Showing posts with label Swarthmore College. Show all posts
Showing posts with label Swarthmore College. Show all posts

Monday, March 19, 2012

HEY, LITTLE GIRL (DEL SHANNON)











Last night I walked throughthe streets of my town.
I saw the shadow of a girl Ihad known.
And through the shadows Icould see many tears,
And so I walked up and Isaid:

Hey, little girl,
Let me fix your broken heart.
I'll replace each broken partthat's gone.
Because I know I could Try,
Hey, little girl, my heart'sbeen broken too.





 




DelShannon: Hey Little Girl (Live In England)(Link)

Sunday, November 20, 2011

The First Of The Gang To Die








     A few years ago, I received a sad telephone callinforming me that one of my good friends from college, Peter Rothwell, hadpassed away.


    “Rocky,” as he was generally known (the childhood nicknamecame from the Rocky & Friends cartoon show and stuck), and I had been intouch on-and-off during the years since college, but not recently.  I sort of knew what he was doing and where helived, but I didn’t know that he was ill. 

      Rocky was a lovely guy – kind, extremely intelligent,musical and quiet – tending toward the solitary, but not unsociable when hefound himself in a crowd. Because he was so modest and reticent by nature, he exuded asort of mystery and was (I don’t think I’m alone in feeling this) a bit charismatic.  That is to say, when you were in his companyyou liked being there and wanted more.

  We last saw each other sometime in 1999.  Rocky traveled uptown from the financialdistrict where he worked to join me for lunch at a beautiful restaurant I liked a lot called Aquavit, whichwas located in the former Rockefellertownhouse on West 54th Street where Nelson Rockefeller sighed his last sigh.  (Quite a story there.  Perhaps you remember it.)  







     Rocky looked good. There was silver through his hair now,but he was fit and still smoking cigarettes like a professional.  It was great to see him again and unexpectedly uplifting to find him pretty much unchanged so many years after graduation. He began by telling me about his career. Like so many of my college friends, after a false start in graduateschool (NYU for psychology), he gravitated to software design. His currentwork had him developing new and improvedways for printing computer codes on bank checks.  He related as much detail as he probably thought Icould stand on this subject and then turned to other matters,including a fairly shocking and politically incorrect story about LeonKlinghoffer, the wheelchair-bound American who was pushed off the Achille Lauro in 1985 by Palestinian terrorists.  Rocky told methat he had once worked for Klinghoffer and that nobody who knew the man (who was apparently chronically obstreperous) was the least bit surprisedthat he would be thrown overboard bysomeone someday -- it was only amatter of time.





The tunny or false albacore



   Then he got to the heart of the matter. 

     He wanted to tell me what his life was all about and why, inessence, we would probably never speak again.  

      Rocky had grown up as a fisherman.  I knew that he enjoyed spending time on thewater with his father, joined sometimes by his brother and sister, more thanjust about anything. In adulthood, Rocky’s fishing took an usual turn, however.   The pursuitof striped bass eventually gave way to the greater challenge of ocean saltwaterflyfishing (mainly off Montauk, New York) and a quest for an inediblesportfish known as false albacore or tunny. Tunny-fishing was a never-ending, early morning-to-night gameof Nearly-Impossible-To-Catch-And-Immediately Release, and Rocky explained that this was now essentially hiswhole life.  All other professional andpersonal activities were subservient to and waited upon this one.







     He didn’t pontificate; he didn’t bore.  In fact, even though I’m not a fisherman and to a large degree find sportfishing objectionable as an activity, Ifound what he said utterly engrossing. He knew and associated with other fishermen (on land only; on the water, withthe possible exception of family members, he worked alone), but this wasbasically solitary, highly concentrated and satisfying intellectual andphysical work for him. You always strove toimprove your performance, but the results were eternally uncertain; you could never confidently predict or “game” the outcome.   When we got up from the table, Rocky surprised me by giving me apicture of himself on his boat, and at that moment I really did feel pretty sure I would never seehim again.  Weird, but by that time I wascoming to appreciate that life was weird.

     After Rocky passed away, I learned that he was basically alegend on the east end of Long Island, considered one of great men of his sport, as well as being acapital fellow.

     What prompted this reverie (and this may seem like an oddjump) was an article I read yesterday in the Swarthmore College Daily Gazette, an online campusnewspaper, recounting how Swarthmore students, in the wakeof the various national “Occupy” events, had now embraced the despicable “humanmicrophone” as a preferred form of on-campus political “communication.” 







"Scroll neck" from Ampeg bass guitar. This was the instrument Rocky played (quite well).  Rick Danko also.



     Apart from the fact that the horrid (and stupidly named) "human microphone" easily sets up the obvious, butfunny, “I [State Your Name]”/ “I [State Your Name]” call-and-response joke fromthe movie “Animal House,” the very idea of students at my (or any) college parrotingin monotone unison quasi-celebration other people's unmediated, unconsidered words, rather than developing, speaking andexchanging their own thoughts, is sick-making. Also (and this is getting Swarthmore-specific), our campus is tiny and students do not lack means and opportunity for electronic amplification (or anything else for that matter) there.  Consequently, the "human microphone" device is gratuitous, self-indulgent and (all-time favorite college word incoming), "fascist." 








Ampeg bass guitar with distinctive scroll neck.



     My latefriend Peter Rothwell was a quiet person who always spoke his thoughts deliberately, forthrightly and confidently.  “Critical thinking,”that contemporary campus cliche, came naturally to him and grew out of his brain, his education and his personal discipline; he didn’tneed to put quotation marks around the phrase, pose in front of a mirrorsinging “Look At Me, I’m Wonderful” (a favorite Bonzo Dog Band song of ours) reflecting on its or his own personal glory, or amplify his non-musical thoughts through a humanmicrophone.  (For his musical thoughts, he had a big bass amp.)  If Peter knew about this Swarthmore development (andI hope and trust he does), he’s shaking his head in amused disbelief, lighting upanother Lucky and planning his next foray on Long Island Sound with no worriesabout the future, glad that we graduated and grew up.






Saturday, April 16, 2011

Francisco de Goya y Lucientes (30 March 1746 – 16 April 1828) -- Anniversary










Francisco de Goya y Lucientes, The Duke and Duchess of Osuna and their Children, 1787-1788


          This morning, in ArtDaily.org's "On a Day Like Today" feature, I read and noted that it was the one-hundred eighty-third anniversary of Francisco Goya's death in Bordeaux, France.

          When I was growing up, my family (my mother, particularly) made a practice to honor death anniversaries, something my wife disagrees with. 

          Caroline much prefers marking the birthdays of the departed instead and I’m generally inclined to follow suit.

          In Goya's case, however, since this morning's apprehension came up so suddenly, and because he's Goya (meaning a very great artist), I think making an exception today is entirely appropriate.





Francisco de Goya y Lucientes, La Leocadia o Una manola, 1819-23



          I first deeply experienced Goya's art in a Modern Painting survey course given by Professor Hedley Rhys during my sophomore year at Swarthmore College.  The following year, in a Master Printmakers seminar taught by Professor Robert Walker, I was extremely fortunate by being given the opportunity to study and actually physically handle many of Goya’s graphic works (including Los Caprichos, The Disasters of War and others) at the Lessing Rosenwald Collection over the course of many Wednesday afternoons during 1973 and 1974.




Francisco de Goya y Lucientes, Capricho 43. El sueño de la razón produce monstruos, 1797.


          I once read someone's comment describing Goya as the last of the Old Masters and the first modern artist.  While one can (and people would) quibble that observation to death (these kinds of arguments can be fun and are occasionally elucidating), the remark also makes a good deal of sense also and resonates in the mind and eye.  One definitely feels the tug of the pre-Industrial Revolution world looking back toward classical antiquity (and, frankly, much further back in time and consciousness) in Goya.  But, as the Surrealists, among others, noticed, Goya powerful thought-images also seem quite contemporary in the way he depicts and seems to unravel deep human psychology in his portraiture and other works.   The penetrating and lucid renderings of a jaundiced waking eye and of a bad-dreaming eye are always fully present-tense expressions of self.  They seem as vivid as today and as imminent as tomorrow. 



  
Francisco de Goya y Lucientes, Bandit Killing a Woman, 1798


          Discovering Goya coincided with the beginning of my own transformation from being primarily literary to visual in orientation, which was a necessary adaptation for someone trying to pursue a career in art history and the mental change that has probably afforded me the greatest pleasure in life.   Somewhere along the way, I recall reading about Goya's mastery and control of the "gray" or neutral palette and how this allied him with  earlier artists like Velasquez, Rembrandt and Chardin and later masters like Manet, Whistler and Juan Gris.  I remember pondering this deeply and trying to discern where that perception led and how it might be applied, leading me to devise and spin for a period all sorts of foolish, expansive student theories that never affected or influenced anyone’s thinking but my own. 

          In the end, I became a lawyer (in the immortal words of The Ethiopians, "Everything Crash"). 

          Goya remained Goya, something fine, great and immortal in the world.





Francisco de Goya y Lucientes, Mujeres riendo, 1819-1823


          It's funny -- for the last couple of years I've thought of moving to Bordeaux.  We shall see. 





Commemorative plaque outside Goya's House, Bordeaux, France