Showing posts with label Ezra Pound. Show all posts
Showing posts with label Ezra Pound. Show all posts

March 26, 2018

20,000 Vinyl LPs 133: Robert Frost reads his poetry ~ The Road Not Taken

Robert Frost ~ reads his poetry 
vinyl LP front cover  detail
detail photo by Styrous®


Robert Lee Frost was an American poet whose work was initially published in England before it was published in America. He was known for his command of American colloquial speech and his realistic depictions of rural life, often in New England in the early twentieth century, using them to examine complex social and philosophical themes.      
              
             
Robert Frost ~ reads his poetry 
vinyl LP front cover 
photo by Styrous®


The Road Not Taken is one of his most popular works and was published in 1916 as the first poem in the collection Mountain Interval. It has been said it is one of his most misunderstood poems, claiming that it is not simply a poem that champions the idea of "following your own path", but that the poem, they suggest, expresses some irony regarding that idea.     

Rode was a poem that was required reading in an English class I had when I was at the end of my junior year in high school. Other than, Roses are Red, etc., I'd had no exposure to poetry prior to reading Rode and it opened a new world for me. Each of us in the class was required to read the poem with the phrasing each student felt while reading and it was amazing that even though the words never changed, how varied it came out at the end of each reading due to intonation. I reflected on it during the summer break and it was one of the poems I came to love, as, by the time I returned from summer vacation for my senior year, it inspired me to do my "own thing" a decade before it was THE "thing" to do; of course, THAT got me into trouble. Knowledge can be a dangerous thing. However, it's possible senior year is just the time most teenagers act up. I don't know this as a fact but it might also have inspired the counterculture hippy movement.   

An alternative narrative, in fitting with the spirit of the poem, is suggested in a New Zealand, 2008, commercial from Ford Motor Company (YouTube link below):   
A young man hiking through a forest is abruptly confronted with a fork in the path. He pauses and looks back and forth between his options. As he hesitates, images from possible futures flicker past: the young man wading into the ocean, hitchhiking, riding a bus, kissing a beautiful woman, working, laughing, eating, running, weeping. The series resolves at last into a view of a different young man, hitchhiking on the side of a road. As a car slows to pick him up, we realize the driver is the original man from the crossroads, only now he’s accompanied by a lovely woman and a child. The man smiles slightly, as if confident in the life he’s chosen and happy to lend that confidence to a fellow traveler.  
According to the Poetry Foundation (link below), Frost wrote The Road Not Taken as a joke for a friend, the poet Edward Thomas. When they went walking together, Thomas was chronically indecisive about which road they ought to take and—in retrospect—often lamented that they should, in fact, have taken the other one.    

Robert Frost - 1913 
photographer unknown


According to the Paris Review (link below) the popularity of The Road Not Taken appears to exceed that of every other major twentieth-century American poem, including those often considered more central to the modern (and modernist) era.   
    
The Road Not Taken is a narrative poem. It reads naturally or conversationally, and begins as a kind of photographic depiction of a quiet moment in a woods. It consists of four stanzas of 5 lines each. The first line rhymes with the third and fourth, and the second line rhymes with the fifth (a b a a b). The meter is basically iambic tetrameter, with each line having four two-syllable feet. Though in almost every line, in different positions, an iamb is replaced with an anapest. The variation of the rhythm gives naturalness, a feeling of thought occurring spontaneously, and it also affects the reader's sense of expectation. In the only line that contains strictly iambs, the more regular rhythm supports the idea of a turning towards an acceptance of a kind of reality: "Though as for that the passing there … " In the final line, the way the rhyme and rhythm work together is significantly different, and catches the reader off guard. There is an audio file, from this album, of Robert Frost himself reading The Road Not Taken, as well as a very funny documentary of him on YouTube (links below).   

The Road Not Taken  
Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.
 

Robert Frost ~ reads his poetry 
vinyl LP back cover 
album photo by Ivan Massar
photo of album by Styrous®


Frost was born on March 26, 1874, and grew up in San Francisco, California. His father was journalist William Prescott Frost, Jr. who descended from Nicholas Frost of Tiverton, Devon, England, who had sailed to New Hampshire in 1634 on the Wolfrana. His mother, Isabelle Moodie, was a Scottish immigrant.        

In 1894, he sold his first poem, My Butterfly. An Elegy (published in the November 8, 1894, edition of the New York Independent) for $15 ($424 today). He then went on an excursion to the Great Dismal Swamp in Virginia. He married Elinor Miriam White at Lawrence, Massachusetts, on December 19, 1895.        

Robert Frost ~ reads his poetry 
vinyl LP back cover detail
album photo by Ivan Massar
detail photo of album by Styrous®


Frost worked a farm his grandfather purchased for him for nine years while writing early in the mornings and producing many of the poems that would later become famous. His farming proved unsuccessful and he returned to the field of education as an English teacher at New Hampshire's Pinkerton Academy from 1906 to 1911, then at the New Hampshire Normal School (now Plymouth State University) in Plymouth, New Hampshire.   

In 1912, he sailed with his family to Great Britain, settling first in Beaconsfield, a small town outside London. His first book of poetry, A Boy's Will, was published the next year. While there, he met Edward Thomas (a member of the group known as the Dymock poets and Frost's inspiration for The Road Not Taken), T. E. Hulme, and Ezra Pound.     

In 1924, Frost won the first of four Pulitzer Prizes for the book New Hampshire: A Poem with Notes and Grace Notes. He would win additional Pulitzers for Collected Poems in 1931, A Further Range in 1937, and A Witness Tree in 1943.        
  
    
Robert Frost ~ reads his poetry 
vinyl LP back cover detail
album photo by Ivan Massar
detail photo of album by Styrous®


From 1921 to 1962 Frost spent almost every summer and fall teaching at the Bread Loaf School of English of Middlebury College, at its mountain campus at Ripton, Vermont. The college now owns and maintains his former Ripton farmstead as a national historic site near the Bread Loaf campus.     

In 1934, he began to spend winter months in Florida. In 1940, he bought a 5-acre (2.0 ha) plot in South Florida, Florida, naming it Pencil Pines. Helen Muir writes, "Frost had called his five acres Pencil Pines because he said he had never made a penny from anything that did not involve the use of a pencil. He spent his winters there for the rest of his life.      


Robert Frost ~ reads his poetry 
vinyl LP back cover detail
detail photo of album by Styrous®

In 1960, Frost was awarded a United States Congressional Gold Medal, "In recognition of his poetry, which has enriched the culture of the United States and the philosophy of the world," which was finally bestowed by President Kennedy in March 1962. Also in 1962, he was awarded the Edward MacDowell Medal for outstanding contribution to the arts by the MacDowell Colony.        

The poet/critic Randall Jarrell praised Frost's poetry and wrote, "Robert Frost, along with Stevens and Eliot, seems to me the greatest of the American poets of this century." Jarrell lists a selection of the Frost poems he considers the most masterful, including The Witch of Coös, Home Burial, A Servant to Servants, Directive, Neither Out Too Far Nor In Too Deep, Provide, Provide, Acquainted with the Night, After Apple Picking, Mending Wall, The Most of It, An Old Man's Winter Night, To Earthward, Stopping by Woods on a Snowy Evening, Spring Pools, The Lovely Shall Be Choosers, Design and Desert Places.    

Robert Frost entered the hospital on December 3, 1962 and underwent an operation on Dec. 10 for removal of a urinary obstruction. Subsequently he had a heart attack and blood clots settled in his lungs; He died on January 29, 1963; he was 88 years old.             

President John F. Kennedy was among Government and literary figures who paid tribute to Mr. Frost on January 29, 1963.       

New recordings of Frost readings have been discovered at Jacket2; Chris Mustazza reveals the story behind a trove of never-before-heard audio recordings of Robert Frost, which are now available at PennSound. (link below).     




     


Robert Frost ~ reads his poetry 
vinyl LP back cover detail
album photo by Ivan Massar
detail photo of album by Styrous®


Ivan Massar, who photographed Frost for the album's back cover, rose to prominence during the 50s and 60s, the heyday of photojournalism. On assignment and on his own behest, he documented historical events and the daily lives of ordinary people. He embraced life with humor, curiosity, and warmth, and these personal gifts are reflected in his work. His photographs endure as  visual interpretations of the human experience across cultures and time.    


Robert Frost ~ reads his poetry 
vinyl LP, side 1
photo by Styrous®



Robert Frost ~ reads his poetry 
vinyl LP label, side 1
photo by Styrous®




Robert Frost ~ reads his poetry 
vinyl LP, side 2
photo by Styrous®



Robert Frost ~ reads his poetry 
vinyl LP label, side 2
photo by Styrous®
       
     
Tracklist:

Side 1:

A1 - The Road Not Taken    
A2 - The Pasture    
A3 - Mowing    
A4 - Birches    
A5 - After Apple-Picking    
A6 - The Tuft Of Flowers; My November Guest; Acquainted With The Night; Tree At My Window    
A7 - West-Running Brook    
A8 - Death Of A Hired Man    

Side 2:

B1 - The Witch Of Coos    
B2 - Mending Wall    
B3 - One More Brevity    
B4 - Departmental; A Considerable Speck    
B5 - Why Wait For Science; Etherealizing; Provide, Provide    
B6 - One Step Backward Taken; Choose Something Like A Star; Happiness Makes Up In Height    
B7 - Reluctance    

Credits:

    Design – Matthew Leibowitz
    Painting – Ben-Zion
    Photography By – Ivan Massar
    Written-By, Read By – Robert Frost

Notes:

Recorded in Cambridge, Mass. - May 21, 1956.
Barcode and Other Identifiers

    Matrix / Runout (A-side runout, etched): TC 1060A T1 Λ1
    Matrix / Runout (B-side runout, stamped): TC 1060B-1A lll
      
Robert Frost ‎– Reads His Poetry
Label: Caedmon Records ‎– TC-1060
Format: Vinyl, LP, Album
Country: US
Released: 1957
Genre: Non-Music
Style: Poetry
      
       
         
Net links:        
           
Robert Frost ~ Selected works              
The Paris Review ~ The Most Misread Poem in America
Poetry Foundation ~ The Road Not Taken was a joke   
Jacket Clipping ~ New Frost Recordings on PennSound      
NY Times ~ Robert Frost Dies at 88; Kennedy Leads in Tribute   
        
YouTube links:        
          
Robert Frost ~ The Road Not Taken       
PBS review ~ What we’ve gotten wrong about this Robert Frost classic     Robert Frost Documentary - 1963 (40 min, 53 sec.)      
The Road Not Taken Ford Motor Company commercial      
        


"Happiness makes up in height what it lacks in length." 
                             ~ Robert Frost 

       
                      
Styrous® ~ Monday, March 26, 2018  




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February 27, 2018

Dazzle ships, Vorticist art & BLAST



this is a continuation of the OMD, Dazzle Ships album
 (link below)

         

       
SS West Mahomet in dazzle camouflage - 1918



Dazzle camouflage, also known as razzle dazzle (in the U.S.) or dazzle painting, was a family of ship camouflage used extensively in World War I, and to a lesser extent in World War II and afterwards. Credited to the British marine artist Norman Wilkinson, it consisted of complex patterns of geometric shapes in contrasting colours, interrupting and intersecting each other.    

The 1919 painting, Dazzle-ships in Drydock at Liverpool, by Edward Wadsworth was the inspriation for the album, Dazzle Ships, by Orchestral Manoeuvres in the Dark (OMD), released in 1983 (link below).    

In 1914, an embryologist named John Graham Kerr approached Winston Churchill and proposed a new way to camouflage Britain’s ships. Taking his inspiration from animals like the zebra and giraffe, he suggested that instead of trying to conceal their ships, they make them so glaringly conspicuous that it would be nearly impossible to target them.    

HMS Nairana (1917)


Unlike other forms of camouflage, the intention of dazzle is not to conceal but to make it difficult to estimate a target's range, speed, and heading. Wilkinson explained in 1919 that he had intended dazzle primarily to mislead the enemy about a ship's course and so to take up a poor firing position.


Front view of Siboney - May 1918


The trick was in the paint, which formed optical illusions along the hulls of the ships. The goal was to make it so disjointed, so visually confusing, that rangefinders wouldn’t be able to get a fix on the ship’s location, size, and speed. The rangefinders used to pinpoint enemy ships at the time worked by creating two half-images of a target; when the operator maneuvered the half-images into a single, unbroken image, he could calculate the ship’s distance, allowing them to calibrate the guns for an accurate shot.


painting by Norman Wilkinson of a moonlit convoy 
wearing Dazzle camouflage, 1918


But if you looked at a ship with dazzle camouflage, the two half-images still ended up looking like a mismatch, even when they were perfectly aligned. With their patterns of zigzags, spirals, and complex geometric shapes, the ships didn’t look like ships anymore; all the distinguishing features normally used to identify a ship’s orientation—mainly the stern and the bow—were lost in the illusion.


HMS Argus displaying a coat of dazzle camouflage - 1918


The Admiralty made it a point to use a different paint scheme on every single ship so the enemy couldn’t learn to use the patterns to identify specific classes of ship. As a result, it was hard to tell what worked and what didn’t. There was no standard; one ship could be painted bright blue with red spirals, and another might be painted with intersecting black and white bars. If one of those went down, it could have been because of the colors, or the pattern, or just because the enemy got lucky. There were too many factors involved to fairly evaluate it.

Every ship was given a different pattern. The Admiralty called in a creative army of artists, sculptors, and designers to create each design. While some were just crazy jumbles of lines and shapes, others were full-on optical illusions, creating such effects as making the center of the ship appear higher than either side. 



Dazzle has been compared to the contemporary Vorticist art that was partly inspired by Cubism. Though the style grew out of Cubism, it is more closely related to Futurism in its embrace of dynamism, the machine age and all things modern (cf. Cubo-Futurism). However, Vorticism diverged from Futurism in the way it tried to capture movement in an image. In a Vorticist painting modern life is shown as an array of bold lines and harsh colours drawing the viewer's eye into the centre of the canvas.   

 The Mud Bath, 1914 
Oil on canvas by David Bomberg.

The name Vorticism was given to the movement by Ezra Pound in 1913, although Wyndham Lewis, usually seen as the central figure in the movement, had been producing paintings in the same style for a year or so previously.    

 Workshop painting by Wyndham Lewis, c.1914


The movement was announced in 1914 in the first issue of BLAST, which contained its manifesto and the movement's rejection of landscape and nudes in favour of a geometric style tending towards abstraction. It became the literary magazine of that art movement in Britain but only two editions were published: the first on July 2, 1914 (dated 20 June 1914). The first edition contained many illustrations in the Vorticist style by Jacob Epstein, Lewis and others.     

Italian futurist Filippo Tommaso Marinetti gave a series of lectures at the Lyceum Club, in London in 1910, aimed at galvanizing support across Europe for the new Italian avant-garde. In his presentation  he addressed his audience as "victims of .... traditionalism and its medieval trappings," which electrified the assembled avant-garde. Within two years, an exhibition of futurist art at the Sackville Gallery,  in  London, brought futurism squarely into the popular imagination, and the press began to use the term to refer to any forward-looking trends in modern art.     

The second (and last) edition of BLAST, by Wyndham Lewis and friends, included an article by Henri Gaudier-Brzeska; it was written and submitted from the trenches of WWI.               


BLAST second edtision - July 1915





Dazzle camouflage ships

Depiction of how Norman Wilkinson intended dazzle camouflage to cause the enemy to take up poor firing positions.      





Eyepiece image of a warship in a naval rangefinder, image halves not yet adjusted for range. The target's masts are especially useful for rangefinding, so Kerr proposed disrupting these with white bands.                     
          


     
Claimed effectiveness: Artist's conception of a U-boat commander's periscope view of a merchant ship in dazzle camouflage (left) and the same ship uncamouflaged (right), Encyclopædia Britannica, 1922. The conspicuous markings obscure the ship's heading.        

dazzle camouflage (left), uncamouflaged (right) 
  December 31, 1921 

 
         
 naval coincidence rangefinder, c. 1930 
Polish destroyer ORP Wicher (sunk September 3, 1939) 


        
HMT Olympic, sister ship of RMS Titanic, in dazzle camouflage while in service as a World War I troopship, from September 1915.               


RMS Olympic in dazzle camouflage during WWI


RMS Olympic in dazzle camouflage front view



Diagram of the camouflage pattern of the S.S. Alban produced for the U.S. Navy by Thomas Hart Benton, 1918.        

 camouflage pattern diagram 
by Thomas Hart Benton - 1918 





American ships in dazzle camouflage 
painting by Burnell Poole - 1918



HMS President, painted by Tobias Rehberger in 2014 to commemorate the use of dazzle in World War I.    13 February 2015.      

HMS President painted by Tobias Rehberger in 2014


 

Viewfinder link:     
        
Orchestral Manoeuvres in the Dark (OMD) ~ Dazzle Ships       
       
Net links:     
        
KnowledgeNuts ~ The Ludicrous Dazzle Camouflage Of Britain  
Merseyside Maritime Museum ~ Dazzle ship     
Public Domain Review ~ Dazzle Ships
Huckberry ~ Razzle Dazzle Camouflage       
       
YouTube links:     
        
Dazzle Painting
James May's 20th Century (BBC) ~ Dazzle Camouflage     
Naval Camouflage of WW1 and WW2 (Razzle Dazzle)       
Dazzle Camouflage: Hiding in Plain Sight Exhibition       
          
      

My thanks to Lon for inspiring this blog. 

          
Styrous® ~ Tuesday, February 27, 2018