Debut albums ( ) < Blue Moon | The Marcels, 1961

The Marcels, Blue Moon, 1961 (Colpix Records)

Recorded in New York at RCA Studios





Blue Moon, you saw me standing alone
Without a dream in my heart
Without a love of my own
Blue Moon, you knew just what I was there for
You heard me saying a prayer for
Someone I really could care for
And then there suddenly appeared before me
The only one my arms will ever hold
I heard somebody whisper, 'Please adore me'
And when I looked, the moon had turned to gold
Blue Moon, now I'm no longer alone
Without a dream in my heart
Without a love of my own


"Blue Moon" is a classic popular song written by Richard Rodgers and Lorenz Hart in 1934.
Blue Moon is the debut studio album by the doo-wop group The Marcels. (Pittsburgh, Pennsylvania)
 [ lead Cornelius Harp, bass Fred Johnson, Gene Bricker, Ron Mundy, and Richard Knauss ]
The group was named by Fred Johnson's younger sister Priscilla, after a popular hair style of the day (the Marcell wave).

Marcell Wave

In 1961, the Marcels had three songs left to record and needed one more. Producer Stu Phillips did not like any of the other songs except one that had the same chord changes as "Heart and Soul" and "Blue Moon". He asked them if they knew either, and one knew "Blue Moon" and taught it to the others, though with the bridge or release (middle section - "I heard somebody whisper...") wrong. The famous introduction to the song ("bomp-baba-bomp" and "dip-da-dip") was an excerpt of an original song that the group had in its act.


It may be the first instance of the familiar "50s progression" in a popular song. 
The song was a hit twice in 1949 with successful recordings in the US by Billy Eckstine and Mel Tormé.
Over the years, "Blue Moon" has been covered by various artists including versions by 
Frank Sinatra, Billie Holiday, Elvis Presley, The Mavericks, Dean Martin, The Supremes and 
Rod Stewart. Bing Crosby included the song in a medley on his album On the Happy Side (1962). 
It is also the anthem of English Premier League football club Manchester City, who have adapted the song slightly.


I like simple things | Daphne du Maurier, 1961

Curtis MoffatDaphne du Maurier, 1925-1930


" I like simple things, books, being alone, or with somebody who understands." 

 Daphne du Maurier, The Lover: And Other Stories, 1961


* Living in London throughout the 1920s and early '30s during the era of the “Bright Young Things,” Curtis Moffat produced stylish photographic portraits of leading figures in high society, stage, theater and the arts, including Cecil Beaton, The Sitwells, Nancy Cunard, Lady Diana Cooper, Tallulah Bankhead and Daphne Du Maurier.

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The Fortune Teller | Theda Bara / Django Reinhardt / Basil Rathbone / Marilyn Monroe / Cristobal Balenciega / Edith Piaf (1915 - 1956)


Carnival Fortune Teller, 1938
 Brassaï, The Fortune Teller, 1933                                                     Brassaï, The Fortune Teller, Paris, 1930     
Edith Piaf reading the palm of Django Reinhardt, Paris, 1947
A young man has his palms ready by a fortune teller in Havana, Cuba, 1946
Postcard, 1919                                                                                                         Inge Morath, Cristobal Balenciega with turban, 1956
A crystal ball prediction toy, with its inventor dressed as a fortune teller, on Inventor's day 
at the Ideal Toy Co, Hollis, New York, 1955
André Kertész, Fortune Teller, Paris, 1930
Theda Bara in 1915’s silent film Carmen                                                    Algerian Fortune Teller, 1920s         
Marilyn Monroe getting her palm read by Hassan, the fortune teller, at The Beverly Hills Hotel, 1954
* A fortune teller at the South Louisiana State Fair in Donaldsonville, Louisiana, 1938
** A young Chinese boy has his hand read by an Indian fortune-teller under Elgin Bridge, Singapore, 1948
Chinese fortune teller showing close-up of hand, 1947
Basil Rathbone as Sherlock Holmes, visiting a fortune teller in 'Pursuit To Algiers', 
directed by Roy William Neill, 1945
A fortune teller plies his trade outside a temple in Thailand. In his case is a picture of King Rama IX (Bhumibol or Phumiphon) of Thailand, 1955

Quebrantahuesos / bulletin boards | Nicanor Parra, Enrique Lihn & Alejandro Jodorowsky, 1952

 Quebrantahuesos, Nicanor Parra, Enrique Lihn and Alejandro Jodorowsky, 1952


Quebrantahuesos, Nicanor Parra, Enrique Lihn and Alejandro Jodorowsky, 1952
Quebrantahuesos, Nicanor Parra, Enrique Lihn and Alejandro Jodorowsky, 1952


In 1952, Nicanor Parra, Enrique Lihn and Alejandro Jodorowsky, they created the “Quebrantahuesos,” a series of poetic interventions shaped as collages, presented in the style of a bulletin board. Containing found text and images taken from newspapers, these “bone-breakers” were effective devices appropriating public space and vernacular language, and were exhibited on the walls of downtown Santiago.


Writing / Memory / Invention | Alain Robbe-Grillet, 1922 - 2008


Alain Robbe-Grillet


"The true writer has nothing to say. What counts is the way he says it."


"Memory belongs to the imagination.
Human memory is not like a computer which records things; it is part of the imaginative process, on the same terms as invention."


"The world is neither meaningful, nor absurd. it quite simply is, and that, in any case, is what is so remarkable about it."


"The art of the novel, however, has fallen into such a state of stagnation - a lassitude acknowledged and discussed by the whole of critical opinion - that it is hard to imagine
such an art can survive for long without some radical change. To many, the solution seems simple enough: such a change being impossible, the art of the novel is dying."


"What do young girls dream of? Of the knife and of blood."


"There is a famous Russian cartoon in which a hippopotamus, in the bush, points out a zebra to another hippopotamus: 'You see,' he says, 'now that’s formalism."


"To tell the truth, girls are no longer the way they used to be. They play gangsters, nowadays, just like boys. They organize rackets. They plan holdups and practice karate.
They will rape defenseless adolescents. They wear pants... Life has become impossible."

"First general point: I write to destroy, by describing exactly the nocturnal monsters that threaten to invade my waking life."


Alain Robbe-Grillet, 1922 - 2008


Also:

Personnages | Collage / Paintings by Joan Miró, 1929 -34

Personnage by Pierre Matisse, 1934                                                  Collage-painting, 1934
“Painting” 1934                                                                                             Collage-Peinture, 1934
Collage-peinture, 1934                                                                                        Collage-peinture, 1934
Personnage, 1934                                                                             Collage-peinture, 1934
 Composition with Wire, 1929                                                                     Head of Georges Auric, 1929
Collage Painting, 1934                                                                             Drawing - Collage 1933
Joan Miró, Collage, 1929


Also: 

Rhinoceros / A play | Eugène Ionesco, 1959



Le Rhinocéros, pièce en trois actes et quatre tableaux, 1959                                                                                                                         Eugène Ionesco


“Berenger: And you consider all this natural? 

Dudard: What could be more natural than a rhinoceros? 

Berenger: Yes, but for a man to turn into a rhinoceros is abnormal beyond question. 

Dudard: Well, of course, that's a matter of opinion ... 

Berenger: It is beyond question, absolutely beyond question! 

Dudard: You seem very sure of yourself. Who can say where the normal stops and the abnormal begins? Can you personally define these conceptions of normality and abnormality? Nobody has solved this problem yet, either medically or philosophically. You ought to know that. 

Berenger: The problem may not be resolved philosophically -- but in practice it's simple. They may prove there's no such thing as movement ... and then you start walking ...
 [he starts walking up and down the room] ... and you go on walking, and you say to yourself, like Galileo, 'E pur si muove' ... 

Dudard: You're getting things all mixed up! Don't confuse the issue. In Galileo's case it was the opposite: theoretic and scientific thought proving itself superior to mass opinion and dogmatism. 


Rhinoceros  Eugène Ionesco, Acte I, Jean (William Sabatier) and  Bérenger (Jean Louis Barrault), first performance, Théâtre de l'Odéon, January 20, 1960 


Berenger: [quite lost] What does all that mean? Mass opinion, dogmatism -- they're just words! I may be mixing everything up in my head but you're losing yours. 
You don't know what's normal and what isn't any more. I couldn't care less about Galileo ... I don't give a damn about Galileo. 

Dudard: You brought him up in the first place and raised the whole question, saying that practice always had the last word. Maybe it does, but only when 
it proceeds from theory! The history of thought and science proves that. 

Berenger: [more and more furious] It doesn't prove anything of the sort! It's all gibberish, utter lunacy! 

Dudard: There again we need to define exactly what we mean by lunacy ... 

Berenger: Lunacy is lunacy and that's all there is to it! Everybody knows what lunacy is. And what about the rhinoceroses -- are they practice or are they theory?” 


Rhinoceros  Eugène Ionesco, first performance, Théâtre de l'Odéon, January 20, 1960 


''Berenger is unshaven and hatless, with unkempt hair and creased clothes; everything about him indicates negligence. 
He seems weary, half-asleep; from time to time he yawns.''

''Berenger: You deliberately misunderstand me.'' 

“Daisy: I never knew you were such a realist-I thought you were more poetic. Where's your imagination? There are many sides to reality. 
Choose the one that's best for you. Escape into the world of imagination.” 

''Berenger: Can you speak more clearly? I didn’t catch what you said. You swallowed the words.''

“What's chivalrous about saying you've seen a rhinoceros?”  


Rhinoceros, Eugène Ionesco. William Sabatier, Jean Louis Barrault and Simone Velere, Theatre de France Odeon, Paris, January 1960 


''Jean: It’s not that I hate people. I’m indifferent to them—rather they disgust me; and they’d better stay out of my way, or I’ll run them down.'' 

Voice of old man's wife: Jean, don’t stand there gossiping!

''Botard: It’s all a lot of made-up nonsense.
Daisy: But I saw it, I saw the rhinoceros! ''

''Daisy: They’re like gods.''

''Daisy: You shouldn’t have made him angry.
Berenger: It wasn’t my fault. ''

''Grocer's wife: Oh, you always have to be different from everybody else.''

''Waitress: Oh, a rhinoceros! ''


Rhinoceros, Eugène Ionesco, 1960. Jean-Louis Barrault (Béranger)Théâtre de l'Odéon, January 20, 1960 


''Berenger: In any case, to convince them you’d have to talk to them. And to talk to them I’d have to learn their language. Or they’d have to learn mine. But what language do I speak? What is my language? French? Am I talking French? Yes, it must be French. But what is French? I can call it French if I want and nobody can say it isn’t—I’m the only one who speaks it. What am I saying? ''

''Jean: Life is an abnormal business." 

''Berenger: I’ve got no horns. And I never will have.''

''Dudard: I shall keep my mind clear. [He starts to move around the stage in circles]. As clear as it ever was. But if you’re going to criticize, it’s better to do so from the inside. 
I’m not going to abandon them. I won’t abandon them.''

"I'm the last man left, and I'm staying that way until the end. I'm not capitulating!"


 Eugène Ionesco, Le Rhinocéros, 1959


Rhinoceros, Eugène Ionesco, 1960. Simone Valère (Daisy), Gabriel Cattand (Dudard) and Jean-Louis Barrault (Béranger) in the last act of the play.


Also:
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