Eric von Schmidt R.I.P.

From Westportnow.com

:

Saturday, February 03, 2007

Famed Artist and Musician Eric von Schmidt Dies at 75

Eric von Schmidt, a renowned Westport artist and pioneering figure in the folk music explosion of the late 1950s and early 1960s whose works touched the lives of generations of musicians, died Friday at a Fairfield convalescent home. He was 75.

His daughter Caitlin von Schmidt of Westport said her father had been in ill health since suffering a stroke in September. She said a memorial service will be announced later.

Eric von Schmidt, a Westport native and 1949 Staples High School graduate, was the son of the late illustrator Harold von Schmidt whose rustic portraits of the American West appeared on Saturday Evening Post covers and in other magazines.

He perhaps became best known as a folk and blues singer-songwriter of the folk/blues revival of the 1960s, a key part of the East Coast folk scene and crowd that included Bob Dylan and Joan Baez.

Dylan wrote liner notes for von Schmidt’s 1969 album “Who Knocked the Brains Out of the Sky.”

“He could sing the bird off the wire and the rubber off the tire,” Dylan wrote. “He can separate the men from the boys and the note from the noise. The bridle from the saddle and the cow from the cattle. He can play the tune of the moon. The why of the sky and the commotion of the ocean.”

In 2000, von Schmidt developed throat cancer and became unable to sing. A bout with Lyme disease made it difficult to play the guitar.

In recent years, he worked on a series of paintings called “Giants of the Blues.”

Two years ago, the Westport Historical Society held its “Giants of the Blues 1920-1950” exhibit featuring works by von Schmidt.

Last March, the Westport Schools Permanent Art Collection Committee installed several large-scale paintings from the series in the hallway outside the Staples High School auditorium.

In a fine arts coup for the town, the committee received seven of the paintings on “indefinite loan.”

An obituary in today’s New York Times described von Schmidt as “a frisky, bearded figure who combined a successful career as a painter of big pictures of historical subjects with an exuberant musical style he liked to apply to American folk classics.”

It said Ramblin’ Jack Elliott, the legendary cowboy singer, lauded his spirited approach to the songs of Leadbelly, the legendary blues artist, and the folk songs of Woody Guthrie.

“Eric’s got that wild spirit, and he doesn’t water the music down for polite society,” Elliott told The Boston Globe in 1996, the Times said.

As a small child, von Schmidt watched his father performing miracles week after week in his studio across the driveway from the family’s main house on Evergreen Avenue.

The young von Schmidt painted beside him, sketched with him and often posed for him.

Von Schmidt’s foundation in music came from his mother, Forest Gilmore.

He had bought his first guitar after hearing Leadbelly sing live on a New York radio station in 1948 when he was 17.

Von Schmidt once said of his first time hearing Leadbelly: “This incredible voice … was honey-smooth but had the bite of a buzz-saw cutting through a cement block. It was Leadbelly ’live’ and it changed my life.”

As a teenager, he was encouraged by his parents to visit the Library of Congress in Washington D.C., where he discovered a body of forgotten archival blues recordings. There his second career was born.

Von Schmidt graduated from Staples High School and went briefly to the Art Students League in New York City before being drafted during the Korean War.

After Korea, he received a Fulbright Scholarship to study painting in Italy in 1956-1957.

Upon his return, he moved to Cambridge, Mass., and became a folk and blues singer in the Cambridge coffee house scene and entered the Boston literary field.

His books, “Baby, Let Me Follow You Down,” co-authored with Jim Rooney, won the ASCAP Deems Taylor Award in 1979, and “Notes for American Folk Music” won a Grammy in 1998.

In 2000, he was honored with the ASCAP Foundation Lifetime Achievement Award.

In addition to Caitlin, von Schmidt, who was twice married and divorced, is survived by another daughter, Megan Richardson of Greenfield, Mass., and three grandsons.

“He’ll be missed by a lot of people, and he had a very full and vital life with no regrets,” Richardson told The Associated Press.

Caitlin von Schmidt added, “He did what a lot of people can’t do, which is pretty much live his life by his own rules. That made it hard on the people involved with him … but he was a very loving and generous man.”

ARTHUR EMAIL BULLETIN No. 0066

“COMMAND PERFORMANCE”

The Arthur Magazine Email Bulletin

No. 0066

February 02, 02007

BLOG:

http://www.arthurmag.com/magpie

lameSpace:

http://www.myspace.com/arthurmag

Comments:

editor@arthurmag.com

Get up and get on out,

1. OPENING TOMORROW: ARTHUR PRESENTS “RADICAL LIVING PAPERS” IN NYC

“RADICAL LIVING PAPERS”

A history of the free, alternative, counter-culture and underground press, 1965-75

Gavin Brown’s enterprise at PASSERBY

436 W. 15th Street,

New York, NY 10011

February 2 – March 7, 2007

Opening reception: Friday, February 2, 2007, 6pm

“The Council for the Fortieth Anniversary of The Summer of Love with Gavin Brown’s enterprise opens and invites you to an exhibition of the world’s most radical living papers from a time when the press took risks and voiced opinions.

Celebrating the heyday of alternative magazine publishing in Europe and America, Gavin Brown’s enterprise at Passerby opens an exhibition of more than two hundred original copies, as well as reproductions of these seminal and obscure publications, whose influence reverberates through culture, politics, and society.

         Covering politics, revolutions, evolutions of the planets, freak-outs, love-ins, support of green politics, gay liberation, power to the people, the peace parties, protests, the Panthers, peyote, LSD, pot, fiction, music, poetry, prose, prayers and more. Publications include: Actuel, Avatar, Berkeley Barb, Berkeley Tribe, Black Panther Papers, Digger Papers, Door, East Village Other [EVO], The Fifth Estate, Freep, Grabuge, Hobo-Québec, International Times [it], Los Angeles Free Press, The Oracle, The Organ, Other Scenes, OZ, Rat, The Realist, Re Nudo, Rolling Stone, The Seed, Ann Arbor Sun

.more.

Please note: A press conference to the unified, positive forces actively involved in the community will be held at 6pm on Friday, February 2, 2007, with active members of today’s free press.

Curated by Eva Prinz, Dan Donahue, and Thurston Moore”

More info:

http://www.gavinbrown.biz/passerby/passerby.html

Check out Arik Roper’s poster for the event at

http://www.arthurmag.com/magpie/?p=1646

2. THANKYOUFORLETTINUSBEOURSELVESEVERYWEEK.

Please join us for an evening of music, spirits and celebration 

tonight tonight TONIGHT at 

The Echo Park Social(ist) & Pleasure Club

Thursday, Feb 1

and every Thursday night

10pm-close

at

LITTLE JOY

1477 Sunset Blvd in Echo Park

FREE FREE FREE 

21 & up

presented by ARTHUR Magazine, L.A. RECORD (RETURNING FEB. 15 TO FINISH THE JOB OF FIXING L.A.’S MUSIC SCENE!!!!!) and the good ol’ Journal for Aesthetics and Protest

Tonight’s deejays will be 

10pm-1100pm: a special unnamed somebody spinning soul music (f/c Sly Stone remasters, etc)

1100pm-1230am: Arthur Art Directors Mark Frohman & Molly “The New Herbalist” Frances

1230am – close: Arthur contributor Peter Relic

Tonight’s bartender will be Arthur Magazine’s “Do the Math” pundit Dave Reeves. 

If you were there last week, you heard deejay ZACH COWIE play records by

little feat

david blue

bobbie gentry

the beach boys

dino valente

led zeppelin

norman greenbaum

gandalf

ron cornelius

buckingham nicks

denny doherty (rip, our brother)

johnny darrell

steely dan

randy newman

tony joe white

nrbq

robert palmer

grateful dead

neil young

supa

fotheringay

carole king

wimple winch

and 

thunderclap newman

(not necessarily in that order)

4. CAN YOU DEAL WITH THE ARTHURMAGPIE BLOG

http://www.arthurmag.com/magpie/

5. LAST WEEK’S BENEFIT FOR ALL-AGES L.A. HOTSPACE IL CORRAL….

…was a triumph raising over $1500 for a brand new club for this worthy venue! Congrats to everyone!

How did you get so damn beautiful,

Arthur’s Little Helpers

Atwater Village, California

ARTHUR presents…

(poster by Arik Roper)

RADICAL LIVING PAPERS
A history of the free, alternative, counter-culture and underground press, 1965-75

Gavin Brown’s enterprise at PASSERBY
436 W. 15th Street,
New York, NY 10011

February 2 – March 7, 2007

Opening reception: Friday, February 2, 2007, 6pm

The Council for the Fortieth Anniversary of The Summer of Love with Gavin Brown’s enterprise opens and invites you to an exhibition of the world’s most radical living papers from a time when the press took risks and voiced opinions.

Celebrating the heyday of alternative magazine publishing in Europe and America, Gavin Brown’s enterprise at Passerby opens an exhibition of more than two hundred original copies, as well as reproductions of these seminal and obscure publications, whose influence reverberates through culture, politics, and society.

Covering politics, revolutions, evolutions of the planets, freak-outs, love-ins, support of green politics, gay liberation, power to the people, the peace parties, protests, the Panthers, peyote, LSD, pot, fiction, music, poetry, prose, prayers and more. Publications include: Actuel, Avatar, Berkeley Barb, Berkeley Tribe, Black Panther Papers, Digger Papers, Door, East Village Other [EVO], The Fifth Estate, Freep, Grabuge, Hobo-Québec, International Times [it], Los Angeles Free Press, The Oracle, The Organ, Other Scenes, OZ, Rat, The Realist, Re Nudo, Rolling Stone, The Seed, Ann Arbor Sun….more.

Please note: A press conference to the unified, positive forces actively involved in the community will be held at 6pm on Friday, February 2, 2007, with active members of today’s free press.

Curated by Eva Prinz, Dan Donahue, and Thurston Moore

Where global climate change denier scientists come from.

Scientists offered cash to dispute climate study

Ian Sample, science correspondent
Friday February 2, 2007
The Guardian

Scientists and economists have been offered $10,000 each by a lobby group funded by one of the world’s largest oil companies to undermine a major climate change report due to be published today.

Letters sent by the American Enterprise Institute (AEI), an ExxonMobil-funded thinktank with close links to the Bush administration, offered the payments for articles that emphasise the shortcomings of a report from the UN’s Intergovernmental Panel on Climate Change (IPCC).

Travel expenses and additional payments were also offered.

The UN report was written by international experts and is widely regarded as the most comprehensive review yet of climate change science. It will underpin international negotiations on new emissions targets to succeed the Kyoto agreement, the first phase of which expires in 2012. World governments were given a draft last year and invited to comment.

The AEI has received more than $1.6m from ExxonMobil and more than 20 of its staff have worked as consultants to the Bush administration. Lee Raymond, a former head of ExxonMobil, is the vice-chairman of AEI’s board of trustees.

The letters, sent to scientists in Britain, the US and elsewhere, attack the UN’s panel as “resistant to reasonable criticism and dissent and prone to summary conclusions that are poorly supported by the analytical work” and ask for essays that “thoughtfully explore the limitations of climate model outputs”.

Climate scientists described the move yesterday as an attempt to cast doubt over the “overwhelming scientific evidence” on global warming. “It’s a desperate attempt by an organisation who wants to distort science for their own political aims,” said David Viner of the Climatic Research Unit at the University of East Anglia.

“The IPCC process is probably the most thorough and open review undertaken in any discipline. This undermines the confidence of the public in the scientific community and the ability of governments to take on sound scientific advice,” he said.

The letters were sent by Kenneth Green, a visiting scholar at AEI, who confirmed that the organisation had approached scientists, economists and policy analysts to write articles for an independent review that would highlight the strengths and weaknesses of the IPCC report.

“Right now, the whole debate is polarised,” he said. “One group says that anyone with any doubts whatsoever are deniers and the other group is saying that anyone who wants to take action is alarmist. We don’t think that approach has a lot of utility for intelligent policy.”

One American scientist turned down the offer, citing fears that the report could easily be misused for political gain. “You wouldn’t know if some of the other authors might say nothing’s going to happen, that we should ignore it, or that it’s not our fault,” said Steve Schroeder, a professor at Texas A&M university.

The contents of the IPCC report have been an open secret since the Bush administration posted its draft copy on the internet in April. It says there is a 90% chance that human activity is warming the planet, and that global average temperatures will rise by another 1.5 to 5.8C this century, depending on emissions.

Lord Rees of Ludlow, the president of the Royal Society, Britain’s most prestigious scientific institute, said: “The IPCC is the world’s leading authority on climate change and its latest report will provide a comprehensive picture of the latest scientific understanding on the issue. It is expected to stress, more convincingly than ever before, that our planet is already warming due to human actions, and that ‘business as usual’ would lead to unacceptable risks, underscoring the urgent need for concerted international action to reduce the worst impacts of climate change. However, yet again, there will be a vocal minority with their own agendas who will try to suggest otherwise.”

Ben Stewart of Greenpeace said: “The AEI is more than just a thinktank, it functions as the Bush administration’s intellectual Cosa Nostra. They are White House surrogates in the last throes of their campaign of climate change denial. They lost on the science; they lost on the moral case for action. All they’ve got left is a suitcase full of cash.”

On Monday, another Exxon-funded organisation based in Canada will launch a review in London which casts doubt on the IPCC report. Among its authors are Tad Murty, a former scientist who believes human activity makes no contribution to global warming. Confirmed VIPs attending include Nigel Lawson and David Bellamy, who believes there is no link between burning fossil fuels and global warming.

“One Nervous System’s Passage Through Time”: GRANT MORRISON interviewed by Jay Babcock (Arthur, 2004)

Originally published in Arthur Magazine No. 12/Sept. 2004


“One Nervous System’s Passage Through Time”: Magic works, says genius comic book scribe GRANT MORRISON, and he would know—he’s been exploring it for 25 years. He talks with Jay Babcock about what he’s experienced and What It (Maybe) All Means.

Cover illustration by Cameron Stewart.


Although he has claimed to be an heir to an immortal space dynasty who stays cheerful by imagining that aliens “will probably be turning up to rescue him any day now,” Grant Morrison was in fact born in 1960 to a pair of liberal activist Earthlings. Growing up in the slums of Glasgow, Scotland, where he was brought up by his mother while being “barely educated” in public schools, Morrison developed an early enthusiasm for all things pop and fantastic: rock n roll music, science fiction and fantasy literature, mythology and the occult, punks, mods, beatniks and, of course, foxes and cats.

But the early love that would bear the most fruit was for comic books, which he began writing and drawing as an adolescent. Foregoing higher education and living on his own in a Glasgow ghetto from age 19, Morrison gradually built a career as a comics writer of prodigious imagination, armed with a sense of humor: the title of his first published story was “Time Is a Four-Lettered Word.”

After years of toil writing in the British sci-fi comics world while making psychedelic mod-pop with his Glaswegian band The Makers, Morrison landed work at American publisher DC Comics, where his deeply unsettling Batman graphic novel Arkham Asylum, illustrated by Sandman cover artist Dave McKean, was published in 1989. It remains Morrison’s bestselling work but in the wake of his work since then—his two-year run on Animal Man, in which the lead character, refashioned as a superpowered animal-rights activist, gradually becomes aware that he is a character in a comic book; four years of Doom Patrol, a deeply Surrealist four-color romp starring a superhero team of mental patients; shorter works like the multi-meta-superhero comic Flex Mentallo and the controversial-for-obvious-reasons Kill Your Boyfriend; The Invisibles, an epic for would-be technoccult anarchists; and The Filth, a seriously dark and bizarre 13-issue series, discussed at length in this interview—it seems relatively minor.

“You don’t get much time on Earth to do stuff, so I like to keep busy,” Morrison told one interviewer last year, and so he has: in addition to the aforementioned work, Morrison recently completed a 40-issue run on New X-Men and Seaguy, a picaresque three-issue series drawn by this Arthur’s cover artist Cameron Stewart; an original screenplay for Dreamworks; and scripts for two more three-issue series debuting in the next few months, We3 and Vimanarama.

Recently returned from a wedding honeymoon that included a week’s stay in Dubai (where “they’re building the 21st century out of sand,” he says), Morrison spoke at length by phone from his Glasgow home about the whys and wherefores of his work, his life and the Present Situation in Our World.

Arthur: Did you see the news about the super-strong German toddler? I was reminded where you were saying your run on X-Men was a set of fables for the coming mutant, which you thought might already exist or be on their way.

Grant Morrison: I figured even within 50 years we’ll probably have quite a few superhumans on the planet. There’s something about the superman idea that’s pushing itself closer and closer to reality, to the real-life material workaday world that we can touch. The supercharacters began in the pulps and then worked their way through comics, and they keep moving to more and more extensive mass media. Now it’s everywhere, and it’s become the common currency of culture. I said, way back, almost joking, that I thought the super-people were really trying very hard to make their way off the skin of the second dimension to get in here. They want to be in here with us. They’re colonizing people’s minds, and they’re now colonizing movies, so the next stage is to clamber off the screen into the street. I think what you’re starting to see, with things like this weird kid, and also the experiments that are going on with animals, the cyborg experiments and genetic manipulation that is now possible, is that pretty soon there’s gonna be super-people. You’ll be able to select for superpeople: “I want my kid to have electric powers.” That kind of thing.

And when supermen do come along, what are they gonna want to find? A role model. Like everyone else on the planet. We all want to find people who’ve trod our path before, who can suggest some ways to help us feel significant. So the idea behind a lot of what I was doing in X-Men and really all of my comics is to give these future supermen a template, to say “Okay you’re a superhuman, and maybe it feels a little like this. I’ve tried really hard as one of the last of the human beings to think what it might be like in your world.” Rather than bring them to us, which is what a lot of superhero fiction in the past has tried to do, I’ve tried to go into their world and to understand what’s going on in the space of the comics, and to try and find a way to make that into a morality, almost, or a creed, or an aesthetic, that might make sense to someone who has yet to be born with powers beyond those of mortal man. I think we have to give them images of rescue and ambition and cosmic potency, rather than images of control and fascist perfection.

Arthur: Can a cartoon code of ethics really deal with real-world subtleties?

In a sense it is a cartoon code of ethics, but these will be cartoon people, having to live in a real world. And I think the cartoon code of ethics stands up as well as anything Jesus came up with. Don’t kill. Don’t let bullies have their way. Use your powers in the service of good. I think we should be focusing towards that, rather than providing images of destruction or of despair.

Purely on a conceptual level, the Justice League were created to solve every possible problem, right? [chuckles] That’s what they’re there for. They never fail. These are things that the human imagination has created and put on paper and they exist – they have a more than 40 years’ lifespan. Still existing, still clinging to life, these images. So I think if we’ve created something in our heads that’s so beautiful and so strong and so moral that it can solve all our problems with justice, intelligence and discrimination, then why don’t we use it? Tap into it a little more and understand what these images mean and what they can do for us beyond the obvious. Why was Superman created? That’s the really important thing. What kind of imaginative need was being served by that? And to access that again, to make it vital again, to empower the fiction again, I think, would help our culture deal with some of the implications of its own future.

We have to hang onto the immense power of that imaginative world. Every creed, every weapon, every invention or symphony began as an idea in someone’s head. We’re very good at making insubstantial ideas into physical artifacts or systems of conduct—which is magic, of course, humanity’s greatest skill.

Yeah, you can imagine that the first Aryan superman will probably crawl out of his test tube and want to subjugate us all with the hammers of his fists, but by using the power of imagination right now maybe we can provide his mighty brain with something better than conquest to think about.

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