
23. Chicago Tribune, August 8, 1990, Wednesday, SOUTH SPORTS FINAL EDITION,
CHICAGOLAND; Pg. 8; ZONE: C, 514 words, Shaw claims Daley using garbage to
punish 9th Ward, By John Kass
24. Georgia Trend, August, 1990, Vol 5; No 12; Sec 1; Pg 34, 3058 words, Carpet
King: Bob Shaw Riles Competitors, but His Company Makes Investors Happy, Chuck
Reece, Dalton; GA; US
25. Chicago Tribune, July 31, 1990, Tuesday, NORTH SPORTS FINAL EDITION,
EDITORIAL; Pg. 8; ZONE: C, 364 words, What's a 'minority' in Oak Lawn?
26. Chicago Tribune, July 10, 1990, Tuesday, NORTH SPORTS FINAL EDITION, NEWS;
Pg. 1; ZONE: C, 805 words, Chicago insurer probed on loans to buy thrifts, By
Mitchell Locin, Chicago Tribune, WASHINGTON
27. Copyright (c) 1990 The New York Times Company; The New York Times, May 27,
1990, Sunday, Late Edition - Final, Section 3; Page 11, Column 1; Financial
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LEVEL 3 - 32 STORIES
Desk, 1539 words, ALL ABOUT; AFTER A DECADE OF CONSOLIDATION, HARD TIMES AWAIT
CARPET MAKERS, By JOSH KURTZ, LEAD: For the American carpet companies that
survived waves of consolidation during the 1980's, the real challenge is just
beginning. Now they face an era of slack demand from their customers in real
estate and the automobile industry. New products are at best a distant promise.
And the growth of Shaw Industries Inc.
28. Chicago Tribune, May 16, 1990, Wednesday, SOUTH SPORTS FINAL EDITION,
CHICAGOLAND; Pg. 8; ZONE: C, 595 words, City Council voting report causes furor
Some aldermen say it's inaccurate, By Robert Davis
29. Newsday, January 31, 1990, Wednesday, NASSAU AND SUFFOLK EDITION, PART II;
Pg. 4, 2369 words, Free And Unequal, By George DeWan, COVER; HISTORY; BLACKS;
CIVIL WAR; MILITARY PERSONNEL; INCOME; MOVIES; GLORY
30. The Washington Post, January 21, 1990, Sunday, Final Edition, SUNDAY SHOW;
PAGE G1, 2676 words, What Price 'Glory'?; The Movie May Be Stunning, But It's
Surpassed by the Past, David Nicholson, Washington Post Staff Writer, FEATURE,
REVIEW
31. HFD -- The Weekly Home Furnishings Newspaper Copyright (c) 1990 Information
Access Company Copyright Fairchild Publications Inc. 1990, January 8, 1990, Vol.
64; No. 2; Pg. 201, 3617 words, Autosound trends for '90s: car audio receives
renewed retailer attention, La Rossa, James, Jr.
32. The New Republic Copyright (c) 1990 Information Access Company Copyright The
New Republic Inc. 1990, January 8, 1990, Vol. 202; No. 2-3; Pg. 22, 3421 words,
The 'Glory' story: the 54th Massachusetts and the Civil War, McPherson, James M.
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PRESENTATION OF NAT'L MEDALS OF THE ARTS \ EAST ROOM
WEDNESDAY, JULY 22, 1992 \ 12:00 P.M.
BARBARA AND I ARE PROUD TO BE HERE -- PROUD TO BE
PART OF AN AMERICA WHICH VALUES ARTS AS WELL AS
BUSINESS OR SCIENCE OR POLITICS. PRESIDENT KENNEDY
EXPRESSED so WELL THE IMPORTANCE OF THIS IDEAL WHEN HE
SAID: "ROOSEVELT AND LINCOLN UNDERSTOOD THAT THE LIFE
OF THE ARTS IS VERY CLOSE TO THE CENTER OF A NATION'S
PURPOSE; AND IS A TEST OF THE QUALITY OF A NATION'S
CIVILIZATION."
- 2 -
WELL, WE'RE HERE TO PAY TRIBUTE TO SOME
EXTRAORDINARY MEN AND WOMEN -- MEN AND WOMEN OF GENIUS
AND PASSION WHO ENRICH THAT QUALITY OF LIFE IN OUR
AMERICA. "MADE IN THE USA" HAS NEW MEANING TODAY -- FOR
ALMOST ALL THESE ARTISTS WERE BORN IN SMALL AMERICAN
TOWNS; TRAINED HERE IN THEIR OWN COUNTRY; THEN TURNED
THEIR UNIQUELY AMERICAN VISION TO A WIDE RANGE OF
ARTISTIC FIELDS. BECAUSE OF THEIR VISION, TODAY WE
CELEBRATE THE "SHEER AND PRICELESS PLEASURE" OF BEING
AMERICAN.
3
- 3 -
FOR SOME, "BEING AMERICAN" MEANS BEING BORN INTO A
CERTAIN REGIONAL TRADITION WITH THE TALENT TO PRESERVE
THAT LEGACY, AND CARRY IT TO A WIDER AUDIENCE. EARL
SCRUGGS BROUGHT THE FAST AND FURIOUS BANJO-PICKIN'
"LICKS" OF HIS "BLUEGRASS REVOLUTION" FROM FLINT HILL,
NC TO CARNEGIE HALL. DOWN THE ROAD IN NASHVILLE, FOR
OVER HALF A CENTURY A SPRIGHTLY CRACKER-BARREL
PHILOSOPHER NAMED MINNIE PEARL HAS BEEN DISPENSING
DOWN-HOME WISDOM AND A WHOLE LOT OF DOWN-DEEP LAUGHTER.
- 4 -
JAZZ PIANIST BILLY TAYLOR'S MUSIC, INCLUDING JAZZMOBILE
OUTREACH, "MAKES A JOYFUL NOISE" AND GIVES A SPECIAL
STREETWISE SWING TO THIS MOST AMERICAN FORM OF
EXPRESSION.
FOR SOME, "BEING AMERICAN" MEANS STRIVING TO BRAND
THE BOLD SPIRIT OF THIS LAND ONTO WORK THAT IS
UNIVERSAL AND TIMELESS.
- 5 -
AMERICAN-BORN AND TRAINED MARILYN HORNE NOT ONLY SINGS
WITH THE PASSION AND PRECISION THAT EMBODY OPERA AT ITS
GRANDEST -- BUT SHE ALSO INTRODUCED COMPOSERS SUCH AS
HANDEL TO AUDIENCES HERE AT HOME. BY ELEVATING
AMERICAN CHORAL MUSICAL TO THE HIGHEST LEVELS OF
EXCELLENCE, THE SWEEP OF ROBERT SHAW'S WORK HAS
PROCLAIMED THE MAJESTY OF GOD THROUGHOUT THIS NATION.
- 6 -
FOR SOME, "BEING AMERICAN" MEANS REACHING FROM
THEIR ROOTS TO TOUCH THE NATION ON A LARGER-THAN-LIFE
CANVAS. WITH THE COURAGE AND SHEER POWER OF HIS FIERCE
TALENT, MISSISSIPPI'S JAMES EARL JONES HAS STAMPED HIS
PURELY AMERICAN MARK ON CLASSICAL ROLES AND CREATED NEW
CHARACTERS WHO EXPLORE MAN'S QUEST FOR DIGNITY. ROBERT
WISE BRINGS THE PERSPECTIVE OF HIS INDIANA CHILDHOOD TO
THE CRAFTING OF MOVIES OF IMAGINATION AND HUMANITY FROM
"THE SOUND OF MUSIC" TO "WEST SIDE STORY."
- 7 -
FOR SOME, "BEING AMERICAN" MEANS FLOURISHING THIS
COUNTRY'S IMPATIENT EXUBERANCE IN THE FACE OF DUSTY
TRADITION. OUT OF ROBERT VENTURI'S GENIUS SPRANG THE
POST-MODERN MOVEMENT OF ARCHITECTURE: FOREVER ALTERING
THE WAY WE SEE THE CITIES AROUND US. AND THE WRITINGS
OF DENISE Scott BROWN, HIS WIFE AND PARTNER, HAVE
STIMULATED THE AMERICAN AWARENESS OF ARCHITECTURE AS
PUBLIC ART.
- 8 -
FOR SOME, BEING AMERICAN MEANS BEING PASSIONATE
STEWARDS OF THE ARTS, COMMITTED TO BRINGING THEATER,
PAINTING, DANCE, MUSIC AND so MUCH MORE TO ALL KINDS OF
AMERICANS ACROSS THIS COUNTRY. MILLIONS HAVE BEEN
STIRRED AND MOVED BY CULTURAL PROGRAMMING LIKE
"OMNIBUS," PART OF THE VIDEO TRAILS BLAZED BY ROBERT
SAUDEK, NOW CARETAKER TO TELEVISION'S LEGACY AT THE
MUSEUM OF BROADCASTING.
- 9 -
Two SPECIAL COMPANIES HAVE SET THE STANDARD IN
CORPORATE PHILANTHROPY. THEY GIVE HUNDREDS OF GRANTS
AND MILLIONS OF DOLLARS BUT, MOST IMPORTANTLY, THEY
GIVE THE EXAMPLE OF BELIEVING IN THE IMPORTANCE OF ARTS
FOR AMERICA. THE AT&T FOUNDATION SUP-PORTS INNOVATIVE
PROJECTS ACROSS THIS NATION, RANGING FROM TOURS BY
DANCE COMPANIES AND ETHNIC ARTISTS TO ORIGINAL DRAMA
AND MUSIC COMPOSITION.
- 10 -
THE LILA WALLACE-READER'S DIGEST FUND AIDS AMERICAN
PERFORMING, VISUAL AND LITERARY ARTISTS WHO HAVE A
DREAM -- AND IT ALSO CARES FOR THE FUTURE, GENEROUSLY
FUNDING ARTS EDUCATION.
AND I WANT TO TAKE A MOMENT FOR A SPECIAL SALUTE TO
SOMEONE WHOSE WORK HAS INTRIGUED ME SINCE I FIRST MET
HIM HERE AT THE WHITE HOUSE A COUPLE OF YEARS AGO.
- 11 -
WHEN YOU TALK ABOUT BEING AMERICAN, NOTHING CAN CAPTURE
THE RICHNESS AND DEPTH OF THAT EXPERIENCE QUITE LIKE
NATIVE AMERICAN ART. NOT ONLY IS IT OUR OLDEST AND
PROUDEST TRADITION, BUT IN NATIVE AMERICAN SOCIETY ART
AND LIFE ARE STRANDS OF THE SAME CLOTH. THE ANCIENT
PATTERNS ON BLANKETS, THE DANCES, THE COLORS -- ART IS
AN INTEGRAL AND TIME-HONORED PART OF DAILY LIFE. So
I'M VERY HONORED TO SALUTE ALLAN HOUSER.
- 12 -
HIS HANDS TRANSFORM BRONZE AND STONE TO CAPTURE THE
TRUE MEANING OF THIS COUNTRY'S UNBROKEN SPIRIT. HIS
SCULPTURES ELOQUENTLY ECHO THIS NATION'S HERITAGE OF
PROUD APACHE CHIEFS -- AND SPEAK FOR THE ESSENTIAL
HUMANITY OF ALL AMERICANS.
I FIRMLY BELIEVE THAT OUR NUMBER ONE GOAL FOR THE
21st CENTURY MUST BE EDUCATION. THE HIGH-TECH
CHALLENGES OF A GLOBAL MARKETPLACE WILL BE
OVERWHELMING.
- 13 -
BUT AS WE EQUIP OUR KIDS WITH THE SKILLS TO COMPETE, WE
MUST ALSO HELP THEM DEVELOP AS COMPLETE HUMAN BEINGS
-- AND ONE WAY TO DO THIS IS THROUGH THE ARTS. FOR
WITHOUT KNOWLEDGE OF THE BEAUTY AND DEPTH OF THE HUMAN
SPIRIT --OUR SUCCESSES ARE HOLLOW, AND OUR LIVES
LACKING. As PRESIDENT JOHN ADAMS WROTE: "I MUST STUDY
POLITICS ... THAT MY SONS MAY HAVE LIBERTY TO STUDY
MATHEMATICS AND PHILOSOPHY ... IN ORDER TO GIVE THEIR
CHILDREN A RIGHT To STUDY PAINTING, POETRY, MUSIC."
THAT IS WHY WE CELEBRATE THESE MEN AND WOMEN TODAY.
- 14 -
CONGRATULATIONS -- AND THANK YOU FOR YOUR
CONTRIBUTIONS TO THE GREAT TAPESTRY THAT IS AMERICAN
ART. Now, I'D LIKE TO ASK ANN RADICE TO ASSIST ME IN
PRESENTING THESE MEDALS.
# # # #
LYNN chaney
Susan (NEA) Houston
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682-5410
- AT&T
-Reada's Diget
C: \
Dr.ANN Radice,
Acting Chairman), NEA
-JOLN Frohnmater-
08119
682-5400
DISTRICT OE CORNWBIV 50200
BOOW III INS
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MHILE HONSE COWWNMICVIIONS OEEICE
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Dr. ANN RAdice= RADEE.CHAY (cap)
Acting chairman, NEA
818-560-5151
8/8- "1485
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MAIL-IT REQUESTED: JULY 13, 1992
100G7P
CLIENT: WHO
LIBRARY: NEXIS
FILE: MAJPAP, MAGS
YOUR SEARCH REQUEST AT THE TIME THIS MAIL-IT WAS REQUESTED:
(JAMES EARL JONES) W/50 JONES W/50 JONES AND DATE AFT 1989
NUMBER OF STORIES FOUND WITH YOUR REQUEST THROUGH:
LEVEL 1
37
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SEND TO: GERSHOWITZ, GARY
WHITE HOUSE COMMUNICATIONS OFFICE
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WASHINGTON DISTRICT OF COLUMBIA 20500
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002
National Medal of Art 1992 [3d Draft]
AT&T Foundation
nation, for supporting exemplary arts projects in cities the
drama, music particularly in the realms of dance touring, throughout original
composition, jazz and visual art.
Denise Scott Brown
has
American for her teaching, writing and design, which helped
architects to transcend the limits of modernism. inspire
Marilyn Horne
and for Handel singing to at its grandest, bringing such Rossini
opera stages throughout America composers and the as world.
Allan Houser
Apache for creating chiefs sculpture that echoes the heritage of
all humankind. yet speaks in the language of the visual Chiricahua arts to
James Earl Jones
a
many for showing heroic audiences the power of human aspiration
White Hope" to characterizations, the curmudgeon in from "Field the heavyweight of Dreams." in through "The Great his
Minnie Pearl
Switch" for bringing to the the musical wit and rustic wisdom of
and with the nation irreplaceable through aid the of auspices Sarah Cannon. of the Grand "Grinder's Ole Opry
TV or theoter or stage)
Robert Saudek
preserving for blazing video trails on the original "Omnibus"
the Museum of glimpses Broadcasting. of television's infancy for posterity series through and for
ANd (writing or Film on Movie or Music
or conductor or actor or Television
Earl Scruggs
for leading the "bluegrass revolution" and picking his banjo way
from Nashville to Carnegie Hall.
Robert Shaw
for setting new standards of excellence for choral music in
America and bringing beauty to multitudes of listeners both with
his Chorale and as guest conductor with hundreds of ensembles.
Robert Venturi
for finding new substance in historical and vernacular forms, and
leading a generation of architects and designers as "the father
of post-modernism."
Lila Wallace - Reader's Digest Fund
for more than a decade of commitment to enhancing American
culture by aiding arts projects across the land, especially in
the performing arts, literature and the arts in education.
Robert Wise
for his command of cinematic skills that ranged from editing
Citizen Kane" to directing "West Side Story," thus broadening
America's understanding of the world through entertainment.
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EXECUTIVE OFFICE OF THE PRESIDENT
30-Jun-1992 11:01AM
TO:
GARY J. GERSHOWITZ
FROM:
ELIZABETH M. HINCHLIFFE
OFFICE OF COMMUNICATIONS
SUBJECT: NEW ITEMS NEEDED
HI. HERE'S SOMETHING I NEED ASAP (NEW PROJECT I HAVE TO GET DONE
TODAY):
--BIOGRAPHICAL BACKGROUND INFORMATION ON:
ALLAN HOUSER (NATIVE AMERICAN SCULPTOR)
MINNIE PEARL (COUNTRY SINGER)
WOULD YOU PLEASE GET SOMETHING ON THEM AS QUICKLY AS YOU CAN --
MAYBE NEXUS SEARCH? THANKS
EXECUTIVE OFFICE OF THE PRESIDENT
30-Jun-1992 11:05AM
TO:
GARY J. GERSHOWITZ
FROM:
ELIZABETH M. HINCHLIFFE
OFFICE OF COMMUNICATIONS
SUBJECT: ADDITIONS
HI. LET ME ADD SOME ADDITIONS TO YOUR NEXUS SEARCH:
--ROBERT WISE (FILM DIRECTOR);
--EARL SCRUGGS (BANJO PLAYER);
J-MARILYN HORNE (OPERA SINGER);
PAGE
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LEVEL 1 - 25 STORIES
1. Copyright (c) Prentice Hall Law & Business 1990. Directory of Bankruptcy
Attorneys 1991, Bankruptcy Lawyer Profile, Jackson, Mississippi, Wise, Robert
P., (Mr.)
2. The Associated Press Political Service, Robert Ellsworth Wise Jr., 1992, West
Virginia, United States House, 2nd District, Democrat
3. Contemporary Musicians, June, 1990; Issue Three, 1162 words, Minnie Pearl
4. Contemporary Musicians, June, 1990; Issue Three, 1647 words, Earl Scruggs
5. Almanac of Famous People, August, 1989; Fourth Edition, 125 words, Marilyn
Horne
6. Almanac of Famous People, August, 1989; Fourth Edition, 91 words, Minnie
Pearl
7. Almanac of Famous People, August, 1989; Fourth Edition, 81 words, Earl
Eugene Scruggs
8. Almanac of Famous People, August, 1989; Fourth Edition, 117 words, Robert
Wise
LEVEL 1 - 25 STORIES
9. Copyright (c) 1988 The New York Times Company; The New York Times, May 5,
1988, Thursday, Late City Final Edition, Section B; Page 20, Column 3; Cultural
Desk, 72 words, Memorial for McCracken, LEAD: Marilyn Horne and the Collegiate
Chorale, conducted by Robert Bass, are among those who are to take part in a
memorial service for the tenor James McCracken on Saturday at 10:30 A.M. at
Alice Tully Hall. Mr. McCracken died last Friday at the age of 61. Speakers
include Lotfi Mansouri, who has been named the next general manager of the San
Francisco Opera, and Edward Purrington, assistant director of the Washington
Opera.
10. People, October 26, 1987, BIO; Pg. 65, 2085 words, Minnie Pearl; The tag
still reads $1.98, but after nearly 50 years as America's best country comic,
this old gal is priceless, by Leah Rozen
11. People, January 23, 1984, BIO; Pg. 57, 2278 words, Marilyn Horne; 'The
greatest singer in the world' turns a feisty 50 with a Met premiere and a
controversial new book, by Michael Ryan
12. People, June 28, 1982, PICKS & PANS; Song; Pg. 18, 90 words, THE
STORYTELLER AND THE BANJO MAN; Earl Scruggs and Tom T. Hall
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LEVEL 1 - - 25 STORIES
13. Copyright (c) 1990 Standard and Poor's Corporation; Register of Directors
and Executives, WISE, ROBERT L., President, Chief Executive Officer & Director,
Pennsylvania Electric Co.
14. MEMBER PROFILE REPORT, Representative Robert Wise D-WV, 1421 Longworth
Office Building, U.S. House of Representatives, Washington, D.C., 20515, (202)
225-2711, Incumbent, November 1992, Democrat, 3rd District of West Virginia,
South Atlantic, January 3, 1983, 5th Term, Born January 6, 1948, Male,
Episcopalian, Caucasian, Sandra, Attorney, B.A., Duke U.; J.D., Tulane U. , No
military service
15. ROBERT M. WISE, 11377 West Olympic Boulevard Los Angeles, California 90064
(Los Angeles County), Telephone: 310-312-2000 Cable Address: "Silmitch"
Telex: 69-1347 Telecopier: 310-312-3200, Practice Profiles Section, Copyright
1991, 1992 by Reed Publishing (USA) Inc., Martindale-Hubbell
16. ROBERT J. WISE, 3 Vincent Dr. Simsbury, Connecticut, (Hartford County),
Practice Profiles Section, Copyright 1991, 1992 by Reed Publishing (USA) Inc.,
Martindale-Hubbell
17. ROBERT W. WISE, Pioneer Building P.O. Box 1146 McPherson, Kansas 67460,
(McPherson County), Telephone: 316-241-0554 Telefax: 316-241-7692, Practice
LEVEL 1 - 25 STORIES
Profiles Section, Copyright 1991, 1992 by Reed Publishing (USA) Inc.,
Martindale-Hubbell.
18. ROBERT L. WISE, 230 Congress St., 8th Fl. Boston, Massachusetts,
(Suffolk County), Practice Profiles Section, Copyright 1991, 1992 by Reed
Publishing (USA) Inc., Martindale-Hubbell
19. ROBERT P. WISE, 600 Heritage Building Congress at Capitol P.O. Box 651
Jackson, Mississippi 39205, (Hinds County), Telephone: 601-968-5500,
Practice Profiles Section, Copyright 1991, 1992 by Reed Publishing (USA) Inc.,
Martindale-Hubbell
20. ROBERT J. WISE, 1005 Grand Ave. Kansas City, Missouri, (Jackson, Clay &
Platte Cos.), Practice Profiles Section, Copyright 1991, 1992 by Reed Publishing
(USA) Inc., Martindale-Hubbell
21. ROBERT F. WISE JR., One Chase Manhattan Plaza New York, New York 10005,
(New York County), Telephone: 212-530-4000 Cable Address: DavisPolk, New York
Telex: ITT-421341; ITT-423356 Telecopier: 212-530-4800; 212-530-4039, Practice
Profiles Section, Copyright 1991, 1992 by Reed Publishing (USA) Inc.,
Martindale-Hubbell
TM
TM
TM
LEXIS:NEXIS®
LEXIS-NEXIS®
LEXIS'NEXIS®
Services of Mead Data Central, Inc.
Recyclable
PAGE
3
LEVEL 1 - 25 STORIES
22. ROBERT G. WISE, 488 Madison Avenue New York, New York 10022, (New York
County), Telephone: 212-980-0120 Cable Address: "Matmito", Practice Profiles
Section, Copyright 1991, 1992 by Reed Publishing (USA) Inc., Martindale-Hubbell
23. ROBERT C. WISE, 25 W. 3rd Williamsport, Pennsylvania, (Lycoming County),
Practice Profiles Section, Copyright 1991, 1992 by Reed Publishing (USA) Inc.,
Martindale-Hubbell
24. ROBERT K. WISE, 32nd Floor, 2001 Bryan Tower Dallas, Texas 75201,
(Dallas County), Telephone: 214-979-3000 Facsimile: 214-880-0011, Practice
Profiles Section, Copyright 1991, 1992 by Reed Publishing (USA) Inc.,
Martindale-Hubbell
25. ROBERT E. WISE JR., Logan, West Virginia, (Logan County), Practice
Profiles Section, Copyright 1991, 1992 by Reed Publishing (USA) Inc.,
Martindale-Hubbell
(Hinchliffe/Gershowitz)
July 15, 1992
10 a.m.
MEDALS Draft One
PRESIDENTIAL REMARKS: PRESENTATION OF NATIONAL MEDALS OF THE ARTS
EAST ROOM
WEDNESDAY JULY 22, 1992
Barbara and I are proud to be here -- proud to be part of an
America which values arts as well as business or science or poli-
tics. President Kennedy expressed so well the importance of this
ideal when he said: "Roosevelt and Lincoln understood that the
life of the arts. X is very close to the center of a nation's pur-
used
pose; and is a test of the quality of a nation's civilization."
3 For
KENNCH
Well, we're here to pay tribute to some extraordinary men
and women -- men and women of genius and passion who enrich that
NEMADY:
quality of life in our America. "Made in the USA" has new meaning
4/22/91
today -- for almost all these artists were born in small American
towns; trained here in their own country; then turned their
uniquely American vision to a wide range of artistic fields.
Because of their vision, today we celebrate the "sheer and
priceless pleasure" of being American.
For some, "being American" means being born into a certain
regional tradition with the talent to preserve that legacy, and
carry it to a wider audience. Earl Scruggs brought the fast ariaBio iNfo
furious banjo-pickin' "licks" of his "bluegrass revolution" from
Flint Hill, NC to Carnegie Hall. Down the road in Nashville, for
Fact sheeets)
Fact
x
sheeps)
over half a century a sprightly cracker-barrel philosopher named
Bio iNfO.
Minnie Pearl has been dispensing down-home wisdom and a whole lot
X
of down-deep laughter. Jazz pianist Billy Taylor's music, inclu-
Bioinfo.
x
X
ding Jazzmobile Outreach, "makes a joyful noise" and gives a spe-
Fact
sheets)
2
cial streetwise swing to this most American form of expression.
For some, "being American" means striving to brand the bold
spirit of this land onto work that is universal and timeless.
Y
American-born and trained Marilyn Horne not only sings with the
Bio
passion and precision that embody opera at its grandest
but
Fact
she also introduced composers such as Handel to audiences here at
home. By elevating American choral musical to the highest levels
sheets)
of excellence, the sweep of Robert Shaw's work has proclaimed the
majesty of God throughout this nation.
For some, "being American" means reaching from their roots
to touch the nation on a larger-than-life canvas. With the
courage and sheer power of his fierce talent, Mississippi's X James
Earl Jones has stamped his purely American mark on classical
roles and created new characters who explore man's quest for
dignity. Robert Wise brings the perspective of his Indiana
childhood to the crafting of movies of imagination and humanity
from "The Sound of Music" to "West Side Story."
For some, "being American" means flourishing this country's
impatient exuberance in the face of dusty tradition. Out of Rob-
ert Venturi's genius sprang the Post-Modern movement X of architec-
Bio
ture: forever altering the way we/see the cities around us. And
the writings of Denise Scott Brown, his wife and partner, have
INFO
stimulated the American awareness of architecture as public art.
Fact
For some, being American means being passionate stewards of
sheet
the arts, committed to bringing theater, painting, dance, music
and so much more to all kinds of Americans across this country.
3
Millions have been stirred and moved by cultural programming like
X
"Omnibus," part of the video trails blazed by Robert Saudek now
caretaker to television's legacy at / the Museum of Broadcasting.
Two special companies have set the standard in corporate
philanthropy. They give hundreds of grants and millions of
dollars but, most importantly, they give the example of believing
in the importance of arts for America. The AT&T Foundation sup-
ports innovative projects across this nation, ranging from tours X
BiDiNfo,
by dance companies and ethnic artists to original drama and X music
Sfartsheet
sheet
composition. The Lila Wallace-Reader's Digest Fund aids American
performing, visual and literary artists who have a dream -- and
BiOING
it also cares for the future, generously funding arts education.
Fact sheet.
And I want to take a moment for a special salute to someone
whose work has intrigued me since I first met him here at the
White House a couple of years ago. When you talk about being
American, nothing can capture the richness and depth of that
experience quite like Native American art.) Not only is it our
oldest and proudest tradition, but in Native American society art
and life are strands of the same cloth. The ancient patterns on
blankets, the dances, the colors -- art is an integral and time-
honored part of daily life. So I'm very honored to salute Allan
Honser. His hands transform bronze and stone to capture the true
meaning of this country's unbroken spirit His sculptures
eloquently echo this nation's heritage of proud Apache chiefs --
and speak for the essential humanity of all Americans.
I firmly believe that our number one goal for the 21st
4
century must be education. The high-tech challenges of a global
marketplace will be overwhelming. But as we equip our kids with
the skills to compete, we must also help them develop as complete
human beings -- and one way to do this is through the arts. For
without knowledge of the beauty and depth of the human spirit --
our successes are hollow, and our lives lacking. As President
John Adams wrote: "I must study politics ... that my sons may
have liberty to study mathematics and philosophy ... in order to
give their children a right to study painting, poetry, music."
That is why we celebrate these men and women today.
Congratulations -- and thank you for your contributions to
the great tapestry that is American art. Now, I'd like to ask
Ann Radice to assist me in presenting these medals.
#
#
#
#
(Hinchliffe/Gershowitz)
July 13, 1992
1 p.m.
MEDALS Draft One
PRESIDENTIAL REMARKS: PRESENTATION OF NATIONAL MEDALS OF THE ARTS
WEDNESDAY JULY 22, 1992
Barbara and I are proud to be here -- proud to be part of an
America which values arts as well as business or science or
politics. President Kennedy expressed beautifully the importance
of this ideal when he said: "Roosevelt and Lincoln understood
that the life of the arts is very close to the center of a
nation's purpose -- and is a test of the quality of a nation's
civilization."
Well, we're here to pay tribute to some extraordinary men
and women of genius and passion who enrich that quality of life
in our America. "Made in the USA" has new meaning tonight -- for
almost all these artists were born in small American towns;
trained here; and then turned their own uniquely American vision
to their own fields -- thus defining themselves and us and the
land we share. Because of the personal integrity of expression
4
of these 13 artists and supporters-- tonight we also celebrate
the "sheer and priceless pleasure" of being American.
For some -- "being American" means being born into a certain
unique regional tradition, and being proud to have the talent to
preserve that rich legacy, and bring it to a wider audience.
Earl Scruggs brings the fast and furious banjo-pickin' "licks" of
his "bluegrass revolution" from Flint Hill, NC to Carnegie Hall.
Down the road in Nashville, for over a half-century an
irrepressible and eternally vital country wit named Minne Pearl
will
has been dispensing down-home wisdom and a whole lot of down-
deep laughter. And on the other side of this country, Allan
Houser hands capture the true meaning of this country's unbroken
spirit, through sculptures that eloquently echo the heritage of
proud Apache chiefs.
For some "being American" means striving to stamp the bold
spirit of this land on work that is universal. American-born and
trained Marilyn Horne not only sings with passion and precision
that embody opera at its grandest, but she also introduced
composers such as Handel to opera audiences here at home. By
elevating American choral musical quality to the highest levels,
Wrand
the sweep of Robert Shaw's vision of excellence, always guided by
his deep sense of religious devotion, has enriched this nation.
JAMES EARL JONES: For the richness of a distinguished career
capturing the power of dreams. With fierce integrity he brings
to life roles that explore man's quest for dignity and purpose,
encouraging his audience also to dig deep within themselves.
-Tony, "Fences"; Oscar, "GWH"; classics -- Othello,
Caliban, Macbeth
--courage
ROBERT WISE: For the richness of a lifetime devoted to cinematic
excellence, touching the imagination and hearts of Americans with
motion pictures like "The Sound of Music" and "I Want to Live,"
broadening our understanding of the world through entertainment.
Exam
Summ Hard 6825418
--b. Winchester, Indiana; Sand Pebbles; West Side Story;
ROBERT VENTURI: For his unique declaration of independence that
created Post-Modernism; and for the breadth of originality of his
applish your)
theories and work that weave clarity and contradiction, led a
generation of architects, and profoundly shape our architectural
future. --genius;
"gentle manifesto" that sparked the explosin of the Post-
Modenr movement -- its "declaration of independecne from history
butter
--architecture as social art, defines ourselves emerics)
DENISE SCOTT BROWN: For her illuminating analysis of
architecture and urban planning. Through a lifetime of
penetrating writing, teaching and design, she has stimulated the
American awareness of architecture as social art.
--architecture rooted in contemporary social concerns
Bublaton
--stewards of the arts, importance of making quality arts
availalb e to all Americans; set standard in corporate
philanthropy;
AT&T FOUNDATION: For trailblazing the path of corporate sponsor
ship for the arts, through its support for innovative projects
NEA
across this nation, ranging from tours by dance companies and
ethnic artists to original drama and music composition.
LILA WALLACE - READER'S DIGEST FUND: For their commitment to
enhancing culture across this land by aiding American performing,
visual and literary artists who have a dream; and for their
vision for the future, symbolized by generously funding arts
education.
Bum
ROBERT SAUDEK: For blazing video trails in cultural programming
through shows like "Omnibus", which brought quality arts to all
Americans; and for his passionate stewardship of television's
legacy through the Museum of Broadcasting.
--Oliver Wendell HOlms (p.26, AQ) : "The one thing that marks the
true artist is a clear perception and firm, bold hand."
--John Adams: "I must study politics
that my sons may have
liberty to study mathematics and philosophy
in order to give
their children a right to study painting, poetry, music."
--education -- number one goal for 21st century -- but as we
equip our kids with the skills to compete in the 21st century we
must also help them develop as complete human beings. The way to
do this is through the arts. [For without knowledge of the
beauty and depth of the human spirit -- our successes and our
lives can become joyless.]
All of this nation must celebrate the great diversity of
vision that is American art -- tonight we do that by honoring
artists who have enriched our naiton's cultural heritage. Their
passion, skill and sheeer exuberance have challenged and amazed
us and -- most of all --
June 26, 1992
MEMORANDUM FOR DAN McGROARTY
FROM: GARY GERSHOWITZ
SUBJECT: ANNUAL LEAVE
??
If at all possible, I woul d like to put in for leave for
MONDAY, JULY & TUESDAY JULY 6. According to the schedule as of
now, I have no assignments due on or near those dates. Before I
write Drucie/David a memo, I thought I'd get a heads up from you,
because you mentioned you wanted to check the calendar.
Thanks,
Foot
Ohay for
27677 July Amir
C
07/13/92
16:03
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NATIONAL
WASHINGTON
ENDOWMENT
D.C. 20506
FOR
THE ARTS
A Federal agency advised to the
National Council on the Arts
FACSIMILE TRANSMISSION COVER SHEET
Office of the Chairman
FAX: (202) 682-5639
DATE:
July 13, 1992
TO:
Gary Gershowitz
FR:
Susan Houston
RE:
AT&T Foundation and Lila Wallace-Reader's Digest Fund
This transmission is 8 pages in lengrh. including this page.
If you do not receive ail pages or otherwise need this message
retrausmitted, please contact the Office of the Chairman at
(202) 682-5414.
07/13/92
16:04
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-2-
Honors and recognition for outstanding service:
Specific artistic projects supported by individual or
and project dates) :
organization/foundation/corporation/orl group (level of funding
Over the past two years, the AT & T Foundation has support dance, painting, literature, and
theater. Over 100 American cities are on the AT & T Dance Tour; music has benefitted from two
new programs: Meet the Composer/ AT & T Jazz Program; a six-city tour of Hispanic and
Contemporary African artists, Native American and Contemporary Japanese art; and in theater, The
AT &T New Plays for the Nineties (ten new plays) and AT & T: OnStage Classics.
More details follow on page 3 and addendum.
(MORE)
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-3-
NOTE: The enacting legislation for the National Medal of Arts
states that the President shall from time to time award the
National Medal of Arts
to individuals or groups who
are
deserving of special recognition by reason of their outstanding
contributions to the excellence, growth, support, and
availability of the arts in the United States.' PLEASE USE THIS
SPACE AND/OR NO MORE THAN TWO ADDITIONAL TYPEWRITTEN OR PRINTED
PAGES TO CITE HOW YOUR NOMINEE MEETS THESE CRITERIA. THIS
SECTION WILL STAND AS YOUR STATEMENT IN SUPPORT OF YOUR
NOMINEE. IT SHOULD BE CONCISE AND COMPELLING.
I nominate the AT & T Foundation, headquartered in New York under the presidency of Mr.
Reynold Levy, Corporate Vice-President, Public Relations, for the 1991 National Medal of the
Arts, in view of its outstanding work in the arts: its support of individual artists, of programs in the
arts, of touring theatrical companies, dance and opera, and state, local and international arts
councils. In view of its imagination and flexibility, as well as its internal structures, I find the AT &
T Foundation, working from its national office in New York, and its dozens of field headquarters,
to be a model organization for the nineties: involved, concerned, and decentralized.
The AT & T Foundation supports both educational and arts endeavors, and has shown itself to be
remarkably responsive to needs of individual artists ("New Plays for the Nineties"), to touring
companies (AT &T Dance Tour), to orchestras and theater companies (the recipients over the past
five years are too numerous to list in this nomination: a simple line-count from the Biennial Report
1988-89 lists well over 250 separate, sizeable, donations), to dance companies (48 separate
companies), museums (30 separate institutions), arts councils and service organizations, festivals,
opera companies, and international programs in support of American studies overseas, and the
encouragement of international study in the United States. The desire of the Foundation to be of
assistance even in areas slightly outside the normal definitions of "instruction" or "performance"
(the usual ways of defining education VS. arts), permitted grants to Fisk University for the
restoration of space for their famous African-American collections, and the University of Iowa for
its International Writing Program.
As a director of an arts/education program in an non-industrial state, I am especially sensitive to a
number of problems that can arise in applying for corporate support. A great many corporate
foundations support projects only in states where they are heavily-represented, either through sales
(OVER)
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or branch plants. Many more will offer support only on evidence of other corporate backers-for
fear, it would seem, that they might be the first, or the only corporate supporter. Others
demonstrate a lack of flexibility, seeing their educational or arts budgets only in the narrowest of
terms. AT & T seems genuinely intrigued by new ideas, and by the possibility of funding work
that is interdisciplinary and ground-breaking.
I do not wish simply to cite the raw numbers-though they are impressive, with the arts receiving
15% of the total Foundation budget of $32,000,000, the bulk of which goes to technological
support of schools and for communal health care-but rather to compliment the AT & T Foundation
on its imagination and flexibility. The Foundation is a supporter of new work and exciting new
perspectives in dance, music, art, and theater. In 1990-91, it gave travel support to a number of
dance companies, among them the avant-gardists Wim Vandekeybus, and Urban Bush Women,
permitting them to perform in ten national vennes, that would otherwise be prohibitively
expensive. Ten "New Plays for the Nineties" have been staged in the past two years, with
premiers in New York, California, Maryland, Colorado and New Jersey. The New Art/New
Visions and American Encore presentations, featuring 20th Century American composers, were
performed this year by the Atlanta, Cleveland and Dallas Symphonies. When Fisk University's
unmatched collection of African-American sculpture and painting (based on the Alfred Stieglitz and
Georgia O'Keefe gifts) required cataloging, restoration, and then architectural renovation, the AT
& T Foundation acting in consort with two other foundations, approved $100,000 from its
education budget. When I applied, as Director of the International Writing Program at the
University of Iowa, for support to bring three established authors for a three-months' residency in
Iowa and travel about the country to meet American communities from their own language-area (an
Armenian to Detroit and California; a Mexican to Chicago, Texas and Arizona, a Pole to Chicago,
Detroit and Pittsburgh), the financial support, and the very warm and expert public-relations arm of
the corporation saw to it that the writers were put in contact with community leaders and the
appropriate media services.
The AT & T Foundation, in short, is truly national in scope, modern in outlook, humane in
concerns, imaginative in its support. They do all the expected and necessary things extremely well,
funding those projects that might be considered predictable in communications and high-tech; what
I find inspiring and worthy of official recognition are the hundreds--literally hundreds-of
unexpected projects they undertake, and the enthusiasm, expertise and good humor with which
they manage them. They have taken very seriously their corporate duty to communicate, and they
interpret communication in the broadest, and pleasantest of terms.
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Honors and recognition for outstanding service:
If the Lila Wallace Reader's Digest Fund is selected for the 1992 National Medal of Arts, it will be
the first national recognition of the Fund's outstanding service in promoting the excellence, growth,
and nationwide availability of the arts in the United States.
Specific artistic projects supported by individual or
organization/foundation/corporation/or group (level of funding
and project dates):
Because of the extensive nature of the Lila Wallace-Reader's Digest Fund's contributions to
the arts, a complete listing of major projects it has supported would be quite lengthy; examples are
discussed on pages 3 through 5, below. Since 1989, through more than 200 grants, the Fund has
committed more than $11 million to the literary arts, $18 million to the theater, $9 million to dance,
$11 million to music, $10 million to multidisciplinary arts, $10 million to the visual arts, and $6
million to arts education.
Among its major specific contributions, the Fund has become a leading supporter of the
literary arts (411 million), promoted jazz (about $7 million), a uniquely American contribution to
world culture, and has encouraged the creation of new work in every discipline of the arts. The Fund
has commissioned studies on community schools of the arts, jazz, and dance touring and has
commissioned a needs assessment of the folk culture field. Individually, these contributions are all
important; taken together they have a significant impact 00 the arts in the United States enriching the
lives of all Americans.
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-3-
NOTE: The enacting legislation for the National Medal of Arts
states that the President shall from time to time award the
National Medal of Arts
to individuals or groups who
are
deserving of special recognition by reason of their outstanding
contributions to the excellence, growth, support, and
availability of the arts in the United States." PLEASE USE THIS
SPACE AND/OR NO MORE THAN TWO ADDITIONAL TYPEWRITTEN OR PRINTED
PAGES TO CITE HOW YOUR NOMINEE MEETS THESE CRITERIA. THIS
SECTION WILL STAND AS YOUR STATEMENT IN SUPPORT OF YOUR
NOMINEE. IT SHOULD BE CONCISE AND COMPELLING.
The Lila Wallace-Reader's Digest Fund is deserving of special recognition because of the
Fund's outstanding contributions to excellence in art as evidenced by the individual artists,
organizations and programs it supports; because of the growth in the arts the Fund has stimulated
by commissioning new works, and by supporting new and emerging artists, promising organizations
and innovative programs; because of the strong support the Fund gives established arts
organizations; and because of the Fund's commitment to increasing the availability of the arts
through a host of audience development and touring projects it has championed in the United States.
The Fund has contributed over $18 million to the THEATER since 1989, demonstrating a
strong commitment to the creation of new works and to bringing the theater (including opera) into the
lives of people across the country. Among the major programs funded are: (1) A Resident Theater
Initiative ($6.4 million approved in 1991) to expand and diversify audiences and repertoires of
resident theaters around the country, including The Shakespeare Theatre at The Folger and Arena
Stage in Washington, the Goodman and Victory Gardens theaters in Chicago, the Alliance Theatre in
Atlanta, and The Guthrie in Minneapolis; (2) Lila Wallace-Reader's Digest Opera for a New
America ($5 million awarded to Opera America in 1990) to commission new works with the aim of
developing a uniquely American voice in opera; (3) The Crossroads Theatre Company ($600,000 in
1990) to sponsor its touring program and to underwrite The African American College Initiative
Program; and (4) Numerous other grants to theaters around the country including Playwrights
Horizons ($200,000 in 1989 and $750,000 in 1990) and Repertorio Español ($300,000 in 1990 for a
simultaneous translation system) in New York, Perseverance Theatre in Alaska ($58,000 in 1990),
and the Louisville Children's Theatre: Stage One in Louisville, Kentucky, to sponsor the New
Generation Play Project ($250,000 in 1990).
The Fund's grants to the field of MUSIC have exceeded $11.6 million since 1989. Of
particular importance is the more than $7 million for the preservation and wide dissemination of jazz,
through major initiatives and grants, such as: (1) Establishment of the Lila Wallace-Reader's Digest
National Jazz Network to increase jazz touring opportunities and community outreach programs
($3.4 million awarded in 1990 to the New England Foundation for the Arts); (2) National Public
Radio to produce jazz programs and presentations of special performances ($2.28 million awarded
June 1991); (3) Smithsonian Institution to plan a five-year program of traveling exhibitions and
community outreach activities to heighten public awareness of the achievements of jazz ($450,000
awarded June 1991); (4) New World Records to produce and distribute a new series of jazz
recordings, COUNTERCURRENTS ($400,500 awarded in 1990); (5) 651/Kings Majestic
Corporation to plan and produce, and fund outreach and education activities of, 100 Years of Jazz
and Blues, a 1992 festival ($300,000 awarded in 1990); and (6) Long Tongues: A Saxophone
Opera featuring composer and saxophonist Julius Hemphill ($51,000 awarded to District Curators in
(OVER)
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007
- 4 -
Washington in 1990). Other significant contributions to the field of music include a $2 million grant
in 1990 to Meet the Composer enabling a consortium of arts organizations around the country to
commission new work from composers, $750,000 in 1991 to the Brooklyn Philharmonic Symphony
Orchestra to explore creative alternative approaches to orchestral programming, and $310,000 in 1991
to the Mimesota Opera New Music-Theater Ensemble for its national residency program.
Since 1989, the Fund has invested more than $11 million in its LITERARY ARTS program.
Major components include: (1) The Lila Wallace-Reader's Digest Writers' Awards program
through which authors selected by an anonymous panel of experts are given $35,000 per year for up
to three years to support their writing activities, (2) The National Writer's Voice Project ($2.75
million to the YMCAs of the USA in 1990), to establish literary arts centers in selected YMCAs
around the country and fund a national tour of well-known authors to the centers (The 1991-1992
chair is E.L. Doctorow.), (3) The Lila Wallace-Reader's Digest Literary Publishers Marketing
Development Program ($3.0 million to the Council of Literary Magazines and Presses in 1990), to
develop effective marketing expertise in nonprofit presses and literary magazines, and (4) the Lila
Wallace-Reader's Digest Writing Fellows program, administered by the Woodrow Wilson National
Fellowship Foundation ($1.8 million in 1990), provides extended residencies for noted American
authors at small liberal arts colleges that are generally unable to provide such experiences for their
students, faculties and communities. The Fund also supported a host of literary events and programs
at specific sites such as: the Miami International Book Fair ($80,000 in 1990, $260,000 in 1991);
Bumbershoot, The Seattle Arts Festival ($40,000 in 1991); the Guadalupe Cultural Arts Center
($40,000 in 1991); the publication of American poetry and verse ($90,000 to The Library of America
in 1991), and posters combining poetry with visual art for buses and subways in 16 cities ($70,000 to
Streetfare Journal in 1991).
Fourteen grants since 1989 totaling nearly $10.9 million supported MULTIDISCIPLINARY
programs. A grant of $5 million in 1990 to the National Arts Stabilization Fund established the Lila
Wallace-Reader's Digest Arts Stabilization Initiative to strengthen 15 organizations representing and
serving New York's diverse cultural communities, such as Ballet Hispanico, the Boys Choir of
Harlem, Pan Asian Repertory Theater, the Caribbean Cultural Center, etc. The Association of
Performing Arts Presenters in Washington, D.C. has received $4 million to establish the Lila
Wallace-Reader's Digest Arts Partners Program to fund college and university performing arts
presenters throughout the country to commission new works, establish artist residencies, and work
with local community organizations in strengthening relationships between artists and communities.
Other grants include $300,000 (1991) to the Walker Art Center in Minneapolis to establish extended
residency programs, $300,000 (1990) to the Washington Performing Arts Society for its Family
Programming Initiative, and in 1989 $200,000 to Appalshop in Whitesburg, Kentucky for national
tours of its Roadside Theater and American Festival project and $200,000 to Dance Theater
Workshop for its National Performance Network of alternative performing arts centers.
With 34 VISUAL ARTS grants since 1989 totalling over $10.4 million, the Fund has (1)
established a program providing international and related U.S. residencies for American artists ($3.1
million grant to Arts International, the International Institute for Education, in 1991), (2) made
possible the presentation of high quality exhibitions of fine art in small and rural communities through
grants, for traveling exhibitions, of $1 million (1990) to the American Federation of Arts for Art
Access and $1 million (1990) to the Mid-America Arts Alliance for ExhibitsUSA, (3) supported
aesthetic and scholarly explorations of the American craft field (for example, $500,000 to the
American Craft Museum and $200,000 to the Oakland Museum of Art in 1991); and (4) funded
numerous exhibitions that explore the diverse cultural heritages that enrich the American art scene (in
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- 5 -
1991, for example, $500,000 to the Mexican Museum in San Francisco for exhibitions reexamining
Mexican-American culture, $300,000 to the New Orleans Museum of Art for an exploration of the
development of the Arts in the South, $200,000 to the Chicago Historical Society for the first
retrospective of the works of Archibald Motley, Jr., and $200,000 to the Jewish Museum in New
York for exhibitions highlighting the changing relationships between African-Americans and
American Jews).
The Fund has contributed over $9.3 million to the DANCE field through 42 grants since 1989
to dance companies and institutions throughout the country. Grants have supported commissions,
revivals, and reconstructions of important dance works. The Fund has also supported extensive
touring, residencies, and other education and outreach activities that have helped make modern dance
available throughout the country. Dance Theater of Harlem received $1 million (1990) to help
stabilize operations and reduce financial liabilities. A number of groups have received grants to
support touring and residency activities, including Feld Ballets ($200,000 in 1989 and $675,000 in
1991), Merce Cunningham and Paul Taylor Dance ($600,000 each in 1991), and Dance Theater
Workshop ($600,000 in 1990). A grant of $500,000 was awarded to the John F. Kennedy Center for
the Performing Arts in 1990 to commission and produce a new ballet from each of six outstanding
regional repertory companies. Other grant recipients (under $500,000) include Alvin Ailey American
Dance Theater, American Ballet Theatre, American Dance Festival, Dancing in the Streets, Garth
Fagan Dance, Jacob's Pillow Dance Festival, Margaret Jenkins Dance Studio, Trisha Brown Dance
Company, Mark Morris Dance Group, Martha Graham Dance Company, Pentacle and Susan
Marshall & Company.
The Fund has contributed over $6.4 million to ARTS EDUCATION programs since 1989,
supporting programs such as: (1) a Lincoln Center Institute collaboration with Columbia University's
Teachers College and Harvard University's Project Zero in an Evaluation and Curriculum
Development Project ($3.2 million in 1990), (2) an endowment fund established at Studio in a School
($2 million in 1990), (3) a CalArts four-year model program of collaboration with community arts
organizations in the greater Los Angeles area ($545,000 in 1990), and (4) a National Guild of
Community Schools of the Arts program to strengthen and enhance the technical assistance it provides
Guild members ($623,000 in 1991).
The Lila Wallace-Reader's Digest Fund is committed to promoting the vitality of the arts
nationwide. The extent of that commitment is evidenced by breadth, depth and extraordinarily high
quality of the program described above. The Fund is truly an outstanding contributor to the
excellence, growth, and availability of the arts in the United States.
20) Earl Scruggs: Born 1924, Flint Hill, NC. Banjo Player -
was an overnight success at the Grand Ole Opry. Throughout the
nation, largely unnoticed by the more commercial world of
country music, a veritable "bluegrass revolution" got underway
as both fans and musicians became attracted to the music.
Scruggs prolonged the "bluegrass revolution" when he left the
Blue Grass Boys and formed his own band with partner Lester
Flatt. Known as Flatt and Scruggs and the Foggy Mountain Boys,
they began a successful performing and recording career
throughout the fifties and sixties. First bluegrass band ever
to play a concert at Carnegie Hall. Their first instrumental
release was "Foggy Mountain Breakdown", thought by some to be
one of the most famous bluegrass songs ever written. It was
used as the theme song for the movie "Bonnie and Clyde" and was
awarded an Emmy that same year. Their "Ballad of Jed Clampett"
is the theme for the television show "The Beverly Hillbillies".
1) The Hon. Walter Annenberg & The Hon. Leonore Annenberg:
Born 1908, Milwaukee. Former ambassador to Great Britain;
Presidential Medal of Freedom in 1986; Presidential Gold
Medallion for Humanitarianism; founder Annenberg Fund; trustee
Metropolitan Museum; National Trust for Historic Preservation.
2) C. Douglas Dillon: Born 1909, Geneva, Switzerland. First
chairman of the Business Committee for the Arts, chairman of
both the board of trustees of the Metropolitan Museum of Art and
the National Museum Review Board, the policy arm of the
Institute of Museum Services. From 1980-86 a member of the
National Council on the Arts.
3) Luis Ferre: Born 1904, Ponce, PR. Founder and president
Board of Directors Museo de Arte de Ponce. After first trip to
Europe in 1950, he became convinced of the importance for the
development of his native Puerto Rico that its people have an
opportunity to see, understand and enjoy works of art
representing the best of Western culture. Throughout three
decades Mr. Ferre's "philanthropic spirit and his devotion to
art and to the welfare, both spiritual and material, of the
people of Puerto Rico, have combined with his tenacity and
unyielding sense of purpose to provide them a first-class
institution of learning in which to hone their sensibility for
the finer things of human creation." The Museum enjoys today
international stature and esteem and is a source of profound
pride for all Puerto Ricans, thanks to the early vision and
constant endeavor of Luis Ferre, industrialist, philanthropist,
leader of his people and patron of the arts.
X
4) Bess Lomax Hawes: Born 1921, Austin, TX. Director Folk
Arts Program since 1977. Played a major role in virtually all
of the major American folk movements since the 1940's, working
in many capacities - artist/performer, songwriter, folk music
teacher, college professor, scholar, festival organizer, and
arts administrator. In 1975, she moved to Washington, DC to
play a major role in the organization of the Bicentennial
Smithsonian Festival of American Folklife, which itself laid the
groundwork for much of the important progress in the field of
folk arts in subsequent years. Through Bess' vision and
leadership from 1977-92, the Folk Arts Program had a major,
far-reaching impact on the field. During this time it has been
estimated that financial support for the folk arts through
federal state government funding increased tenfold, from $2
million to $20 million. Through her intelligence, foresight,
confidence in the excellence of American folk artists, and deep
commitment to democratic principles, she has left an indelible
mark on American arts.
57 James Earl Jones: Born 1931, Arkabutla, MS. Tony Award,
Best Actor - "Fences"; Academy Award, Best Actor, "Great White
Hope", "Field of Dreams", portrayed Alex Haley in "Roots", guest
starred on "L.A. Law" and "Highway to Heaven", host for 'PBS'
series of classic fairy tales and fables, "Long Ago and Far
Away", title role in "Othello", Caliban in "The Tempest",
Macbeth in "Macbeth", Prince of Morocco in "The Merchant of
Venice"
X
6) Toni Morrison: Born 1931, Lorain, Ohio. Her five major
novels: "The Bluest Eve", "Sula", "Song of Solomon:, "Tar Baby",
"Beloved". Trustee of the NY Public Library, served on the
National Council of the Arts for six years.
X
7) Robert Rauschenberg: Born 1925, Port Arthur, TX. Painter -
One-man exhibitions 1951-Present, Group exhibitions
1951-Present. Works presented in galleries, museums and art
festivals throughout the world. Pioneered the visual arts
movement of the 1960's and 70's and is a foremost exponent of
contemporary art. Designed and executed stage sets and costumes
for Merce Cunningham Dance Company 1955-63 and for Paul Taylor
Dance Company, 1957-59.
8) Robert Saudek: Television producer identified with cultural
programing, his credits including "Omnibus", "Profiles in
Courage" and telecasts of the New York Philharmonic. Now serves
as president of New York's Museum of Broadcasting.
X
9) Stephen Sondheim: Born 1930, NYC. Major works and
accomplishments - Lyrics: "West Side Story", Gypsy", "Do I Hear
A Waltz?", "Twigs", "A Funny Thing Happened On The Way To The
Forum", "A Little Night Music", "Sweeny Todd", "Sunday In The
Park With George", "Into The Woods". Honors - Pulitzer Prize
1985 for "Sunday In The Park With George", Tony Award 1988 for
"Into The Woods", Grammy Award 1984 & 86.
X
10) Rise Stevens: Born 1913, NYC. Mezzosoprano. She made her
first appearance with the Metropolitan Opera in 1938. She
remained at the Met to sing, among other roles, Carmen and
Oktavian until 1961; she retired in 1964.
11) Paul Taylor: Born 1930, Alleghany County, PA. One of this
country's pre-eminent creative artists in the field of dance.
His works, over forty in number, encompass a broad canvas.
Perhaps more than any other living American master
choreographer, Paul Taylor charts the American psyche. Has been
the recipient of dozens of awards and honors, including the
highest honors from the French Government, and the MacArthur
Fellowship -- he and Merce Cunningham were the first two dance
artists to be selected as MacArthur fellows.
12) Robert Venturi & Denise Scott Brown: Born 1925,
Philadelphia, PA; born 1931, Nkana, Zambia (married in 1967).
Marjor works and accomplishments: Lewis Thomas Laboratory for
Molecular Biology, Princeton University; extension to the
National Gallery, London, England; San Diego Museum of
Contemporary Art,; Seattle Art Museum. Mr. Venturi, whose
career as architect, city planner, and designer of furniture,
interiors, graphics, and exhibitions spans forty years, .is
internationally recognized as the father of Post-modernism. His
writings, in addition to his design work, have greatly
influenced a generation of architects and have profoundly shaped
the profession's view of architecture. One of his revolutionary
ideas is that architecture should build upon vernacular,
popular, and historical sources - has been inspired by the work
of Jasper Johns and Robert Rauschenberg, effectively
synthesizing the commercial with high art.
13) Lila Wallace - Reader's Digest Fund: Committed to
excellence in programming and dedicated to identifying and
supporting worthy recipients across the country - with over 200
grants totalling more than $78 million since 1989. A major
contributor to the performing, visual and literary arts in the
United States: more than $11 million to the literary arts, 18
million to the theater, 9 million to dance, 11 million to music,
10 milion to multidisciplinary arts, 10 million to the visual
arts, and 6 million to arts education.
14) AT&T Foundation: supports arts initiatives nationally for
the past seven years. Over the past two years, it has supported
dance, painting, literature, and theater. Over 100 American
cities are on the AT&T Dance Tour; music has benefitted from two
new programs: Meet the Composer/AT&T Jazz Program; a six-city
tour of Hispanic and Contemporary African artists, Native
American and Comtemporary Japanese art; and in theater, The AT&T
New Plays for the Nineties and AT&T:OnStage Classics.
X
15) John Cage: Born 1912, Los Angeles, CA, composer.
Commissions: Ballet Society to write "The Seasons", write work
for 2 prepared pianos/TWO PIANOS, "Cheap Imitation for Full
Orchestra". Recipient award for extending boundries of musical
art/National Academy of Arts & Letters 1949, 1st prize Woodstock
Art Film Festival for score of "Works Of Calder", Guggenheim
fellow, 1949.
X
16) Erick Hawkins: Born 1909, Trinidad, CO, dance. A
formidable background--as Harvard student of Greek classics, a
student of George Balanchine in the very first year of
Balanchine's school in the United States, first male dancer in
Martha Graham's company, and eventually as an artist with his
own unique developed aesthetic and form of training. His life's
work has been influenced by the majesty of the American
landscape, American Indian cosmology and Eastern philosophy, but
it is deeply American in its celebration of the human spirit.
17) Marilyn Horne: Born 1934 in Bradford, PA. Unlike most
other artists, Ms. Horne received her musical training in this
country. She began her career dubbing Hollywood sound tracks
for famous actresses. At 21, America discovered a winner on
Arthur Godfrey's Talent Scouts. American premieres of Rossini's
"La Donna del Lago" and "Tancredi" with Houston Grand Opera.
First performance, after 275 years, of Vivaldi's "Orlando
Furioso" at Verona. Igor Stravinsky dedicated his last work to
Ms. Horne. Metropolitan Opera debut in "Norma"; first artist to
bring Handel to the Met, coinciding with the Met's 100th
anniversary and Handel's 300th birthday. Two White House
"Command Performances".
18) Roy Lichtenstein: BOrn 1923, NYC. Painter and Sculptor.
Pioneered with Andy Warhol and Robert Rauschenberg the Pop-art
movement of the 1960"s. Works included in collections of U.S.
and international museums.
19) David Rockefeller: Born 1915, NYC. Culture, education, and
public-private partnerships have been long-term interests of Mr.
Rockefeller. Helped form the Chase Manhattan art program and
continues to serve as a member of the Chase Art Committee. He
proposed and helped create in 1967 the Business Committee for
the Arts. Currently active in numerous business and
not-for-profit projects engaged in a broad range of
international, governmental, philanthropic, civic, and cultural
affairs.
20) Earl Scruggs: Born 1924, Flint Hill, NC. Banjo Player -
was an overnight success at the Grand Ole Opry. Throughout the
nation, largely unnoticed by the more commercial world of
country music, a veritable "bluegrass revolution" got underway
as both fans and musicians became attracted to the music.
Scruggs prolonged the "bluegrass revolution" when he left the
Blue Grass Boys and formed his own band with partner Lester
Flatt. Known as Flatt and Scruggs and the Foggy Mountain Boys,
they began a successful performing and recording career
throughout the fifties and sixties. First bluegrass band ever
to play a concert at Carnegie Hall. Their first instrumental
release was "Foggy Mountain Breakdown", thought by some to be
one of the most famous bluegrass songs ever written. It was
used as the theme song for the movie "Bonnie and Clyde" and was
awarded an Emmy that same year. Their "Ballad of Jed Clampett"
is the theme for the television show "The Beverly Hillbillies".
21) Robert Shaw: Born 1916, Red Bluff, CA. Music Director
Emeritus and Conductor Laureate of the Atlanta Symphony
Orchestra, Robert Shaw has done more than any other living
individual to elevate the quality of choral music performance in
America. Through world-wide touring and extensive recording,
the Chorale's performances inspired an entire generation of
choral conductors, and raised the standard of choral performance
to new heights. From his early work preparing choruses for
Arturo Toscanini and Bruno Walter, through his leadership of the
Robert Shaw Chorale and his orchestral work with George Szell
and the Cleveland Symphony, Mr. Shaw has always given
unselfishly to the cause of music. As a minister's son and a
devoutly religious man, everything he has done has been imbued
with a deep sense of caring not only for the music but for the
people involved in its creation and performance.
22) Wallace Stegner: Born 1909, Lake Mills, Iowa. Has enjoyed
a uniquely distinguished career as a teacher and editor; and as
a writer of brilliant fiction and non-fiction. For citizens in
the American West, Stegner's has been "the prime voice for good
sense in social and environmental matters since the 1940's.
Westerners to some very considerable degree learned to see and
understand themselves in the mirror of his work." In 1946 he
became director of the creative writing program at Stanford
University, building it into one of the most important and
effective programs in the nation. His publications form the
most impressive and useful body of work written about the West
by any individual.
X
23) Billy Taylor:: Born 1921 in Greenville, NC. Dr. Taylor is
an acknowledged world-class jazz pianist and national figure in
music and the arts in general. The list of jazz greats with
whom he has performed either in live concerts or in recordings
his voluminous. Still, in other ways he has touched the lives
of many musicians, both young artists and veterans in the
field. Founder and president of the "Jazzmobile" outreach
program in New York. Spontaneously composed jazz is the
classical music of America, in Taylor's opinion.
24) Robert Wise: Born 1914, Winchester, IN. Film director:
"Two for the Seesaw", "The Sound of Music", "West Side Story",
"The Andromeda Strain", and "Star Trek". Academy of Motion
Picture Arts and Sciences nominated him for Best Editing for
"Citizen Kane", Best Director for "West Side Story" and for "The
Sound of Music". Council member for The National Endowment for
the Arts 1970-76.
001
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002
National Medal of Art 1992 [3d Draft]
AT&T Foundation
nation, particularly in the realms of dance touring, original
for supporting exemplary arts projects in cities throughout the
drama, music composition, jazz and visual art.
Denise Scott Brown
has
American architects to transcend the limits of modernism.
for her teaching, writing and design, which helped inspire
Marilyn Horne
for singing at its grandest, bringing such composers as Rossini
and Handel to opera stages throughout America and the world.
Allan Houser
for creating sculpture that echoes the heritage of Chiricahua
Apache chiefs yet speaks in the language of the visual arts to
all humankind.
James Earl Jones
for showing audiences the power of human aspiration through his
White Hope" to the curmudgeon in "Field of Dreams. "
many heroic characterizations, from the heavyweight in "The Great
Minnie Pearl
for bringing the musical wit and rustic wisdom of "Grinder's
Switch" to the nation through the auspices of the Grand Ole Opry
and with the irreplaceable aid of Sarah Cannon.
Robert Saudek
for blazing video trails on the original "Omnibus" series and
preserving the glimpses of television's infancy for posterity through for
Museum of Broadcasting.
6130
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003
Earl Scruggs
for leading the "bluegrass revolution" and picking his banjo way
from Nashville to Carnegie Hall.
Robert Shaw
for setting new standards of excellence for choral music in
America and bringing beauty to multitudes of listeners both with
his Chorale and as guest conductor with hundreds of ensembles.
Robert Venturi
for finding new substance in historical and vernacular forms, and
leading a generation of architects and designers as "the father
of post-modernism."
Lila Wallace - Reader's Digest Fund
for more than a decade of commitment to enhancing American
culture by aiding arts projects across the land, especially in
the performing arts, literature and the arts in education.
*
Robert Wise
for his command of cinematic skills that ranged from editing
Citizen Kane" to directing "West Side Story," thus broadening
America's understanding of the world through entertainment.
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this love that Coleridge called him a
Othello and Desdemona embrace trans-
Bottom Line Information
"motiveless malignity." Yet, surely, Ia-
mitted this motive in a manner that
Secrets of Health and
go's animating impulse is a hatred of oth-
made my flesh crawl. It is one of many
er people's consummated affection by
things in this flawed but riveting produc-
Happiness
one incapable of love himself. Walken's
tion that are imprinted indelibly on my
From America's Leading
disgust and loathing upon watching
mind.
Health Experts
$3 for One Reprint $5
for
Two
$9 for Four
$16 for Eight
$21 for All Eleven
Indicate quantity in box next to item.
Herbert Muschamp on Architecture
Foods That Make 27 Common
Ailments Worse and Surpris-
ing Foods That Actually Help You
Get Better. Penny Stanway, MD,
S
author of, Foods for Common Ailments. RA177
American Gothic
How to Slow Down Aging and
Enjoy Life Much More. Ray L.
Walford, MD, UCLA School of Medicine.
RA058
fter an hour in Italy, I wish
This is the twenty-fifth anniversary of the
A
Secrets of Much Better Sex.
I'd become an architect.
publication of Venturi's Complexity and
Lonnie Barbach, PhD, sex thera-
After a week, I begin to
Contradiction in Architecture, the "gentle
pist and faculty member, University of
think it's not too late.
manifesto" that set the Post-Modern
California, San Francisco. RA055
S
When I get home, I'll take some stones,
movement in motion. And it is good to
The Hidden Enemy in the
pile them up, cover them with stucco,
be reminded, now that this movement
Cholesterol War: How to
Protect Yourself From Yourself. Dr.
paint my wall a nice earth color, let it
has run out of the hype that passed for
Peter Wilson, Director of Laboratories,
age, plant a vine to spill over the top,
steam, that these begetters of Post-
Framingham Heart Study. RA031
have a fountain bubbling nearby, and in-
Modernism neither coined the term nor
Impotence: How the 10 Million
vite everyone over for an aperitivo. The
shared the values, at once mincing and
Men with The Problem Can
spell of those old stones can hold me
crude, that the term came to denote.
Solve It. William L. Furlow, MD,
clear across the Atlantic. Then I hit Ken-
Though Venturi was the pivotal figure
Center for Urological Treatment and
Research. RA068
nedy, and the futility starts to set in;
in nullifying the Modern movement's
and soon I'm slouched in the back of a
declaration of independence from his-
The Anti-Craving Weight Loss
Diet. Elliot D. Abravanel, MD,
broken-down cab, gazing from the ex-
tory, he was careful not to repeat the
medical director of Skinny Schools. RA170
pressway over spec housing, gutted fac-
error by declaring his independence
Impotence, The Woman's Role.
tories, commercial strips, and mostly oth-
from a movement as historically rooted
Helen Singer Kaplan, MD, New
er cars. Arrivederci, architecture.
as Modernism itself. Modern forms dom-
York Hospital-Cornell Medical Center. RA069
That's the moment when I grasp the
inate his influential early work. I grew up
Arthritis or Muscle Pain May
architecture of Robert Venturi and Den-
around the corner from the Philadel-
Be Due to a Simple Food
Allergy: How to Know
What
to
Do.
ise Scott Brown. The blissful revelation
phia home that Venturi designed for his
John E. Postley, MD, Columbia
that real buildings can be prettier than
mother in 1962, a building often cited as
University. RA180
postcards, and the rude awakening from
the birthplace of Post-Modernism's reviv-
Prostate Trouble: Any Man
the illusion that their effects can be du-
al of tradition. Could have fooled us.
Who Lives Long Enough Is
1
plicated anywhere with ease: Venturi and
With its angular profile, flat surfaces, and
Likely To Have It. Dr. Gerald Chodak,
Scott Brown's buildings embody those
quirky windows, the house stood aesthet-
University of Chicago. RA057
states of mind simultaneously. Their
ically on the Modern-that is, the
"Why Am I Always So Tired?"
buildings start out as shrines to the glo-
wrong-side of the tracks from the Nor-
All About Chronic Fatigue
Syndrome. Charles Pellegrino, PhD,
ries of Western tradition that made Italy
man, Georgian, and Tudor mansions
Brookhaven National Laboratory. RA139
S
every young architect's spiritual home.
where the rest of the neighborhood was
Thousands of Heart Attacks
Then the forms are filtered through a
living out its upscale fantasy version of
Strike Without Warning: You
sharp, unsentimental awareness that
William Penn's Greene Countrie Towne.
Can Protect Against Them. Peter F.
people came to this country to get away
Today, after the Post-Modern deluge of
Cohn, MD, Joan K. Cohn, MSW,
authors of, Heart Talk: Preventing and
from the conditions that made those glo-
cornices, porticoes, and Corinthian col-
Coping With Silent and Painful Heart
ries possible. Then they push beyond
umns, it's hard to see why Guild House,
Disease. RA013
that deflating idea to see what can be
Venturi's 1963 home for the elderly,
Please send the reprints listed above to:
made from the conditions we've created.
once had Modernists in an uproar. The
No place for architecture? Let's have ar-
building's unorthodox details, such as
chitecture anyway.
the small cuts at the roof line that reveal
Name (please print)
Finally, this past May, Venturi was
the front elevation to be a facade, or the
S
awarded the Pritzker Architectural Prize.
fat round column at the entrance, only
Address
If the Pritzker were as distinguished an
subtly contradict the initial impression
award as it's cracked up to be, it would be
that Guild House is an ordinary dumb
City
State
Zip
a scandal that Venturi had to wait in line
Modern block of brick.
behind such lesser talents as Philip John-
More important, Venturi's use of un-
Payment enclosed for $
Modern forms did not so much contra-
NY/NJ/CA residents add appropriate sales tax.
son and I. M. Pei, and that the prize was
not made jointly to Scott Brown, his part-
dict as resuscitate Modern ideals. His use
Send your reprint order to:
ner for twenty-five years. (John Rauch, a
of sign language from suburban America
Bottom Line Information
partner largely responsible for the busi-
extended to our own backyard the aes-
Reprint Dept. P.O. Box 579, Springfield,
ness end of things, left the firm in 1988.)
thetic affinity that Modern architects
NJ 07081
ART 3
But the timing of the award is useful.
such as Gropius and Le Corbusier once
AUGUST 12, 1991 THE NEW REPUBLIC 31
felt for the craft works of exotic and
ly through order that modernity showed
placement of the windows on the facade
tween
primitive cultures. In drawing on this ver-
its ugly face. In his own ungentle mani-
of his mother's house.
ciates,
nacular, Venturi continued the honor-
festo, The Stones of Venice, Ruskin begins
For Ruskin, the Doge's Palace was
the de
able Modern aim of pushing the gentle-
his attack on Classicism ("this pestilent
"the central building of the world," be-
turi's
manly art of architecture further along
art of the Renaissance") by denying that
cause of its fusion of Byzantine, Gothic,
in a democratic direction.
tive; t]
architecture has anything to do with or-
and Classical elements. For me, the Lew-
and a:
Still, however gentle his intentions,
der. "I would not impeach love of or-
is Thomas Laboratory, one of four build-
Venturi knew how to jolt. He and Scott
and P
der," Ruskin wrote; "it is one of the most
ings Venturi and Scott Brown have de-
only i:
Brown bid goodbye to Good Design and
useful elements of the English mind; it
signed for Princeton University, is the
dictate
headed for Las Vegas. They called their
helps us in our commerce and in all
central building in their oeuvre to date,
buildings "billdingboards," and they
proble
purely practical matters; and it is in many
because of the ducal scale on which it
Mode
spoke of the need to "accommodate"
cases one of the foundation stones of
pulls together the trio of sources that typ-
"orna
public taste instead of trying to reform it.
morality. Only do not let us suppose that
ically figure in their work: historical allu-
tecture
Tossing aside Modernism's moral stake
the love of order is love of art."
sion (in this case, William Butterfield's
chitec
in "honestly" expressed architectural
For Ruskin, Gothic architecture is not
Victorian Gothic Revival churches), ver-
marke
structure, they spoke of buildings as
primarily a matter of soaring heights,
nacular forms (New England textile
ern ca
"decorated sheds," and proceeded to
arched windows, and slender columns
decorate exterior walls with stars, stripes,
mills), and cues from contemporary art
that admit light and allow a more open
(Robert Kushner's Pattern and Decora-
checks, words, and flo-
ral patterns lifted from
tion painting from the
late 1970s).
grandma's sofa.
Thomas Lab, com-
These flamboyant po-
pleted in 1986, is the ul-
between
lemics soon got Venturi
timate decorated shed.
To "cro
and Scott Brown pi-
It is a giant, 140,000-
in Nea
geonholed as purveyors
of architectural kitsch, a
square-foot rectangular
garding
box wrapped up in visu-
reputation they have
or opp
al candy: four kinds of
this wa
been at some pains to
counter over the years.
check and diaper pat-
second
terns, executed in poly-
no lon
Venturi has written that
chrome brick and cast
there V
"I would like to make it
stone ornamental brick
tions O]
plain that I consider my-
bands, divide the build-
chitect
self an architect who ad-
ing's three laboratory
should
heres to the Classical
tradition of Western ar-
floors; rows of square-
They ai
chitecture." He is right
Photo by Matt Wargo
paned windows, set off
more tl
by warm stone, weave a
well as
to insist that this build-
tartan of solid and void
low fun
ings are more than pop
in acceptably Modern
tions of
cartoons. But why use
fashion. Bold red
The
the term "Classical" to
checks cover the mas-
anarchi
describe an architecture
sive mechanical services
Modern
so profoundly at odds
with the ideal of order
LEWIS THOMAS LABORATORY, PRINCETON UNIVERSITY
floor above the labs; the
Brown,
imposing scale of this
of builo
that the term has come to connote? Of
ground plan. Nor does he view Gothic
course, Venturi and Scott Brown are sym-
floor recalls the top-heavy upper stories
synony
buildings as examples of structural ratio-
of the Doge's Palace, a resemblance that
rather 1
pathetic to the traditional association of
nalism, as Viollet-le-Duc viewed them.
is heightened by the large air-intake
nied a
Classicism with Jeffersonian democracy,
On the contrary, for Ruskin "The Na-
ducts that puncture the lab's main
cal sch
even (or especially) in its knock-off ver-
ture of Gothic" lies in such qualities
facade.
storefro
sion as a Colonial motif for diners and
as Savageness, Disturbed Imagination,
motels. They are populist humanists.
The collage of patterns does not quite
highway
Generosity, and Love of Change. He de-
Also, Venturi has long found inspiration
bring the building down to human scale;
their fo
lights in the rich variations of Venetian
I doubt that Venturi wanted it to. Like a
often in
in sixteenth-century Mannerism, a peri-
tracery, startling juxtapositions of pat-
od when architects pushed the grammar
grade school glimpsed for the first time
unbuilt
tern, encrusted marble surfaces, compos-
of the Classical orders past orderly
through a young child's fearful eyes,
Hall of
ite styles. He applauds the architects of
Thomas Lab is Gothic in more than its
board to
bounds. Yet, as John Shearman has ob-
the Doge's Palace for not caring whether
decorative details. While no cries are
torious
served, Mannerist architecture owes as
the large windows on the Molo facade
much to Gothic as to Classical sources.
heard from tortured prisoners, the omi-
roof of
are horizontally aligned:
nous, blind sockets of the air ducts hint
And it has always struck me that the most
abstract
telling precedent for Venturi and Scott
A modern architect, terrified at the idea of
at potentially ghastly results from the ex-
sion's ii
Brown's ideas is the Victorian rage for
violating external symmetry, would have
periments in genetic engineering that
derly re
placed the larger windows at the same level
are carried out behind the walls. But
in the
Venetian Gothic kindled by that arch
with the other two.
But the old Vene-
these whiffs of the sinister are more than
their fir:
anti-Classicist, John Ruskin.
tian
suffered the external appearance to
take
dispelled by the building's rosy palette,
at once
Venturi's conception of complexity
care
of
itself.
And
I
believe
the
and by such comic details as the truncat-
lar solid
and contradiction is often taken as an
whole pile rather gains than loses in effect
expression of the disorderliness of mod-
by the variation thus obtained in the spaces
ed ogee arch at the entrance. Lopped off
turesque
ern life. (Rudolf Arnheim, for instance,
of wall above and below the windows.
just beneath the crown as if by careless
ble echo
dismissed Complexity and Contradiction as
retrofitting, the portal ushers the visitor
by Goet
A century later Venturi showed the same
little more than a symptom of modern
into a stately home lately converted into
blessed
disregard for symmetry in allowing the
pathology.) But for Ruskin it was precise-
a reformatory for the criminally tasteful.
fortune)
internal program to affect the size and
Thomas Lab was a collaboration be-
The ]
32 THE NEW REPUBLIC AUGUST 12, 1991
tween Venturi's firm and Payette Asso-
ings, the precedence of vision over struc-
The market is not only a destructive
ciates, a firm with previous experience in
ture, the playful ordering of forms: these
power. It can also be a force for free-
IS
the design of laboratory buildings. Ven-
are the ingredients of an American Pic-
dom-from dogma, from complacency,
turi's contribution was primarily decora-
turesque, an architecture that seeks to
from the socially fragmenting pressures
C,
tive; the rationale for his forms is visual
make of the built-up American land-
of privilege. Wu Hall is clad with bright
and associational rather than structural
scape what eighteenth-century designers
orange brick. It's not a pretty brick; com-
d-
and programmatic. This is a problem
brought to English gardens. And it re-
pared with the patina of the surrounding
e-
only if you think that structure should
stores to the picturesque its lapsed philo-
quadrangles, it looks commercial, more
e
dictate form. It would not have been a
sophical dimension as an aesthetic quali-
warehouse than college dining hall. One
problem for Ruskin, long reviled by
ty "between the Beautiful and the
look and you think, Why didn't they use
it
Modernists for his proclamation that
Sublime." For Venturi and Scott Brown,
old brick? It would have cost the same
"ornament is the principle part of archi-
the power of the sublime does not lie
and it would have made a better fit. An-
u-
tecture." And it was Venturi's idea of ar-
with God or Nature, it resides in the Mar-
other look and you recognize that it's
S
chitecture as a decorated shed that
ket, with its awesome, leveling assault on
not meant to make a better fit. The
r-
marked the decisive break with the Mod-
the life of the mind. In its buildings, con-
building is a meditation on the cost of
ern canon.
ventions of beauty-of abstract geomet-
fitting in too well in a privileged enclave
ric forms, of old world charm-are re-
ringed by a protective industrial corri-
a-
hat canon was largely based
peatedly thwarted by glaring commercial
dor. We can summon up the magic of
T
on one elementary idea:
interruptions. Soon after Thomas Lab
old world stones well enough, but it takes
the desire to eliminate the
opened, the joke went round that the
more than money. It takes a willingness
-0
nineteenth-century schism
building's bold checked pattern was a
to shut our eyes to where the money
1-
between architecture and engineering.
quote from a bag of Ralston pet food:
comes from, as graduates who hope to
d.
To "create architecture out of building,"
laboratory animals are, after all, the
live in places this lovely will discover soon
0-
in Neal Levine's phrase, instead of re-
building's only full-time residents. In
enough. Before the ivy begins to creep
ir
garding architecture as separate from
fact, the firm had employed a similar pat-
over our minds, Venturi and Scott Brown
u-
or opposed to methods of construction:
tern several years before in its addi-
break in with a word from our sponsors.
this was the great Modern task. But for
tion to the Oberlin College art museum.
Clearly the Princeton buildings bear
--
second-generation Modernists, the task
But though the pattern may derive from
little resemblance to what many Modern
y-
no longer called for major invention;
such lofty sources as Butterfield, the
architects considered "social" architec-
st
there was little to do but play out varia-
scale of its application evokes commer-
ture: the design of affordable housing,
tions on the theme. Venturi's book got ar-
cial billboard graphics. (Don't be a pale-
the provision of open space, the plan-
d-
chitecture out of that bind by asking, Why
face; the Oberlin addition rebukes its
ning of entire cities according to ratio-
should the outside look like the inside?
tasteful Classical neighbor.)
nal, humane principles. The social signif-
e-
They are not the same thing. Buildings do
ff
more than stand up; they occupy vision as
a
well as ground. Forms don't have to fol-
d
low functions; they can also perform func-
tions of their own.
"Telling observations on how U.S. foreign
n
d
The message was liberating, but not
anarchic. It arose organically from the
policy is made and unmade." -San
Francisco
es
Modern premise. Venturi and Scott
Chronicle
le
Brown, too, have made architecture out
is
of building; but for them building is not
In this forthright autobiography, which grew out of a father-son
es
synonymous with engineering. It refers
relationship strained by disagreement over the Vietnam War,
at
rather to those forms that have been de-
Dean Rusk reveals the inner workings of his public life, from the
ke
nied a place in architecture's hierarchi-
birth of the U.N. and the creation of
in
cal scheme of things: resort hotels,
Israel, to the Korean War, the Cuban
storefront churches, restaurant chains,
missile crisis and Vietnam.
te
highway attractions. The function of
le;
their forms is to collapse this hierarchy,
a
often into a single image. Thus, an early
"Eloquent, funny, moving,
e
unbuilt project for the National Football
devilish, and even earthy
S,
Hall of Fame affixed an electronic bill-
A fitting tribute from a son to a father
ts
board to a Romanesque chapel. The no-
and vice versa." -New York Times
e
torious gold "antenna" designed for the
roof of Guild House served as a piece of
Book Review
it
abstract sculpture and as a sign of televi-
sion's importance to the building's el-
at
derly residents. The freestanding pillars
DEAN RUSK
it
in the forecourt of Gordon Wu Hall,
n
their first commission for Princeton, are
AS TOLD TO RICHARD RUSK
e,
at once a pair of spheres atop rectangu-
lar solids, a jolly cartoon version of a pic-
ff
turesque suburban gate post, and a dou-
ASISAWIT
SS
ble echo of the Altar of Fortune designed
or
by Goethe for his Weimar Garden (so
With 24 pp. of photographs
o
blessed a campus must have two altars of
For the best in paperbacks,
Francis Miller, Life magazine
1.
fortune).
look for the PENGUIN
The layering of associational mean-
AUGUST 12, 1991 THE NEW REPUBLIC 33
icance of Wu Hall is wholly symbolic. But
this former boulevard of legitimate the-
in fact architecture has been almost
common cultural heritage. For Sitte, the
br
aters and movie palaces had fallen on
wholly consigned to the symbolic level by
focus of urban design was the town
SC)
hard times, a casualty of the suburban
the increasing privatization of urban life
square. In this social space, streets and
sla
malls. Proliferating peep shows, bars,
in recent decades. As Scott Brown writes
adult book stores, and rundown hotels
people would converge, submerging in-
mi
in her new book, Urban Concepts (Acade-
dividual differences in the common pool
hir
had made the street a target for civic
my Editions/St. Martin's Press), "Plan-
cleanup. The risk was that the street's
of community. Scott Brown's aim, by
sig
ning is like a haunted house since we
contrast, is to strengthen the ideal of plu-
to
rich architectural mix, including several
have had Nixon and Reagan." Largely
historic theaters, would be razed to allow
ralism against creeping homogeneity.
ing
reduced to the role of rubber-stampers
For her, the urban focus is the street, a
tha
the spread of office towers from the adja-
for private development initiatives, to-
line that cuts across urban differences—
bes
cent central business district. "The pres-
day's departments of city planning bear
skyscrapers, department stores, skid
An
sure will be to exchange the red silk pet-
little resemblance to the politically em-
rows, peep shows, Chinese restaurants,
ticoat image of Hennepin Avenue for a
sign
powered agencies that inspired gifted ar-
parks adorned with the statues of forgot-
be
gray flannel one," Scott Brown's report
chitects of Scott Brown's generation with
ten generals-the entire range of what
hu
cautioned. "Although a gray flannel im-
the ideal of public service.
she calls "taste cultures."
on
age may be suitable to, and a valid re-
Urban Concepts presents a selection of
Squares are closed, streets are open,
quirement of, new office and hotel com-
the firm's urban design schemes for Mi-
and subject to every force of change. The
atte
plexes on Hennepin Avenue, this image
ami, Memphis, Princeton, Minneapolis,
Hennepin Avenue proposal involved the
'60
on the Avenue as a whole would not ben-
and other American cities, along with
study of existing buildings and their uses,
the
efit the city at large." The plan sought to
Scott Brown's penetrating analysis of the
transportation systems, and growth pat-
Mo
revive the street's former glory as a re-
factors that were reckoned with in each
terns for the central business district and
Bro
gional Rialto, and encourage new devel-
case. What are the social stakes? Who are
the metropolitan region. Its recommen-
sam
opment consistent with that aim.
the constituents for design? What are the
dations included traffic routes, designs
hur
Obviously, as Scott Brown saw it, the
limits of architectural solutions? "Who
for bus stops, plazas, and skywalks, and
dies
market was not the villain here. The mar-
decides what is pro bono publico?"
the development of design guidelines for
ket created the buildings and the uses
The book is a polemic as well as a port-
future construction. But the main goal of
that she wanted to protect, and would be
folio. Scott Brown presents this work to
instrumental in reviving them. Her plan
the plan was to give the street a strong
illustrate the point that the work of her
visual "entertainment" image. "Sparkle
sought to preserve, through design con-
firm has always been strongly rooted in
trees," their lofty metal branches fes-
trol, an environment that once existed
contemporary social concerns. It is not
tooned with reflecting discs, were de-
just formal maneuvers. With or without
without it. In this, it resembles the ap-
signed to line the street at curbside and
proach of the nineteenth-century Vien-
public support for planning, Scott
create "a framework within which the
nese planner Camillo Sitte, who also
Brown believes that individual buildings
variety will appear complex and not
sought by deliberate artistic means to
can aspire to the social dimension of a
ugly." With the delicacy of Gothic trac-
hold on to a vanishing culture threat-
plan for regional development. Indeed,
ery, the trees formed the bones of a
ened with extinction. Indeed, if Ruskin is
she feels that the division between archi-
honky-tonk chapel for which the street's
the pertinent antecedent for Venturi
tecture and planning is bad for both pro-
and Scott Brown's buildings, Sitte is the
bright lights and neon signs would pro-
fessions. For Scott Brown there is a "so-
vide the stained glass.
philosophical precursor of their urban
ciological imagination" as well as a visual
projects.
one, and architects and planners must
he key to this work is that
embrace both. She objects that Venturi
or Sitte, too, order was the
T
it emphasized perception
was not considered an "urban designer" at
F
bane of Modern life. "Mod-
over construction. Seedy
the street may have be-
Penn, because he dealt mainly with individ-
ern systems! Yes! To con-
come, but, as Scott Brown pointed out,
ual buildings. I found this outlook ridicu-
ceive everything systemati-
lous and still do. Whether a building or
cally, and never to deviate a hair's
Hennepin Avenue "is certainly not
dead.
building complex is "urban design" or not
It has a definite character and
breadth from the formula once it's estab-
seems to me to lie not in its size or its con-
one that has great potential." The de-
lished, until all genius is tortured to
nectedness to other buildings, but in the
way it is approached. A suburban home can
death, all joyful sense of life suffocated,
sign proposed to develop the potential
be a piece of urban design, even a teaspoon
that is the mark of our time." Sitte's mis-
by helping people to recognize the char-
acter, to see beauty and vitality where
can be urbane, and a downtown multistory
sion was to protect the irregularities of
the older, artisan city from further en-
they might otherwise see only squalor
development can look as if it were designed
croachment by the civil engineer's grids.
and decay. This approach is miles away
to rise from a green field.
The off-center placement of civic statues,
from the standard Post-Modern practice
Scott Brown also has a personal ax to
of cribbing from European forms. In-
the non-axial organization of town
grind: a trained architect as well as a
stead of plopping down an imported
wrot
planner, she wants to remind us that she
squares and the streets leading into
them: by such archaic devices Sitte
temple, the plan sought to raise a temple
cand
is a full collaborator with Venturi in all of
from the materials at hand. We may not
selve
the firm's projects.
hoped that new urban development
have the means to create a Sainte Cha-
ies S
could proceed according to what he con-
pelle, it said, but the reds and the blues
them
sidered the "artistic principles" of the
ennepin Avenue Enter-
of our neons have their own radiance.
preve
H
medieval city.
tainment Centrum, an un-
We need not romanticize the anony-
from
Scott Brown also employs analysis and
realized 1981 redevelop-
mous craftsmen of the Middle Ages,
prescription to create effects that initially
pie S
ment plan for a major
when our sign-makers, display artists,
some
developed without their aid. But her ef-
street in downtown Minneapolis, is a
even peep-show operators can do won-
Sc
good example of Scott Brown's methods
fects hold a different message. Sitte
ders with windows.
sought an ideal of cultural unity. An ar-
prob
for bringing architectural cohesion to a
Like all of the urban schemes present-
her le
dent Wagnerian, he wanted architects to
diverse cityscape without sacrificing its
ed here, this one shows the mark of one
stren
create an urban Gesamtkunstwerk de-
diversity. By the time the firm was hired,
of Venturi's best-known dictums: "Main
signed to steep citizens in awareness of a
gives
Street is almost all right." This idea
ine t
34 THE NEW REPUBLIC AUGUST 12, 1991
broke SO radically from the Modern pre-
the "theme park" city? Would we prefer
tific truth was invoked to elevate form
scription to bulldoze cities into blank
cities to continue along their present
above taste; and soon, the academy, this
slates for "total design" that it is easy to
course as theme parks of the apocalypse?
time the Museum of Modern Art, again
miss the curiously Modern thinking be-
Should we retreat to the theme parks of
undertook public instruction.
hind it. Subtle changes in street lighting,
social atomization furnished by the sub-
But what if you weren't convinced?
signs, curb lines: What could be closer
urbs? Urban Concepts does not settle these
Ruskin's problem with Classicism was not
to the Miesian aesthetic of "almost noth-
questions. What it offers instead is a
the Modern objection that ancient forms
ing"? What could be more "less is more"
guide to the process of eliciting prefer-
are wrong for modern uses; he objected
than Scott Brown's belief that pluralism is
ences. As such, the book's most valuable
that the analogy of architecture with sci-
best accommodated by minimal means?
service may be to bring back to the table
ence was simply false. "Our architects
And the underlying idea behind this de-
the awkward topic of taste.
gravely inform us that, as there are four
sign-that economic forces should not
Do we care? Is this a major urban is-
rules of arithmetic, there are five orders
be spurned but rather channeled toward
sue? The bridges are crumbling, senior
of architecture; we, in our simplicity,
humane ends-was the central principle
citizens are sleeping in the subways, and
think this sounds consistent, and believe
on which the Bauhaus was founded.
our thoughts should turn to taste? Yes,
them." For Scott Brown, it came as no
Scott Brown was not the first to focus
because architecture is a social art, but it
surprise when MOMA mounted a show of
attention on the small scale. In the early
is not sociology. It is a partner of social
Beaux Arts architecture in 1975. Though
'60s Jane Jacobs dealt the death blow to
policy, but it is not a substitute for it.
MOMA had once opposed the Beaux Arts
the large-scale urban development that
Buildings cannot create ideal societies,
and everything it stood for, the museum
Modern architects favored. And Scott
but if they are to embody social ideals
had long been "a pompier of the Mod-
Brown's concepts are vulnerable to the
then the issue of taste cannot be avoided,
ern movement." Its sudden interest in
same criticism that Lewis Mumford
because taste is where art and sociology
Classicism, she found, served only to sub-
hurled at "Mother Jacobs's home reme-
meet. "Tell me what you like," as Ruskin
vert the renewal of interest in history and
dies for urban cancer." It's all very well
bluntly put it, "and I will tell you what
allow "a continuation of [Modern] pur-
to delight in the colorful threads of the
you are.' The question that Venturi and
ism in a new guise."
urban fabric. The danger is that enchant-
Scott Brown have consistently asked is
ment with the small scale can resign us to
how architecture, as a social art, can tell
o recognize the academi-
our failure to deal effectively with large-
us what we are as a society.
T
cism of these movements,
scale issues of housing, transportation,
however, is not to grant
economic growth, and their impact on
lassicism has enjoyed an
that the academy is invari-
the environment. Who cares whether
C
honored claim as a style
ably wrong, stupid, or an elitist conspira-
Main Street is almost all right when our
for modern democracy be-
cy foisted on a grumbling public. There
urban policies are almost all wrong?
cause in theory it is a style
is a "taste culture" of architecture itself,
of orders and laws, and therefore ideal
a tradition sustained by the impulse to
more serious objection to
for a civilization that places the rule of
rise above subjective taste through nor-
A
Scott Brown's approach is
law over the rule of men. This was an
mative order. That impulse is not igno-
that pluralism may be as
Enlightenment proposition: the geomet-
ble, nor is it as divorced from public de-
pernicious a myth as Sitte's
ric abstraction of late eighteenth-century
sires as Ruskin and Scott Brown seem to
Germanic monoculture. It is fine to value
Neoclassicism proclaimed an affinity
think. Ruskin erred in presuming to
diversity, but the risk then arises of creat-
with the impersonal laws of nature, and
speak for everyone when he wrote that
ing an image of diversity beneath which
with the "natural" order of human soci-
"we take no pleasure in [a Classical
the consolidation of economic power
ety that philosophers expected to uncov-
building] resembling that which we take
and social uniformity can continue as be-
er. Two shifts in architecture mark this
in a new book or a new picture." For one
fore. True, Scott Brown's approach will
idea: in style, from Baroque to Neoclassi-
thing, writing and painting can be as for-
not produce the scorched earth policy
cism, and in building type, from
mulaic as any architectural system; for
practiced by Modern architects. The risk
churches and palaces to public and insti-
another, the art of creating a system can
with her approach, however, is that it
tutional buildings.
be as inventive as the act of breaking one.
could act like a neutron bomb, preserv-
The Classical laws are "above taste," as
Precisely because life is messy, it can be
ing the varied texture of cities while en-
the law of gravity is above opinion. But it
very compelling to imagine a life of or-
couraging the further displacement of
was to subjective taste that the architects
der, simplicity, and purity, and a great
the subcultures responsible for creating
of the Enlightenment had to appeal, for
pleasure indeed to look at works by Bal-
the variety in the first place. Or what if
with the eclipse of palaces and churches
anchine, Agnes Martin, Mies van der
those cultures don't want to provide our
and the authority they exerted, taste be-
Rohe, and Buckminster Fuller that give
local color? In the years since Jacobs
came the basis of the social contract on
form to that ideal.
wrote so lyrically about Mom and Pop
which architectural forms acquire moral
Whether or not the Classical vocabu-
candy stores, many of us have found our-
significance. In theory, proper cultiva-
lary employed in the Chicago World's
selves thinking we would rather watch cit-
tion will ensure that taste will concur on
Fair of 1893 was appropriate for a de-
ies subside into natural ruins than see
correct forms. The role of the academies
mocracy in the industrial age, the White
them turned into theme parks. What's to
is to apply the theory. Under academic
City's vision of urban unity proved im-
prevent our appetite for "taste cultures"
tutelage, the taste of individuals will con-
mensely popular. For years now we've
from turning the city into an endless yup-
verge, like the radial avenues leading to-
had it drummed into our heads that the
pie smorgasbord of cultural tastes that
ward the Neoclassical public buildings
public hates Modern architecture. The
somehow all taste the same?
that occupy the center of Ledoux's ideal
truth is, many Modern buildings cap-
Scott Brown is hardly unaware of these
town of Chaux. The pattern repeated it-
tured the public's imagination with enor-
problems ("yuppie" is a dirtier word in
self in the 1920s, when the Modern
mous success. People really did gather in
her lexicon than it is in mine). The great
movement coalesced around the New
the street outside Manufacturers Hano-
strength of her book, in fact, is that it
Objectivity of Hannes Meyer, Mart Stam,
ver Trust to gawk at the steel safe gleam-
gives us a framework in which to exam-
Walter Gropius, and Mies van der Rohe.
ing behind the glass curtain wall. It was
ine them. What are the alternatives to
Once again the associative value of scien-
Hollywood art directors, not a bunch of
AUGUST 12, 1991 THE NEW REPUBLIC 35
highbrows, who recognized the powerful
mass appeal of the U.N. Secretariat and
Be
the Seagram Building. No doubt many
of t
people liked these buildings for the
The Historian as Tattler
in a
"wrong" reasons-because they were
Ing
novel, or glamorous-but so what? In sat-
"pe
isfying our taste for novelty and glamour,
eve
these buildings gave bold expression to
By LAWRENCE STONE
er f
"who we are." It is only when Modern
Fro
buildings ceased to satisfy this taste,
the
when Lever House was no longer the an-
tho
nouncer with the news but merely one
The Birth of the Modern: World Society 1815-30
cou
pane in an endless wall of glass, that
by Paul Johnson
clai
alarm bells went off.
tim
(HarperCollins, 1,095 pp., $35)
lege
oday many architects feel
his is no brief and brilliant
mai
T
that their profession is
in crisis because there is
T
cial Relationship" of World War I and
essay. It is a mammoth
une
World War II, which he believes is still
tome of nearly 1,100
alive and well today, "the cornerstone of
no academy authorizing a
pages. (Why are so many
the modern democratic world order"
dominant visual vocabulary or a concert-
books a thousand pages long these days?
ed social purpose. Instead, we have good
and "a mighty civilizing friendship."
Have publishers gone mad?) In his pref-
work as varied as that by Frank Gehry,
There follow a rambling twelve pages
ace, Paul Johnson gives warning of what
Charles Moore, and Richard Meier, each
about this American-British connection,
is to come: "Sometimes readers will have
allegedly cemented by travel and inter-
plus
aligned with a different aesthetic, none
to bear with me while we retrace our
al a
marriage, the idealization of America as
enjoying a legitimate claim to represent
steps a little before resuming the onward
wild
the only or the best way to design. The
the New Athens, the egalitarian Ameri-
march: but we always get there in the
can passion for shaking hands, and
past
"taste culture" of architecture, in other
end." Well, yes and no. It would be easi-
words, is in disarray, despite the he-
America's espousal of "liberty" and
toge
er if Johnson offered a clear account as
tem
"improvement."
roic efforts of Post-Modernists, Neo-
to where "there" is, but he never does.
Am
Modernists, and Deconstructionists and
The next chapter is called "The Con-
Before we get to the strengths and the
Gec
their apologists to coax the divergent wa-
gress Dances." It opens with an account
weaknesses of the book's argument, how-
But
ters of the mainstream back into that
of the day when Napoleon escaped from
ever, it is essential first to describe its
cau:
tired old river bed so that it will flow
Elba to try to recoup his fortunes. On
unusual contents. Johnson goes about
ic
obediently toward them. If it. would go
that day, Johnson informs us, Byron was
his enormous undertaking in a very pe-
uns:
too far to credit (or to blame) Venturi
bored, Jane Austen was writing Emma,
culiar manner: he hops to and fro like a
cata
and Scott Brown for architecture's cur-
Shelley had just run off with Godwin's
bird looking for worms. Despite his be-
com
rent fragmentation, it is at least the case
daughter, Turner was painting Crossing
lief that "chronology forms the bones of
the Brook, Rossini was writing The Barber of
ing
that their inclusive approach, with its im-
history, on which all else is built," he
ter
plicit rejection of the historicist notion of
Seville, Beethoven was composing his pi-
provides no narrative line of any kind.
forr
One Epoch, One Style, anticipated this
ano Sonata opus 110, and Davy was busy
Thus he starts his first chapter with
new
condition, and remains a viable ap-
inventing his miner's lamp. The rele-
the battle of New Orleans in 1814, which
T
proach to understanding and even feel-
vance of all this to Napoleon is, to say the
he describes as "one of the decisive bat-
Poli
ing grateful for it.
least, obscure. In any event, Johnson
tles of history," despite the fact that
with
Taste does not converge on formulas
does not like Napoleon. He blames him
3,000 miles away the Treaty of Ghent be-
rem
for art and architecture the way experi-
for inventing the police state (apparently
tween Britain and the United States was
the
mentation converges on a law of physics.
he knows nothing, or wishes to know
about to be signed. Johnson seems to
one
Taste converges on differences: the new
nothing, about the role of the French
think that if the British had won, they
police in the ancien régime), for
by a
tower on the block, the old eyesore left
would have been in a position to cancel
standing, the alternations between order
plundering Europe, for brutalizing Ger-
ing
the Louisiana Purchase and hand it all
lead
and violation, stasis and change, like and
many. Napoleon was "a plebeian ty-
back to Spain. Never mind that Louisi-
Am
dislike. That is why Ruskin, a supreme
rant," and his armies spread "instability
ana was already a formally constituted
crea
moralist, insisted that architects "should
and moral degeneration" wherever they
state, and that the Americans were al-
stati
be not only correct, but entertaining."
went. Johnson occasionally likens Napo-
ready inexorably exterminating the Indi-
ants
That is why, for Venturi and Scott Brown,
leon to Stalin, but more often to Hitler.
ans and pushing them farther and far-
exai
the city street has been a guiding meta-
The story then winds on to the Treaty
ther West beyond the Mississippi.
phor, why Thomas Lab plants a billboard
of Vienna. There are some lively pen-
ory,
From the battle in 1814, Johnson hops
erin
in the ivy. The street does not rise above
pictures of the principal actors, Castle-
back to the causes and the processes of
tem
taste, it slices through taste. It tells us who
reagh, Metternich, and Talleyrand-the
the War of 1812. But this is interrupted
flou
we are by showing us what others like.
good guys-and of Czar Alexander I-
by long disquisitions on the inventor of
thar
What is democratic about Venturi and
the bad guy. Apart from this classifica-
the submarine, Robert Fulton; on the in-
scril
Scott Brown's architecture is not that it is
tion, Johnson has nothing to say about
ventor of rockets, C. W. Parsley; and on
redu
designed by referendum, or even that it
the treaty that Harold Nicolson had not
the character of the British admiral Alex-
of W
tries to be popular, but that, in challeng-
already said better thirty-five years ago in
ander Cochrane. When we do finally ar-
mor
ing the normative impulse of architectur-
The Congress of Vienna. The chapter then
rive at the Treaty of Ghent, it is described
was
al "taste culture," it shows how the aims
shifts abruptly to culture, as the Age of
mysteriously as "one of the great acts of
of art and the aims of -government co-
Reason makes room for the Age of Ro-
pen
statesmanship in history." But hyperbo-
manticism. We are rushed through the
gera
incide. Each renews its authority not by
le, as we shall see, is common coin for
"zeitgeist" by means of brief references
opir
its power to enforce laws, but through
Johnson. He sees the treaty as the direct
worl
our power to affect them.
to Chateaubriand, Byron, Rossini, Schu-
antecedent to the Anglo-American "Spe-
bert, Madame de Staël, and of course
put
by 1
36 THE NEW REPUBLIC AUGUST 12, 1991
PAGE 8
LEVEL 1 - - 1 OF 3 STORIES
Copyright 1989 Gale Research Inc.
Almanac of Famous People
August, 1989; Fourth Edition
LENGTH: 125 words
NAME: Marilyn Horne
PERSONAL:
Birth: January 16, 1934 in Bradford, Pennsylvania. Mezzo-soprano who dubbed
Dorothy Dandridge's voice in Carmen Jones, film, 1954.
OCCUPATION: Opera Singer
NATIONALITY: American
SOURCES: Baker's Bio. Dict. of Musicians. 7th ed. Schirmer, 1984; Celebrity
Register/BIOALM STRAY; Concise Oxford Dict of Opera. 2nd ed.
Rosenthal. Oxford, 79; Current Biography, 1967; International Who's
Who. 47th Ed. Europa, 1983; New York Times Biographical Edition,
Volume 1, 1970; New York Times Biographical Edition, Volume 2, 1971;
Copyright 1989 Almanac of Famous People, August, 1989
Variety Who's Who in Show Business. Kaplan, ed. Garland, 85; Who's
Who in America. 44th edition, 1986-1987. Marquis, 1986; Who's Who in
American Music: Classical; Who's Who of American Women, 14th ed.,
1985-86. Marquis, 84
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Copyright 1984 Time Inc. All Rights Reserved
People
January 23, 1984
SECTION: BIO; Pg. 57
LENGTH: 2278 words
HEADLINE: Marilyn Horne;
'The greatest singer in the world' turns a feisty 50 with a Met premiere and a
controversial new book
BYLINE: by Michael Ryan
BODY:
The pearl gray Cadillac courses through that flat section of East Texas that
divides the culture capital of Austin from the capitalist culture of Houston.
The fog is thick enough to julienne with a Cuisinart. The driver 15
approximating the speed limit closely enough to make a roadside state trooper
yawn in boredom. In the front seat Nicola Zaccaria, silver-haired, courtly, in
a double-breasted blazer and brass buttons, is drumming his fingers nervously.
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1984 Time Inc., People, January 23, 1984
In the rear Marilyn Horne, black-haired, heavyset, in a long black dress with a
Blackglama mink-to-die-for folded neatly at her feet, is unperturbed. At about
this time she should be in Houston, 100 miles away, lighting the official city
Christmas tree and preparing to give a concert at the Houston opera
house. Instead, with the airports closed, she and Zaccaria, the former La Scala
basso who is her companion, have hired a car. The concert is just 48 hours away
and here is Jackie -- as her friends call her -- calmly trying to persuade the
driver to find an air-conditioner setting somewhere between icebox and steam
bath. Although Zaccaria grows increasingly tense as the minutes crawl by, the
diva is philosophical. "In this business," she explains, "you get to the point
where you can field almost any emergency that's thrown your way --- onstage or
off."
Fogged in, late, tired and too hot. Such is the life of "the greatest singer
in the world," as Italy's respected Rossini Foundation called her in a citation
two years ago. People who don't go to the opera know her through television
shows such as The Odd Couple, The Tonight Show and last month's Marilyn Horne's
Great American Song-book on PBS. Her new autobiography has generated comment --
and controversy - in the music world for its candid appraisals of well-known
musicians. And with this week's premiere of Rinaldo, three days after she turns
50, Marilyn Horne will do what no other singer has done: bring the work of
George Frederick Handel to New York's Metropolitan Opera House.
1984 Time Inc., People, January 23, 1984
For most of a generation critics have placed Horne in the first rank of
mezzo-sopranos - singers in that middle vocal range between contralto and pure
soprano. But the wider public recognition achieved by such singers as Beverly
Sills and Luciano Pavarotti has come more slowly to her; she is still
occasionally confused with Lena Horne. "She used to joke that she wanted to
call her book The Other Horne, The Other Jackie and The Other Marilyn," says
Jane Scovell, co-author of Marilyn Horne: My Life.
Indeed, Horne's path to the top has been almost a paradigm of the Horatio
Alger slow rise from obscurity. She was born in Bradford, Pa., where her father
was the city assessor and a church soloist with a deep love for music. As Horne
tells it, her father decided in 1945 to move his family to California, in large
part 50 that Marilyn could get vocal training. Her musical education
flourished. At 12, she was singing with the Roger Wagner Chorale. She later
won a scholarship to USC, studied with the legendary Lotte Lehmann and became a
favorite of Igor Stravinsky. "People forget what Southern California was like
after World War II," she says. "There were 50 many refugees from Hitler all
over the arts scene in the Los Angeles area. 1 used to have dinner with
Stravinsky, Christopher Isherwood, Aldous Huxley - it was a heady experience
for a young girl." Sadly, her father languished in Long Seach, moving unhappily
from job to job. "He was really a small-town man," she says sadly.
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1984 Time Inc., People, January 23, 1984
Marilyn's career began to prosper while she was still a teenager; she sang in
Hollywood movie choruses, made low-budget pop records and, at 20, in what would
remain her biggest role for years, dubbed the singing voice for Dorothy
Dandridge in the film version of Carmen Jones. But when her teachers urged her
to launch her operatic career overseas, her parents found themselves in rare
dissent about the career they had so carefully nurtured: Horne's mother
encouraged her, but her father pleaded with her not to go. In July 1956 he died
suddenly, at 49, of leukemia. Three weeks later a despondent Marilyn sailed for
Europe.
In some ways the private life of the diva has had as many tragic convolutions
as a Rossini opera. The man in her life today is the Greek-born Zaccaria, 60,
for whom she fell "head over neels" while they WETE appearing together in a
production of Mignon in Dallas 10 years ago. Zaccaria, famous for recordings
with Maria Callas in the '505 and '605, 15 now retired. He accompanies Horne on
most of her trips; he is never far from her side, photographing her, taping her,
worrying about details -- and, although his English is really quite passable,
talking to her mainly in Italian. "I learned fluent Italian from him," Horne
says, smiling. "Now 1 even dream in Italian." In her book Horne admits that her
18-year-old daughter, Angela, dislikes Zaccaria. Despite that, and despite a
melodramatic confrontation three years ago in which Zaccaria's estranged wife
trailed Horne to a Venice street corner and implored -- unsuccessfully -- that
1984 Time Inc., People, January 23, 1984
the diva give her back her husband, the relationship has endured.
But the figure of another man broods over Horne's life: her ex-husband, the
conductor Henry Lewis. When Horne gave her American Songbook concert at Lincoln
Center, Zaccaria was in Greece. It was Lewis, 51, and their daughter, Angela,
who waited backstage with champagne to toast the diva. They speak of each other
with a plangent affection. "She's a very, very important person in my life," he
says. "There's a niche for her within my heart." Horne echoes him: "There's a
deep friendship and a very deep love that will always be there." Lewis now lives
in California, while Horne has apartments in New York and Venice. They still
speak frequently; both are intensely devoted to Angela, a Northwestern freshman
transferring this month to Yale and considering a career as a singer. "She has
the voice," Marilyn says. "The question is whether she has all the other stuff
-- the drive and the stick-to-itiveness. We'll have to wait and 522 about that,
but she certainly has support from Mom and Dad."
That Lewis and Horne are still so close may have something to do with the
circumstances of their marriage. Lewis is black - and in 1960, when Martin
Luther King Jr. had spent more time in jail cells than in the Oval Office, the
marriage of a white woman and a black man could still offend much of the
American public. Choral director Roger Wagner told Horne that she would be
"finished" in the U.S. if she went through with the wedding. The singer's
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1984 Time Inc., People, January 23, 1984
mother begged her, "Be his mistress, for God's sake, not his wife." Marilyn's
sister, Gloria, attended the small ceremony; both her brothers took their
mother's lead in disapproving. Says Horne, "WE didn't want to buck society, but
we decided we could handle it."
Horne claims, and friends agree, that the strains of interracial marriage
were relatively light. Two weeks after the wedding, she says, her mother
"declared a truce.' Throughout the 1960s Horne's career took off. She performed
leading roles with opera companies around the world, made her debut at La Scala
in 1969 and went to the Metropolitan Opera in 1970. "I think Henry's career was
affected by the fact that my star rose quicker," Horne says. "That should be
the case with a singer; a conductor doesn't really COME into his own until he's
about 50." Lewis, on his own merits, was named associate conductor of the Los
Angeles Philharmonic, later became conductor of the New Jersey Symphony, and
guest-conducted in Boston, Chicago, Detroit and London. But he often conducted
Marilyn's performances as well, and the ever-wagging tongues of the opera world
had it that he was working only because he was her husband. "There was this
perception among certain people," Lewis explains. "Nobody said, 'My God! HE
did Semiramide on two days' notice, when I was called in at the last minute.
They'd just say, 'He conducted for his wife.'
1984 Time Inc., People, January 23, 1984
Lewis refuses to blame his wife's success for the failure of their marriage;
a thoughtful man who chooses his words with care, he gallantly ascribes it to
emotional problems he was having. "A conductor leads a very separated life," he
says. "I was very insecure, and I used to put a curtain down and separate
myself from everybody when I was working. 1 always had to prove to myself that
I was up to the job. When I came home, I needed human contact. But a diva gets
all the human contact she needs from her work, and Marilyn sometimes wanted just
to relax when she came home." The couple separated in 1974, divorced in 1979.
Today Lewis is recovering from a low point in his career --- "I can't get
arrested in this country right now," he quips ---- with a series of prestigious
European bookings at Covent Garden, the Paris Opera and the Hamburg Staatsoper.
His public appearances with Horne are rare.
As for Marilyn, her success is the more remarkable because she has achieved
it as a mezzo-soprano. Most mezzo parts are either "trouser roles" -- many of
which were originally written for castrati, the high-voiced, neutered male
singers who were popular in the 18th century - or roles in which the mezzo is
an adjunct to a soprano. "To be a mezzo is to be an Avis in a Hertz world,"
Horne says with a chuckle. But Horne has tried harder, and succeeded, achieving
greatness with a voice whose richness and technical perfection are matchless.
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1984 Time Inc., People, January 23, 1984
The good-humored Horne has many close friends in opera: Joan Sutherland,
Montserrat Caballe, Leontyne Price and Luciano Pavarotti among them. But, as
she makes bluntly clear in her book, she has had run-ins with other legends of
the opera. She flays the Berlin Philharmonic's Herbert von Karajan for allowing
his booming orchestra to drown her out. "It was a tremendous disillusionment to
work with him," she says. "I should have just walked out."
The Boston Opera's Sarah Caldwell fares no better: Horne denounces her as
chronically unprepared and reports that Caldwell once arrived at a rehearsal and
opened her score with a resounding crack of its spine - a sure sign, says
Horne, that Caldwell had never read it. Beverly Sills is thoroughly pounded in
the book as well. Horne's dislike of America's other beloved native-born diva
began years ago at La Scala, when, Horne claims, she heard from her dresser that
Sills and her press agent were removing photographs of Horne from a press
packet. "Sometimes you've got to pull out those prima-donna guns, and I did
it," Horne says. In the armor-plated costume of her role in The Siege of
Corinth, Horne barged into Sills's dressing room, confronted the singer and her
press agent, and told the flack: "If the New York Times runs a picture and I'm
not in it, I'll find you and smack you right in the face, you son of a bitch!"
Such conduct is unusual for a woman who is normally one of the most cheerful
of performers. Her patience is remarkable, given her schedule: a concert or
1984 Time Inc., People, January 23, 1984
an opera about every three days, 50 weeks a year, in cities across the globe.
"Singing is like being a baseball pitcher," she explains. "You can pitch every
three or four days, but you've got to rest your arm. I have to take care of
this little piece of gristle in my throat. I can sing one or two songs in
between, but I can only do a recital or an opera every three or four days."
Any week might find her at the Met or La Scala - or in Norman, Okla.,
Clearwater, Fla. or places in between. The traveling is arduous, but the
rewards justify it - a top diva can make around $35,000 per night. And Horne
usually finds time to give her fans more than just a concert.
At an autograph party in Austin she pays equal attention to a fur-clad lady
buying a handful of copies of her book and an impoverished-looking student who
brings one of her old albums for her signature. She even shrieks with delight
when she meets a literature professor who works nights in a drag club
impersonating great divas. "Everyone wants to kiss her," moans her press agent,
Lewis Ufland. "Do you know how easy it is to catch cold when everyone wants to
kiss you?"
Indeed, there is a certain huggable quality to the zaftig 5'2" diva.
(Luciano Pavarotti, proudly brandishing his American slang, used a more sexually
explicit word.) Horne reinforces her reputation for warmth at her recitals by
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1984 Time Inc., People, January 23, 1984
commenting informally on the songs and by interspersing Rossini and Handel with
favorites like Jeanie With the Light Brown Hair. "She's 50 down-home," gushed
one Austin dignitary, after her recital at the University of Texas last month.
"I love her." Another local, clearly more expert in such matters, chimed in
delphically: "Did you hear those glottal stops in her tessitura? They were
perfection!"
So it is, in Austin and Houston, at all her concerts, whether in Sitka,
Alaska or Carnegie Hall. "You have no idea how good it feels when people in
out-of-the-way places come up to you and say, "We're so happy you came. We
usually only get people on the way down. She has brought Stephen Foster to La
Scala and Rossini to Tulsa. At her concerts across the world audiences explode
with applause, and bravas ring down from the cheap seats to the orchestra. And
when that approbation comes, an observer need only see the diva, like Jeanie in
the song, radiant in gladness with a day-dawn smile, to know that the blood
feuds and the bittersweet love affairs have receded into darkness, and Marilyn
Horne, for just that instant, is the happiest woman on earth.
GRAPHIC: Picture 1, "I love Rossini," says Horne, mugging with the master in her
New York home. The composer wrote many of her best roles. CHRISTOPHER LITTLE;
Picture 2, Horne and Lewis still shared a suburban home in 1974, but the cracks
were beginning to show in their marriage. MARTHA SWOPE; Picture 3, Last month
1984 Time Inc., People, January 23, 1984
in Austin, Horne and Zaccaria entertained her admirers at an afternoon autograph
party. ED LALLO; Picture 4, "I support Angela in everything she tries to do,"
says Marilyn, with her daughter, home for a holiday visit. CHRISTOPHER LITTLE;
Picture 5, At a Norman, Okla. concert, Horne psychs herself during an
intermission. "Afterward, everything hurts," she says. ED LALLO
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202 682 5400
Nat Endoument/Ar
1
001
NATIONAL
WASHINGTON
ENDOWMENT
D.C. 20506
FOR
THE ARTS
A Federal agency advised by the
National Council on the Arts
FACSIMILE TRANSMISSION COVER SHEET
Office of the Chairman
FAX: (202) 682-5639
DATE:
July 14, 1992
allan Houser
TO:
Gary Gershowitz
FR:
Susan Houston
RE:
Sorry I sent you more than you had requested - but they
were all so good and a little different from each other
This transmission is 6 pages in length. including this page.
If you do noc receive all pages or otherwise need this message
retransmitted, please contact the Office of the Chairman at
(202) 682-5414.
07/14/92
14:39
202 682 5400
Nat Endoument/Ar
1
002
DAVID BOREN
CHAIRMAN,
OKLAHOMA
SELECT COMMITTEE ON INTELLIGENCE
RUSSELL BUILDING
MEMBER, COMMITTEE ON FINANCE
WASHINGTON, DC 20510
CHAIRMAN. SURCOMMITTEE ON
621 NORTH RODINSON
United States Senate
TAXATION
OKLAHOMA CITY, OK 73102
MEMBER, COMMITTEE ON AGRICULTURE,
NUTRITION, AND FORESTRY
408 5. BOSTON
WASHINGTON, DC 20510-3601
CHAIRMAN, SUBCOMMITTEE ON
TULBA, OK 74103
January 23, 1992
DOMESTIC AND POREIGN MARKETING
211 EAST OAK
AND PRODUCT PROMOTION
SEMINOLE, OK 74868
National Medal of Arts
Nominating Committee
National Endowment for the Arts
Room 525
1100 Pennsylvania Avenue N.W.
Washington D.C., 20506
Dear Members of The Nominating Committee:
It is an honor for me to write to second the nomination
of Allan Houser for the 1992 National Medal of Arts Award. I
have admired Allan Houser's works for a number of years.
Without a doubt he is the most outstanding living Native
American artist. He has had an enormous influence on
contemporary Native American sculpture and painting. It was
Allan Houser who originated a style of powerful simplicity to
convey the essence of the human spirit and experience that
many have followed in their own artistic expressions. It is
characteristic of Allan Houser that he did not selfishly
hoard his artistic vision but shared it with countless others
especially as a teacher at the Inter-Mountain School and at
The Institute of American Indian Arts in Santa Fe for almost
25 years.
Because of the influence which he has exerted on so many
younger artists, it is appropriate that his work was selected
as the focus of the hearing room of the Senate Select
Committee on Indian Affairs. It is also appropriate that his
work, "The Sacred Pipe", which eloquently expresses the
universal desire for peace should stand in the courtyard of
the U.S. Mission to the United Nations.
I was especially pleased that the people of Oklahoma
commissioned Allan Houser to create a work to depict the
symbolic contribution of Native Americans to our state. I
visited Allan Houser's studio in Santa Fe to see the work in
progress. The monumental sculpture "As Long as the Waters
Flow" now stands on our state capitol grounds. It reflects
the triumph of the human spirit in the face of great
adversity. While treaties which promised land "as long as
the waters flow" were broken, the spirit, strength and
dignity of the Native Americans were not broken. Houser
DOINTER OM RECVCI FD PAPER
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Page Two
Letter to Nominating Committee - Houser
captured in the form and face of a young woman of ordinary
physical appearance, an inner strength and beauty that is
hard to describe. It dominates the grounds of the capitol
even though it shares the space with an action filled
sculpture of a cowboy bronc buster and other historical
depictions. His father, who acted as Geronimo's interpreter,
would have been pleased.
But I am not writing to you to second the nomination of
Allan Houser simply because of his stature as a Native
American artist. Allan Houser is in my view, one of the
greatest artists of this century. His work will endure
because it is universal in its message. Houser is a great
artist who also happens to be a Native American as opposed to
simply being a Native American artist. Through a variety of
styles he has captured in stone and metal, the spiritual side
of life with its power and mystery. One can almost feel the
wind and hear its howling or feel the sense of apprehension
about the unknown in the figures depicted.
Above all, he is able to convey through the
representation of common items and ordinary people, the
extraordinary nature of the heroism required in the daily
struggle with life.
With each passing year, the stature of Allan Houser will
increase. I sincerely believe that the committee will find
no nominee as worthy of this award.
Sincerely,
David DallBua L. Boren
United States Senator
07/14/92
14:40
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004
NATIONAL MUSEUM OF
AMERICAN ART
Smithsonian Institution
Gallery Place
January 24, 1992
Eighth and G Streets. N.W.
Washington. D.C.
National Medal of Arts Award Committee
Office of Congressional Liaison
National Endowment for the Arts, Room 525
1100 Pennsylvania Avenue, NW
Washington D.C. 20506
To Whom it May Concern:
I am writing in support of Allan Houser's nomination
for the 1992 National Medal of Arts Award. Mr.
Houser has been one of the most influential
figurative sculptors of this century and
singlehandedly created a new movement for Native
American artists. Before Mr. Houser began to
reformulate the shape of Native American sculpture,
Indian artists were limited by the market to creating
traditional arts and crafts. Occasionally a painter
achieved success using watercolor on paper, media
introduced only after contact with soldiers,
missionaries, and teachers from the Eastern United
States. Mr. Houser started his artistic career as
one of these painters with the encouragement of
Dorothy Dunn in Santa Fe. The National Museum of
American Art, then called the National Gallery of
Art, included one of Mr. Houser's watercolor
paintings in a 1939 exhibition of art created under
the Works Progress Administration. This was one of
the artist's first museum exhibitions.
Shortly thereafter he began to experiment with
sculptural forms creating a new style and content for
Indian art. Previous attempts, and many
successively, to bring Indian art into a mainstream
art context consisted of teaching Indian artists to
make art in styles dictated by the aesthetics of
white patronage. Mr. Houser broke with this
tradition through his innovative use of wood, stone
and later bronze in figurative self portraits of
racial and spiritual identity. His style has become
the standard by which all contemporary Native
American sculptors are judged. I hope you will honor
Mr. Houser with the national recognition he deserves
by presenting him with the National Medal of Arts.
Sincerely,
Elizabeth Brown
Elizabeth Broun
Director
Mailing Address:
National Muscum of American Art
Smithsonian Institution
Washington, D.C. 20560
(202) 796-9607
07/14/92
14:41
202 682 5400
Nat Endoument/Ar
5
005
ALLAN HOUSER
As Best Described by Barbara H. Perlman
Allan Houser has performed a leading role in advancing the status of the work by
Indian artists from limited regional acceptance to international recognition at the fine
arts level. He is widely acknowledged as the nation's most influential Native American
sculptor. Through his work and teaching, he represents a precious link bridging the
spirit of modern life and sources of primitive culture that underlie creative expression
in the arts.
The artist's origins begin with his lineage as a Fort Sill-Chiricahua Apache descended
"oldest Tradition" S
from distinguished chiefs and leaders. Since the 1930s, Houser has kept faith with a
radiant artistic vision, a way of thought linked with awesome, time-shrouded Native
American lifeways and psyche. The songs and stories told during Houser's lifetime
prepared him for the role of contemporary artist, traditional singer and story teller.
Known primarily for his paintings of Indian subjects until 1962, Houser is perhaps best
known for his representational, fully contoured, compassionate sculptures of mothers
and children. He had worked in a surprising variety of styles and has achieved
assurance in bronze, constructed metal sculpture, as well as mastery in stone. The
stylized and simplified contours of his figures suggest the ennobling effect of sacred
ritual and its relationship to human potential.
Acclaimed as the patriarch of contemporary American Indian sculpture, Houser is the
teacher who has touched, at some point in their career, every Native American
sculptor working today. During his years as an educator he has inspired the careers
of thousands of young Indians.
Houser, in his seventies, has reached the apogee of his creative powers. Realism,
naturalism, styled figure abstraction, and abstract-surreal are among Houser's styles,
all closely related to earth forms and traditional Indian images. His very real legacy
is an art infused with primal richness, classical harmony and a romantic search for
beauty the human form is that most perfect and fundamental instrument through
which to narrate his visual songs and mythology.
07/14/92
14:41
202 682 5400
Nat Endoument/Ar
006
Hund of the
Directions
Ann R. Reberts
Founder
January 29, 1992
Dear President Bush:
It is a pleasure and an honor to add my name to those distinguished citizens who
have already recommended the great sculptor Allan Houser to you for the 1992
National Medal of Arts Award.
As a member of the National Museum of the American Indian board of trustees,
and the daughter of Nelson Rockefeller, a great collector, I have had the
opportunity to see a great deal of American Indian Art and to acquire a modest
collection of my own.
Allan Houser stands out as exceptional, in his work as an artist and in his work
as a man. His sculpture is beautifully expressive of his own culture and American
Indian heritage and at the same time, through these images he deals powerfully
with eternal themes of Humankind and so speaks to a wide audience. He has also
given his energy and skills back to his community by training other young Indian
artists and acting as an exceptional role model. He stands out for his excellence,
his commitment to his deep vision and the power with which his sculptures speak
to all who see them.
His work and his character have stood the test of time and speak strongly for
themselves. Also wouldn't it indeed be fitting for an American Indian to receive
this award in the year of discovery of this continent and these First Peoples? What
a fine way it could be to offer our recognition of the artistry in their culture!
I would recommend him without reservation for this award.
Respectfully yours,
ann norkefeller Roberts
Ann Rockefeller Roberts
West 40th Street Tenth Floor New York NY 10018 Z12 768-1430 Fax 212 768-1471
ALLAN
WHO'S WHO
IN
AMERICAN
ART
1991-1992
19th Edition
C.
HOUSER
518 / HOUGH
State Univ Mem Union Collection; Westat Inc, Rockville, Md; Farmers and
Mus, Phoenix, Ariz, 72-80 & Southwest Mus, Los Angeles, Calif, 81-; asst
Merchants Bank, Menomonee Falls, Wis; St Vincent's Hosp, Santa Fe. Comn:
comr-dir, NY State Mus, Albany, 80-81. Mem: Am Asn Mus. Specialty:
Scandinavian Film Festival Poster, Santa Fe, 84. Exhib: One-woman exhib,
American Indian art museology. Mailing Add: Dept Arch Cal Col Arts &
Ore Univ Mus, 74-76; Los LLanos Gallery, Santa Fe, NMex, 80; Ledoux
Crafts 1700 17th St San Francisco CA 94103
Gallery, Taos, NMex, 81; Fields Gallery, Santa Fe, NMex, 81; La Bodega,
Santa Fe, 83; Lincoln Ctr, Ft Collins, Colo, 85; Waxlander Gallery, Santa Fe,
HOUSE, SUDA KAY
86 & 89; City Gallery, Sacramento, Calif, 86. Pos: Art ed, Pembroke Mag, 72-
PHOTOGRAPHER, EDUCATOR
Teaching: Instr painting & printmaking, Pembroke State Univ, 67-69; art
b Du Quoin, III, Jan 31, 51. Study: Univ Southern Calif, BFA, 73; Calif State
instr, St Johns Col, NMex, 69-80. Awards: NMex Arts Comn Grant, Art in
Univ, Fullerton, MA, 76. Work: Polaroid Corp, Boston; Los Angeles Co Mus
Pub Places, 77-78. Bibliog: Article, Art Voices South, 7-8/80. Media:
Art; Mus Photog Arts, San Diego; Creative Ctr Photog, Univ Ariz;
Woodcut; Mixed Media. Publ: Auth, Southwest Art, 74 & 90; Society for
Minneapolis Inst Arts. Exhib: Attitudes: Photography in the 1970s, Santa
Common Insights, 77 & 78; Int Grafik, 77; Katapult-Pembroke, 77; Fry
Barbara Mus Art, 79; Uniquely Photographic, Honolulu Acad Art, 79; Electro
Breads, Feast Days & Sheeps, Sunstone Press, 87; Coyote Stars the Tree, Vista
Works, George Eastman House, Rochester, NY, 81; Photographer as
Grande Design, 88. Dealer: Ledoux Gallery Taos NM 87571. Mailing Add:
Printmaker, Arts Coun Gt Brit, London, 82; Eight from San Diego, San Diego
2307 Calle Brocha Santa Fe NM 87505
Mus Art, 82; Polaroid: The Big Picture, Mus Photog Arts, San Diego, 83.
Teaching: Guest instr photog, Univ Calif, Los Angeles Exten, 77; instr, East
HOUGH, JENNINE
Los Angeles Col, 78-79; prof, Grossmont Col, 79- wards: Nat Endowment
PAINTER
Arts Emerging Photogr Fel, 80. Mem: Los Angeles Ctr Photog Studies
b Charlotte, NC, Mar 17, 48. Study: Univ NC, Chapel Hill, BA, 70; Univ NC,
(trustee, 74-81, pres, 75-78); Soc Photog Educ (chmn western region, 81-82).
Greensboro, MFA with cert, 73; Skowhegan Sch Painting & Sculpture,
Publ: Auth, Artistic photographic processes, Amphoto, 81. Dealer: Quint
Maine, summer 74. Work: High Mus Art & Ga Arts Coun, Atlanta; Columbus
Gallery 664 Ninth Ave San Diego CA 92101. Mailing Add: Dept
Mus Art, Ga; Miss Mus Art, Jackson; Gibbes Art Mus, Charleston, SC; and
Communication Arts & Scis Grossmont Col 8800 Grossmont El Cajon CA
others. Exhib: One-man show, Columbus Mus Fine Arts, Ga, 77;
92020
Southeastern Competition, Southeastern Ctr Contemp Arts, Winston-Salem,
NC, 77 & 79 & Realist Ann-Landscape, 79; Southern Realism, Miss Mus Art,
HOUSER, ALLAN C
79; Ga Artists 20th Century, Madison-Morgan Cult Arts Ctr, Madison, Ga,
SCULPTOR, PAINTER
79; New in New York, Monique Knowlton Gallery, 81; and others. Teaching:
b Apache, Okla, June 30, 14. Study: Chilocco Indian Sch, Okla; Santa Fe
Eve prog, Emory Univ, 79- Awards: Fel, MacDowell Colony, Peterborough,
Indian Sch, NMex, spec study with Dorothy Dunn; mural techniques with
NH, 76; Best of Show, LaGrange Nat III & IV, LaGrange, Ga, 77 & 80; Nat
Olle Nordmark, Okla; Utah State Univ, Logan; St Michael's Col, Santa Fe.
Endowment Arts & Southeastern Ctr Contemp Arts Fel Grant, 80. Bibliog:
Work: Heard Mus, Phoenix, Ariz; Philbrook Art Ctr, Tulsa, Okla; Mus
Southern realism reviewed, Art Voices Southeast, 12/79; Southern Realism,
Northern Ariz, Flagstaff; Denver Art Mus, Colo; Univ of Okla, Oklahoma
Art in Am, 12/80. Media: Oil, Watercolor. Dealer: Galerie Simonne Stern
City; and others. Comn: Murals, Dept of Interior, Washington, DC; dioramas,
2300 Peachtree St Atlanta GA 30309. Mailing Add: 265 Brighton Rd NE
Southern Plains Indian Mus, Anadarko, Okla; medals, Soc Medalists; portrait
Atlanta GA 30309
of Stewart Udall, Dept Interior. Washington, DC. Exhib: Contemp Indian
Painters, Nat Gallery Art, Washington, DC, 53; Art Inst Chicago, 53; Gov's
HOUGHTON, BARBARA JEAN
Gallery, State Capital, Santa Fe. 77; Jamison Gallery, Santa Fe, 77; Sacred
PHOTOGRAPHER, VIDEO ARTIST
Circles Art Exhib, Kansas City, Mo, 77; Am Indian & Cowboy Exhib, San
b Chicago, Ill, Nov 2, 47. Study: Univ III, Chicago, BA(art), 71; Sch Art Inst
Dimas, Calif, 78; Wagner Gallery, Austin, Tex, 78. Teaching: Instr art,
Chicago, MFA(photog), 73, also grad study with Shigeko Kubota. Work: Art
Intermountain Indian Sch, Brigham City, Utah; head, Dept Sculpture, Inst of
Inst Chicago; Atlantic Richfield Corp, Denver & Houston; Chase Manhattan
Am Indian Arts, Santa Fe; slide lect, Lake Forest Col, Chicago, Ill, 78; slide
Bank, New York; Am Oil Co, Denver; Ctr Creative Photog, Univ Ariz,
lect & sem, Thomas Burke Mem State Mus, Univ of Wash, Seattle, 78; artist-
Tucson. Exhib: 74th Chicago & Vicinity Show, Art Inst Chicago, 73; Lensless
in-residence, Dartmouth Col, Hanover, NH, 79. Awards: Gold Medal in
Photography, Franklin Inst, Philadelphia, 82; Colorado; State of the Arts,
Bronze, Silver Medal in Stone & Silver Medal in Other Metal, Heard Mus
Denver Art Mus, 82; New Epiphanies, Ohio Found Arts & traveling, 83;
Sculpture I Show, 73; Best of Show & First Place in Sculpture, Am Indian &
Unsportsmanlike Conduct, Sebastian-Moore Gallery, Denver & Univ Conn,
Cowboy Show, San Dimas, Calif, 78. Bibliog: Allan Houser, Working Sculptor
83 & 84; Photograms, John Michael Kohler Art Ctr, Sheboygan, Wis, 85; The
(film), In: Am Indian Artists 1976 (TV series), Pub Broadcasting System,
Art of Tattoo, City of Denver, 85; I Always Cheat at Croquet, Ctr Idea Art,
KAET TV, 76. Mailing Add: 1020 Camino Carlos Rey NM 87505
Denver, 86. Teaching: Asst prof art & photog, Metrop State Col, Denver, 74-
Awards: Nat Endowment Arts Photog Grant, 78; Grant, Mayor's Comn Cult
HOUSER, CAROLINE MAE
Affairs, City of Denver, 85; Interdisciplinary Grant, Nat Endowment Arts/
HISTORIAN
Rockefeller Found, 86. Bibliog: Andy Grundberg (auth), From this land, Mod
b Walla Walla, Wash. Study: Mills Col, BA; San Francisco Art Inst; Harvard
Photog, 6/79; William Peterson (auth), 4/81 & Jane Fudge (auth), summer
Univ, AM, PhD; Am Sch Classical Studies, Athens, Greece. Teaching: Asst
84, Photography Notes, Artspace. Mem: Nat Educ Asn; Soc Photog Educ.
prof art hist, Univ Tex, Austin, 75-78; Mellon Fel art hist, Harvard Univ,
Dealer: Martin Gallery 2427 18th St Washington DC. Mailing Add: Metrop
Cambridge, Mass, 78-79; asst prof art hist, Smith Col, Mass, 79- Awards:
State Col Arts Bldg Box 59 PO Box 173362 Denver CO 80217-3362
Andrew W Mellon Fel. Mem: Archaeol Inst of Am; Col Art Asn; Am Sch
Classical Studies (managing comt). Res: Greek sculpture, especially
HOUK, EDWYNN L
monumental work in bronze. Publ: Auth, Is it from the Parthenon, Am J
ART DEALER, GALLERY DIRECTOR
Archaeol, 72; auth, Dionysos and his circle, 79; auth, The Riace Marina
b Knoxville, Tenn, Mar 13, 52. Study: Ctr Creative Studies, Detroit, BA, 74.
bronze statues, classical or classicizing?, Source, 82; auth, Greek Monumental
Pos: Dir, Halstead 831 Gallery, 75-78, Edwynn Houk Gallery, Chicago,
Bronze Sculpture, Vendome, 83. Mailing Add: Art Dept Smith Col
currently. Teaching: Instr art hist, Wayne State Univ & Ctr Creative Studies,
Northampton MA 01063
Detroit, 75-76. Mem: Art Inst Chicago; Chicago Art Dealers Asn. Specialty:
20th century vintage prints, especially those from the period of 1917-1939.
HOUSER, JIM
Publ: Ed, Atget's Vision, 81, Arthur Siegel: Retrospective, 82, Andre Kertesz:
PAINTER, EDUCATOR
Vintage Photographs, 85 & Bill Brandt: Vintage Photographs, 85, Exhib
b Dade City, Fla, Nov 12, 28. Study: Ringling Sch Art; Fla Southern Col, BS;
Catalogs, Houk Gallery, Chicago. Mailing Add: Edwynn Houk Gallery 200
Art Inst Chicago; Univ Fla, MFA; Johns Hopkins Univ. Work: Univ Notre
W Superior Chicago IL 60610
Dame; Cornell Univ; NY Univ: Soc Four Arts Collection, Palm Beach, Fla;
Syracuse Univ Art Collection; and others. Exhib: Soc Four Arts, Palm Beach,
HOUK, PAMELA P
Fla, 64-89; one-man shows, Grand Cent Mod, New York, 67 & Lehigh Univ,
CURATOR
Bethlehem, 68; Mainstreams USA, Ohio, 68; David Findlay Galleries, New
b Dayton, Ohio, Jan 8, 35. Study: Skowhegan Sch Painting & Sculpture,
York, 76-84; and others. Teaching: Asst prof painting, Ky Wesleyan Col,
Maine, 54; Sch Dayton Art Inst, Ohio, 55-65; Cincinnati Art Acad, Ohio, 61-
54-60; instr painting, Palm Beach Jr Col, 60-, chmn dept, 64-70. Awards:
63; Wright State Univ, Dayton, Ohio, BS, 71, MA, 81. Work: Bradford Col,
Akston Award, Soc Four Arts, 77; Merit Award, 16th Hortt Competition, Ft
Haverhill, Mass; Cincinnati Mus Art, Ohio. Collections Arranged: Bookforms
Lauderdale Mus Arts, 74; Philip Hulitar Award, Soc Four Arts, Palm Beach,
(auth, catalog), Artists' Books, 78; Patterns Plus (auth, catalog), Patterns and
82; Atwater/Kent Award, Soc of the Four Arts, 89. Bibliog: Article, Arts
Systems, 79; Japanese House (auth, catalog), Household Objects of Edo
Mag, 81. Media: Acrylic. Publ: Auth, Color for the Artist, Palm Beach Jr Col,
Period, 79; Woodworks II: Folk Traditions in Ohio and Kentucky (auth,
75. Dealer: Gallery Camino Real 399 Camino Gardens Blvd Boca Raton FL
catalog), 81; Cloth Forms (auth, catalog), Fabric Constructions, 82; Inside
33432; Peter Rudolph Galleries 338 Sevilla Coral Gables FL. Mailing Add:
Self, Someone Else (auth, catalog), The Alter Ego as Self Portrait, 83; Lines
693 Jog Rd West Palm Beach FL 33415
of Art Nouveau (auth, catalog), Aspects and Sources of International Art
Nouveau Movement, 83-84; Ink Under Pressure (auth, catalog), 84; Clay
HOUSEWRIGHT, ARTEMIS SKEVAKIS
(auth, catalog), 85; Thomas Macaulay: Sculptural Views on Perceptual
PAINTER, SCULPTOR
Ambiguity, 1968-1986 (coauth, catalog), Dayton Art Inst, Ohio, 86. Pos: Dir,
b Tampa, Fla, July 18, 27. Study: Fla State Univ, Tallahassee, BA, 49, MA,
Living Arts Ctr Gallery, Dayton, Ohio, 72-76; cur, Experiencenter Gallery,
52. Work: Tallahassee Democrat Bldg, Fla; Gulf Life Insurance Bldg,
Dayton Art Inst, Ohio, 76- Mem: Am Asn Mus; Ohio Mus Asn. Mailing Add:
Jacksonville, Fla; Washington Federal Bldg, Hollywood, Fla; Tallahassee
310 W Schantz Ave Dayton OH 45409
Community Col, Admin Bldg. Fla; Student Union Bldg, LSU, Baton Rouge,
La. Comn: Mural, Municiple Airport, City of Tallahassee, 61; painting, US
HOULIHAN, PATRICK T
Forestry Dept, Tallahassee, 62; Am Nat Bank, Winter Haven, Fla, 65; murals,
MUSEUM DIRECTOR
Old Westbury Gardens, LI, NY. 69; Second Nat Savings Bank, Washington,
b New Haven, Conn, June 22, 42. Study: Georgetown Univ, BS, 64; Univ
DC, 88. Exhib: 21st Annual Mid-Year Show, Butler Inst Am Art,
Minn, MA, 69; Univ Wis, PhD, 72, Occidental Col, DSc, 86. Pos: Dir, Heard
Youngstown, Ohio, 56, 57 & 60; two-person exhib, Jacksonville Mus Art, Fla,
March, 1987
The New York Times BIOGRAPHICAL SERVICE
James Earl Jones at Bat
By HELEN DUDAR
The flawed, doomed hero of "The Great
White Hope" was Mr. Jones's signal op-
portunity to use a powerful range of gifts,
UST BEFORE THE OPENING
J
and he seized it. The show not only made
night curtain rises on "Fences" on
him a star, it established him as Amer-
Thursday, a voice in the corridor
ica's premier black actor, a status yet to
will call "five minutes," and James
be challenged. His great variety of roles
Earl Jones will make his way to the
have ranged from Lopahin in "The Cherry
darkest corner of the stage. There, he will
Orchard" through a small parade of
stand, rapt, alone, listening to the murmur
Shakespearean characters to the Alex
of 1,300 people settling their bodies and be-
Haley of the television mini-series
longings into the seats of the 46th Street
"Roots," to the slow-witted Lennie in "Of
Theater. What he hears, he says, will be an
Mice and Men." There have been times
animal noise, a low, benign, undifferenti-
ated rumble that reaches his ears as hub-
when Mr. Jones was the transforming
principle of a night of theater. In the 1980
bahubbahubbahubbahubba This a nightly
Broadway production of Athol Fugard's
ritual, a moment of communion with the
"A Lesson in Aloes," the moment he came
unseen audience. The sound can bring on
on stage in the second act of the play, a
tears; with luck, it can evoke the emotion
quiet stream became a torrent of explod-
he wants for the first scene. At the very
ing water.
least it will, in his word, settle him before
In Troy, Mr. Jones has a role shaped to
the lights go up on James Earl Jones as
his talents as lovingly as a master tailor
Troy Maxson, lover, liar, spoiler, domestic
cuts a bespoke overcoat. Four years ago,
midway into a first draft of "Fences," Mr.
A commanding
Wilson was writing an impassioned speech
for Troy, one that required "a magnificent
American actor
presence," and suddenly began hearing
James Earl Jones sound the words. A resi-
returns to
dent of St. Paul, and a relative newcomer
Broadway to play a
to New York theater, he knew only Mr.
Jones's film and TV work, but from that
point on, the voice and image of the actor
faded baseball star
dominated his drama. The speech was cut
from the performing version; it didn't
in 'Fences.'
work out, but the actor did.
This is Mr. Wilson's second outing on
bully, trash man and faded star of the
Broadway. His first, "Ma Rainey's Black
Negro Leagues, who thinks of life and
Bottom," took the New York Drama Crit-
death in baseball metaphors.
ics Award for the 1984-85 season. Like "Ma
"Fences" is August Wilson's vision of
Rainey," "Fences," with Mr. Jones, was
the black family experience - and the
first brought to life at the hands of Lloyd.
blighted dreams - of the 50's, a few years
Richards at the Yale Repertory Theater,
before civil rights protests began to boil up
where he is the artistic director. That was
through the country. In more than 30 years
nearly two years ago. Most of the original
of acting, Mr. Jones has played a truckload
cast played a short run last year in Chi-
of high and low characters ("I'm at my
cago, where Carol Shorenstein Hays saw it
best as garbage men and kings"), but he
and decided to finance her first independ-
said the other day that Mr. Wilson's work
ent Broadway production. Mrs. Hays, who
is the first contemporary play since his
owns three theaters in San Francisco, took
momentous 1968 success as the fighter in
the play to her home territory for a month
Howard Sackler's play, "The Great White
before the New York opening.
Hope," that draws on the depths of energy
and emotion he is prepared to invest in a
performance.
A few days after the company's return,
"Troy is supposed to jostle you, frighten
Mr. Jones, back home in Pawling, N.Y.,
you and maybe even depress you," Mr.
with his family, came to town in casual ex-
Jones said. "He ravages, partly because of
urban gear: black jersey shirt, bright red
his appetite, partly because he cannot
suspenders attached to nondescript trou-
separate his principles from his preju-
sers and an Army fatigue cap, souvenir of
dices. He's a highly principled man, but
last summer's filming of "Gardens of
some of those principles are based on
Stone," a Francis Coppola movie sched-
prejudices. He's illiterate with a great deal
uled for release in the fall. In his pro-
to say. He wounds and bruises his kin. As
ducer's diminutive Times Square office
an actor, I love him, just as I loved Jack
there was hardly space for a large actor to
Jefferson in 'Great White Hope.'
make an expansive gesture.
254
The New Bork Times BIOGRAPHICAL SERVICE
March, 1987
Mr. Jones is 56. Steel gray has attacked
The "Othello," his sixth in 17 years, at least
his sideburns, and the beard he wore until
had the virtue of fostering romance. Mr.
recently, and an enthusiastic appetite has
Jones, who has been married twice, has the
rounded his jowls and betrayed his belly.
distinction of having wed two women who
The deep, supple voice is still an instru-
played Desdemona to his Moor. He and his
ment of power and beauty, and the pale,
current wife, Cecilia Hart, were married dur-
greenish eyes are instant barometers to
ing the run of the play and have a son, Flynn
his mood. They turn wary when he thinks
Earl, 4. Fatherhood came late to Mr. Jones,
he is about to hear a question about his pri-
and it seems to have filled his life in a way he
vate life, as if a man ruminating on his work
had scarcely imagined. Farm animals were
were not already revealing the most intimate
the companions of his boyhood, and the Pawl-
matters.
ing place once teemed with them. Since the
For all that Mr. Jones loves the role, play-
birth of his child, they are mostly gone.
ing Troy has upset him in a way he cannot
James Earl Jones's early years were spent
fully explain. Some of his distress, he thinks,
on farms, in Arkabutla, Miss., where he was
18 rooted in the thorny father-son relationship
born, and in Manistee, Mich., where his
crucial to the play: For reasons that are
grandparents took him to live when he was 6.
Sound to him, Troy Maxson exerts an adult's
His mother had divorced and remarried. His
oppressive, thwarting power over his teen-
father, Robert Earl Jones, left the family be-
age boy's life, and Mr. Jones seems to find it
fore the child's birth and became an actor in
hard to come to terms with that. "Actors
New York. He was to come to know his son as
never take their roles home with them," he
a grown man.
said "We're happy 10 take off our costumes
From his ninth year to his mid-teens,
and wipe off the sweat and have a drink, you
James Earl Jones stuttered SO badly that he
know. and think about other things. But up
could not speak. In his last two years in high
until about a week ago I would take the play
school, he overcame the handicap. But ves-
home in a deep depression." Some of the
tiges of it surface in everyday speech and
melaucholy has lifted - "I can almost let the
once in a great while threaten a perform-
play go." But he did not or could not say how
ance. "Once a stutterer, always a stutterer,"
this happened.
he said. "It's stamped on your psyche." Mr.
"Fences" brings Mr. Jones bacl. to Broad-
Jones has learned to pause a beat in a scene
was for the first time since he replaced
if he thinks his speech is in danger. He has to
Zakes Mokae in Mr. Fugard's 'Master Har-
live with the fact, however, that sometimes,
old'. and the Boys" four years ago. He has
on an occasion of intense Elizabethan emo-
said some terrible things about New York
tion, that elegant trained voice will briefly
audiences ("aced" "corpses," "martinied
sound Mississippian.
and cannellonic and he can't bring him-
At the University of Michigan, on scholar-
self to take the words back. Offended or inter-
ship, Mr. Jones discovered an appetite for
rupted by trudeness, Mr. Jones has suggested
acting. He went into the Army, however,
that a spectator shut up. He has delivered a
made first lieutenant and was tempted to
Classic obscene Laun arm gesture to a pay-
stay. With his eye on the least secure of pro-
ing customer. Once in a small theater where
fessions, Mr. Jones says he was drawn to the
a youngster was noisily cracking her gum, he
"absolute" nature of life in the military. He
used a Hell: rally socially unacceptable four-
remembers sitting on a mountain top in Colo-
letter word.
rado during a training mission, listening to
his colonel urge him to go for a captaincy.
"The only thing I had that was not geared to-
M. Jones cheerfully volunteered reports
ward the art of killing was the Catholic
of these events as examples of his "misbe-
Church, to which I had converted in the
havior, and while unrepentant, said that he
Army, and the complete works of Shake-
has tried hard to discipline himself. In the
speare." His dad was an actor, he told the
face of mappropriate laughter he will now
colonel, and "something in me is curious
Stop a performance and simply wait until
about that." The colonel said if acting didn't
quiet returns The tactic was not always ef-
work out, he would help him regain his com-
receive for his must recent "Otheilo," a 1982
mission. Had he stayed, Mr. Jones reported
Proadway evem in which Christopher Plum-
with a wicked little laugh, he would have
met was lago.
wound up on the "dark side" of soldiering, a
Without a discernible note of anger in his
sort of Darth Vader mercenary. He has been,
voice. he said, "Christopher Plummer in-
of course, the voice of Vader in the "Star
sisted on playing a farce, and I and the rest of
Wars" films.
the company were trying to play tragedy.
Mr. Jones came East, stayed with his fa-
There was a laugh element set loose in the
ther and enrolled in acting classes at the
audience that was not controllable. Roderigo
American Theater Wing. He waxed floors
was the first death. and there were howls of
and made sandwiches to pay for lessons and,
laughter at his being killed. I admire that
after a few years, seems never to have
mon" - Plummer - "so much I couldn't
stopped working. The Shakespeare Festival
say. Cut II our 01 I'll leave the stage.' I said to
Theater took him on in 1960. In 1963, an ad-
him once, 'You know when they laugh at
miring news magazine piece took note of an
death, Chris, we've got a problem.' He said,
unusual work record: In 30 months, Mr.
'Ah, but Jimmy, this is a bloody farce after
Jones had appeared in 18 plays, a pace cer-
all, isn't it?'
Copyright 1987 by The New York Times Company
255
March. 1987
The New Bork Times BIOGRAPHICAL SERVICE
tainly unmatched by any other New York
much to it as should be brought to that play.
actor at the time.
But that's all' right."
Among the James Earl Jones kings have
With similar equanimity, Mr. Jones will
been Lear and Claudius in Central Park, a
take movie roles largely to "put supper on
Timon of Athens at the Yale Rep and an Oedi-
the table," and sometimes out of curiosity.
pus he did without pay in an Off Off Broad-
The acerbic law professor in last year's
way production. The first garbage collector
"Soul Man" falls into the latter category. "I
in his repertory was Roop, the strutting, lech-
'was offered a role that was essentially a
erous trash man in "Claudine," a 1974 movie-
black John Houseman. I said, 'That's curious.
starring Diahann Carroll.
I wonder if I can make that work.' When I
"I love a role where I'm asked to play a
read the script it made me laugh, so I had no
common man, a man who has no obvious rea-
apology for what people, black people or
sons to call attention to himself, Lear is my
white people, felt about the movie." "Soul
favorite king because by the time the play
Man" took some heat from civil rightists pro-
opens, he's not really the king. He's a crazy
testing the idea of a film about a white youth
old kid looking for salvation."
who blacks up in order to win a scholarship
for black students. Mr. Jones says it was a
funny movie, and laughter is healing - or
He takes risks and, occasionally, finds him-
should be. But he understands that laughter
self falling short of his aims. Some time ago,
does not come-easily to people "with unre-
he agreed to play Hickey in a Circle in the
solved pain."
Square production of Eugene O'Neill's "The
Iceman Cometh," a role with the indelible
Then he has a sudden sardonic thought. Un-
imprint of Jason Robards. The character, he
resolved pain, a legacy of the trauma of
discovered, needed "sparks" he could not
wearing black skin in white America, is
provide. Rapid finger snaps convey the
threaded through his new vehicle; Mr. Jones
sparks. "I knew I was going to have trouble
proposes that all the people who were un-
with it," he mused. "I'm more lava than
happy with "Soul- Man" buy tickets to
sparks. Robards was brilliant, brilliant. I en-
"Fences." It certainly has its moments of
joyed doing it, but I'm not sure I brought as
comic relief, but he thinks it unlikely they
would laugh at the wrong places.
March 22, 1987
MICHAEL MAGUIRE
verge of deliverance through a revolution
Baritone
whose leader has the fiery charisma and
moral halo of a knight in shining armor.
Michael Maguire, the actor-singer chosen
to play Enjolras on Broadway, is not unlike
At the
the character he portrays. A fearless, excita-
ble young Irishman with blazing blue eyes
and an Elvis Presley pout, he seems larger
than life both onstage and off. Standing 6 feet
Barricades
4, weighing just under 200 pounds, Mr. Ma-
guire possesses a commanding lyric baritone
that matches his physique.
"I've got bruises all up and down my legs
By STEPHEN HOLDEN
from when I wave the flag and go over the
barricade," the strapping 30-year-old actor
HE MOST STIRRING IMAGE OF
laughingly explained the other day. "Since
T
hope in "Les Misérables" comes at
there's nothing to land on, and you have to
the end of Act I, as student revolu-
catch yourself, I slide down on my shinbones.
tionaries march determinedly from
I really get a kick out of running up and down
the rear of the stage while the com-
the thing - it's like being a kid on the mon-
pany joins in the soaring anthem, "One Day
key bars."
More."
The barricade to which Mr. Maguire refers
Leading the charge, dashingly costumed in
is the imposing, craggy 12-foot-high edifice
a gold braided vest and scarlet waistcoat, is
that in the second act, he must mount and
the heroic -and doomed - figure of Enjol-
crawl around while brandishing a rifle.
ras, the student revolutionary leader. "One
"I feel that in many ways I was typecast
more day before the storm! At the barri-
for the role," Mr. Maguire reflected. "In New
cades of freedom! Will you take your place
York, where one is faced every day with the
with me?" he exhorts. And for a brief mo-
sight of so many homeless people, it is a very
ment, before the several interwoven plots of
easy part to relate to. There have been times
the musical unravel in the second act, the
when I almost wanted to quit the show and
wretched slum dwellers of Paris seem on the
run for office in order to get something done.
256
1990. Home: 210 Webster Ave Syracuse
Bklyn., 1979-81; prof. Yale Sch. Drama, New Haven, 1981. Producer: BBC
JONES, GEORGE, country music singer, songwriter; b. Saratoga, Tex.,
1975, UFO Incid
TV program Monitor, 1958-64, Play of the Month program, 1978-79; dir.:
Sept. 12, 1931; S. George Washington and Clara J.; m. Tammy Wynette,
That Almost Ha
(film) Betrayal, 1982, 84 Charing Cross Road, 1986 (Christopher award
1968 (div. 1975); 1 child, Georgette; m. Nancy Sepulvado, Mar. 4,
Generation, 1979,
1987), The Christmas Wife, 1988, Jacknife, 1989, Sensibility and Sense, 1990,
1983. Played guitar and sang professionally from age 16; first rec. Why
Jim Jones, 1980,
Fire in the Dark, 1991; BBC TV Shakespeare Series, 1982-83. 1st lt. Brit.
Baby, Why, 1955; first No. 1 record White Lightning, 1959; propr.: Jones
Army, 1954-56. Recipient Obie for direction of Summerfolk, 1976 for in-
Country Music Park, 1983; sang duets with Tammy Wynette; composer
Amy and the An
1984, The Atlanta
executive; b. Pitts., Feb. 3, 1925; S.
novative programming at B.A.M., 1980, Dramalogue award for direction Old
songs including The Race Is On; recent albums include: I Am What I Am,
J.; m. Antoinette G. Jones, Jan. 1949;
Rockin' the Country, 1985, Best of George Jones, 1986, Country By Ge-
(Ace award, best
Times, 1985, Internat. Emmy nomination for Look Back in Anger, 1990.
high sch., Phila. Exec. Sta. WPTZ-TV,
orge!, 1986, One Woman Man, 1989; songs include He Stopped Loving Her
actor in a spl. o
Office: care Ronda Gomez Triad Artists Inc 10100 Santa Monica Blvd Los
ops. Sta. KHOU-TV, Houston, 1959-
Angeles CA 90067
Today (Single of Yr. 1980, 81, Song of Yr. 1981). Served with USMC, 1950-
Flight Out, 1990
1966-68; pres. Calvin Jones and
53. Named Male Vocalist of Yr., Country Music Trade Assn., 1962, 63;
(narrator) Malcol
Jones Pub. Rels., Houston, 1978-;
JONES, DAVID WAYNE, communications executive; b. Alhambra, Calif.,
named Country Singer of Yr., Rolling Stone, 1976; Best Male Vocalist,
1976, Long Ago
79-89; exec. dir., arts presenter Houston
Oct. 17, 1948; S. Walter Cleo and Joy Louise (Pumphrey) J.; m. Glenda Ann
Country Music Assn., 1980, 81 Male Artist of Yr., Music City News, 1981;
Paris, 1979-80,
Woods, Jan. 10, 1969 (div. 1978); children: David Jr., Graig; m. Yolande
recipient Grammy award for country vocal He Stopped Loving Her Today,
Highway to Heav
Roadside Coun.; v.p. Billboards Ltd.,
Ann Duplesis, Aug. 22, 1980; children: Karla, Tamara, Brandon. Cert.,
Nat. Acad. Rec. Arts and Ascis, 1980, Video award for rec. Who's Gonna
best actor in a
Access, Houston. Producer, dir.
Fill Their Shoes, Country Music Assn., 1986. Office: care Buddy Lee At-
Broadway award,
presentor nat. touring mus. in western
DeVry Inst. Tech., San Bernadino, Calif., 1971, Nat. Cable TV Inst., San
World Affair Coun. With USAF,
tractions 38 Music Sq Nashville TN 37212
medal for spoken
Bernadino, Calif., 1984. From TV engr. to program mgr. Group W Cable,
Fame award, 198
in Journalism award Sigma Delta Chi,
San Bernadino, 1969-86; plant mgr. United Artists and Entertainment, Vi-
ming, Soldier Boy
Republican. Presbyterian. Club:
olet, La., 1986-90, gen. mgr., 1990-. Producer (biographical video) Birth of
JONES, GRACE, vocalist, composer, model, actress. Albums include
standing Lead A
light airplanes, motorcycling, aviation
a City, 1986 (cert. 1986). Photographer Rotary Internat., San Bernadino,
Portfolio, Fame, 1978, Night Clubbing, 1981, Slave to the Rhythm, 1985;
award as Outstan
2929 Greenbriar # 7312 Houston TX
1985. Republican. Mem. Pentacostal Ch. Lodge: Kiwanis. Avocations:
singles Private Life, 1980, Slave to the Rhythm, 1985; starred in films
Wave," TNT), 19
TX
77019
photography, video prodns. Office: United Artists and Entertainment 7509
Gordon's War, A View to a Kill.
Council of Arts.
E Saint Bernard Hwy Violet LA 70092-9530
Blvd Penthouse B
JONES, GWYNETH, soprano; b. Pontnewynydd, Wales, Nov. 7, 1936; d.
JONES, DEAN CARROLL, actor; b. Morgan City, Ala.; S. Andrew Guy
Edward George and Violet (Webster) J.; m. Till Haberfeld, Mar. 7,
JONES, JAMES
b. Meadville, Pa.. Doctorate (hon.),
and Nolia Elizabeth (Wilhite) J.; m. Mae Inez Entwisle, Jan. 1, 1954 (div.);
1969. Student, Royal Coll. Music, London, Accademia Chigiana, Siena,
Sept. 22, 1952;
with Jose Limon, Margaret Craske,
children: Carol Elizabeth, Deanna Mae. Student, Asbury Coll., UCLA,
Italy, Internat. Opera Center, Zurich, Switzerland; Dr. h.c. musica, U. Wales.
Rebecca Lucille
Markova. Mem. dance faculty Juilliard
1957. Blues singer, New Orleans; actor: films including Handle With Care,
Mem. Royal Opera, Covent Garden, Eng., 1963-, Vienna (Austria) State
McPherson Coll.,
Hawaii, Honolulu, 1970, 72; lectr. in
1958, Never So Few, 1959, Under the Yum-Yum Tree, 1963, New Interns,
Opera, 1966-; also mem. Munich Bavarian State Opera, 1967-. Guest
Coll., Salina, Kar
U. Hawaii, Honolulu, 1976-79; exec.
1964, That Darn Cat, 1965, Two On a Guillotine, 1965, Ugly Dachshund,
performances in numerous opera houses including Hamburg, Bayreuth,
1980-90, supr. me
1979, Jones-Ludin Dance Ctr.,
1966, Monkeys, Go Home, 1967, Blackbeard's Ghost, 1968, Love Bug, 1969,
Berlin, Paris, Zurich, Rome, Chgo., San Francisco, Los Angeles, Tokyo,
City, Iowa, 1980
klahoma, Bloomer Girl; toured Europe,
The $ 1,000,000 Duck, 1971, Snowball Express, 1972, Mr. Superinvisible,
Buenos Aires, Munich, La Scala, Milan, Met. Opera, N.Y.C., Salzburg Fes-
Newton Commun
faculty Am. Dance Festival 1948-67,
1976, Shaggy D.A. 1976, Herbie Goes to Monte Carlo, 1977, Born Again,
tival, Verona; appeared in 50 leading roles including Tosca, Minnie,
1984. Mem. Inte
artist in residence Ctr. Internat. de la
1978; TV series What's It All About, World?; TV films When Every Day
Turandot, Leonora in Il Trovatore, Desdemona in Otello, Lady MacBeth,
photography, fam
Contemporaire, Paris 1970, 71, 73,
Was the 4th of July, NBC-TV, 1978, The Long Day of Summer, ABC-TV,
Fidelio, Aida, Senta, Sieglinde, Marschallin, Isolde, Ortrud, Salome, Brun-
Office: Maytag C
1971, 73; started Dances We Dance
1980; appeared: Broadway plays Company; recording artist. Mem. Acad.
nhilde. Medea, Kundry, Madame Butterfly, Elizabeth/Venus in Tannhauser,
formances in Carl Wolz's The Widow,
Motion Picture Arts and Scis., Acad. TV Arts and Scis., Acad. Rec. Arts
Ariadne, Farberin, Elektra, Helena in Aegyptische Helena, Poppea, Santuzza,
erforming Arts in Am.; choreographer,
Hannah Glawari, Erwartung; court singer, Bavaria, Austria; rec. artist for
JONES, JANET
and Scis. Address: care Contemporary-Korman Artists 132 Lasky Dr
State of Hawaii, 1991; commd. to
Beverly Hills CA 90212*
Decca, Deutsche Grammophon, EMI, CBS; films, TV and concert ap-
6, 1957; d. John
Ballet, Leningrad, 1990. Mem. Am.
pearances. Decorated dame comdr. Order Brit. Empire. Fellow Royal Coll.
Long Beach, 198
Hawaii State Dance Coun. Office:
JONES, DENNIS EDMUND, film producer; b. Grimsby, Eng., Feb. 16,
Music. Address: Box 556, CH-8037 Zurich Switzerland
munications, Los
St Ste 4 Honolulu HI 96826
Prodns., Los An
1943; arrived in Can., 1955; came to U.S., 1973; S. Edmund Spencer Nesvada
Angeles, 1985; fea
and Helena Anna (Doupovcova) J.; m. Sally Barbara Merlin, Dec. 14, 1973
JONES, HENRY, actor; b. Phila., Aug. 1, 1912; S. John F.X. and Helen
86; freelance scree
(div. 1991); 1 step-child, David Christopher; ptnr. Robyn Felice Evans;
(Burk) J.; m. Yvonne Bergere, Jan. 14, 1942 (dec. Oct. 1942); m. Judy Briggs,
Author: (screenpla
children: Arlen Zachary, Llyandra Ariel. BA in Econs., U. Toronto, Can.,
June 1946 (div. 1961); children: David, Jocelyn. AB, St. Joseph's Coll.,
Century, 1988, Ja
engineer; b. Houston, Feb. 3, 1951; S.
1966. Co-producer (films) Short Ciruit, 1985-86, Pacific Heights, 1989-90,
Phila., 1935. Actor starred in Broadway shows, motion pictures and TV;
1990, Roommates
J.; children: Jennifer Lee, Geoffrey
Honey I Blew Up the Baby, 1991; producer (TV movie) Prime Target, 1989,
theatrical credits include Hamlet, Henry IV, Part 2, The Time of Your Life,
Vols. 1-5. Bd. di
Home: 2103 N Decatur Rd 150
(film) Moonwalker, 1986-89; prodn. mgr. (film) Back to the Future, 1984-85;
Village Green, My Sister Eileen, This is the Army, January Thaw, Alice in
recording sec. Th
assoc. producer/prodn. (films) Mrs. Soffel, 1983-84, Buckaroo Banzai, 1983;
Wonderland, How I Wonder, Advise and Consent, Kathleen, Town House,
Communication o
prodn. mgr. (film) Rich and Famous, 1980-81, Poltergeist, 1982, Twilight
They Knew What They Wanted, Metropole, A Story for a Sunday Evening,
ture Project, Am.
Zone: The Movie, 1983; prodn. mgr. asst. dir. films, TV. Mem. Dirs. Guild
The Solid Gold Cadillac, The Bad Seed, Sunrise at Campobello (Tony award
87), People for A
Am. Avocations: racquetball, music, swimming, sculptor. Home and Office:
1958, winner Variety N.Y. Drama Critics Poll, Outer Circle Critics award);
Gamma.
Deja View Prodns Inc 23612 Lund St Woodland Hills CA 91367
films include The Girl Can't Help It, Will Success Spoil Rock Hunter?,
b. Ft. Myers, Fla., June 24, 1943; S.
Vertigo, Never Too Late, The Champagne Murders, Stay Away Joe, Support
JONES, DOUG KEITH, travelog producer; b. Kansas City, Kans., June 25,
Your Local Sheriff, Butch Cassidy and the Sundance Kid, Rabbit Run, Dirty
JONES, JENNII
Carolyn Stalker; 1 child, Timothy
Program dir. Sta. WBBQ AM-FM,
1948; S. Harold Paul and Edith Maxine (Ellis) J. BA, U. Mo., Kansas City,
Dingus Magee, Tom Sawyer, Pete n' Tillie, Nine to Five, 1980, Death Trap,
Flora Mae (Suber
Radio, New Orleans, 1965-66; regional
1970. Owner Internat. Travel Films, L.A., 1968-. Producer feature travel
1982, Nowhere to Run, 1988, Enid Is Sleeping, 1989, Dick Tracy, 1989, The
children: Robert H
Y.C., 1966-68, TM Communications,
films, videos including Great Alaska Cruise, Great World Cruise of Queen
Grifters, 1991, Arachnophobia, 1990; numerous TV appearances including
(dec. 1965); 1 dau
AR-AM-FM, Detroit, 1970-73; pres.,
Elizabeth 2, Portraits of the Great Far East, Great Cities of Europe, Queen
Phyllis (role of Judge Dexter), Bonanza, Bewitched, Hitchcock Presents,
pub. schs., Dallas;
Elizabeth 2 Sails New Zealand and Australia, Portraits of America-The
MacMillian & Wife, Quincy, Falcon Crest, Scarecrow & Mrs. King, Mary
Acad. Dramatic
Corp., Ft. Myers, 1973-77; exec. v.p.,
National Parks, San Francisco-The City at the End of the Rainbow, The
Tyler Moore Show, Six Million Dollar Man, Barney Miller, Silver Spoons,
1943-, The Song
S.C., 1978-84; group v.p., gen.
McGyver, I Married Dora, Love Boat, Magnum P.I., Mr. Belvidere, Cagney
Letters, Duel in ti
oadcasting, Phila., 1984-87; pres., chief
Hawaiian Adventure, Magic of Venice, Royal London. Mem. Internat.
Stas. WUSM-FM, WXCH-AM,
& Lacey, Murder She Wrote, Coach, Empty Nest, Grass Roots. Served with
Jennie, Carrie, Will
Lectr. and Motion Picture Assn. (pres. 1986-87), Internat. Travel Adventure
Myrtle Beach, S.C., WVBS-FM,
Film Guild (pres. 1984-85), Soc. Am. Travel Writers. Democrat. Avoca-
AUS, 1942-45. Mem. NATAS, AFTRA, Acad. Motion Picture Arts and
Beat the Devil, L
tions: boating, flying, theatre. Office: Internat Travel Films PO Box 39402
Scis., Screen Actors Guild, Actors Equity Assn., Players Club (N.Y.C.).
Dove, The Man in
Nags Head, N.C.), Charleston,
Flint, Mich., WJIM-Radio, Lansing,
Los Angeles CA 90039
Avocations: postal chess, grunion fishing.
Farewell to Arms
System, Washington, 1985- Pres.
Eagles over Lond
Recipient Innovative Personality award
Recipient Acad. M
named one of 5 Top Am. Radio
JONES, EDWARD FRANCIS, instrumental music educator; b. Mor-
JONES, ISHAM RUSSELL, II (RUSTY JONES), jazz musician; b. Cedar
by an actress (for
Republican. Methodist. Avoca-
risonville, III., June 2, 1932; S. Alvador A. and Mildred E. (McCormick) J.;
Rapids, Iowa, Apr. 13, 1942; S. Isham Russell and Gretchen Lois (Herrick)
France, 1948; Triu
m. Patsy R. Steiner, June 7, 1954; children: Lynn Elizabeth, Steven Edward,
J.; m. Patricia Ann Munger, Mar. 24, 1966 (div. 1972); children: Jeffery
First Ann. Audien
Jones-Ea Radio Inc 1 Carriage Ln
Lea Ann Jones Golick. BS in Edn., III. State U., 1956, MS in Edn., 1957.
Edward, Isham Russell; m. Mary Ellen Fitzgerald, Sept. 6, 1986. BA in
Stars and Stripes o
Tchr., div. chmn., fine arts coord. Plainfield (III.) Commn. Cons. Dist. 202,
Polit. Sci., U. Iowa, 1965. Drummer Judy Roberts Trio, Chgo., 1968-72,
front during Korea
1957-; chmn. State Certification Content and Bias, Springfield, III., 1987-89;
George Shearing Quintet, various locations, 1972-78; free-lance drummer in
Pasadena CA 9110
association with Marion mcPartland, Adam Mackowicz, Frank D'Rone,
mem. III. Music Edn. Rsch. Com., Urbana, 1975-89. With U.S. Army, 1953-
55. Named Outstanding Alumni, III. State U., Normal, 1978; recipient
Buddy De Franco, Patricia Barber, Larry Novak, others, 1978-; pvt. tchrs.
drums, 1972-; cons. in field. Contbr. articles to profl. jours. Mem. Chgo.
JONES, KATHER
educator; b. Covina, Calif., July
Richard Ira Jones Meml. award Plainfield Dist. 202, 1986; named to Mid
Fedn. Musicians. Libertarian. Avocations: Tae Kwon Do, fgn. lang., litera-
16, 1948; d. Henr
(Thompson) J.; m. Robert Frank
Am. Co. Band Dirs. Hall of Fame, 1988. Mem. Am. Sch. Band Dirs. Assn.
(state chmn. 1969-70, 80-84), Instrumental Dirs Edn. Assn. (chmn. 1968-69),
ture, travel. Home: 234 Columbia Park Ridge IL 60068
Benjamin Jones, I
herwood Music Conservatory, Chgo.,
State U., Columbu
Bob St. John, Pomona, Calif., Bill
Music Educators Nat. Conf., NEA, III. Music Educators Assn. (pres. 1971-
1970-72, lectr., 197
Wright, Hollywood, Calif. Instr.
73), III. Edn. Assn., III. Dist. I Music Educators (pres. 1988), Phi Beta Mu,
JONES, JACK, singer, actor; b. Los Angeles, Nov. 11, 1938; S. Allan and
Heidelberg Coll.,
PHi Delta Kappa. Avocations: commercial pilot, boating, photography,
Irene (Hervey) J. Singer numerous pop songs including Lollipops and
specialist Conn Organ Corp., Oak-
Austria, 1974; lec
roses. Home: 339 S Howard St Plainfield IL 60544 Office: Plainfield Commn
Roses, 1961 (Grammy 1961), Wives and Lovers, 1963 (Grammy 1963), The
Keyboards, Inc., Carol Stream,
Kans., 1973-74; le
Cons Dist 100 W Ottawa St Plainfield IL 60544
Impossible Dream, 1966; movie themes including A Ticklish Affair, 1963,
Park, Calif., 1979-80, Norlin Corp.,
Granville, Ohio, 19
Where Love Has Gone, 1964, Love With the Proper Stranger, 1964, A Battle
Jasper, Ind., 1981-86; concert
Columbus Symph
for Anzio Kotch; film appearances include Juke Box Rhythm, 1959; TV
concert artist mus. instrument
JONES, ERIC PHILLIP, screenwriter, producer, director; b. N.Y.C., Aug.
Columbus Baroque
appearances include The Palace, Funny Face, Love Boat, Condominium
1990-; dir. music edn. Organ Ex-
3, 1947; S. Neil and Gloria (Hansen) Simpson. BFA, N.Y. Inst. Tech., 1970.
author: class and ,
miniseries, 1980, The Comeback. Office: care Lew Sherrill Agy Ltd 7060
instr. CLJ & Co., Mission Viejo,
Asst. dir. Universal TV, Burbank, Calif., 1980-82, Paramount TV, Los
treas., 1986-88, pro
Hollywood Blvd Suite 610 Los Angeles CA 90028
Organ, Inc., St. Louis, 1988-90,
Angeles, 1982, Warner Bros. TV, Los Angeles, 1982, Unity Pictures, Los
(pres.), Pi Kappa
div., 1990-; artist-in-residence
Angeles, 1986, Trans World Entertainment Inc., Los Angeles, 1986-,
Office: Ohio State
1990-; judge Yamaha Electone
Chuck Fries Entertainment Inc., Los Angeles, 1987, Ohlymer Communica-
JONES, JACK W., musician, composer; b. Daytona Beach, Fla., Sept. 17,
Leonard Artist Series, 1974. Rec.
tions, Inc., Los Angeles, 1987; tchr. film N.Y. State Dept. of Cultural Af-
1940; S. Johnny William and Winifred Lee (Paul) J. MusB, Stetson U., 1962;
JONES, KENN D
Conn. Organ Presents Carol Jones,
fairs, 1968. Screenwriter: 1970-86, Mordecai, Cafe Paradise, Do They Still
M in Sacred Music, Union Theol. Sem., 1964; D in Mus. Arts, Juilliard Sch.,
S. Donald E. and
Jones-My Romance, 1990, Pop-
Cry in America, Baja Connection Warlord. Mem. Dirs. Guild Am. Avoca-
1973. Instr. music Mercer U., Macon, Ga., 1964-68; organist, dir. First
child, Amy. BS in
Veather. Conservatory scholar, 1967.
tions: writing, traveling. Home: 3521 Dahlia Ave Los Angeles CA 90026
Bapt. Ch., Columbus, Ga., 1967-70; assoc. organist, dir. Cathedral Ch. of St.
corr. The Kansas
1989- Mem. Keyboard World
Office: Banco Enterprises Internat Ltd 8621 Wilshire Blvd Beverly Hills CA
John the Divine, N.Y.C., 1970-73; dir. mus. activities USMA, West Point,
Pontiac, Mich., 1
Organist Assn. Internat. (industry
90211
N.Y., 1973-75; assoc. prof. music Ouachita U., Arkadelphia, Ark., 1975-76,
Cultural Coun. o
western regional dir. 1988-), Am.
Palm Beach Atlantic Coll., West Palm Beach, Fla., 1976-78; organist First
preservation, garde
Mchts. Republican. Roman Catholic.
Bapt. Ch., West Palm Beach, 1976-78, Van Nuys, Calif., 1978-79; concert
MI 48343
JONES, ETTA, singer. Albums include Don't Go To Strangers, Ms. Jones
artist Palm Beach, 1979; dir. music Poinciana Chapel of Palm Beach; dir.,
To You, 1976, My Mother's Eyes, 1977, If You Could See Me Now, 1978,
founder Masterworks Chorus in Palm Beaches, 1979; artistic dir. Gilbert &
Save Your Love For Me, 1980 (Emmy award nominee 1981), Fine and
Sullivan Light Opera, Palm Beach, 1985-, Teen Mus. Theatre, Palm Beach.
JONES, L. Q. See
Mellow, 1987, I'll Be Seeing You, 1987, Nice Sugar, 1990. Office: Houston
1985-; artistic dir., co-founder Internat. Children's Chorus, Palm Beach,
JONES), author, producer,
Person 160 Goldsmith Ave Newark NJ 07112*
1988-; music dir. Stage Co. of the Palm Beaches, 1978-80, Fla. Repertory
JONES, LARRI
Charles Adams and Mabel (Martin)
Theatre, 1981-85; pianist Burt Reynolds Dinner Theatre, 1980-81. Mem.
Wendell and France
(dec. 1978); 1 dau., Linda Jones
JONES, GENE STANLEY, special events producer, casting specialist; b.
civic orgns. Mem. Am. Choral Dirs. Assn., Palm Beach chpt. Am. Guild
filmmaking, NYU,
Angeles, 1931. Animator Warner
N.Y.C., May 17, 1951; S. Stanley L. and Gladys Jones. BA with honors, U.
Organists, Palm Beach C. of C., Exec. Club. Democrat. Baptist. Avoca-
Prodns., Edmond,
schs. and colls. throughout U.S.
Mich., 1972. Producer commls. Sta. WIQB-FM, Ann Arbor, 1975-78; stage
tions: swimming, snorkeling, bicycling. Home: 125 Harvard Dr Lake Worth
Svcs., Oklahoma (
Coyote, other animated characters;
entertainer A&A Prodns., 1974-80; talent coord. Variety Arts Ctr., Los
FL 33460 Office: Jack Jones in Concert PO Box 212 Palm Beach FL 33480
City, 1982-, pho
and, CBS, including, The Cricket in
Angeles, 1978-80; pres. Internat. Jugglers Assn., N.Y.C. and L.A., 1980-83;
illustrator children
Christmas, Rikki-Tikki-Tavi, Bugs
creative dir. Royal Entertainment, N.Y.C., 1983-, pres., 1986-; ofcl. judge
publs. Mem. Am.
Ann and Andy in the Great Santa
JONES, JAMES EARL, actor; b. Tate County, Miss., Jan. 17, 1931; 8.
Guinness Book World Records, N.Y.C., 1981-, assoc. editor, 1986-; dir.
Robert Earl and Ruth (Williams) J.; m. Cecilia Hart, Mar. 15, 1982. BA. U.
hunting/jumping,
Author articles. Recipient Acad.
Mime/Jugglers Network, N.Y.C., 1984- Author: (poetry) I Hate To Read
Meridian Ave Okl
centi-Mental Reasons, 1950, The Dot
Mich., 1953; diploma, Am. Theatre Wing, 1957. Appeared in plays: Romeo
Book, 1975, Sunday's Mail, 1988; contbg. author: The Book of Sports Lists,
and Juliet, 1955, Wedding in Japan, 1957, Sunrise at Campobello, 1958, The
cartoons for Scenti-Mental
1981, 2d edit., 1984; contbg. editor Guinness Book of Sports Records;
subject for So Much for So Little,
Pretender, 1959, The Cool World, 1960, King Henry V, 1960, Measure for
JONES, LAUREN
contbr. articles to Jugglers World mag.; assoc. producer The Silent Treat-
excellence, 1971; Best Ednl. Films for
Measure, 1960, The Blacks, 1961, A Midsummer Night's Dream. 1961. The
Sept. 26, 1964; d.
ment, N.Y.C., 1987. Mich. Council for Arts research grantee, 1978. Mem.
Apple, 1961, Moon on a Rainbow Shawl, 1962, Infidel Caesar, 1962, The
1986. JD, 1989.
1st prize Tehran Festival Films for
1979; Am. Film Inst. tributes, 1975,
Screen Actors Guild, Am. Fedn. TV and Radio Artists, Internat. Jugglers
Merchant of Venice, 1962, The Tempest, 1962, Toys in the Attic, 1962. P.S.
nonty affairs Sta.
Assn. (hon. bd. dirs. 1983-84), Internat. Spl. Events Soc. Democrat. Avo-
193, 1962, Macbeth, 1962, The Love Nest, 1963, The Last Minstrel, 1963,
Fidelity & Deposit
award for The Dot and the Line,
cations: saxophone, juggling, sports. Office: Royal Entertainment PO Box
Othello, numerous appearances, The Winter's Tale, 1963, Mr. Johnson, 1963,
Deposit Co. Md.,
kki-Tavi,
The
White
Seal
and
Mow-
383 New York NY 10040
Next Time I'll Sing to You, 1963, Bloodknot, 1964, The Great White Hope
talk show hostess,
WHO'S WHO IN ENTERTAINMENT
WHO'S WHO IN ENTERTAINMENT
(Tony award for best actor), 1969, King Lear, 1973, Of Mice and Men, 1974,
Md., 1983-85; sec. Minority Studer
Acad. Motion Picture
JONES, GENEVIEVE, dancer, educator, writer; b. Pitts., Mar. 11, 1906;
Paul Robeson, 1977, Master Harold and The Boys, 1982-83, A Day of the
record salesperson Record Theater.
Unitarian.
Andrew and Olive Pearle (Armstrong) J.; m. John Mooers Allen, June 17,
Picnic, 1984, Fences, 1985-87 (Tony award for Best Actor, Drama Critics
Recipient Sally Sterling Byrd S:
1932 (dec. 1956); child, John Mooers. B.S., U. Wis., 1928; cert. in dance
award): appeared in movies: Dr. Strangelove, 1963, The Comedians, 1967,
Outstanding Young Women Am.,
Detroit. BA, Mich. State
Hellerau Schule, Vienna, 1930; student Martha Graham Sch, sum-
The End of the Road, 1970 The Great White Hope, 1970 The Bingo Man, 1972, Long
Blend Mass Choir. Democrat.
Cpl.
USMC,
mers 1934-50; cert. Conn. Coll., New London, 1958. Dance dir. U. Pitts.,
1973,
The
River
Niger,
1975,
Swashbuckler,
1976,
dancing, travel, reading. Home:
and Stage Employees (pub-
1928-29; founder, dir. Genevieve Jones Studio & Dance Co., Pitts., 1931-68;
Claudine, Traveling All-Stars and Motor Kings, 1976, Star Last Wars, Remake 1977, of Beau Exorcist Geste, II:
Office: Fidelity and Deposit Co
MD
21203
Chuck Jones Pub Rels 150
adj. prof. Carnegie Inst. Tech., Pitts., 1943-44, Chatham Coll., Pitts., 1944-
The 1977, Heretic, A Piece of the Action. 1978, The Empire Strikes Back, 1979, The Red
1977,
The
Greatest,
1977,
The
timore
50, Bklyn. Coll., 1980-, Clemson U., instr. June
N.Y.C., 1969. 84. Author: Seeds of Movement, 1971; Movement in Right
Tide, 1980, The Bushido Blade. 1981. Conan the Barbarian, 1982, Return of
Direction, 1979; Dancing Bear, 1984; A Walk in the Park, 1984, A Touch of
television director; b. Poole,
the Jedi, 1983, City Limits, 1984, Quarterman, 1985, Soul Man, 1986, My
JONES, MALLORY See DANAI
Happines, 1988. Mem. Pitts. Dance Council. 1971-83, Pitts. History and
1979; S. John David and
Little Girl, 1987, Matewan, 1987, Gardens of Stone, 1987, Coming to
Landmarks Found., bd. dirs. Pitts. Ctr. for Arts, 1970-71. Mem.
arion Essex Allen, Oct. 20,
America, 1988, Field of Dreams, 1989, Best of the Best, 1989, The Hunt For
JONES, MARCIA MAE, actres:
Am. Dance Guild (pres. Pitts. chpt. 1964-68). Nat. Soc. Arts and Letters
Allen.
BA
in
with
Red October, 1989, Grim Prairie Tales, 1990, The Ambulance, 1990,
William Macon and Margaret Fre
English
(pres. Pitts. chpt. 1972-73, dance chmn. 1974-81), Audubon Soc. Western Pa.
1954, MA, 1957. Artistic
Scorchers, 1991, Convicts, 1991; TV movies include: The Defenders, 1962,
(div.); children: Robert Dent
Club: Pitts Athletic. Home: 5427 Forbes St Pittsburgh 15217
Co., 1964-75; artistic dir.
East Side, 1963, Camera 3, 1963, Look Up and Live, 1963, Who
Davenport. Grad. high sch., Holl
Do You Kill?, 1963, The Cay, 1974, King Lear, 1974, Big Joe and Kansas,
Actress appearing in movies inc
dir. BAM Theatre Co.,
Haven, 1981. Producer: BBC
JONES, GEORGE, country music singer, songwriter, b. Saratoga, Tex,
1975, UFO Incident, 1975, Jesus of Nazareth, 1977, The Greatest Things
Champ, Heidi, Mad About Music
onth program, 1978-79; dir.:
Sept. 12, 1931; S. George Washington and Clara J.; m. Tammy Wynette,
That Almost Happened, 1977, The Mad Messiah. 1979, Roots: The Next
Emile Zola, Our Gang Comedie
1986 (Christopher award
1968 (div. 1975); child, Georgette; m. Nancy Sepulvado, Mar. 4,
Generation. 1979, Mobil Summershow, 1980, Guyana Tragedy: The Story of
Tragedy, Arson, Inc., Tucson, Tr
Sensibility and Sense, 1990,
1983. Played guitar and sang professionally from age 16; first rec. Why
Jim Jones, 1980, The Golden Movement: An Olympic Love Story, 1980,
legiate, Snafu, Nine Girls, Daugh
Series, 1982-83. 1st lt. Brit.
Baby, Why, 1955; first No. record White Lightning, 1959; propr.: Jones
Amy and the Angel, 1982, The Big Vegas Hotel Wars, 1984, Me and Mom.
The Barefoot Boy film series, Ni₁
of Summerfolk, 1976 for in-
Country Music Park, 1983; sang duets with Tammy Wynette; composer
1984, The Atlanta Child Murders, 1985, The Last Elephant. 1990, Heatwave
The Little Princess; TV shows
logue award for direction Old
songs including The Race Is On: recent albums include: 1 Am What Am,
(Ace award, best actor in a supporting role. Emmy Early award Light, best supporting 1990, Last
Wild Bill Hickock. Marshal Gr
Dawn's
General Hospital, Shazam, Barr
Look Back in Anger, 1990.
Rockin' the Country, 1985, Best of George Jones, 1986, Country By Ge-
actor Flight in Out, a spl. 1990, Heat Wave, 1990, The Last Elephant, 1990; TV series:
or
mini-series),
1990,
By
0100 Santa Monica Blvd Los
orge!, 1986, One Woman Man, 1989; songs include He Stopped Loving Her
Bixby Show, Family Affair, Life
Today (Single of Yr. 1980, 81, Song of Yr. 1981). Served with USMC, 1950-
(narrator) Malcolm X, 1972, Sojourner, 1975, A Day Without Sunshine.
Show, stage The Garbage Hustle
53. Named Male Vocalist of Yr., Country Music Trade Assn., 1962, 63;
1976, Long Ago and Far Away, 1990; voice of Darth 1980, Vader; Mathnet, star TV series 1986,
Scis. Avocations: swimming, be
named Country Singer of Yr., Rolling Stone, 1976; Best Male Vocalist,
Paris, Highway to Heaven, 1986, Gabriel's Fire, 1990, Pros & Cons (Emmy award
1979-80,
Philby,
Burgess
and
MacLean,
riding, dancing. Office: 7065
ecutive; b. Alhambra, Calif.,
Country Music Assn., 1980, 81 Male Artist of Yr., Music City News, 1981;
tumphrey) m. Glenda Ann
recipient Grammy award for country vocal He Stopped Loving Her Today,
best actor in a drama series), 1991. Recipient The Village Voice Off-
avid Jr., Graig; m. Yolande
Nat. Acad. Rec. Arts and Ascis, 1980, Video award for rec. Who's Gonna
Broadway award, 1962, Theatre World award, 1962, Grammy award, 1976,
JONES, MARNIE, designer; b.
Tamara, Brandon. Cert.,
Fill Their Shoes, Country Music Assn., 1986. Office: care Buddy Lee At-
medal for spoken lang., Am. Acad. Arts and Letters, 1981, Theater Hall of
Barton and Elizabeth (Lyon)
Nat. Cable TV Inst., San
tractions 38 Music Sq Nashville TN 37212
Fame award, 1985, Emmy award for performance in children's program-
Coll., 1968; B.F.A. in Indsl. Desi
ogram mgr. Group W Cable,
ming, Soldier Boys, CBS Schoolbreak Spl., 1987-88, Emmy award as Out-
1974, Stanford U., 1976-78. I:
tists and Entertainment, Vi-
standing Lead Actor in Dramatic Series ("Gabriel's Fire"), 1991, Emmy
Lawrence, Mass., 1971-73; assoc
(biographical video) Birth of
JONES, GRACE, vocalist, composer, model, actress. Albums include
Portfolio, Fame, 1978, Night Clubbing, 1981, Slave to the Rhythm, 1985;
award as Outstanding Supporting Actor in a Miniseries or Special ("Heat
Calif., 1979; coord., editor, store
Internat., San Bernadino,
odge: Kiwanis. Avocations:
singles Private Life, 1980, Slave to the Rhythm. 1985; starred in films
Wave," 1991, L.A. Film Tchrs. Jean Renoir award, 1990. Mem. Nat.
1979-80; toy designer Tonka Cc
Council of Arts. Address: care Dale C Olson & Assocs 292 La Cienega
Mpls., 1983-87; cons. Marnie-Jo
and Entertainment 7509
Gordon's War, A View to a Kill.
Blvd Penthouse Beverly Hills CA 90211-3326
Prodns., Inc., instr. proc
lectr. in indsl. design San Jose St
JONES, GWYNETH, soprano; b. Pontnewynydd, Wales, Nov. 7, 1936;
monthly tabloid, 1979-80; musi
City, Ala.; Andrew Guy
Edward George and Violet (Webster) J.; m. Till Haberfeld, Mar. 7,
JONES, JAMES ROBERT, media services specialist; b. Huntingdon, Pa.,
music, 1982, 87, 88-90. Recipie:
Entwisle, Jan. 1, 1954 (div.);
1969. Student, Royal Coll. Music, London, Accademia Chigiana, Siena,
Sept. 22, 1952; S. Robert Raymond and Doris child, Luella Adam (Hinson) Matthew. J.; BA, m.
Song Festival, 1987, 2 honorat
Italy. Internat. Opera Center, Zurich, Switzerland; Dr. h.c. musica, Wales.
Rebecca McPherson Coll., 1976; MA, Kans. State 1980. Media dir. Marymount
Lucille
Fix,
Aug.
10,
1974;
Designers Soc. Am. (editor San
dent, Asbury Coll., UCLA,
including Handle With Care,
Mem. Royal Opera, Covent Garden. Eng., Vienna (Austria) State
1978-81, sec. San Francisco chpt
Tree, 1963, New Interns,
Opera, also mem. Munich Bavarian State Opera, Guest
Coll., Salina, Kans., 1977-78; media specialist Maytag Co., Newton, Prairie Iowa,
Home and Office: 20310 Westen
media
SVCS.,
1990-
Music
dir.
Ch.
of
the
Brethren,
1965, Ugly Dachshund,
performances in numerous opera houses including Hamburg, Bayreuth,
Ghost, 1968, Love Bug, 1969,
Berlin, Paris, Zurich, Rome, Chgo., San Francisco, Los Angeles, Tokyo,
City, 1980-90, Iowa, supr. TV dir. Toma Project, Newton, 1983; lighting dir.
1972, Mr. Superinvisible,
Buenos Aires, Munich, La Scala, Milan, Met. Opera, Salzburg Fes-
Newton Community Theater, 1983-86; TV producer United Way, Newton,
JONES, MASON, musician, edi
1984. Mem. Internat. TV Assn. Avocations: skiing, backpacking, music,
Frederick Mason and Elizabeth
te Carlo, 1977, Born Again,
tival, Verona: appeared in 50 leading roles including Tosca, Minnie,
photography, family activities. Home: RR 2 Box 602 Newton IA 50208
Mason III.
TV films When Every Day
Turandot, Leonora in II Trovatore, Desdemona in Otello, Lady MacBeth,
Fidelio, Aida, Senta, Sieglinde, Marschallin, Isolde, Ortrud, Salome, Brun-
Office: Maytag Co One Dependability Sq Newton IA 50208
Curtis Inst. Music, 1936-38; M
Day of Summer, ABC-TV,
woodwind and brass ensemble C
cording artist. Mem. Acad.
nhilde. Medea, Kundry, Madame Butterfly, in Tannhauser,
Ariadne, Farberin, Elektra, Helena in Aegyptische Helena, Poppea, Santuzza,
JONES, JANET DULIN, writer, film producer; b. Hollywood, Calif., Sept.
Coll. Music, 1976-83; condr.
and Scis., Acad. Rec. Arts
Artists 132 Lasky Dr
Hannah Glawari, Erwartung: court singer, Bavaria, Austria; rec. artist for
6, 1957; d. John Dulin and Helen Mae (Weaver) J. BA, Calif. State U.,
concerts Phila. Orch., 1972-82:
Long Beach, 1980. Developer mini-series and TV series Embassy Com-
1950-80; co-founder Phila. Brr
Decca, Deutsche Grammophon. EMI, CBS; films, TV and concert ap-
munications, Los Angeles, 1981-84; assoc. to producer Hotel Aaron Spelling
Chamber Orch., 1961-64. Mem.
pearances. Decorated dame comdr. Order Brit. Empire. Fellow Royal Coll.
Music. Address: Box 556, CH-8037 Zurich Switzerland
Prodns., Los Angeles, 1984-85; writing intern Sundance Film Inst., Los
personnel mgr., 1963-86, retire
b. Grimsby, Eng., Feb. 16,
Angeles, 1985; feature film story analyst Carson Prodns., Los Angeles, 1985-
20th Century Orch. Studies, 197
S. Edmund Spencer Nesvada
JONES, HENRY, actor; b. Phila., Aug. 1, 1912; S. John F.X. and Helen
86; freelance screenplay and play writer Los Angeles and 1986-.
C. Hartman Kuhn award for
arbara Merlin, Dec. 14, 1973
Author: (screenplays) Fade Away, 1986, No Other Love, 1987, Story of the
Internat. Horn Soc. (pres. 1986-
ptnr. Robyn Felice Evans;
(Burk) Yvonne Bergere, Jan. 14, 1942 (dec. Oct. 1942); m. Judy Briggs,
Econs., U. Toronto, Can.,
June 1946 (div. 1961); children: David, Jocelyn. AB, St. Joseph's Coll.,
Century, 1988, Jack and Mike, 1989, (play) Cousin Judy, Little 1989, Bear The Set-Up, Books,
Union League (Phila.); Merion
Phila., 1935. Actor starred in Broadway shows, motion pictures and TV;
Vols. 1990, 1-5. Bd. dirs. Sterling Circle of Aviva Ctr. for Girls, 1990; bd. dirs.,
Roommates,
1991,
Police
Science,
1991.
(books)
Box 37 Gladwyne PA 19035
Pacific Heights, 1989-90,
movie) Prime Target, 1989,
theatrical credits include Hamlet, Henry IV, Part 2, The Time of Your Life,
Village Green, My Sister Eileen, This is the Army, January Thaw, Alice in
recording sec. The Creative Coalition. West, 1991. Mem. ACLU. Earth
JONES, MICHAEL EARL,
Back to the Future, 1984-85;
Buckaroo Banzai, 1983;
Wonderland. How Wonder, Advise and Consent, Kathleen. Town House,
Communication Office (TV and film coms.), Writers Guild Am., Ind. Fea-
Lawrence F. and Marlen N.
Poltergeist, 1982, Twilight
They Knew What They Wanted, Metropole, A Story for a Sunday Evening,
ture Project, Am. Film Inst., Sundance Film Inst. (pre-selection com. 1985-
1974; JD. U. Miami, 1978. Ba
87), People for Am. Way, Habitat for Humanity, Amnesty Internat., Delta
TV.
Mem.
Dirs.
The Solid Gold Cadillac, The Bad Seed, Sunrise at Campobello (Tony award
Tax Ct. 1978, U.S. Supreme Ct.
Guild
1958, winner Variety N.Y. Drama Critics Poll, Outer Circle Critics award);
Gamma.
Appeals (D.C. cir.) 1986, U.S.
sculptor. Home and Office:
Hills
films include The Girl Can't Help It, Will Success Spoil Rock Hunter?.
Pelham, N.H., asst.
CA
91367
Vertigo, Never Too Late, The Champagne Murders, Stay Away Joe, Support
JONES, JENNIFER, actress; b. Tulsa, Mar. 21, 1919; d. Philip R. and
law U. Lowell, Mass., 1984-
Your Local Sheriff, Butch Cassidy and the Sundance Kid. Rabbit Run, Dirty
Flora Mae (Suber) Isley; m. Robert Walker, Jan. 2, 1939 (div. June 1945);
mem. Ho. of Reps., Concord
Kansas City, Kans., June 25,
Dingus Magee, Tom Sawyer, Pete Tillie, Nine to Five, 1980, Death Trap,
children: Robert Hudson, Michael Ross; David Selznick, July 13, 1949
Swimming Inc., Boston, 1985-
BA. Mo., Kansas City,
1982, Nowhere to Run, 1988, Enid Is Sleeping, 1989, Dick Tracy, 1989, The
(dec. 1965); dau., Mary Jennifer; m. Norton Simon, May 30, 1971. Ed.,
1980; editor: Readings in Intern
Producer feature travel
Grifters, 1991, Arachnophobia, 1990; numerous TV appearances including
pub. schs., Dallas; student, Monte Cassino Jr. Coll., Northwestern U., Am.
and entertainment law
World Cruise of Queen
Phyllis (role of Judge Dexter), Bonanza, Bewitched. Hitchcock Presents,
Acad. Dramatic Arts. Appeared stock cos.; actress in motion pictures,
Commn., N.H., 1981-85, Pelh:
Cities of Europe, Queen
MacMillian & Wife. Quincy, Falcon Crest, Scarecrow & Mrs. King, Mary
The Song of Bernadette, Since You Went Away, Cluny Brown, Love
Parks and Recreation Commn.
Portraits of America-The
Tyler Moore Show, Six Million Dollar Man, Barney Miller, Silver Spoons,
Letters, Duel in the Sun, We Were Strangers, Madame Bovary, Portrait of
dirs. Merrimack Valley Hon
End of the Rainbow, The
McGyver, Married Dora. Love Boat, Magnum P.I., Mr. Belvidere, Cagney
Jennie, Carrie, Wild Heart, Ruby Gentry, Indiscretion of an American Wife,
Midwest Quality Control Soc.
London. Mem. Internat.
& Lacey, Murder She Wrote, Coach, Empty Nest, Grass Roots. Served with
Beat the Devil, Love is a Many-Splendored Thing, Good Morning, Miss
N.H. award, 1988. Mem. N.F
Internat. Travel Adventure
AUS, 1942-45. Mem. NATAS. AFTRA. Acad. Motion Picture Arts and
Dove, The Man in the Gray Flannel Suit, The Barretts of Wimpole Street, A
Law Assn. (officer 1984-),
Writers. Democrat. Avoca-
Scis., Screen Actors Guild, Actors Equity Assn., Players Club (N.Y.C.).
Farewell to Arms, Tender Is The Night, The Idol, The Towering Inferno,
North Atlantic Bus. Lawyers
Travel Films PO Box 39402
Avocations: postal chess, grunion fishing.
Eagles over London. Pres. Norton Simon Mus., Pasadena, Calif.,
1977-78). Omicron Delta Epsil
Recipient Acad. Motion Pictures Arts and Scis. award for best performance
swimming. Home: PO Box
JONES, ISHAM RUSSELL, II (RUSTY JONES), jazz musician; b. Cedar
by an actress (for work in Song of Bernadette), 1943; Winged Victory award
University Ave Lowell MA
music educator; b. Mor-
Rapids, Iowa. Apr. 13, 1942; S. Isham Russell and Gretchen Lois (Herrick)
France, 1948; Triunfo award Spain, 1953; Film Critics Award Japan. 1953;
Mildred E. (McCormick)
Patricia Ann Munger, Mar. 24, 1966 (div. 1972); children: Jeffery
First Ann. Audience award, 1955; winner Nat. Critics Poll, 1955; award
Elizabeth, Steven Edward,
Edward. Isham Russell; m. Mary Ellen Fitzgerald, Sept. 6, 1986. BA in
Stars and Stripes citation for war work ARC, medal and citation for work at
JONES, MICKEY WAYNE,
1956, MS in Edn., 1957.
front during Korean War. Office: care Norton Simon 411 W Colorado Blvd
Fred Edward and Frances Ma
Polit. Sci., U. Iowa, 1965. Drummer Judy Roberts Trio, Chgo., 1968-72,
1976); children: Richard Wayne
Commn. Cons. Dist. 202,
George Shearing Quintet. various locations, 1972-78; free-lance drummer in
Pasadena CA 91105*
1980. Student, North Tex. Si
Springfield, III., 1987-89;
association
with
Marion
mcPartland,
Adam
Mackowicz.
Frank
D'Rone,
Lopez, Dallas, Los Angeles,
With U.S. Army, 1953-
Buddy De Franco, Patricia Barber, Larry Novak, others, tchrs.
JONES, KATHERINE BORST, flutist, educator; b. Glen Ridge, N.J., Mar.
Bob Dylan and The Band, Los
Normal. 1978; recipient
drums, cons. in field. Contbr. articles to profl. jours. Mem. Chgo.
16, 1948; d. Henry Vroman and Elizabeth Anne (Smiley) Borst; m. James
The First Edition, Los Angele
202, 1986; named to Mid
Fedn. Musicians. Libertarian. Avocations: Tae Kwon Do, fgn. lang., litera-
Benjamin Jones, Nov. 28, 1975. BA, N.H., Durham, 1970; MM. Ohio
movies) Extreme Prejudice, Sta
Am. Sch. Band Dirs. Assn.
ture, travel. Home: 234 Columbia Park Ridge IL 60068
State U., Columbus, 1972. Grad. teaching assoc. Ohio State U., Columbus,
Love, Stir Crazy, Nadine, The
Edn. Assn. (chmn. 1968-69).
1970-72, lectr., 1972-73, asst. prof., 1985-91, assoc. prof., flute instr.
Series, Crossfire, T.J. Hooker,
Educators Assn. (pres. 1971-
JONES, JACK, singer, actor; b. Los Angeles, Nov. 11, 1938; S. Allan and
Heidelberg Coll., Tiffin, Ohio, 1972-73, 75-76, Am. Inst. Mus. Studies, Graz,
other guest and feature roles,
(pres. 1988), Phi Beta Mu,
Irene (Hervey) J. Singer numerous pop songs including Lollipops and
Austria, 1974; lectr. flute and theory Kasn. State Tchrs. Coll., Emporia,
(album) Live at P.J.'s, with T
boating, photography,
Roses, 1961 (Grammy 1961), Wives and Lovers, 1963 (Grammy 1963), The
Kans., 1973-74; lectr. in flute Capital U., Columbus, 1976-85, Denison U.,
Love, Secret Agent Man, with
Office: Plainfield Commn
Impossible Dream, 1966; movie themes including A Ticklish Affair, 1963,
Granville, Ohio, 1977-78; tchr. of flute Oberlin (Ohio) Coll., flutist,
Condition My Condition Was
Where Love Has Gone, 1964, Love With the Proper Stranger, 1964, A Battle
Columbus
Symphony
Orch.,
Pro
Musica
Chamber
Orch.,
1978-,
with Kenny Rogers and the
for Anzio Kotch; film appearances include Juke Box Rhythm. 1959; TV
Columbus Baroque Ensemble, Co-author: Flute Catalog, 1979, 83;
Guild, Am. Fedn. Musicians.
director; b. Aug.
appearances include The Palace, Funny Face, Love Boat, Condominium
author: class and workshop teaching material. Mem. Nat. Flute Assn. (sec.-
golfing. Office: Terry Lightm
N.Y. Inst. Tech., 1970.
miniseries, 1980, The Comeback. Office: care Lew Sherrill Agy Ltd 7060
treas., 1986-88, program chmn. for 1992 L.A. Conv.), Cen. Ohio Flute Assn.
91604
Paramount TV, Los
Hollywood Blvd Suite 610 Los Angeles CA 90028
(pres.), Pi Kappa Lambda. Home: 4635 Rutherford Rd Powell OH 43065
1982, Unity Pictures, Los
Office: Ohio State U 1866 College Rd Columbus OH 43210
Los Angeles, 1986-,
JONES, JACK W., musician, composer; b. Daytona Beach, Fla., Sept. 17.
JONES, QUINCY, producer.
1987, Ohlymer Communica-
1940; Johnny William and Winifred Lee (Paul) MusB, Stetson U., 1962;
JONES, KENN D., newspaper editor; b. Jefferson City, Mo., July 11, 1956;
Chgo., Mar. 14, 1933; Qui
State Dept. of Cultural Af-
in Sacred Music, Union Theol. Sem., 1964; in Mus. Arts, Juilliard Sch..
S. Donald E. and Amy G. (Scrivner) J.; m. Lee Anne Cox, Oct. 4, 1980;
Rashida, Jolie, Martina-Lisa,
Cafe Paradise, Do They Still
1973. Instr. music Mercer U., Macon, Ga., 1964-68; organist, dir. First
child, Amy. BS in Mass Communication, Cen. Mo. State U., 1978. News
Music, Boston Conservatory:
Dirs. Guild Am. Avoca-
Bapt. Ch., Columbus, Ga., 1967-70; assoc. organist, dir. Cathedral Ch. of St.
corr. The Kansas City (Mo.) Star, 1977-78; copy editor The Oakland Press,
Trumpeter, arranger Lionel
Ave Los Angeles CA 90026
John the Divine, 1970-73; dir. mus. activities USMA, West Point.
Pontiac, Mich., 1978-79, arts and entertainment editor, 1979-. Active
singers including Frank Sina
Ishire Blvd Beverly Hills CA
N.Y., 1973-75; assoc. prof. music Ouachita U., Arkadelphia, Ark., 1975-76,
Cultural
Coun.
of
Pontiac,
Avocations:
architecture,
historic
Vaughan, Peggy Lee; organize:
Palm Beach Atlantic Coll., West Palm Beach, Fla., 1976-78; organist First
preservation, gardening. Office: The Oakland Press 48 W Huron St Pontiac
State tour of Near East, M
Bapt. Ch., West Palm Beach, 1976-78, Van Nuys, Calif., concert
48343
Disques, Paris; leader own or
Go To Strangers, Ms. Jones
artist Palm Beach, 1979-; dir. music Poinciana Chapel of Palm Beach; dir.,
music dir., Mercury Records.
Could See Me Now, 1978,
founder Masterworks Chorus in Palm Beaches, artistic dir. Gilbert
scores The Boy in the Tree:
JONES, See MCQUEEN, JUSTICE ELLIS
Sullivan Light Opera, Palm Beach, 1985-, Teen Mus. Theatre, Palm Beach. Beach,
Mirage, 1965, In Cold Blood
nominee 1981), Fine and
1985-;
Internat.
Children's
Chorus,
Palm
Slender Thread, 1968, MacK
1990.
Office:
Houston
artistic
dir.,
co-founder
music dir. Stage Co. of the Palm Beaches, 1978-80, Fla. Repertory
JONES, LARRI SUE, editor, b. Oklahoma City, June 2, 1966; d. Larry
Banning, 1967, The Split, 196
Theatre, 1981-85; pianist Burt Reynolds Dinner Theatre, 1980-81. Mem.
Wendell and Frances Marian (Hackler) J. BA, Cen. State U., 1988; cert. in
1970. Cactu
civic orgns. Mem. Am. Choral Dirs. Assn., Palm Beach chpt. Am. Guild
filmmaking, NYU, 1990; postgrad., Okla. City U. Sound recordist Moose
Call Me Mr. Tibbs, 1970, Th
oducer, casting specialist; b.
Jones. BA with bonors, U.
Organists, Palm Beach C. of C., Exec. Club. Democrat. Baptist. Avoca-
Prodns., Edmond, Okla., 1982-85; graphic designer Graphiken Creative
The New Centurions, 1972.
tions: swimming, snorkeling, bicycling. Home: 125 Harvard Dr Lake Worth
Svcs., Oklahoma City, 1987-88; assoc. editor Feed the Children, Oklahoma
Purple, 1985, Listen Up: The
Ann Arbor, 1975-78; stage
FL 33460 Office: Jack Jones in Concert PO Box 212 Palm Beach FL 33480
City, photographer, mem. med. team, 1984-90. Writer,
(film) Blues for Trumpet and
Variety Arts Ctr., Los
illustrator children's book: Red Toenails, 1987; contbr. articles to profl.
including Body Heat, 1974,
and L.A., 1980-83;
publs. Mem. Am. Film Inst., YWCA. Democrat. Methodist. Avocations:
Jan.
17.
1931;
Dude, 1981; other albums inc
1986-: ofcl. judge
JONES,
Robert Earl and Ruth (Williams) Cecilia County, Hart. Mar. 15, 1982. BA.
JAMES
EARL,
actor:
b.
Tate
Miss.,
tennis, skiing, travel. Office: Feed the Children 333 N
otape Portrait of An Alb
assoc. editor, dir.
Meridian Ave Oklahoma City OK 73107
Orchestra, 1986 (platinum):
(poetry) Hate To Read
Mich.. 1953: diploma. Am. Theatre Wing. 1957. Appeared in plays: 1958. Romeo The
Wall, 1980. Thriller, 1982
Sunrise
DENISE.
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Stephen
Spielberg)
The
E.T.
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1
1987 Time Inc., People, October 26, 1987
HEADLINE: Minnie Pearl;
The tag still reads $1.98, but after nearly 50 years as America's best country
comic, this old gal is priceless
BYLINE: by Leah Rozen
BODY:
With the vestiges of stage makeup beginning to cake in what she calls the
"gullies" of her face, Minnie Pearl finally sits down for dinner at a restaurant
around 9 o'clock on a Friday night. She has performed this evening on both the
Nashville Now TV show and the Grand Ole Opry radio broadcast, and she appeared
at a convention earlier in the day. Now she orders a vodka martini and
animatedly assesses the day. "I work 50 hard because I like it. Not like it,"
she clarifies, "love it! These were good shows, happy shows. They popped."
Minnie pops as well. At 9:30 the next morning the phone rings in a Nashville
hotel room, waking a visitor who's been run ragged for three days trying to keep
up with the 74-year-old country comedienne. The caller is Sarah Ophelia Colley
Cannon, also known as Minnie Pearl, the gal famous for the $1.98 price tag
swinging from her straw hat. She is worried about having ordered that drink last
night. "I was still in costume and I should have changed," she says, her voice
tinged with worry. "I've never done that Cordered a drink while dressed as
1987 Time Inc., People, October 26, 1987
Minnie Pearl] before," she explains, "but I was tired. See, Sarah Cannon may
take a drink now and then, but she never does. Even a glass of wine isn't in
character for Minnie Pearl." Cannon is protective of Minnie, and grateful to
her. Minnie Pearl has, after all, been her alter ego ever since she first
stepped out on the stage of the Grand Ole Opry in 1940. "I just don't want
anything to hurt her," she says.
In fact, Minnie Pearl seems indestructible. There may be newer and hipper
characters, but for 47 years now the nation has settled back happily and laughed
every time Minnie has barged onstage with a bellowed "Howdee!" and a saucy flip
of her size 12, full-skirted gingham dress. A raucous rural maid, she proudly
tells audiences she is from Grinder's Switch, Tenn., a town so small, "You don't
read the paper to find out who is doing what - you already know that -- but to
find out if they got caught." Cornball, but funny. Many of her jokes are based
on sly observations about modern life ("I ride jet planes. Yeees, I do, only I
don't put my weight down"). Then there's her constant longing for a feller
("They named the fire engine in Grinder's Switch after me. Yeees, they did.
Named it the Minnie Pearl. 'Cause just like me, it's always ready but seldom
called"). And her observations on hillbilly family life ("Mrs. Tugwell just had
her 16th young 'un. She's had 50 many young 'uns, she's running out of names --
to call her husband, that is").
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1987 Time Inc., People, October 26, 1987
The jokes are old. Real old. Some date back 40 years. Cannon often forages
through her classic routines for material, with many of the best jokes coming
from her set of bound Opry scripts for shows broadcast on the NBC radio network
from 1947 to 1953. "All those old dumb jokes," she says fondly. "They're all
old. They're all dumb. The minute I look at a joke, it comes back to me." Roy
Acuff, 84, the Grand Ole Opry's "King of Country Music," has been straight man
to Minnie's punch lines since her Opry debut in 1940. "It don't make no
difference if you've heard them a hundred times," he says, "it's still a
laughable joke."
In real life, Sarah Cannon is in many ways the antithesis of Minnie. Cannon
is a leading doyenne of Nashville society and charity circles, a happily married
woman who lives next door to the Governor's mansion in a large, well-furnished
house with a tennis court and a swimming pool. A daily reader of the New York
Times and slave to its formidable crossword puzzles, she is an articulate and
precise speaker.
What has happened, though, after all these years, is that Sarah Cannon and
Minnie Pearl at times merge. Cannon steals Minnie's best lines, sidestepping an
excessively analytical conversation by saying, "Of course, I'm about as deep as
a biscuit" or, muttering about her own advancing years, "I don't buy no green
bananas anymore." Conversely, Cannon's life keeps shoehorning itself into
1987 Time Inc., People, October 26, 1987
Minnie's act, with frequent mentions onstage of husband Henry Cannon. She sees
one common trait in her two personae. "I'm crazy, and it don't matter whether I
have a costume on or not," she explains.
Although in the last decade she has cut back her touring schedule, Cannon
still clamps on Minnie's hat and hitches up her white stockings an impressive
four or five times a week for Nashville Now and the Opry, and does 20-minute
stand-up routines at conventions in Nashville and elsewhere. She also co-writes
a weekly Minnie's Memories column for the Nashville Banner. Her husband, Henry,
70, urges her to ease up, but Cannon says she can't stop. "I guess it's ego,"
she says.
Sarah Ophelia Colley was born Oct. 25, 1912, in Centerville, Tenn., the last
of Fannie Tate and Thomas K. Colley's five daughters. Her father owned a lumber
business, and the family was well-off by small-town Tennessee standards. Their
house had the town's first indoor plumbing, and their father justified staying
home from church on Sundays because, living with six females, he said it was his
only day to use the bathroom. The house also featured the town's best-stocked
library, and Cannon says her parents stressed the value of education. "It was
drilled into my bones when I made a grammatical error," she says, "and then I go
into a business where I commercialize on nothing but grammatical errors. It's
kind of a paradox."
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PAGE 3
1987 Time Inc., People, October 26, 1987
When she was 8, Cannon overheard a friend of her mother's describe her as "a
plain little thing." That remark, she claims, was the start of her career as a
comic. "I didn't think I was very pretty and I did it to get attention," she
says. At 18, she went to Nashville and enrolled in the dramatic expression
department at Ward-Belmont College, an upper-crust finishing school. Cannon
planned on being a dramatic actress but found that her natural comic flair kept
sabotaging her forays into serious plays. "Even when I did serious parts I got
laughs," she says. After graduating from the school's two-year program, Cannon
dreamed of becoming a Broadway star but found herself returning to Centerville.
She was only 20, and no respectable girl left home until she was 21, so she
opened a small studio and taught drama, dance and piano. "Teaching? Well, I was
taking the money," she says now.
Two years later she signed on with the Wayne P. Sewell Production Co., which
produced amateur theatricals throughout the rural South. Sewell hired about 100
young women " 'winsome directors' as he put it in his literature," Cannon
recalls. They traveled to a new town every 10 days to recruit local dramatic
hopefuls and direct them in second-rate musical comedies written by Mrs. Sewell.
"My check, as a rule, ran around $10 or $15 for the 10 days work," says Cannon,
who spent six Great Depression years on the road for Sewell.
1987 Time Inc., People, October 26, 1987
She listened hard to the country expressions and stories she heard, not
realizing she was gathering the bricks to build the foundation for her career as
Minnie Pearl. "The Lord was taking me in that direction. I was supposed to be
collecting that stuff. To be Minnie Pearl, that was my destiny,' says Cannon, a
strong believer and regular attendee at the Brentwood United Methodist Church.
It was in Baileyton, Ala., that she actually hit upon the Minnie Pearl character
while boarding at a small mountain cabin with an old woman. "I started imitating
her and people started laughing. I already had this incipient comedic frame, and
here was the vehicle for it," she says.
In 1940, her father having died and the family being in reduced
circumstances, Pearl moved back home with her mother. She got a Works Progress
Administration job as a recreation director. "Was I blue! I loved Centerville; I
love it yet. But I'd had a little taste of independence and I wanted to stay
that way," Cannon says. "There I am, back in the country. If you weren't married
at 28, you were just an old maid, as in capital letters."
Minnie Pearl came to her rescue. Three years earlier, Cannon had named the
character ("Everyone has a cousin or an aunt named Minnie or Pearl," she says),
put her in costume and been paid $25 for performing before the Pilots Club in
Aiken, S.C. Now, back in Centerville, a local banker asked her to "kill time" as
Minnie Pearl at a convention. A Nashville banker saw her there, called a buddy
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1987 Time Inc., People, October 26, 1987
who managed the Grand Ole Opry (then as now broadcast on weekends by WSM radio),
and she was asked to audition for the show. "I been killing time ever since,"
Cannon jokes.
In those early days at the Opry, Cannon performed there every Saturday night
and then took to the road for one-night stands the rest of the week with other
Opry stars, all men. "A lot of times, they thought I was asleep when they'd be
driving along after performing. They'd drink some and talk, and I learned about
a lot of things I never did know before," she says. One of those things was the
low regard many of her traveling companions had for women. "I became wary. Very.
From 28 to 34, I just kind of wondered if I was ever going to get married."
She knew she didn't want to marry a fellow performer. "You cannot make
blanket statements about who is a good risk and who isn't," she says, picking
her words carefully, "but some careers or professions are just better risks than
others, and I don't think, as a rule, show people, unfortunately, can devote as
much time to the nurturing of a marriage or a love relationship as someone
perhaps in a less fragmented profession." Susan Quick, 28, the Nashville Banner
reporter who co-writes Cannon's weekly column, says Pearl dressed her down
earlier this year for dating a musician.
1987 Time Inc., People, October 26, 1987
Maybe that's why when her own husband, Henry, is asked how he feels about
playing second fiddle to Minnie Pearl, he replies, "But I don't play the
fiddle." Henry, a retired pilot, is her business partner ("We're selling a
product and a business and it's Minnie Pearl," she says). They were introduced
in 1946 by a friend of hers and married in 1947, when she was 34 and he was 29.
She had planned on having children and settling down but says the Lord
apparently didn't mean that to happen. Instead, for the next 27 years, they
spent much of their time on the road, with Henry flying her, and many other
country music stars, to concert dates all over the country.
Cannon says her fame had intimidated a lot of men before Henry, but Henry
isn't impressed by much and he took the crowds and autograph seekers in stride.
For her part, she says, "I never could count, I never could fly a plane and I
never could find directions to go anywhere. I never could do 50 many things
Henry does, that I always think of Henry as being superior." Henry does not
discourage her in this impression, but if she brags too long about him, he says,
"Now, honey
Cannon and many of her friends consider Henry, who is a charming mix of
Southern gentleman and curmudgeon, to be the truly funny half of the couple.
Cannon says Henry's humor and support were crucial to her recovery, two years
ago, after a double mastectomy. (She is an active American Cancer Society
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1987 Time Inc., People, October 26, 1987
volunteer and last April was presented with the ACS's Courage award by President
Ronald Reagan.) She particularly remembers looking over silicone implants with
Henry, and his volunteering, "Honey, now you'll look like one of those Hee Haw
girls."
In a backstage room of the Opryland Convention Center, Sarah Cannon is putting
the final touches on her Minnie Pearl costume while she waits for her cue to go
out and tell jokes to a room full of grocery store executives. She tugs at her
white stockings, which are in danger of falling down. "Oh well," she says,
giving up on the stockings, "Minnie never was supposed to be elegant. If she
was, she never would have made it." She pulls her straw hat out of a plastic
bag, only to discover that the trademark $1.98 price tag is missing. "I can't go
out without the tag," she says. "It just wouldn't be Minnie."
Almost 50 years in show business have taught her not to panic, and she
doesn't. Instead, she improvises. Using a piece of white cardboard, a pair of
manicure scissors and a string recycled from a used tea bag, Cannon fashions a
new price tag and marks it $1.98. Half a minute later, the new price tag bobbing
from her hat, she strides onstage and cries, "Howdee!" The grocery executives
stand and cheer. From the back of the room one yells, "Minnie, we love you.'
Yes, and he'd probably love Sarah Cannon too, even if he has no way of knowing
it.
1987 Time Inc., People, October 26, 1987
GRAPHIC: Picture 1, NO CAPTION, Photographs by Raeanne Rubenstein; Picture 2,
"Everybody thought I was a show girl," says Minnie in costume for a 1930s
amateur production titled Black-Eyed Susan in Newnan, Ga. Her partner was a
dummy., COURTESY MINNIE PEARL'S MUSEUM; Picture 3, Minnie with husband Henry
Cannon and her longtime stage foil, Roy Acuff, cut up at the Grand 01e Opry. "I
may not know all her jokes,' Acuff says, "but I heard 'em.", Photographs by
Raeanne Rubenstein; Picture 4, She's scaled back lately, but Pearl says she used
to entertain "like it was going out of style" at home in Nashville., Photographs
by Raeanne Rubenstein
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LEVEL 1 - 3 OF 25 STORIES
Copyright 1990 Gale Research Inc.
Contemporary Musicians
June, 1990; Issue Three
LENGTH: 1162 words
NAME: Minnie Pearl
PERSONAL:
Full name Sarah Ophelia Colley Cannon; born October 25, 1912, in Centerville,
Tenn.; daughter of Thomas K. (a lumber mill owner) and Fannie (Tate) Colley;
married Henry Cannon (a pilot), 1947. Education: Graduate of Ward-Belmont
College, Nashville, Tenn.
Travelling director and drama coach for Wayne P. Sewall Production Co.,
Atlanta, Ga., 1934-40; comic-singer on Grand 01e Opry and elsewhere, 1940--.
Regular performer on "Hee Haw," 1969--, and "Nashville Now." Appeared on "Comic
Relief" special to aid the homeless, Home Box Office, 1986.
OCCUPATION: Comedienne; singer
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Copyright 1990 Contemporary Musicians, June, 1990
ADDRESSES: Other-- Halsey, 1111 Sixteenth Avenue South, Nashville, TN 37212.
AWARDS:
Named Nashville's Woman of the Year, 1965; elected to Country Music Hall of
Fame, 1975; recipient of the Courage Award from the American Cancer Society and
the Pioneer Award from the Academy of Country Music, both 1987.
DISCOGRAPHY:
Minnie Pearl, Everest.
Monologue, RCA.
How To Catch a Man, RCA.
Cousin Minnie, Starday.
(With Grandpa Jones) Grand 01e Opry Stars, RCA.
(Contributor) Stars of the Grand Ole Opry, RCA.
SIDELITES:
With her trademark straw hat dangling its price tag and her raucous
"How-dee!" Minnie Pearl has established a forty-year reign as the queen of
country comedy. The decidedly down-home Minnie is the alter ego of Sarah Colley
Cannon, a refined and educated native of Centerville, Tennessee. Cannon began
performing as Minnie Pearl in 1940 on the Grand Ole Opry, and some might argue
that her face and voice are the most famous ever to emerge from that show.
Copyright 1990 Contemporary Musicians, June, 1990
"Minnie Pearl seems indestructible,' writes Leah Rozen in People magazine.
"There may be newer and hipper characters, but for
years now the nation has
settled back happily and laughed every time Minnie has barged onstage."
Sarah Ophelia Colley was born October 25, 1912, the youngest of five
daughters. Her family was among the most well-to-do in tiny Centerville because
her father owned the local lumber business. Reared in a home where education and
refinement were paramount--a situation she finds ironic today, given the hayseed
nature of her comic character--Colley was expected to do well in school and to
attend college. At eighteen she entered Ward-Belmont College, an expensive
finishing school in Nashville, where she majored in drama and dance. A flair for
comedy had taken root by that time, quite against her will. "Even when I did
serious parts I got laughs," she told People.
After graduation Colley returned to her hometown, where she taught dancing
and drama for two years. Decorum demanded that she reach the age of twenty-one
before she could travel on her own, and she spent the two years dreaming of a
Broadway career. When she finally turned twenty-one she took employment with the
Wayne P. Sewall Production Company, an Atlanta-based outfit that sent directors
to small communities to stage plays and variety shows. Colley worked for the
company for six years, from 1934 until 1940, and she travelled throughout the
South into all the tiniest mountain villages. As she journeyed from place to
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Copyright 1990 Contemporary Musicians, June, 1990
place she picked up stories, songs, and impressions that she stored with no
particular purpose in mind.
"I went on the road, and put on these amateur shows, and I met a lot of
Minnie Pearls," she remembered in Behind Closed Doors: Talking to the Legends of
Country Music. "I met a lot of country girls who didn't win the beauty contest,
but wanted to be funny, and wanted to be loved and wanted to love people."
Gradually, Sarah Ophelia Colley realized that she too was one of these women.
She began doing small bits of comedy, adopting Minnie Pearl because it combined
two popular Southern names. The final inspiration for Minnie Pearl came from a
mother of sixteen who lived in a cabin on Brenlee Mountain in Alabama. "I came
away from there imitating her," Colley said. "Not macking her, but imitating
her. That's when Minnie Pearl was actually born."
Colley was earning a sparse living from the Works Progress Administration in
1940 when she entertained a banker's convention as Minnie Pearl. One of the
conventioneers paved her way to an audition at the Grand Ole Opry, and soon she
was a regular. She would appear on the Opry at night and then travel all week
with one of the touring units; often she was the only woman in the group. Her
trademark price tag became a part of the act quite by chance, when she literally
forgot to cut the tag off some plastic flowers she had added to her straw hat.
The price--$ 1.98--has never changed.
Copyright 1990 Contemporary Musicians, June, 1990
Colley had been working as Minnie Pearl at a grueling pace for seven years
when she met her husband, Henry Cannon. Cannon was a licensed pilot who owned a
charter service, and after their marriage he flew his popular wife and her
co-warkers to their live concerts. Thus marriage hardly altered Minnie Pearl's
busy schedule. Over the years, as she played bigger venues and moral standards
changed, Minnie became slightly more racy and much rowdier. Her costume has not
been altered, however, and many of her one-liners are resurrected from scripts
that are decades old. "All those dumb jokes," she recalled in People. "They're
all old. They're all dumb. The minute I look at a joke, it comes back to me."
Minnie Pearl was nominated to the Country Music Hall of Fame fourteen times
before she was finally inducted in 1975. The long wait for the industry's
highest honor was no doubt related to the fact that Minnie Pearl has done little
real singing over the years; only once, in 1966, did she place a song, "The
Answer to Giddyup Go," on the country charts. Her inclusion in the Country Music
Hall of Fame--and a subsequent Pioneer Award from the Academy of Country
Music--reflect the fact that Minnie Pearl's brand of hayseed comedy is an art
form with a tradition as honorable as any musical one.
Having celebrated her fiftieth anniversary as Minnie Pearl in 1990, Sarah
Ophelia Colley Cannon plans to keep performing, at least on the Opry. Describing
her character, whom she views as an eccentric sister, Colley Cannon said:
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Copyright 1990 Contemporary Musicians, June, 1990
"Minnie Pearl is just as wild as a can of crab. She's nutty as a fruitcake. She
doesn't care whether school keeps or not. She's great. I'm stupid, but she's
great. And the reason she's great is because she doesn't try to be serious. She
just worries about whether we're going to have the church social on Friday night
or Saturday night or Sunday night. And about what she's going to wear, and if a
feller is going to kiss her on the way home. Most of the time he doesn't. But
she thinks next time he will."
SOURCES: Books:
The Illustrated Encyclopedia of Country Music, Harmony,
1977.
Nash, Alanna, Behind Closed Doors: Talking with the Legends of
Country Music, Knopf, 1988.
Shestack, Melvin, The Country Music Encyclopedia, Crowell,
1974.
Stambler, Irwin and Grelun Landon, The Encyclopedia of Folk,
Country, and Western Music, St. Martin's, 1969.
Periodicals:
People, October 26, 1987.
--Anne Janette Johnson
will
live
ning the reporter with the contron-
Pearl Harbor this Saturday, there
mundane mission -
tational tone he uses to make sure
he is on the pages of Time and Na-
the imperfect remembrances of his
and forth, sentry styie
the Japanese people understand his
reporters
tional Geographic, too.
devoted granddaughter will have to
2-mile section of ocean
etherlands
meaning.
If he were alive right now - he
do.
About 6:30 that mo
Morn-
Mr. Glaubitz, 71, won't shake the
into
died in 1986 - he'd probably be
He was no Gen. MacArthur or
though, events took a
Mayor
hand of a Japanese official. He won't
pressed for interviews and per-
Adm. Nimitz, my grandfather. Just
unexpected. The crew
Pearl
Har-
drive a Japanese car. But he doesn't
sonal recollections. And if I know
a midlevel naval officer who man-
bridge of the Ward sp
Grandpa, he'd have been happy to
aged, rather remarkably, to be in
of
the
Pearl
see PEARL, page E4
spin a yarn or two. But this year,
all the important places at just the
see HERO, page E4
Robert
This and
Shaw's
fresh fi
wealth
the fac
DY
R
of voices
By Sergei Shargorod
THE ASSOCIATED PRESS
RS
By Octavio Roca
oshe Bad
THE WASHINGTON TIMES
M
Soviet a
duce par
NEW YORK
ciently a
n the eve of his 75th birth-
O
makes sausage.
day in April, Robert Shaw
But is it art?
assembled nearly 700
The young self-m
musicians for the most
neur says it's his way
a
ambitious recording of his career,
with the immigrant in
Bluff,
Calif.
Gustav Mahler's "Symphony of a
artists are outraged.
his
first
LP.
Thousand." The singing went on un-
paintings "garbage."
riginal
cast
til midnight.
Mr. Badash's enter
adaptation
Then, after a performance now
Shaw
breaking and shamef
eethoven's
being talked about as a good bet to
The studio is a con
Toscanini,
snag the American conductor his
house at Mr. Bada
law
I
have
at
15th Grammy Award, the massive
cessing plant in R
been
sound of the Atlanta Symphony Or-
south of Tel Aviv. T
director
of
chestra and a hugely augmented
Photo by Stephen Crowley The Washington Times
newcomers work fro
chorus broke into an exuberant
Robert Shaw has been one of the most influential figures in choral conducting over the past four decades.
p.m. churning out ev
Greatest
round of "Happy Birthday."
lational
reproduction Modigii
It was not to be the last time this
and
sos to original landsc
year that Robert Shaw was moved to
Center Honors, which will be pre-
"Here I was, overwhelmed, in the
"I can't be anything but humble
Grammy
with
the
tears.
sented Sunday. The Kennedy Center
middle of the most dramatic moun-
about this," he adds, "and truly it is
and portràits of Yitzi
including
During a fall vacation in the Dolo-
chairman cited Mr. Shaw for "im-
tains I have ever seen- - and, believe
a tribute to the hundreds and hun-
The artists have
1991
for
mites in Italy, Mr. Shaw received a
measurably enhancing the lives of
me, I am used to Aspen and Yosem-
dreds of people who have helped me
least two paintings
people around the world and enrich-
ite," Mr. Shaw says. "And I was over-
make music all these years."
and painting tools con
telegram from James D. Wolfensohn
advising that the conductor had
ing the cultural landscape of our na-
whelmed even more by the news.
been selected for the 1991 Kennedy
tion."
Tears rolled down my face.
see SHAW, page E4
see ART. page E5
Pearl Harbor after all during the
president says the "evil out there" is
bor. there would have been IIII Hiro-
crating in defens
week of parades and reunions for a
gone. From "the perspective of one
shima." Mr. Glaubitz says.
Scarcely an In
could not tour as the NBC Chorus 01-
SHAW
Discography:
the RCA Victor Chorus
we
were
all the same singers. So outside New
From.page El
The Shaw voices
York, we became the Robert Shaw
Chorale. It was a conscious misno-
Others long have appreciated the
Brahms: Alto Rhapsody. Mari-
mer, a malaprop," he allows, "but we
man generally hailed as one of the
lyn: Horne. Atlanta Symphony
thought the word 'chorale' sounded
most influential figures in choral
Orchestra and Chorus. Telare
better than just chorus or choir"
Washi
conducting over the past four dec-
CD-80176.
The name stuck.
ades.
Britten: War Requiem. Lorna
"And soon we had some remark-
"Robert Shaw is without a doubt
Haywood. Anthony Rolfe-John-
able voices." Mr. Shaw says. "It was
the leading choral conductor in the
son. Benjamin Luxon. Atlanta
a great multiracial choir. with those
United States." violinist Isaac Stern
Boy Choir, Atlanta Symphony
great Negro voices and, being in
says. "He is a practicing and ac-
Orchestra and Chorus. Telare
New York. Jewish voices."
knowledged master of an art that'he
2CD-80157.
Jewish voices?
teaches with passion and commit-
Handel: Messiah. Kaaren
"I guess I mean dark and Rus-
ment."
Erickson. Sylvia McNtric Al-
sian," the conductor explains. "We
And modesty. Even early praise
freda Hodgson. Jon Humphrey.
had a lot of Russian Jewish singers
from the notoriously difficult and
Richard Stilwell, Atlanta Sym-
in those days. And the black singers
demanding Arturo Toscanini did not
phony Orchestra and Chorus.
had a bright blowsy sound you can
go to the chorus master's head. Mr.
Telare 2CD-80093.
hear in churches when they sing Ne-
Shaw simply was flattered.
Mahler: Symphony No. 8 in E-
gro spirituals."
It was 1952 and the Italian mae-
flat, "Symphony of a Thousand."
Whatever else it was, Robert
stro was recording his now legend-
Soloists, Atlanta Symphony Or-
Shaw's multiethnic chorus was dis-
ary cycle of Beethoven symphonies.
chestra and Chorus. Telare
tinctive enough to attract the atten-
Mr. Shaw prepared the chorus for
CD-80267.
tion of Toscanini. George Szell and
Toscanini and the NBC Symphony
Mozart: Requiem. Arleen Auger:
other major conductors.
Orchestra. After playing through
Delores Ziegler. Jerry Hadley.
Choral preparation can be a frus-
the glorious choral finale. a supreme
Atlanta Symphony Orchestra
trating affair, with a lot of work and
challenge for any chorus, Toscanini
and Chorus. Telare CD-80128.
little credit since usually the more
turned to his players and announced:
famous conductor takes over the fi-
"In Robert Shaw I have at last found
nal musical product. Mr. Shaw didn't
the maestro I have been looking for."
The conductor was born in Red
mind.
As Mr. Shaw remembers:
Bluff. Calif:, on April 30. 1916. the
"Imagine getting the chance to
"It was Samuel Chotzinoff, who
scion of what he calls a "long line of
work with a Toscanini!" he says. "My
was in charge of what they called
evangelical Protestant ministers."
own musical education was so terri-
serious music at NBC, who told Tos-
He never planned to be a conduc-
bly limited. This was as exciting for
canini about our chorus. He needed
tor. He expected to continue his stud-
me as it was for any fan. If Toscanini
iL for Beethoven's Ninth, of course.
ies in philosophy and theology, and
were alive today, I would happily still
We began to rehearse a couple of
perhaps teach. But joining the Glee
prepare a chorus for him."
weeks earlier than usual because
Club at Pomona College changed his
Almost countless performances,
Toscanini was famous for being dif-
life.
Band leader Fred Waring needed
recordings and Grammys after his
ficult
a terror I was about 23 years
old, and my education was very
a chorus for a film he was making on
beginnings with the Pomona College
limited. 1 had studied very little mu-
campus, and the-club fit the bill. At
Glee Club, the director laureate of
the 11th hour. young Mr. Shaw took
the Atlanta Symphony Orchestra
sic, really.
can discuss the details of choral
"Toscanini walked in the NBC
over for an indisposed faculty mem-
ber and prepared the chorus for the
preparation as if they were new and
studio," Mr. Shaw recalls. "He was
wonderful discoveries.
formidable, amazing. I expected him
picture. An impressed Waring took
the fledgling conductor to New York,
It is anticipation, Mr. Shaw ex-
to conduct but he told me to go
ahead, that it was my rehearsal. I
where he stayed for years.
plains, working out in advance what
remember that he called me Mae-
"I was still mostly interested in
questions might come up in per-
stro. Just imagine.
liturgical music, music for worship,"
formance. Technically, his decep-
"Anyway, I began to conduct the
Mr. Shaw recalls.
tively simple method is based on re-
Robert Shaw did not S0 much turn
membering that "it is easier to
choral movement, and he just paced
away from those roots as enrich
change something than to change
the entire length of the studio back
them by exploring the choral reper-
nothing."
and forth, back and forth. At the end
In other words, he keeps the show
there was silence, and we all waited
tory.
Mr. Shaw's first chorus in New
moving.
for his response.
York was a 30-voice men's group, the
"You also try to anticipate as much
"He came over to me and told me,
'I never expected to have a chorus
Fred Waring Glee Club, with which
as possible what the big boss will
he toured South America and Eu-
want," the conductor adds disarm-
like this.'
rope. Then came radio work with the
ingly, though he has been the big
Decades later, even as Toscanini's
networks as well as the Collegiate
boss for decades.
own clinical interpretation has lost
Chorale.
Given such technical security, the
some of its dazzle, the sound of Rob-
Mr. Shaw says his repertory ex-
precision and sheer beauty of Rob-
InformAtion
ert. Shaw's chorus holds its own
panded to "more intellectually chal-
ert Shaw's choral creations can be
"HOOK
against the recorded competition.
lenging music" like the Faure Re-
taken for granted.
Some of that competition is, of
quiem as well as U.S. War Bond
Rehearsing with Oscar Hammer-
course, Mr. Shaw's own recording.
rallies and work at Radio City Music
stein II for "Carmen Jones," the pop-
As director of the Atlanta Symphony
Hall, Madison Square Garden and
ular vulgarization of Georges Bizet's
since 1967, the conductor has come
Yankee Stadium.
opera on Broadway, Mr. Shaw asked
a long way from his days of prepar-
Choral singing was gaining pop-
for the librettist's advice on a fine
ing choruses for what he still calls
ularity, and Mr. Shaw was having a
point of choral interpretation.
"the big bosses."
good time developing his talents. Re-
"Just let them belt," Hammerstein
But his awe of the great musicians
hearsing choruses for NBC, RCA
replied. "They're gorgeous."
he has known has not diminished.
and major theaters, in 1948 he de-
"Arid I have to admit," Mr. Shaw
In a. field not known for small
cided to call his group the Robert
says, "they really were."
egos, Robert Shaw's humility is a
Shaw Chorale.
Tomorrow: The dancing- Nicholas
rare gift.
"The name was fixed because we
Brothers.
LEVEL 1 - 4 OF 25 STORIES
Copyright 1990 Gale Research Inc.
Contemporary Musicians
June, 1990; Issue Three
LENGTH: 1647 words
NAME: Earl Scruggs
PERSONAL:
Full name Earl Eugene Scruggs; born January 6, 1924, in Flint Hill, North
Carolina; son of a farmer; married; children: Gary, Randy, Steve. Education:
Graduate of Boiling Springs High School, Boiling Springs, Tenn., 1942.
Professional banjo player, 1930-39, 1945--. Member of the Carolina Wildcats
and the Morris Brothers, 1939; worked in textile mills, 1939-45. Banjo player
and harmony vocalist with Bill Monroe and the Blue Grass Boys, 1945-48.
Founding member, songwriter, banjoist, and harmony vocalist for Flatt and
Scruggs and the Foggy Mountain Boys, 1948-69. Signed with Mercury Records, 1949,
moved to Columbia Records, 1950. Best-known recordings include "Foggy Mountain
Breakdown,' "The Martha White Flour Theme," and "The Ballad of Jed Clampett."
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Almanac of Famous People
August, 1989; Fourth Edition
LENGTH: 81 words
NAME Earl Eugene Scruggs
VARIANT: Flatt and Scruggs
PERSONAL:
Birth: January 06, 1924 in Flint Hill, North Carolina. Won Grammy, 1969, for
"Foggy Mountain Breakdown."
OCCUPATION: Musician, Songwriter
NATIONALITY: American
SOURCES: Encyclopedia of Folk, Country, and Western Music, 1969 ed; Harmony
Ill. Enc. of Rock. 7th ed. Harmony, 1986; Who's Who in America. 44th
edition, 1986-1987. Marquis, 1986; Who's Who in American Politics,
4th edition; Who's Who in Government, 1st edition; Who's Who in the
World, 2nd edition
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LEVEL 1 - - 1 OF 3 STORIES
Copyright 1990 Gale Research Inc.
Contemporary Musicians
June, 1990; Issue Three
LENGTH: 1647 words
NAME: Earl Scruggs
PERSONAL:
Full name Earl Eugene Scruggs; born January 6, 1924, in Flint Hill, North
Carolina; son of a farmer; married; children: Gary, Randy, Steve. Education:
Graduate of Boiling Springs High School, Boiling Springs, Tenn., 1942.
Professional banjo player, 1930-39, 1945--. Member of the Carolina Wildcats
and the Morris Brothers, 1939; worked in textile mills, 1939-45. Banjo player
and harmony vocalist with Bill Monroe and the Blue Grass Boys, 1945-48.
Founding member, songwriter, banjoist, and harmony vocalist for Flatt and
Scruggs and the Foggy Mountain Boys, 1948-69. Signed with Mercury Records, 1949,
moved to Columbia Records, 1950. Best-known recordings include "Foggy Mountain
Breakdown,' "The Martha White Flour Theme," and "The Ballad of Jed Clampett."
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Copyright 1990 Contemporary Musicians, June, 1990
Group disbanded in 1969.
Founder and banjo player for the Earl Scruggs Revue, 1969--. Group includes
sons Gary, Randy, and Steve. Has also performed and recorded with Doc Watson,
the Byrds, and Joan Baez.
OCCUPATION: Banjo player, songwriter
ADDRESSES: P.O. Box 66, Madison, Tenn. 37115.
DISCOGRAPHY:
With Lester Flatt and the Foggy Mountain Boys:
Country Music, Mercury, 1958.
Flatt & Scruggs with the Foggy Mountain Boys, Harmony, 1960.
Songs of Our Land, Columbia, 1962.
Hard Travelin', Columbia, 1963.
Flatt & Scruggs at Carnegie Hall, Columbia, 1963.
Flatt & Scruggs at Vanderbilt University, Columbia, 1964.
The Original Sound of Flatt & Scruggs, Mercury, 1964.
Flatt & Scruggs with the Foggy Mountain Boys, Mercury, 1964.
The Golden Era of Flatt & Scruggs, Rounder.
Foggy Mountain Breakdown, Hilltop.
Copyright 1990 Contemporary Musicians, June, 1990
Flatt & Scruggs' Greatest Hits, Columbia, 1966.
Lester Flatt and Earl Scruggs, Columbia.
20 All-Time Great Recordings of Flatt & Scruggs, Columbia.
The World of Flatt & Scruggs, Columbia.
Foggy Mountain Chimes, Harmony.
Sacred Songs/Great Original Recordings, Harmony.
Bonnie and Clyde, Columbia.
Wabash Cannonball, Harmony.
The Mercury Sessions: Volume 1, 1948-1950, Volume 2, 1950,
Rounder, 1985.
You Can Feel It in Your Soul, County, 1988.
With the Earl Scruggs Revue:
I Saw the Light with a Little Help from My Friends,
Columbia.
The Earl Scruggs Revue Live at Kansas State, Columbia, 1972.
Family and Friends, Columbia.
Rockin' 'cross the Country, Columbia.
The Earl Scruggs Revue, Columbia.
SIDELITES:
The instrumental sound most closely associated with bluegrass music--a banjo
picked at furious pace with three fingers was created by Earl Scruggs, a
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Copyright 1990 Contemporary Musicians, June, 1990
country picker from rural North Carolina. As a member of Bill Monroe and the
Blue Grass Boys, and later as half of Flatt and Scruggs, Scruggs literally sent
bluegrass in the direction it has followed to this day. His banjo virtuosity was
an amazing novelty in 1945; today it is a requirement for every bluegrass band.
In Country Music U.S.A., Bill C. Malone writes that Scruggs "added a new and
dynamic ingredient to the Blue Grass Boys sound, and audiences were bowled over
by the boy who, with a shower of syncopated notes, had made the banjo a lead
instrument capable of playing the fastest of songs. Here was something new under
the sun. II
Earl Eugene Scruggs was born in Flint Hill, North Carolina, and raised on a
farm in the foothills of the Appalachians. He was one of six children. His
father died when he was four, but the family kept itself solvent by farming and
performing; two of his sisters played banjo, and his mother played the organ.
Earl himself picked up the banjo at an early age, and he imitated the
three-finger picking style that was common in his region. In Earl's youth the
three-finger style was relatively rare, but it offered several advantages. It
had a more fluid sound, was closely tied to fiddle music, and used a G tuning
that was more compatible with other stringed instruments. Earl could play the
banjo before he entered first grade, and by the age of ten he was devising new
"licks" of his own.
Copyright 1990 Contemporary Musicians, June, 1990
Before World War II Scruggs worked as a professional musician, first with his
brothers and then with several groups, including the Carolina Wildcats and the
Morris Brothers. These groups broadcast over radio stations in Gastonia, North
Carolina, and Spartanburg, South Carolina. When America entered the war, Scruggs
quit performing for work in the textile mills; he often labored seventy-two
hours a week for weeks at a time. Music was merely a hobby for him during that
period, but after the war he began to perform professionally again. For a time
in 1945 he played with "Lost" John Miller on a WSM Radio Saturday broadcast out
of Nashville. Then, when Miller quit the business, Scruggs was hired by Bill
Monroe.
Bill Monroe and the Blue Grass Boys were a favorite on the Grand 01e Opry,
and many musicians dreamed of a chance to play in the group. When Scruggs joined
in 1945 he caused an overnight sensation. The banjo was traditionally a
supporting instrument in string bands, and most banjo players were comics who
clowned onstage. Scruggs was dead serious in the spotlight, and the avalanche of
notes that cascaded from his banjo astounded audiences. Neil V. Rosenberg notes
in Stars of Country Music that Scruggs's version of banjo picking "sounded
fresh, new, and exciting, especially at the higher pitch and tempos of the Blue
Grass Boys." Monroe was quick to capitalize on the talents of his young protege.
Malone writes: "In the three-year period from 1945 to 1948 the banjo assumed a
prominence in Monroe's music that it had never enjoyed in any previous
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Copyright 1990 Contemporary Musicians, June, 1990
band
Throughout the nation, largely unnoticed by the more commercial world
of country music, a veritable 'bluegrass revolution' got underway as both fans
and musicians became attracted to the music."
In 1948 Scruggs quit the Blue Grass Boys and formed his own band. His
partner, Lester Flatt, was also a veteran of Bill Monroe's group, as were band
members Jim Shumate, Cedric Rainwater, and Mac Wiseman. Calling themselves Flatt
and Scruggs and the Foggy Mountain Boys, the group signed with Mercury Records
and began performing in a style very similar to Monroe's. Scruggs quickly
transformed his banjo into the lead instrument (Monroe had often led with
mandolin), and when he was not picking the banjo he led with equally impressive
guitar picking. He also began to write "breakdowns" for the banjo, imitating the
furious fiddle music that had been 50 popular for generations. His first
instrumental release was "Foggy Mountain Breakdown," one of the most famous
bluegrass songs ever written. Used as the theme for the 1968 movie Bonnie and
Clyde, "Foggy Mountain Breakdown" finally made a place for itself on the pop
charts after selling well in the country market for nearly two decades. It is
still a staple in the repertoire of almost every bluegrass band.
Flatt and Scruggs and the Foggy Mountain Boys toured and recorded at an
exhausting pace throughout the 1950s. By 1960 theirs was the best-known
bluegrass band in America; the "folk revival" of the early 1960s opened up new
Copyright 1990 Contemporary Musicians, June, 1990
audiences on college campuses and in the big cities of the North and West. Their
"Ballad of Jed Clampett," the theme for the "Beverly Hillbillies" television
show, topped the country charts for a number of weeks, and they were the first
bluegrass band ever to play a concert at Carnegie Hall. Rosenberg claims that by
1963 "Flatt and Scruggs were becoming a household name, a synonym for country
music
The 'hot' band, the one everybody was listening to, was the Foggy
Mountain Boys; a good banjo picker was said to sound 'just like Earl Scruggs.
Bluegrass purists were therefore dismayed when Scruggs began to lead the
group in new directions. Flatt and Scruggs recordings in the later 1960s
included snare drums, synthesizers, harmonica, and twelve-string guitar. Scruggs
himself often played guitar rather than banjo, and the repertoire began to
include works by folk-rock songwriters and Scruggs's three rock-oriented sons.
Flatt did not approve of this "progress," 50 the group disbanded in 1969. Flatt
formed his own ensemble, the Nashville Grass, and Scruggs formed the Earl
Scruggs Revue, a showcase for his sons Gary, Randy, and Steve.
The Earl Scruggs Revue sported electric guitars, piano, drums, and even a
Moog synthesizer--all completely "taboo" at the time for bluegrass bands.
Rosenberg notes, however, that many younger fans "liked
and approved of
Earl's new group. After all, bluegrass music had not been a static form in 1948,
it had been an innovation. After twenty-five years, it was time for further
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Copyright 1990 Contemporary Musicians, June, 1990
innovation." Indeed, adds Rosenberg, "Earl's band was part of the new
country-rock movement which was gathering momentum."
Scruggs still performs occasionally with his Earl Scruggs Revue, a band he
calls a "no-cubbyhole, category-free, barrierless approach to music." He told
the Country Music Encyclopedia: "Music can't stand still. I've always been for
progress and keeping up with the times." This should come as no surprise, since
Scruggs's signature "progressive" banjo playing helped to create bluegrass music
and to make it the dynamic form of entertainment it is today.
SOURCES: Books:
The Illustrated Encyclopedia of Country Music, Harmony,
1977.
Malone, Bill C., Country Music U.S.A., revised edition,
University of Texas Press, 1985.
Malone, Bill C. and Judith McCulloh, Stars of Country Music,
University of Illinois Press, 1975.
Sandberg, Larry and Dick Weissman, The Folk Music Sourcebook,
Knopf, 1976.
Scruggs, Earl, Earl Scruggs and the 5-String Banjo, Peer
International, 1968.
Shestack, Melvin, The Country Music Encyclopedia, Crowell,
Copyright 1990 Contemporary Musicians, June, 1990
1974.
Stambler, Irwin and Grelun Landon, The Encyclopedia of Folk,
Country, and Western Music, St. Martin's, 1969.
Periodicals:
Bluegrass Unlimited, February 1971.
Country Music, October 1972.
Esquire, October 1959.
New York Times, July 19, 1959.
New York Times Magazine, September 13, 1970.
--Anne Janette Johnson
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The Nation.
315
programs seem put there largely to off-
toire with dashingly entertaining per-
set the Balakirev and showy Liszt pieces
formances of difficult display pieces by
that have been his hallmark. A student
Hofmann and Paul Pabst; the latter's
of Josef Hofmann-a wonderful piano
paraphrase on themes from Tchaikov-
"great," although in my opinion a
sky's Eugene Onegin belongs to the cat-
HOW TO
mystifyingly sanctified one, since there
egory of virtuoso pieces (e.g., the Schulz-
are only a small number of recordings
Evler Blue Danube) that sound as if they
around-Cherkassky is now 80. He has
could not be learned but have to be ele-
JEOPARDIZE A
always been amusing to watch, what with
gantly tossed off with a constant appre-
his fussy little gestures, his often cutesy
hension of imminent catastrophe.
PERFECTLY
virtuosity, his seemingly unrestricted ca-
You wouldn't want to say that Cher-
pacity to amuse and delight his audi-
kassky is a Richter or a Michelangeli; he
GOOD
ences. Yet when he appeared at Carnegie
isn't. But when he plays he never seems
Hall in December there was an effect
worried that he might not be making an
FRIENDSHIP.
rather like an epiphany that came from
important statement about history, or
his playing, particularly in works (the
that he is only a pianist doing his work.
Give someone you care about a
Bach-Busoni Chaconne, the Schumann
For that, quite without any embarrass-
gift subscription to The Nation.
Symphonic Etudes, the Chopin E Major
In all likelihood, the recipient will
ment, is what he is, a pianist caught up
Scherzo) that are now encrusted with the
get just as enraged, worked up and
in his job, without too many irrelevancies
aggravated about the issues the
habits and fake traditions of overuse and
or pomposities. Cherkassky is genuine,
magazine covers as our regular
familiarity. I was reminded of the experi-
attractive, persuasive. He shares this tal-
subscribers do.
ence of watching the class clown suddenly
ent with the other musician recently in
That's because The Nation
turn in an academic performance of such
covers those issues with a critical
town, Robert Shaw, who at 75 is just as
sober mastery as to knock you back.
spirit and an independent perspec-
amazingly durable.
tive that set us apart from other pub-
Shaw gained prominence in the 1950s,
lications. Which isn't surprising, since
although during that period I attended
it's written by such original thinkers
Shaw lets the music
only one of his performances with the
as Alexander Cockburn, Kirkpatrick
Sale and Frances FitzGerald.
Robert Shaw Chorale. He first came to
And politics isn't all we cover.
unfold
an illusion,
attention as Toscanini's chorus director
Our subscribers also enjoy our writing
for the NBC Symphony, with results in
on the arts, which is of such extraor-
of course, since
intonation and virtuosity that are still
dinary clarity and intelligence that
immense work goes
unmatched, particularly in hitherto un-
it alone is worth the price of a
performed or very difficult works. Like
subscription.
So maybe you should give The
into such sounds.
Cherkassky he harks back to an earlier,
Nation as a gift after all.
less culturally pretentious time, when
Just be sure your relationship
music making derived mainly from ama-
can stand it.
Part of the surprise was that Cherkass-
teur singing, four-hand piano playing at
ky had lost most of his distracting man-
home and the much awaited weekly
broadcasts of the New York Philharmon-
nerisms, and with that had gained an un-
expected gravity and seriousness of focus.
ic and the Metropolitan Opera. This was
The Nation.
There were moments in the middle vari-
well before the days of ubiquitous "good
Subscribing to our principles
ations where I felt that Schumann's ob-
music stations," and before the time
isn't enough.
sessive insistence caused Cherkassky to
when it became fashionable to assume
lose his concentration, as if the illogical
that important cultural institutions were
vehicles for the nation's identity.
YES! I THINK MY RELATIONSHIP CAN TAKE IT.
accents and numbing patterns bothered,
Please send 47 issues of The Nation to the fol-
or temporarily grounded, him. But in the
There is something so irrefrangibly
lowing people at the gift rate of $28 for the first
Busoni, which he took at an unusually
modest about Shaw's manner that you
gift and just $24 for each additional gift. And
send a card announcing the subscription(s).
slow tempo, there was a robustness and
think it's all an act, like Rudolf Serkin's
rounded tonal beauty to the whole that
way of walking on to the stage somehow
GIFT TO
(Please print)
made you actually see the stunning elab-
plaintively and apologetically. Although
ADDRESS
orations developing out of Bach's formal
Shaw conducted the Atlanta Symphony
for a couple of decades the job wasn't
CITY
STATE
ZIP
germ, as well as Busoni's exceptionally
intelligent pianistic transformation of
supposed to be significant, so his achieve-
GIFT FROM (Your name)
what had once been a violin piece. So too
ments were not really noticed. After he
ADDRESS
in the opening sections of the Schumann,
retired he started doing more recording
CITY
STATE
ZIP
as well as the Chopin Scherzo, where the
and appearing with other orchestras
fantastic lightness of the work, with its
across the country, where I have heard
Enclosed is $
for
subscription(s).
Bill me later.
ascending and then downward echoing
him on several occasions. On January 19
Foreign surface postage: add $18/47 issues.
chordal progressions, kept returning with
he was at Carnegie Hall leading the Or-
Air Mail rates available upon request.
Subscriptions payable in U.S. funds.
a graceful nonchalance very rarely at-
chestra of St. Luke's, a remarkably fine
THE NATION
tempted, much less encountered. Cher-
Robert Shaw Festival Chorus and excel-
G2C211
P.O. BOX 10791, DES MOINES, IA 50340-0791
kassky returned to his customary reper-
lent soloists-soprano Benita Valente,
316
The Nation.
March 9, 1992
mezzo Florence Quivar, tenor Neil Ros-
the Spätstil or late style, which Adorno
however, of rendering the music self-
enshein and bass Alistair Miles-in the
says was symbolic of Beethoven's rejec-
satisfied, muddy, sleekly placid. Shaw's
Missa Solemnis, precisely the work for
tion of the ordinary bourgeois world, one
energy was focused less on startling de-
which, under Toscanini, his choral prep-
can also hear in these forbidding works
tail than on creating a collective person-
aration had been the most impressive
a search for order and reliability. May-
ality, that of a traveler perhaps, or of a
ever recorded.
nard Solomon in his Beethoven Essays
questing pilgrim. The sounds and tempi
It was certainly the finest performance
ventures the more personal thesis that the
were robust, never nervous or querulous.
of the piece that I have heard since Tos-
Missa Solemnis and the Ninth Symphony
One felt in his conducting something
canini, and yet it could not have been
reflect Beethoven's declining health, his
often tried by younger conductors seek-
more different. The Missa has been bril-
problems with his nephew and of course
ing an impression of elevated tranquilli-
liantly characterized by Adorno in a fa-
his horrific sense of personal loneliness;
ty, but rarely achieved. He also gained the
mous essay as an "alienated master-
far from rejecting the world, they are at-
illusion of complete naturalness, so that
piece," that is, a work whose eccentricity,
tempts musically to come to new terms
even in perilous spots like the devilish
musical intractability and transcendental
with it. "The Missa Solemnis," says Sol-
fugue at the end of the Credo, or in the
conception have never really been accom-
omon, "has the implication of a double
perhaps more difficult Benedictus,
modated to the musical canon. It is also
question to the deity: Am I merely mor-
whose soaringly serene lines defy normal
a very difficult piece to perform, full of
tal? Is there hope for eternal life?"
intonation, Shaw let the music unfold,
abrupt changes in tempo and volume for
Naturally enough, the interrogatory
rather than declaim or announce itself.
musicians to negotiate, unfamiliar modal
music of this towering work can be given
This is a total illusion, of course, since
harmonies and, especially in the im-
variously freighted interpretations. What
what goes into such sounds is immense
mense Credo, extremely complex fugal
was so impressive about Shaw's was that
work, manifestly concealed.
writing characteristic of the Hammer-
it was thoroughly, perhaps even insistent-
He had the soloists sit up near the cho-
klavier Sonata and the Diabelli Varia-
ly, unneurotic. A recent recording of the
rus, at some distance from stage front,
tions, among other late Beethoven pieces.
work by Karajan (EMI) attempts the
which is where they are usually placed.
Yet although the Missa Solemnis typifies
same feat, with the unintended effect,
This somewhat took away from the
bass's contribution, but it did contribute
THE MIRACULOUS SHRINE OF THE STAIRWAY DIME
to the communal and associative effort
of the whole. At only one point-in the
Fourteen wooden steps to my front door.
Benedictus's extended violin obbligato
On the fifth step, a dime that's lasted there
played decently if somewhat monochro-
for years despite dust and brooms, boots
matically by Naoko Tanaka-did I feel
that ferry in mud-lumps and lakes of melted snow.
that what was needed was a bit more
striving and less natural-sounding tran-
Finally, to celebrate, I tape next to it
quillity; as with much of Beethoven's late
an antique post card: Ste. Anne de Beaupré, a blue
music written in a very high register, sub-
robed, hand-tinted Virgin-she has to be a Virgin
limity and a tense eeriness are its true
in a dress that blue, holding aloft
hallmark, and it sounds merely awkward
when it is played too unexcitedly.
a little man in pink pajamas and this, of course,
Shaw's musical, or rather platform,
is Jesus, gold spikes of light flying from him
presence suggests a saintly, incredibly
straight and strict as a grade school teacher's
modest man. Accordingly, he takes cur-
admonishments, or a father's: Sit still.
tain calls from the back rows of the or-
chestra, as if to say it's not me, it's all of
Stop singing. Now we will begin our sums.
us, and Beethoven, of course. A bit corny
But I climb past, thinking of my friend in seminary,
how the dime would not be enough
perhaps, but the iron rigor of his per-
formances shouldn't be underestimated
to reach him now, how letting go means just that.
either. He is the real thing, a great musi-
And where I see the miraculous star
cian whose avoidance of self-conscious
of God's heart holding steady, I am afraid
display sets him at odds with the Zubin
he would describe a riot of blasphemy. But I know
Mehtas of this world. Perhaps you can do
this: as a child, he'd put his pillow
what he does if you are not entrusted
with safekeeping a national institution
on the windowsill waiting
like the Met or the Philharmonic, where
for the visitation of satellites
you have to take positions about "us"
and shooting stars. How later, his mother
every time you lift your arms or blow your
would smooth his dew-drenched hair then draw him
nose. The peculiar thing about Shaw is
that, unlike Celibidache, another older
back gently without waking him
conductor of extraordinary attainments
into the dark and starless room,
and uncompromising standards, he does
a child still shining
not communicate marginality or irrele-
from the far worlds he had been touched by.
vance. It is as if the music were simply
expressing itself. This is the finest aes-
Mekeel McBride
thetic illusion of all.
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ours of Europe
Northwestern University
ational Exposition of Haiti
University of Ottawa
THE MAN
lossom Music Center
New England Music Teachers'
ational Center of Afro American
Association
Born in Greenville, North Carolina in
Artists
New School of Social Research
1921, Billy Taylor's music education
Tatergate Barge
Yale University
began several years later in
dand Center, St. Croix
Commonwealth of Virginia
Washington, D.C. with Elmira
mzmobile
University of Utah
Streets. After experimenting with
122 Interactions
University of Colorado
drums, guitar and saxophone, Taylor
LZZ At Home Club
Manhattan School of Music
pursued further classical piano study
ternational Art of Jazz, Inc.
Clark College
with Henry Grant at age thirteen.
eft Bank Society of Washington
Rutgers University
From high school he enrolled in
uke Ellington Society
Livingston College
Virginia State College as a sociology
Talledega College
major. Compser/pianist Undine S.
Lincoln University
Moore convinced the young Taylor
Fisk University
that his future was with music and he
,ECTURES
Wilmington Music School
graduated with a Bachelor of Science
Fairleigh Dickinson University
degree. After graduation, and on the
ewar's White Label Highlights of
Brooklyn College
recommendation of Teddy Wilson,
Jazz Lectures - Camegie Hall
C.W. Post College
he studied piano with Richard Mc-
Recital Series
St. Peter's College
Clanahan in New York City. In 1975,
niversity of Massachusetts
Adelphi College
Billy Taylor's dissertation on "The
lack College Jazz Network
Hampton College
History and Development of Jazz
ational Assoc. of Negro Musicians
Manhattan College
Piano, a New Perspective for Music
ational Assoc. of Jazz Educators
Johnson C. Smith University
Teachers" earned him a combined
niversity of North Carolina
St. Lawrence University
Masters and Doctorate in Education
otre Dame
Usdan Center for the Arts
from the University of
reenwich Village Jazz Festival
Massac husetts. He has received
ong Island University (Brooklyn)
honorary degrees from a total of six
loward University (B.T. Annual
universities, including Hamanities
Lecture Series)
degrees from Fairfield University
Cooper Union
and Clark College, and an honorary
azzmobile series in public schools
Doctorate in Music from Berklee Col-
irst International Music Industry
lege of Music and from Virginia
Conference, Nassau, Bahamas
State, which is also his father's alma
erklee College of Music
mater. Dr. Taylor has been a Yale
Iusic Educators National Conf.
fellow at Calhoun College for over
niversity of Pennsylvania
ten years. Yale recently added to this
Columbia University
honor by appointing Billy a Duke Ell-
few York University
ington Fellow. Billy Taylor, educator
[unter College
and concert soloist and TV personali-
Iniversity of Chicago
ty, insists upon maintaining his
credentials as a jazz musician. He
therefore includes in his touring
schedule several nightclub
engagements each year. As each
new facet of his career has been ad-
ed, none has been sacrificed. Itis this
sense of balance that characterizes
everything which Billy Taylor under-
takes. Shortly before Stan Kenton's
death in 1980, he remarked that
Taylor was the most important figure
in jazz today, in so far as his dedication
to the furtherance of music. This senti-
ment was reiterated by the editors of
Downbeat Magazine who presented
Dr. Taylor with their Lifetime
Achievement Award in 1984. Billy
was cited "for representing the music
with such articulation, integrity and
devotion, for suiving to better the
plight of jazz musicians everywhere,
for helping to enlarge the audience
for jazz and to educate that
audience..."
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COMPOSER
has written some 300 songs, in-
cluding the famous "I Wish I Knew
PIANIST
How It Would Feel To Be Free,"
Taylor runs the gamut from solo pia
Dedicated to Martin Luther King,
which was selected by the New York
recitals to performances with sy
Billy Taylor's work, "Peaceful War-
Times as "One of the Great Songs of
phony orchestras. His profession
rior," was commissioned by the
the Sixties." More than thirty dif-
career began not long after colleg
Atianta Symphony. The world pre-
ferent recordings have been made of
when the young Billy Taylor moved
miere was performed by the Sym-
this hit by such artists as Nina
New York City. Two days after his
phony under the direction of Robert
Simone, Harry Belafonte, Lena
rival he was playing piano with t
Shaw and featured the Billy Taylor
Horne, Solomon Burke, Mary Trav-
Ben Webster Quartet on the famo
Trio and a choir of a hundred voices.
ers, John Denver and Leontyne
52nd Street, opposite the legends
Taylor's six movement suite "Make a
Price, and it has become the theme
Art Tatum Trio. It was an impressi
Joyful Noise" was originally commis-
song of public school choruses and
beginning. Later he worked with D
sioned by Tufts University as a jazz
church choirs and was performed by
zy Gillespie's first band and acquir
worship service. The world
the exciting pop group "Cold
invaluable experience with such ja
premiere was performed by The In-
Blood" in the 20th Century Fox film
greats as Roy Eldridge, Wilb
dianapolis Symphony Orchestra
"Fillmore." Taylor's original music is
DeParis and Sid Catlett. Billy's Vi
under the direction of Eric Kunzel.
heard on segments of "Sesame
satility was established as he join
Street," "The Electric Company,"
"Make a Joyful Noise" was inspired
Cozy Cole's group, replacing Ben
and on countless TV and radio com-
by the 97th psalm and is presented in
Goodman's band in Billy Rose
mercials. He has written special
the tradition of the Ellington Sacred
Broadway show, "The Seven Live
material for Ethel Smith, Charlie
Concerts. In a different vein, Taylor's
Arts," as pianist for Machito's mami
Parker, Tito Puente, Edmundo Ros,
"For Rachel" was a collaborative ef-
band, as accompanist for Kenne
Slim Gaillard, Eddie South and many
fort with choreographer Rachel
Spencer at Cafe Society Uptown, a
other top entertainers. Taylor com-
Lampert. This dance suite. was
as featured pianist with the SlamSte
posed the ragtime dance score for
commissioned by the University of
art Trio. An extensive eight mot
Anna Sokolow's TV special on NBC-
tour of Europe followed with Billy
New Hampshire. The Billy Taylor
TV and the ballet music for the play,
featured piano soloist with Don Re
Trio Goined by two musiciens play-
"Your Arm's Too Short to Box With
man's orchestra. Returning to 1
ing wind instruments) premiered the
God." He has written several movie
States, he formed a piano-organ d
work with Ms. Lampert and her
scores, including "A Morning for
with Bob Wyatt The pair played 1
dancers. Dr. Taylor wrote the score
Jimmy," and a documentary for the
Royal Roost and was featured
for the off-Broadway hit, "The Lion
Northside Center. Other composi-
"Holiday on Broadway," a conc
and the Jewel" by Wole Soynenka
tions such as "Theodora," "Capri-
package which starred Billie Holid
Billy Taylor's "Suite for Jazz Piano
cious," "We Need Peace and We
Billy was invited to take an all-star
and Orchestra" was commissioned
Need Love," "A Bientot" and "It's a
group to play the Heitian National:
by Maurice Abravenal and was pre-
Grand Night for Swinging" have
position and after four weeks on
miered, with the composer at the
been performed by such artists as
island he returned to take a new gt
piano, by the Utah Symphony in the
Wes Montgomery, Freddie Hub-
tet into Cafe Society Downtown.
Mormon Tabemacle. "Imprompti,"
bard, Quincy Jones, Oscar Pettiford,
worked a short time with Bi
an earlier work, often appears on
Oscar Peterson, Mary Lou Williams,
Daniels, did a solo act at Bop City E
Taylor's symphonic programs. He
Jimmy Heath and Gerry Mulligan.
RECORDING
ning NPR radio series, "Taylor Made
Piano," are available to universities.
Two AV sets recorded by Billy Taylor
ARTIST
for Educational Audio Visual, which
outline the history of jazz and demon-
Taylor has recorded more than two
strate the process of improvisation in
dozen albums of his OWN For Con-
jazz performances, are widely used in
cord records Billy recorded
schools and colleges across the coun-
"Where" You Been? The Billy Tay-
try. Asa freelance recording artist, he
lor Quartet Featuring Joe Kennedy."
has worked with David Frost, Elle Fitz-
Earlier albums include "My Fair Lady
gerald, Sarah Vaughan, Bing Crosby,
Loves Jazz," "Evergreens" and "Billy
Connie Boswell, Sammy Davis, Jr,
Taylor Presents Ira Sullivan" on ABC
Carmen McRae, Don Byas, Slam Stew-
Paramount: "Town Hall Concert" and
art, Stuff Smith, Eddie South, Oscar
"The Billy Taylor Trio with Candido"
Pettiford, Quincy Jones, Neal Hefti,
on Prestige Records: "Echoes of an
The Four Aces, Sy Oliver, Coleman
Era," Roulette Records: "I Wish I
Hawkins, The Modernaires, Oliver
Knew How It Would Feel To Be Free,"
Nelson, Cozy Cole, Dinah Washing-
Tower Records: "Midnight Piano"
ton, Billie Holiday, Jackie Paris, Harry
and "Right Here, Right Now," Capitol
Lookofsky, The Ames Brothers,
Records: and "Jazz Alive" on Mon-
Frances Wayne and The Billy
mouth Evergreen Records. Cassettes
Williams Quartet as well as for all the
of Dr. Taylor's Peabody Award win-
major record companies.
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PIANIST
then played the Iceland Restaurant
with Artie Shaw fronting his quartet.
Billy Taylor then proceeded to
Taylor runs the gamut from solo piano
establish the record for the longest
recitals to performances with sym-
run at Birdland-an unbroken con-
phony orchestras. His professional
tinuo as soloist, leader of trios,
career began not long after college
quartets, quintets, sextets and as
when the young Billy Taylor moved to
New York City. Two days after his ar-
featured soloist with all-star groups
rival he was playing piano with the
which included Charlie Parker, Dizzy
Ben Webster Quartet on the famous
Gillespie, Miles Davis, Kai Winding,
52nd Street, opposite the legendary
Jo Jones, Lester Young, Oscar Pet-
Art Tatum Trio. It was an impressive
tiford, Lee Konitz, Stan Getz, Milt
beginning. Later he worked with Diz-
Jackson, Art Blakey, Slim Gaillard,
zy Gillespie's first band and acquired
Roy Eldridge, Charlie Shavers, J.J.
invaluable experience with such jazz
Johnson, Terry Gibbs and almostall of
greats as Roy Eldridge, Wilbur
the other top flight jazzmen who
DeParis and Sid Catlett. Billy's ver-
played that famous emporium. It
satility was established as he joined
came as a surprise to no one when
Cozy Cole's group, replacing Benny
Billy Taylor won the first International
Goodman's band in Billy Rose's
Critics Award for Best Pianist in the
Broadway show, "The Seven Lively
poll sponsored by Downbeat
Arts," as pienist for Machito's mambo
magazine. His credentials are im-
band, as accompanist for Kenneth
pressive but his music is more SO. An
Spencer at Cafe Society Uptown, and
innovator in the wedding of Latin
as featured pianist with the Slam Stew-
rhythms and jazz, Billy Taylor's piano
art Trio. An extensive eight month
style reflects the influences of Art
tour of Europe followed with Billy as
Tatum, Fats Waller, Debussy, Ravel
featured piano soloist with Don Red-
and Bach and is warmed by the lyrical
man's orchestra. Returning to the
side of Ben Webster and Eddie South.
States, he formed a piano-organ duo
His clearly articulated melodic lines
with Bob Wyatt The pair played the
are accompanied by tonal clusters
Royal Roost and was featured in
and are punctuated with harmonic
"Holiday on Broadway," a concert
package which starred Billie Holiday.
passages of orchestral proportions.
Billy was invited to take an all-star jazz
Billy can build a polyphonic solo into
group to play the Haitian National Ex-
an exciting climax by employing the
position and after four weeks on the
contrapuntal style of Bach while main-
island he returned to take a new quar-
taining a firm rhythmic foundation.
tet into Cafe Society Downtown He
Understandably, a number of young
worked a short time with Billy
pianists have been influenced by
Photo: Bort Androwe
Daniels, did a solo act at Bop City and
Billy Taylor
T
Y
L
R
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Pianist, Composer, Recording Artist,
sponsors lectures/ demonstrations
Arranger and Conductor, Actor,
and artist residencies in public
Author, Teacher and Lecturer, Radio
schools, and develops special pro-
and Television Personality
Billy
grams for disadvantaged youth in in-
Taylor is all of these. He, more than
ner cities. In addition, Jazzmobile has
any other single jazz artist, can be
produced many special music events
credited with bringing jazz to the
including the anniversary concerts of
forums of national radio and televi-
Milt Jackson and Sarah Vaughan, and
sion. In fact, he is the winner of two
has participated in international jazz
Peabodys, an Emmy, and is the reci-
events in Canada, Belgium, Holland
pient of the first Certificate of
and France. Currently, Jazzmobile is
Recognition given by the United
refurbishing a building on 127th
States Congressional Arts Cancus. He
Street in New York which will be its
has been a presidential appointee to
permanent home and will house its
the National Council on the Arts; the
non-profit record publishing com-
only other jazz musician SO honored
pany and Artist-in-Residence service.
was Duke Ellington. He has been at
Jazzmobile is responsible for bring-
guest artist at the White House on five
ing such jazz greats as Buddy Rich,
different occasions, two of which
Herbie Hancock, Duke Ellington,
were state dinners. Dr. Taylor has
Cannonball Adderly and Dizzy Gilles-
been involved with three State
pie to the doorsteps of fans who might
Department projects; he opened the
be unable to attend performances in
International Arts Festival in Hungary,
concert halls. Dr. Taylor acts as con-
toured seven Middle Eastern coun-
sultent and advisor to radio and televi-
tries and was the artistic consultant to
sion stations, music schools, civic and
the American delegation to UNESCO
cultural groups and serves as mentor
in Mexico. Dr. Taylor has been hon-
to jazz organizations across the coun-
ored by two New York mayors; first
try. He has been active in many "artist
receiving a. Certificate of Apprecia-
in residency" programs at major
tion from Mayor Lindsay, followed by
universities including the University
the Mayor's Award for Art and
of Massachusetts, University of New
Culture presented by Mayor Koch.
Hampshire, Tufts, Notre Dame, and
Washington, D.C. Dr. Taylor's
Howard University. He has produced
hometown, declared a "Billy Taylor
jazz concerts and festivals including
Day" and he was presented with the
special concerts for IBM and the Wolf
key to the city. He also holds the keys
Trap Jazz Festival. His other credits as
to four other cities (Cleveland,
a producer include radio and televi-
Mobile, Galveston and Jacksonville).
sion commercials for Colgate,
He was the recipient of the first Inter-
Palmolive, Pepsi Cola and Campbell
national Critics Award for Best Pianist
Soup.
from Down Beat magazine, was desig-
nated "Man of the Year" by the Na-
tional Association of Jazz Educators
(NAJE), and was honored by the Na-
tional Association of Negro Musicians
(NANM). Billy Taylor has served as a
member of the Board of Directors of
the American Society of Composers,
Authors and Publishers (ASCAP), and
on the boards of the Rockefeller
Foundation, Creative Artists Public
Service (CAPS), the Newport Jazz
Festival, the Arts and Business Coun-
cil (ABC), and the New York Jazz
Repertory Company. He was secre-
tary of the New York State Commis-
sion on Cultural Resources, the body
which shaped the future of the arts in
New York State, and served as vice
president of the National Association
of Recording Arts and Sciences
(NARAS). He is founder and president
of jazzmobile, the unique outreach
organization which produces sum-
mer outdoor concerts, conducts
weekly workshop clinics in Harlem,
07/15/92 11:09
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News
Office of Public Information
Munson Hall
University of Massachusetts
Amherst, MA 01003
Telephone: (413) 545-0444
University of Massachusetts at Amherst
RELEASE: IMMEDIATE
DECEMBER 22, 1987
CONTACT: PATRICIA WRIGHT
#098-87
BILLY TAYLOR IS ALL THAT'S JAZZ
AMHERST, MASS - "Like any other jazz musician I've learned to think
quickly and on my feet," says jazz pianist-composer Billy Taylor, recently
named Wilmer D. Barrett Distinguished Professor of Music at the University of
Massachusetts.
"This is music in which you don't know specifically what's going to happen
in the next few minutes."
Does this long practice as an improviser serve him more than musically?
"Indeed it does," he says.
The peripatetic Dr. Taylor performs all over the map, is founder and
president of the "Jazzmobile" outreach program in New York, and has radio, TV,
and writing credits on his resume, as well as dozens of recordings. Taylor
has to move fast just to keep up with his own schedule.
Spontaneously composed jazz is the classical music of America, in Taylor's
opinion, which he shares with music professor, associate provost, and jazz
saxophonist Fred C. Tillis.
Tillis is one of the prime movers in the "Jazz in July" and "Bright
Moments" workshops and concerts that have brought internationally acclaimed
performers, including Taylor, to Amherst each July for the last ten years.
"Billy Taylor has been an absolute cornerstone - he and Max Roach -- of
those summer programs," says Tillis. "And that will continue. Now with this
Barrett professorship, we'll be able to bring him to campus for at least two
residencies each semester.
-more-
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Taylor-2
"He was here in November to lecture in my class on Afro-American music and
to teach some master classes. He came again in December to deliver a lecture
in a course on the lively arts. Next semester he's scheduled to lecture in a
jazz history course.
"We're trying to get him in contact, potentially, with the vast majority
of university students, not just music students. We think that's more of a
liberal arts approach."
Taylor's association with the university began in the 70's, when he was
recruited in a program based on the belief that certain performing artists
were, in essence. teachers - and that their unique approaches to teaching
could possibly be "bottled."
Taylor, along with comedian Bill Cosby, singer Roberta Flack, and others,
came to Amherst "to let the university study us while we studied it." Taylor
taught here for three years and became Dr. Taylor in the process, writing a
dissertation on the history of jazz. He has been coming up to Amherst, where
he finds that "people seem to focus on things a little differently than in
larger places I've been," to teach and perform ever since.
"It's been an unstructured association," he says. "This professorship
gives it more structure."
As for fitting the Barrett professorship into a schedule already
jam-packed with travel, performing, recording, broadcasting, teaching, and
writing commitments, Taylor expresses no concern. He just puts it on the
calendar, and keeps things spontaneous.
"As an architect friend of mine once put it," Taylor says, "jazz is a
discipline where you keep your mind on the immediate future."
-30-
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CONTEMPORARY THEATRE, FILM, AND TELEVISION
Volume 2
WOJTASIK
Universal. 1973: The Hindenburg. Universal. 1975: Audrey Rose.
United Artists. 1977: Star Trek-The Motion Picture. Paramount.
1979.
RELATED CAREER-First job. film porter. RKO editing depart-
ment, 1933: sound currer. assistant editor. film editor. RKO
1939-43 (edited Citizen Kane. 1941:AB That Money Can Buy a.k.a.
The Devil and Daniel Webster. 1941: The Magnificent Ambersons.
1942).
AWARDS: Academy of Motion Picture Arts and Sciences. nomina-
tion. Best Editing. 1941. for Citizen Kane. nomination. Best
Director. 1958. for I Want to Live!. Best Director award, 1962, for
West Side Story, 1965 and for The Sound of Music. 1965: Irving G.
Thalberg Memorial Award. 1967: Honorary D.F.A., Franklin
College. 1968: Torch of Freedom Award from the State of Israel.
1984.
SIDELIGHTS:MEMBERSHIPS-Directors Guild of America (presi-
dent. 1971). National Endowment for the Arts (council member.
1970-76). American Film Institute Study Center. Motion Picture
Academy (chairman, board of trustees). Beverly Hill Tennis Club.
Regency Club. Lotos Club (NY).
Wise is a partner in the Filmmakers Group and the Tripar Group.
ADDRESS: OFFICE-Surset-Gower Studios. 1438 N. Gower Street,
Suite 562. Hollywood. CA 90028. AGENT-Phil Gersh Agency.
222 N. Canon Drive. Beverly Hills. CA 90210.
ROBERT WISE
+
Patricia Doyle. May 25. 1942 (deceased. 1975): married Millicent
Franklin. January 29. 1977; children: Robert A. EDUCATION:
Franklin College. IN. one year.
WOJTASIK, George 1935-
VOCATION: Film director.
PERSONAL: Surname pronunced "Voi-ta-shiek:" born January
CAREER: PRINCIPAL FILMS-Director: The Curse of the Car
17. 1935. in Milwaukee. WI: son of Nick Thomas (a butcher) and
People (co-directed with Gunther von Fritsch). RKO. 1944:
Adeline (Rydzewski) Wojtasik: married Susan Pond. May 10. 1958
Mademoiselle Fift. RKO. 1944: The Body Snatchers. RKO. 1945:A
(divorced. 1984): children: Ann Elizabeth. Nicholas Paul. EDUCA-
Game of Death RKO. 1945: Criminal Court. RKO. 1946: Born to
TION: Ripon College. B.A.. 1956.
Kill. RKO. 1947: Mystery in Mexico. RKO. 1948: Blood on the
Moon. RKO. 1948: The Set-up. RKO. 1949: Three Secress. Warner
VOCATION: Director. manager. producer. and actor.
Brothers. 1950: Two Flags West. Twentieth Century-Fox. 1950;
The House on Telegraph Hill. Twentieth Century-Fox. 1951:The
CAREER: DEBUT-The Angel. Fancy Meering You Again, Lakes
Day the Earth Stood Still, Twentieth Century-Fox. 1951: Captive
Region Playhouse. Gilford. NH.
City, 1952: Something for the Birds. Twentieth Cennury-Fox. 1952:
Destination Gobi. Twentieth Century-Fox. 1953: The Desert Rats.
PRINCIPAL STAGE WORK-Director. Advance director. A Thousand
Twentieth Century-Fox. 1953: So Big, Warner Brothers. 1953:
Clowns. 1964: assistant director. The Dead Survivors. Jan Hus. NY.
Executive Suite. Metro-Goldwyn-Mayer. 1954: Helen of Troy.
1964: A Lesson in Understanding. Judson Poet's Theatre. NY.
Warner Brothers (made in italy). 1955 (released in U.S.. 1956).
1965:A Porch and Wide Verandah. IASTA. NY, 1965: Music. Wit.
and Manners, Ars Antiqua. Rochester. NY. 1966: Invitation to a
Tribute to a Bad Man. Metro-Goldwyn-Mayer. 1956: Somebody Up
March. Equity Library Theatre. 1967: A Small Expectation. Lambs
There Likes Me. Metro-Goldwyn-Mayer. 1956: This Could Be the
Club. NY. 1971: Kind Lady. Monomoy Theatre. Chatharn. MA.
Night. Metro-Goldwyn-Mayer. 1957: Until They Sail, Metro-
1973: The Portable Geranium. Rollins College. Winter Park. FL.
Goldwyn-Mayer. 1957: Bannon (uncompleted). 1957: Run Silent.
1974: Light Up the Sky. Alhambra Dinner Theatre. 1974: Kind Sir
Run Deep. United Artists. 1958: I Want to Live!. United Artists.
(Indiscreet). Firehouse Dinner Theatre. NE. 1976: Dear Richard.
1958: Odds Against Tomorrow. United Artists. 1959: West Side
Private Lives. Sharon Playhouse. CT. 1977: The Perfect Mollusc.
Story (co-directed with Jerome Robbins). United Artists. 1961:7
Players Theatre. NY. 1977.
for the Seesaw. United Artists. 1962: The Haunting. Metro-Goldwyn-
Mayer. 1963: The Sound of Music. Twentieth Century-Fox. 1965:
RELATED CAREER-Managing director. Equity Library Thearre.
The Sand Pebbles. Twentieth Century-Fox. 1966: Star!. Twentieth
1967-present: guest lecrurer on theare. Rollins College. University
Century-Fox. 1968 (re-edited and released as Those Were the Happy
of Miami. Marywood College: guest artist and director. Rollins
Times. 1969): The Andromeda Smain. Universal. 1971: Two People.
College. Ohio University.
345
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TALKING POINTS (7)
Since 1989, our next honoree, the Lila Wallace-Reader's Digest
Fund has made over 200 grants totalling more than $78 million.
These grants are committed to excellence in programming in the
performing, visual and literary arts across the United States.
The fund channels dollars to help put plays on the local stage,
to help audiences hear live music, to assist the emerging
artists who create the paintings and sculptures; the novelists
whose books are in our libraries and bookstores; dance companies
and much more. For their commitment to the arts in America, the
Lila Wallace-Reader's Digest Fund richly deserves this honor.
Last, but a peer among equals, Robert Wise is as man of
extraordinary talent, a great director whose vision ranges
easily from the stories his films tell to a statesman of the
film industry, to a teacher and spokesman who has presided
generously over our field of dreams. Gentleman extraordinaire,
an editor's editor, beloved of actors, a true storyteller, we
look back with him on a brilliant career, consistent in its
seriousness and inspiration. To the man who made "Somebody Up
There Likes Me," we can surely say, "Down here, we do, too."
We treasure all of your contributions to the cultural life of
our country and are pleased that you can join us for this dinner,
and tomorrow's White House coromony. You now join a league of
your own. It is a tribute and testament to your dedication to
your art. For this, you have my heartfelt thanks and applause.
JUL-15-92 WED 15:32 0
P.01
ROBERT WISE PRODUCTIONS
315 S. BEVERLY DRIVE, #214
BEVERLY HILLS, CA 90212
TELEPHONE:
(310) 284-7932
FACSIMILE: (310) 284-8127
FACSIMILE COVER SHEET
DATE:
July 15, 1992
TO: NAME:
Mr. Gary Gershowitz
COMPANY:
FACSIMILE #:
202/456-6218
FROM: NAME:
Robert Wise
COMPANY:
Robert Wise Productions
REFERENCE:
Steve McQueen
TOTAL NUMBER OF PAGES (Including cover page) :
2
FAX NUMBER: (310) 284-8127
JUL-15-92 WED 15:33 0
P.02
Robert E. Wise
315 SOUTH BEVERLY DRIVE * SLITE 214
BEVERLY HILLS, CALIFORNIA SORIA
TELEPHONE (310) 204-7932
FACSIMILE (31Q) 284-8127
July 15, 1992
Mr. Gary Gershowitz
Washington, D.C.
FAX: 202/456-6218
Dear Mr. Gershowitz:
Phil Gersh said you wanted to have the details on the
Steve McQueen story I related to him. Here's the story:
I was in Taiwan filming "The Sand Pebbles." Steve inter-
rupted me in the middle of intense concentration in lining
up a difficult angle. It was about a minor matter of his
wardrobe and it was the second time he had bothered me.
I exploded strongly and told Steve off. Steve was SO hurt
by this that he refused to speak to me for three days.
He took my direction for scenes we were doing but absolutely
would not speak to me. Not temperament, but hurt, I realized.
Unexpected behavior for this supposedly rough, tough, macho
man. His exterior covered much more sensitivity than one
realized.
At the end of the third day, Steve saw some rushes of our
previous work, loved them and all was forgiven.
Do as you wish with this. Rewrite it or edit it or whatever
if it is of interest to you.
All best,
Relit Line Robert Wise
REW/cs
228
T120
C8
1989
WH
Robert WiSE
Current
Biography
Yearbook
1989
EDITOR
Charles Moritz
ASSOCIATE EDITORS
Judith Graham
Hilary Claggett
Robert Schuck
Irene C. Park
1/18/90
EDITORIAL ASSISTANT
Jill Kadetsky
PROPERTY OF
THE H. W. WILSON COMPANY
NEW YORK
LIBRARY
EXECUTIVE CITIZE OF
THE PRESIDENT
WISE
risis continued until the ground
that is now becoming practical, we should be able
ble problem, he told them about an attempt to
in the winter. The following
to save as much as $5 million per year." More ind-
raise, with ropes and pulleys, a 240-ton obelisk in
ried Wilson was in Washington,
portant, he continued, superconductors could
St. Peter's Square in Rome in 1586. When the obe-
lain the setback to the United
"double our proton energy to 1000 GeV." To that
lisk was at forty-five degrees, the ropes sagged, and
Fermilab accelerator finally at-
end, Wilson proposed building a second ring of su-
the monument could be raised no further. Finally,
on electron volt level it had been
perconducting magnets directly below the existing
someone yelled "acqua alle funi!" ("water to the
ring of ordinary magnets so that the protons could
ropes! The watered ropes tightened, and the/obe-
se of his Senate testimony, Wil-
be transferred from the old ring to the new boost-
lisk was raised.
one legislator if the accelerator
ing the energy level up to 1000 GeV. "Even more
Wilson' reputation during his career, as a
ffect national security. His reply
exciting," in his view, was "the possibility of using
"cowboy" physicist was founded on his knowledge
the folklore of physics. Admit-
"negatively charged protons (antiprotons)" in the
of horsemanship and of the West and on his gun-
ine would have no discernible
accelerator. Unmoved by Wilson's arguments,
slinger's approach to accelerator building. But as
I security, he told the senators:
Congress denied the requested $10 million in-
Philip Hilts, for one has observed, behind this rep-
with the respect with which we
crease. Shortly thereafter, in early 1978, Wilson re-
utation is a visionary who views physics as a form
the dignity of men, our love of
signed as director of Fermilab, citing subminimal
of "internationalism that contributes to the
) with these things. It has do to
funding." As an "independent person I can see to
"common culture of humanity." Wilson, who has
painters, good sculptors, great
it that physics goes in the right direction," he told
been married to the former Jane Inez Scheyer
e things we really venerate and
one interviewer. "When you are director of a labo-
since 1940, has three sons, Daniel, Jonathan, and
y and are patriotic about. It has
ratory and you say your lab needs more funds,
Rand. He and his wife currently make their home
tly with defending our country
you discounted because that's what you're ex-
in Ithaca, New York.
vorth defending."
pected to say."
braising Fermilab's discoveries
In the years immediately following his resigna-
References: Physics Today 39:654 F '86 pors; Sci
uary-February 1980), John Wil-
tion from Fermilab, Wilson devoted most of his
Am 230:72+ F '74 pors; Science 80 1:46+ Ja-F '80
at the accelerator had so far
time to teaching, as the Peter/ B. Ritzma Professor
pors; American Men and Women of Science
expectations. For example, it
at the University of Chicago, from 1978 to 1980, and
(1986); Hilts, Philip J. Scientific Temperaments
sumed that the machine would
as the Michael Pupin Professor at Columbia Uni-
(1982); International Who's Who, 1989-90; Who's
rks out of the protons in which
versity, from 1980 to 1983. He has also been a guest
Who in America, 1986-87
as Wilhelm reported, "the neg-
lecturer at Harvard University, the University of
ree-standing quarks cannot be
Washington, and the Los Alamos Scientific Labo-
energy levels remains one of
ratory. He is currently physics professor emeritus
ndings." Among its many posi-
at Cornell University. In June 1989 he was among
e discovery, in 1977, of the upsi-
the guest speakers at the opening of the nation's
ght to be a combination of
first proton-beam cancer treatment center-an
ttom quarks-by Leon Leder-
idea he had advocated since the late 1940s-at the
n the 1988 Nobel Prize in phys-
Loma Linda University Medical Center in Loma
b experiments confirmed the
Linda, California.
eak neutral currents" predicted
Active in professional organizations throughout
ctroweak" theory of two of the
his adult life, Dr. Vilson is a member of the Ameri-
the subatomic world.
can Physical Society, the National Academy of Sci-
ited out, in his January 1980 ar-
ences, the American Academy of Arts and
American, that the discovery of
Sciences, and the American Philosophical Society.
lirect result of the accelerator's
One of the organizers of the Foundation of Ameri-
his tenure at Fermilab, his goal
can Scientists, he acted as its chairman in 1947 and
dily the power of the installa-
1963. He has also served on the editorial board of
As he explained in the
Daedalus magazine, and he is the author of many
1 piece, increasing the power of
scholarly articles and, with Raphael Littauer, of the
alogous to increasing the reso-
book Accelerators; Machines of Nuclear Physics
pe: it makes the structure of na-
(1960). Among his many honors are the Elliot Cres-
By 1974 Wilson and his
son Medal, the National Medal of Science, and,
ting competition in the creation
most recently, the Enrico Fermi Award, which he
sions from the European Cen-
received in 1984.
earch in Geneva, Switzerland,
The director emeritus of and architectural con-
t Fermilab needed to attain an
sultant to Fermilab since 1979, Robert Wilson regu-
trillion electron volts in order
larly visits the facility, and he played a significant
ion as the premier experimen-
role in the design of its Richard P. Feynman Com-
le physics.
puting Center, which was dedicated in 1988. Sever-
at the height of the American
al of Wilson's sculptures, including the metal
Wise, Robert
n appeared before the House
constructions Möbius Strip and Broken Symmetry
ee's Subcommittee on Science
and a stone obelisk, are on display at Fermilab. The
Sept. 10, 1914- Filmmaker. Address: Robert
appeal for increased funding
obelisk, which bears the inscription "acqua alle
Wise Productions, 315 S. Beverly Dr., Suite 214,
lave tremendous copper losses
funi,' is a daily reminder of a story Wilson related
Beverly Hills, Calif. 90212
ets
he told the commit-
to his discouraged colleagues during an especially
arch 3, 1977. "If we could re-
trying time in the laboratory's construction. To il-
One of Hollywood's most versatile film directors,
re by the superconducting wire
lustrate a successful solution to a seemingly insolu-
Robert Wise has had a long and distinguished ca-
1989 CURRENT BIOGRAPHY YEARBOOK
629
WISE
reer that began in 1933, when he took a job as a
creasing knowledge of filmmaking into practice
messenger in RKO studio's cutting room. Over the
when he made his debut as a film editor on the
next few years, he worked his way up to become
Fred Astaire-Ginger Rogers film Carefree (1938).
editor of, among other films, Orson Welles's
Working under the editors William Hamilton and
groundbreaking Citizen Kane (1941) and The Mag-
Henry Berman, Wise also assisted in the editing of
nificent Ambersons (1942). Since then, he has di-
Garson Kanin's Bachelor Mother (1939), Gregory
rected motion pictures in a variety of genres,
La Cava's Fifth Avenue Girl (1939), William
including the offbeat horror film The Curse of the
Dieterle's celebrated Hunchback of Notre Dame
Cat People (1944), the science fiction classic The
(1939), and Mark Sandrich's Story of Vernon and
Day the Earth Stood Still (1951), and I Want to
Irene Castle (1939).
Live (1958), a psychological study of a woman
Officially promoted to film editor in 1939, Wise
awaiting execution in a California prison. After di-
took on an assortment of assignments, including
recting two blockbuster musicals, West Side Story
Dorothy Arzner's Dance, Girl, Dance (1940), Gar-
(1961) and The Sound of Music (1965), for which he
son Kanin's My Favorite Wife (1940), and William
received Academy Awards, Wise took on fewer,
Dieterle's All That Money Can Buy (1941). His big
and less successful, projects, such as The Androm-
break came with Orson Welles's Citizen Kane
eda Strain (1971) and Star Trek-The Motion
(1941), for which he earned an Academy Award
Picture (1979), although his later films exhibit the
nomination as best editor, and The Magnificent
same perfectionism and technical virtuosity that
Ambersons (1942). In addition to editing the last-
characterize his earlier efforts. "Mine is a prepared
named film, Wise supervised its revisions, since
approach with ample room for improvising as we
Welles was then on location in Brazil, shooting a
go along," the director once said in an interview.
never-completed documentary. The Magnificent
Robert Earl Wise was born in Winchester, Indi-
Ambersons was extensively recut, and scenes from
ana on September 10, 1914, the son of Earl W.
the middle and final sections of the movie were re-
Wise, a meat packer, and Olive (Longenecker)
shot under the direction of Wise and the unit man-
Wise. Growing up in the small midwestern com-
ager, Fred Fleck. Welles called the result a
munity, he cultivated an interest in writing, but he
"mutilation," and a number of critics have pointed
also loved movies. From his childhood on, he
out that the non-Wellesian scenes are visually flat.
haunted the dime matinees at his hometown movie
"I think this ought to be aired a bit," Wise ex-
theatre, to which he once won-to his delight-a
plained to Ralph Appelbaum in an interview for
season pass. Following his graduation from high
Filmmakers Newsletter (April 1976), in which he
school in 1931, Wise entered Franklin College, in
discussed the controversy over The Magnificent
nearby Franklin, Indiana, where he planned to
Ambersons. "Well, we had sneak previews of the
study journalism, but the Great Depression soon
film in Los Angeles and it was terribly painful-
forced him to drop out of school to look for work.
audiences laughed at it and walked out in droves.
With the help of his older brother David, who
They were some of the worst evenings I've ever
worked in the accounting department of RKO Stu-
spent in my life! But RKO had a film that had cost
dios in Hollywood, Wise secured a job as a messen-
close to a million and a half, and they at least want-
ger, at a salary of twenty-five cents a week, in the
ed a picture audiences would sit through. So we
studio's editing department in 1933. He spent the
did the best we could with Orson's material, al-
next nine months inspecting, splicing, and trans-
though we did have to do some serious cutting and
porting prints between the studio's projection and
bridging to make the thing work.
In terms of
cutting rooms. Promoted to assistant sound and
a work of art," Wise continued, "I grant you Orson's
music editor in 1934, he was the apprentice sound
original film was better. But we were faced with
effects editor on Of Human Bondage (1934) and the
the realities of what the studio was demanding."
sound effects editor on The Gay Divorcee (1934),
Wise spent the next two years working
the first major film pairing Fred Astaire and Ginger
on smaller "A-pictures" and bottom-of-the-bill
Rogers, John Ford's Informer (1935), and Mark
"B-movies," including Seven Days' Leave (1942),
Sandrich's Top Hat (1935). In 1935 Wise received
directed by Tim Whalen, Richard Wallace's
his first screen credit, for a ten-minute short that he
Bombardier (1943), and Ray Enright's Iron Major
put together, with the veteran editor T. K. Wood
(1943). In The Fallen Sparrow (1943), an anti-Nazi
during a lull in their regular schedule, from miscel-
thriller, Wise directed some of the scenes featuring
laneous footage of South Sea Islanders. For his ef-
John Garfield and Maureen O'Hara. His appetite
fort, he received a substantial bonus. A hard
whetted, he scouted out the possibilities for direct-
worker, Wise, who had edited the music for George
ing an entire film. That opportunity materialized
Stevens's Alice Adams (1935), spent two and a half
during the production of The Curse of the Cat
days, with only two hours' sleep, preparing the film
People (1944), a low-budget chiller produced by
for a sneak preview.
Val Lewton, who had made a string of sophisticat-
The most important lesson that Wise learned
ed and inexpensive horror films for the studio.
from T. K. Wood-and one that has influenced his
Wise was assigned to edit the film, but he took over
subsequent work as a director-is that raw film is
the direction after the original director, Gunther
the cheapest part of a movie, and that a director
Von Fritsch, fell way behind schedule. The Curse
should shoot as much as he feels he needs to attain
of the Cat People proved to be a startling directori-
the desired result. Wise began to put his steadily in-
al debut, and the film was a popular hit. In his re-
630
CURRENT BIOGRAPHY YEARBOOK 1989
WISE
of filmmaking into practice
view for the New York Times (March 4, 1944),
velopment of nuclear weapons is threatening
ebut as a film editor on the
Bosley Crowther remarked that the film "makes a
peace in the universe.
Rogers film Carefree (1938)
rare departure from the ordinary run of horror
In 1951 Wise formed his first film production
ditors William Hamilton and
films and emerges as an oddly touching study of
company, Aspen Productions, with two former
also assisted in the editing of
the working of a sensitive child's mind."
RKO editors, Mark Robson and Theron Warth.
elor Mother (1939), Gregory
Continuing to work with Lewton, Wise next di-
With Warth serving as producer and United Artists
venue Girl (1939), William
rected Madamoiselle Fifi (1944), a wartime drama,
as distributor, Aspen produced two films, Wise's
Hunchback of Notre Dame
and The Body Snatcher (1945), based on Robert
Captive City (1952), starring John Forsyth, and
drich's Story of Vernon and
Louis Stevenson's story and starring Boris Karloff,
Robson's Return to Paradise (1953). Inspired by the
for Lewton's B-movie production unit. Relegated to
Kefauver Commission's investigations into orga-
1 to film editor in 1939, Wise
more routine B-movies during the postwar eΓa,
nized crime, The Captive City was a powerful doc-
it of assignments, including
Wise nonetheless managed to elevate them above
umentary-style crime drama that Bosley Crowther
nce, Girl, Dance (1940), Gar.
their producers' expectations. About A Game of
of the New York Times (March 27, 1952) called
rite Wife (1940), and William
Death (1946), Wise's remake of the 1932 RKO hit
"genuine and disturbing." Working in yet another
oney Can Buy (1941). His big
The Most Dangerous Game, a reviewer for Variety
genre, Wise made his first comedy, Something for
son Welles's Citizen Kane
(November 28, 1945) wrote, "Robert Wise has di-
the Birds (1952).
earned an Academy Award
rected in a tempo that sustains suspense and accen-
Wise's dexterous handling of the dramatic and
ditor, and The Magnificent
tuates the chillerdiller motif." Following Criminal
action scenes in The Desert Rats (1953), Twentieth
addition to editing the last-
Court (1946) and Born to Kill (1947), Wise directed
Century-Fox's hastily conceived followup to its
pervised its revisions, since
Mystery in Mexico (1948), an elaborate murder
1951 hit The Desert Fox, helped lift the film above
ocation in Brazil, shooting a
mystery filmed on location in Mexico City. Later in
its modest origins. Destination Gobi (1953), Wise's
imentary. The Magnificent
the same year, he graduated to "A-pictures" with
first color film, was another adventure story, this
sively recut, and scenes from
Blood on the Moon, an adult western starring Rob-
time about a navy weather team posted in the Gobi
ections of the movie were re-
ert Mitchum, although Wise and his producer
Desert during World War II. Wise returned to War-
on of Wise and the unit man-
spent so much money on the film that RKO consid-
/elles called the result a
ner Brothers later in 1953 to direct So Big, based on
ered finding a "name" director instead. Comment-
mber of critics have pointed
Edna Ferber's novel about a midwestern family
ing on Wise's direction, a reviewer for the New
and starring Jane Wyman.
sian scenes are visually flat.
York Times (November 12, 1948) observed, "He
Executive Suite (1954) marked both Wise's de-
to be aired a bit," Wise ex-
has managed to keep the atmosphere of this lei-
elbaum in an interview for
but at MGM and the birth of a new film sub-genre,
surely paced film charged with impending
the "boardroom drama," which explored contem-
er (April 1976), in which he
violence."
porary business ethics. Wise's direction made the
ersy over The Magnificent
Under the terms of his contract with RKO, Wise
subject "as tense as a crime thriller," in the words
had sneak previews of the
was scheduled to make one more film for the stu-
of John Douglas Eames, the author of The MGM
id it was terribly painful-
dio. That film was The Set-Up (1949), a graphic,
Story (1977), and the movie was a major box-office
t and walked out in droves.
spellbinding drama about an aging but determined
hit. After making the spectacle Helen of Troy
te worst evenings I've ever
fighter (Robert Ryan) at the end of his career that
(1955) for Warners and the western Tribute to a
KO had a film that had cost
a New York Times (March 30, 1949) reviewer
half, and they at least want-
Bad Man (1956), starring James Cagney-both
called "a real dilly for those who go for muscular
genres that the director has described as his "least
S would sit through. So we
entertainment." "Compact and suspenseful," as a
with Orson's material, al-
favorite"-Wise returned to contemporary drama
critic for Variety put it, The Set-Up won the Critics
do some serious cutting and
with Somebody up There Likes Me (1956), based
Award as the best picture at the 1949 Cannes Film
hing work.
on the autobiography of the prize fighter Rocky
In terms of
Festival, and it was nominated for best film by the
Graziano. Partly filmed on location on New York's
itinued, "I grant you Orson's
British Film Academy.
:r. But we were faced with
Lower East Side, the movie captured the gritty tex-
When RKO failed to pick up the option on his
e studio was demanding."
ture of its setting, anticipating Wise's subsequent
contract, Wise directed one film for Warner
work on West Side Story. The cast included Paul
next two years working
Brothers-Three Secrets (1950). A melodrama
es" and bottom-of-the-bill
Newman in the lead role, Pier Angeli, Sal Mineo,
about the rescue of an airplane crash victim and
Seven Days' Leave (1942),
and Steve McQueen, who was seen briefly in his
the three women who wait to find out whose son
halen, Richard Wallace's
first screen appearance. "Robert Wise's direction is
the victim is, Three Secrets was seen by some crit-
1 Ray Enright's Iron Major
fast, aggressive, and bright," Bosley Crowther
ics as little more than a variation of Joseph L. Man-
parrow (1943), an anti-Nazi
wrote in the New York Times (July 6, 1956). "The
kiewicz's popular A Letter to Three Wives (1949).
ome of the scenes featuring
representation of the big fight of Graziano with
Wise then moved to Twentieth Century-Fox,
ireen O'Hara. His appetite
Tony Zale is one of the whoppingest slugfests
which had offered him a contract to make six pic-
we've ever seen on the screen."
the possibilities for direct-
tures in three years, beginning with the Civil War
Wise's last two films for MGM, the musical This
it opportunity materialized
western Two Flags West (1950), starring Joseph
of The Curse of the Cat
Could Be the Night (1957) and the drama Until
Cotten and Linda Darnell, and the thriller The
udget chiller produced by
They Sail (1957), and his first for United Artists,
House on Telegraph Hill (1951). His third film for
hade a string of sophisticat-
Run Silent, Run Deep (1958), an action film, were
Twentieth Century-Fox, The Day the Earth Stood
orror films for the studio.
competent but relatively undistinguished. His next
Still (1951), an adaptation of Henry Bates's short
lit the film, but he took over
two United Artists releases, however-I Want to
story "Farewell to the Master," has become a clas-
original director, Gunther
Live (1958) and Odds against Tomorrow (1959)-
sic of the science fiction genre. Rooted in the anxi-
ehind schedule. The Curse
were among the most searing and troubling movies
ety of the Cold War era, it deals with an
d to be a startling directori-
of the 1950s. I Want to Live, which Wise counts as
extraterrestrial who comes to earth, landing in
vas a popular hit. In his re-
one of his two favorite films, along with The
Washington, D.C., to warn earthlings that their de-
Set-Up, is a gripping account, based on an actual
1989 CURRENT BIOGRAPHY YEARBOOK
631
WISE
case, of the last weeks in the life of Barbara
Shortly thereafter, Wise founded his own pro-
Graham, a prostitute and thief who was executed
duction company, Argyle, and produced and di-
for allegedly being involved in a murder. Despite
rected Two for the Seesaw (1962), William
pressure from the Los Angeles police department
Gibson's comedy-drama about a precariously bal-
to abandon the project, Wise and his producer,
anced love affair starring Shirley MacLaine and
Walter Wanger, went ahead with the film, which,
Robert Mitchum, for Mirisch and United Artists. In
thanks in large part to Susan Hayward's Oscar-
1963 Wise returned to MGM to make The
winning portrayal of the doomed woman, was one
Haunting, based on a novel by Shirley Jackson.
of the year's top moneymakers.
Variety praised Wise for his "artful cinematic
Wise was heavily involved in the development
strokes" in bringing the atmospheric ghost story to
of the script for I Want to Live, particularly the
the screen, and the movie has achieved a high rep-
scenes leading up to Miss Graham's execution. "I
utation among connoisseurs of the horror film
did much of the interviewing of the actual people
genre.
involved: the nurse who spent the night with Bar-
Wise had made plans to direct and produce The
bara Graham and gave me much of the tenor and
Sand Pebbles, based on Richard McKenna's novel
feeling of those scenes; the priest who gave me the
about an American gunboat in China during the
clues about how to dramatize the last act," Wise ex-
1926 revolution, with financing from the Mirisch
plained to Ralph Appelbaum. "And, of course, my
Company. In 1964, however, Mirisch backed out of
going to San Quentin to see the actual procedures
the deal, and Wise was forced to seek other finan-
of an execution. I knew that if I was going to deal
cial backing. Meanwhile, the opportunity arose to
with this subject matter I wanted to do it honestly
direct the film version of the Rodgers and Ham-
and show what it was really like." Paul V. Beckley,
merstein musical The Sound of Music, after the
the film critic of the New York Herald Tribune,
movie's original director, William Wyler, with-
praised Wise's direction as "tight and clever."
drew. Wise agreed to take on the Twentieth
Beckley especially liked the way the director man-
Century-Fox project, which involved six months of
shooting, in exchange for a percentage of the film's
aged to create suspense by varying the tempo of the
profits and an agreement from the studio to bank-
action, starting off with fast-moving scenes, then
roll The Sand Pebbles. The Sound of Music (1965),
slowing down toward the end of the film to height-
starring Julie Andrews and Christopher Plummer,
en the tension.
became the biggest hit in the history of Hollywood
Odds against Tomorrow (1959), starring Harry
to that date, grossing over $100 million in the first
Belafonte, Robert Ryan, and Ed Begley, was the
two years of its release despite decidedly mixed
first film that Wise both directed and produced. A
notices. A number of critics complained that the
harrowing account of racial hatred set against the
film was overly sentimental, but most nonetheless
background of a bank holdup in an upstate New
appreciated Wise's brisk direction. Al Cohn, for
York town, the film was shot in black-and-white to
one, in his review for New York Newsday (March
give it the sharp, hard quality appropriate to its
3, 1965), maintained that Wise had ably demon-
subject. "The sheer dramatic build-up of this con-
strated his "ability to enlarge a Broadway musical
templation of a crime is of an artistic caliber that
without losing its mood or meaning in the transla-
is rarely achieved on the screen," Bosley Crowther
tion, at least through the first two-thirds of the
wrote in his review of the movie for the New York
film." Named the year's best picture by the Acade-
Times (October 16, 1959). Crowther also appreciat-
my of Motion Picture Arts and Sciences, The
ed the "crisp and credible" performances Wise
Sound of Music also won Wise his second Oscar as
coaxed from his actors.
best director.
With a long list of commercial and critical suc-
The Sand Pebbles, starring Steve McQueen,
cesses behind him, Wise had, by this point in his
Richard Crenna, and Candice Bergen, was re-
career, established himself as one of the most
leased in 1966 to generally lukewarm reviews, most
bankable directors in Hollywood. In 1960 he was
of which focused on its length of 193 minutes. Al-
chosen to direct the Mirisch-United Artists pro-
though it fared poorly at the box office, the movie
duction of the hit Broadway musical West Side
was nominated for eight Academy Awards, includ-
Story, a contemporary retelling of Romeo and
ing best picture and best actor, for McQueen. At
Juliet, with music by Leonard Bernstein and lyrics
the awards ceremony, Wise received the 1966 Ir-
by Stephen Sondheim. Working with the screen-
ving Thalberg Award for his consistently high
writer Ernest Lehman, who had previously
achievement as a producer. Having gained consid-
scripted Executive Suite and Somebody up There
erable recognition as a specialist in large-scale
Likes Me, and the choreographer Jerome Robbins,
films, Wise began taking on fewer projects. Two
who had conceived and directed the Broadway
years elapsed between The Sand Pebbles and the
show, Wise pulled the disparate elements of the
release of his next picture, the musical Star! (1968),
musical together to create one of the most popular
based on the life of Gertrude Lawrence. Despite
and critically acclaimed motion pictures of 1961.
the presence of Julie Andrews in the lead, the film
Showered with honors, West Side Story collected
flopped at the box office. It was subsequently cut
eleven Academy Awards, including those for best
for re-release from 194 to 120 minutes and reissued
picture and best director. The New York Film Crit-
under the title Those Were the Happy Times,
ics also voted it the best picture of the year, and the
without many of the production numbers that the
Directors Guild tapped Wise for its top award.
critics had liked.
632
CURRENT BIOGRAPHY YEARBOOK 1989
WOIWODE
se founded his own pro-
In January 1970 Wise formed a new production
References: Filmmakers Newsletter p20+ Ap '76
,, and produced and di.
company called the Filmmakers Group, in partner-
pors; Films in Review p5+ Ja '63 pors; Who's
Seesaw (1962), William
ship with Mark Robson and the former Paramount
Who in America, 1988-89; World Film Directors
about a precariously bal.
executive Bernard Donnenfeld, in order to finance
1890-1945 (1987)
g Shirley MacLaine and
films without the assistance of the studios. The first
sch and United Artists. In
motion- picture that Wise produced and directed
MGM to make The
for the company was an adaptation of Michael
ovel by Shirley Jackson
Crichton's bestseller The Andromeda Strain
or his "artful cinematic
(1971), about a deadly virus brought back to earth
tmospheric ghost story to
by a space probe. His next feature, Two People
has achieved a high rep-
eurs of the horror film
(1973), a drama about a Vietnam deserter (Peter
Fonda) and a photographer (Lindsay Wagner, in
0 direct and produce The
her screen debut), was criticized for its somber-
kichard McKenna's novel
ness. A sensuous love scene that was praised by
boat in China during the
some reviewers was seen only in a toned-down
ancing from the Mirisch
version after the original release, because of a June
er, Mirisch backed out of
21, 1973 Supreme Court ruling that redefined ob-
orced to seek other finan-
scenity.
the opportunity arose to
Elected president of the Directors Guild of
f the Rodgers and Ham-
America in 1970, Wise became one of the filmmak-
bund of Music, after the
ing community's most visible and outspoken oppo-
:, William Wyler, with.
nents of the Supreme Court's obscenity ruling.
take on the Twentieth
Because of his responsibilities as head of the Direc-
ch involved six months of
tors Guild and the illness of his wife, the former
a percentage of the film's
Patricia Doyle, who died of cancer in 1975, Wise
from the studio to bank-
was relatively inactive during 1974 and 1975. He
he Sound of Music (1965),
returned to directing with The Hindenburg (1975),
id Christopher Plummer,
a dramatization of the final flight of the famous air-
the history of Hollywood
ship, which exploded just before landing in Lake-
r $100 million in the first
hurst, New Jersey on May 6, 1937. Starring George
despite decidedly mixed
C. Scott and Anne Bancroft, The Hindenburg had
itics complained that the
limited appeal in movie theatres, although it won
tal, but most nonetheless
an Oscar for special effects. Following Audrey
Woiwode, Larry (Alfred)
: direction. Al Cohn, for
Rose (1977), the story of a little girl caught up in an
(wi' wood-ē)
W York Newsday (March
occult and psychological struggle, Wise directed
t Wise had ably demon-
Star Trek-The Motion Picture (1979), which was
arge a Broadway musical
Oct. 30, 1941 Writer. Address: c/o English
lambasted by the critics on its initial release, al-
r meaning in the transla.
Dept., State University of New York at
though it did well at the box office. Wise was away
e first two-thirds of the
Binghamton, Binghamton, N.Y. 13901
from the director's chair for the next eight years.
best picture by the Acade-
He returned in 1988 to direct Rooftops, a story
Arts and Sciences, The
In 1969 Larry Woiwode gained immediate critical
about homeless children in New York City. Anoth-
Wise his second Oscar as
recognition for his first novel, What I'm Going to
er film project is reportedly in the works, with a re-
Do, I Think, most notably because of its poetic lan-
lease scheduled for 1990.
tarring Steve McQueen,
guage and powerful descriptions, often of nature,
Landice Bergen, was re:
Described by one interviewer as "anything but
which effectively reflect the characters' emotions.
/ lukewarm reviews, most
flashy," Robert Wise is known for his modesty and
On the strength of that novel, the novelist Anne Ty-
ength of 193 minutes. Al-
self-effacing manner. In addition to serving as
ler called Woiwode "a master at portraying life as
the box office, the movie
president of the Academy of Motion Picture Arts
most of us know it-subtle, complicated, some-
Academy Awards, includ.
and Sciences from 1984 through 1987, following
times mystifying, seldom dramatic or conclu-
: actor, for McQueen At
terms as vice-president and first vice-president,
sive.
He held his readers to the end by sheer
'ise received the 1966 Ir-
Wise sits on the board of trustees of the American
craftsmanship." Woiwode's next novel, Beyond the
or his consistently high
Film Institute and chairs its Center for Advanced
Bedroom Wall (1975), a multigenerational saga
er. Having gained consid-
Film Studies. He is also a member of the National
about a North Dakota family, confirmed his status
specialist in large-scale
Council on the Arts. Named chairman of the Direc-
"as one of the finest of the younger talents in Amer-
; on fewer projects. Two
tors Guild of America's special projects committee
ican fiction," according to another critic. What
'he Sand Pebbles and the
in 1980, he organized the organization's fiftieth an-
makes that novel unique is its albumlike format, in
,, the musical Star! (1968),
niversary celebration in New York in 1986. As part
which diaries, descriptions of photographs, and
trude Lawrence. Despite
of that celebration, the Metropolitan Museum of
shifting viewpoints are employed to create a com-
Irews in the lead, the film
Art held a public screening of The Day the Earth
posite picture.
It was subsequently cut
Stood Still in Wise's honor. The director and his
Woiwode's subsequent works have included a
120 minutes and reissued
second wife, the former Millicent Franklyn, reside
collection of poems, Even Tide (1977), a short nov-
Were the Happy Times,
in Century City, California. His son by his first
el, Poppa John (1981), and his most recent work of
duction numbers that the
marriage, Robert Allen Wise, is an assistant cam-
fiction, Born Brothers (1988), which complements
eraman.
his earlier Beyond the Bedroom Wall. Although
1989 CURRENT BIOGRAPHY YEARBOOK
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Phil Brady/with the President
REMARKS Phil: Per our conversation, here is the article on Robert
Venturi. JG
Venturi Wins Pritzker
Architecture Prize Goes to Philadelphian
By Benjamin Forgey
Washington Post Staff Writer
Robert Venturi, the Philad elphia
architect whose fame and vast influ-
ence derives from his books as well.
as his buildings, has been selected to
receive the 1991 Pritzker Architec-
ture Prize. Venturi, 65 becomes the
seventh American architect to ewin
the international award since it was
established 12 years ago.
He has expanded and redefined
the limits of the art of architecture
in this century, as perhaps no other
has, through his theories and built
works," proclaimed the seven-mem-
ber jury. The $100,000 award
comes at a fitting time in Venturi's
career. Scorned for nearly two de-
cades by the architectural establish-
ment because of his contentious the
ories and unorthodox buildings,
Architect Robert Venturi
Venturi in recent years has been
202
embraced by the profession and by
major clients.
Fellows in 1976, the architect att
"My reaction is delight Venturi
his firm, Venturi, Rauch and Scott.
said yesterday. It's nice to be rec-
Brown, received the AIA's presti-
ognized-children like it and adults
glous Firm Award in 1985-Three
like it, and need it!
years later re-controversial Vanna
Although he was rejected for at
Venturi hous hich be designe Line
mission into the Amer can Ins there the early 605 for his mother
of Architects' honorary College of
#See VENTURE, Call
Pritzker
VENTURL, From C1
Chestnut Hill, Pa., was given the AIA's
Twenty-Five Year Medal in honor of
its "enduring significance."
The firm today (its name was
changed to Venturi, Scott Brown and
Associates in 1989) has many impor-
tant buildings in planning or under con-
struction. Two prestigious public build-
ings-an addition to the National
The Vanna Venturi House, which Robert Venturi designed for his mother.
Gallery of Art in London and an art
museum in Seattle-will be completed
Their carefully spun arguments and
oughly original analysis of Philadel-
this year. Several others, including a li-
freshly minted phrases-"Less is a
phia's neglected South Street in 1968,
beary for Bard College in Upstate New
bore," in opposition to Ludwig Mies
and including the important 1978
Yodgia medical research facility for
van der Robe's dictum, "Less is more";
guidelines for the art deco district in
UCLA and a new orchestra hall in Phil-
or "Main Street is almost all right"; or
Miami Beach and the recent feasibility
adelphia; are in process.
"Our buildings must survive the ciga-
study for the Massachusetts Museum
-Venturi, born in Philadelphia and ed-
rette machine"-became calling cards
of Contemporary Art. Another special-
ucated at Princeton University, went
of a new generation of architects and
ty has been the design of exhibi-
to work on his own in Philadelphia in
allowed "architects and consumers the
tions-Izenour's forte-including the
the late, '50s. For years, he would later
freedom to accept inconsistencies in
influential "Signs of Life: Symbols in
write, he was able to maintain an "al-
form and pattern, to enjoy popular
the American City," organized for the
most unsuccessful" practice with a suc-
taste," according to the Pritzker jury.
Smithsonian Institution in 1974.
cession of "little houses" and alter-
One of Venturi's more acclaimed
Having produced designs for chairs,
ations- that brought lots of attention,
mid-career buildings is the Benjamin
tables, silver sets, teapots, mirrors,
pro and con, and not much money.
Franklin Court (1976) in Philadelphia,
glassware, crockery, cuckoo clocks and
-These early works were notable for
comprising an underground museum
other things, Venturi also was one of
their economy, billboard-like clarity
and a fetching "ghost house" of white
the first to revive the cross-over prac-
and pace-setting complexity. They
struts where Franklin's actual house
tice of architect-designed furniture and
both contradicted and expanded then-
once stood. Shortly after that the ar-
decorative objects.
reigning conventions of modern archi-
chitect was more or less adopted by his
Venturi's sole permanent contribu-
tecture: With its pitched-roof and cen-
alma mater, Princeton, for which he
tion to Washington is a big one, and at
tered entrance, the Vanna Venturi
has done many restorations and new
so a bit of unfinished business. In the
house, for instance, created "an almost
buildings-including the prize-winning
late 70s, he designed Western Plaza
symbolic image of a house," Venturi
Gordon Wu residence hall (1980) and
(renamed Freedom Plaza) for the
office wrote. Likewise, Fire Station No.
the Fisher/Bendheim classroom build-
Pennsylvania Avenue Development
4: (1966) in Columbus, Ind., was the
ing for economics and international fi-
Corp. His plans for high, vista-framing
quintessential image of a small-town
nance (1991).
pylons and low-scale models of the
fre house.
In addition to writing and building,
White House and Capitol were scut-
And yet, with their carefully staged
the firm has distinguished itself with an
tled, however, and only the "table" of
asymmetries in both plan and eleva-
immense variety of urban design and
the plaza, comprising the central part
tion, both were also erudite exercises
planning studies-Scott Brown's par-
of the L'Enfant plan laid in stone, was
that could be interpreted in opposite
ticular strength-starting with a thor-
built.
ways: big-little, open-closed, good-bad,
Modeled on the Nobel prizes, the
new-old. At the time he was designing
Pritzker award was created by the
these buildings, Venturi was writing
Pritzker family of Chicago and is ad-
Complexity and Contradiction in Ar-
ministered by the Hyatt Foundation.
chitecture," published in 1966.
The jury is chaired by National Gallery
This "thin but potent volume," said
Director J. Carter Brown and includes
the Pritzker jury, "is generally ac-
Fiat Chairman Giovanni Agnelli, critic
knowledged to have diverted the main-
Ada Louise Huxtable, editor. Toshio
stream of architecture away from mod-
Nakamura, architects Ricardo Legor-
ernism." In it, the architect declared
reta and Kevin Roche, and board chair-
that he was for "elements which are
man Lord Rothschild of the National
hybrid rather than 'pure,' compromis-
Gallery of Art in London.
ing rather than 'clean,' distorted rather
than 'straightforward,' ambiguous
rather than 'articulated,' perverse as
well as impersonal, boring as well as
'interesting,' conventional rather than
designed'
In this book and later writings, such
as the 1972 "Learning from Las Ve-
gas," Venturi and his colleagues, nota-
bly Dehise Scott Brown (his wife and
partner) and Steven Izenour, added
much to the general understanding of
the urban context of architecture, to
the appreciation of vernacular struc-
turestand to the widening conceptions
both of historic preservation and new
architecture.