Decorative Delights

Everywhere I turn, I’m seeing beauty in the world.  Yes, the snow, and also the handwork of so many startlingly talented people from today and history.

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The Guilford Arts Center has a crisp show of Connecticut-made contemporary quilts, “Local Color: Connecticut Stories.”

I was impressed by the landscape and genre character of many of the quilts.

Paula Klingerman, Happily Every After

Paula Klingerman, Happily Every After

And the number of artists using the photographer as part of the image.

Rita Daley Hannafin, Snapshot

Rita Daley Hannafin, Snapshot

Kate Themel, Self-Portrait

Kate Themel, Self-Portrait

Talk about mixed media!

With quilts, part of the pleasure is the texture.  I like this work that mixes different kinds of needlework.

Detail, Karen Loprete, Joy

Detail, Karen Loprete

This work reminded me of Miriam Schapiro’s exhibit at the National Academy of Design Museum.  A must see!

Once she got past what the art world was doing and found her own voice, in alignment with 1970s feminism, Schapiro’s work is simply breathtaking in its decorative design and message power.

Miriam Schapiro, Blue Burst Fan, 1979, acrylic and collage on canvas

Miriam Schapiro, Blue Burst Fan, 1979, acrylic and collage on canvas

Here, she shows us a traditional female object–the fan–and creates a form of high art from what male critics deemed low-art.  Together, with Judy Chicago, Schapiro reshaped the dialogue about what art was and how to bring the woman artist out of anonymity.

On the wall label, she is quoted from 1977, “I wanted to validate the traditional activiites of women, to connect myself to the unknown women artists who had made quilts, who had done the invisible ‘women’s work’ of civilization.”

Detail, Blue Burst Fan

Detail, Blue Burst Fan

Schapiro coined a term femmage to describe this art form that is created by a woman, has women-centric themes, and uses mixed media, patterns, and narrative.  The definition is even more detailed that I just relayed and is a bit prescriptive for me.  I don’t know that the term has taken off, but this outstanding show demonstrates how important she was for opening doors to today’s artists, including the quilters at the Guilford Arts Center.

I love this piece, which my friend Helen describes as a transition from her early work of hard-edge abstraction to her own voice of femmage.

Miriam Schapiro, Lady Gengi's Maze, 1972 is she referencing the amazing illustrations in Tales of Genji, the world's first novel?

Miriam Schapiro, Lady Gengi’s Maze, 1972
is she referencing the amazing illustrations in Tales of Genji, the world’s first novel?

For a little wow factor, it never hurts to stop in at the Met.  Although I was headed to another exhibit, I was delayed by Diana and Her Chariot.  This video gives you some sense of her magic.

Automaton Clock in the form of Diana and Her Chariot, German, c1610

Automaton Clock in the form of Diana and Her Chariot, German, c1610

Her eyes move with the tick-tock of the seconds, the leopards leap up and down, the wheels of the chariot move, the monkey raises and lowers that hand with the ball, and yes, Diana shoots the arrow!

The “Luxury of Time” exhibit is full of such beauty and grace and magic.  Fun, too, when the clocks go off on the quarter hour.

Mantel clock (pendule de chiminée)

Clockmaker: Paul Gudin Le Jeune, figures by the Meissen Factory, Flowers by Vincennes Manufactory, c1750

I was enchanted by this Rococo clock, with it’s ‘hand-kiss’ group and elegant flowers.  Charmant!

How’s this for a souvenir?

Watch

Watchmaker: Firm of Vacheron and Constantin, c1844

If you went on the Grand Tour, and didn’t want to schlep a lot of art around, you could pick up this pocket watch, with its view of St. Peter’s Square at the Vatican etched in.  Pretty nifty.

I would like one of these though, even better.

Watch

Watchmaker: Abraham Vacheron Girod (Swiss), 1832

The Great Ruby Watch

Watchmaker: Nicolaus Rugendas the Younger, c1670

 

 

 

 

 

 

 

 

What I was actually headed toward is the special exhibition of Artistic Furniture of the Gilded Age.  Oh my goodness!

Detail of the Worsham-Rockefeller Dressing Room

Dazzling.  Ah, what a little money will do.  Here are some of my favorites.

Cabinet, made in New York City, 1884-5, Rosewood, mahogany, cherry, pine, pewter, brass, mother-of-pearl inlay

Cabinet, made in New York City, 1884-5, Rosewood, mahogany, cherry, pine, pewter, brass, mother-of-pearl inlay

Imagine the mother-of-pearl inlay in the star pattern shimmering in candlelight.

Side Chair, New York City, 1881-5, mahogany, other woods, mother-of-pearl, brass, copper, pewter, upholstery

Side Chair, New York City, 1881-5, mahogany, other woods, mother-of-pearl, brass, copper, pewter, upholstery

Who’s sitting in this chair?  Well, everyone who comes to visit (and hopefully has a small bum).  It’s one of a set.

Herter Brothers, Secretary, from the Jay Gould House, New York City, 1882

Herter Brothers, Secretary, from the Jay Gould House, New York City, 1882

As with many of the objects I was attracted to, this dense inlay in the floral pattern recalls the then-fashionable Near Eastern patterns.  I talked with a woodworker who was mesmerized by the piece.  They just don’t make ’em like this any more…

Bedstead, carved for Elizabeth Love Marquand (daughter of the 2nd president of the Met), 1881-4

Bedstead, carved for Elizabeth Love Marquand (daughter of the 2nd president of the Met), 1881-4

Women weren’t the only anonymous artists.  This bed was likely carved by an expert immigrant who brought his skills to the U.S.

Those anonymous artists are lost to us today, but fortunately, we can still melt into the magnificence of what they left behind.

Old-fashioned soda

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Although I’m not a soda drinker, what a hoot to take the Avery Beverage tour, which includes making your own soda!

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Avery’s has been around since 1904, with founder Sherman Avery starting his operation when hundreds existed in Connecticut, 8 in New Britain alone.  Now the oldest surviving operation, Avery’s is sold around the U.S. and apparently in New Zealand.

2016-01-30 14.11.08The ‘factory’ is a simple one, still set up in the same barn from those early days.  The equipment only dates back to the 1950s, a heyday for soda making.  The method has stayed the same since then, too.

The equipment is jammed into one small room that comprises the factory.  The Bottle Sterilizer gives each bottle a sterilizing bath, which takes about 20 minutes.  Then the Bottling machine drops in 2 ounces of the sweetener, called syrup, with the Syruper.  The Filler machine fills each bottle with carbon dioxide, which makes the bubbles in your soda.  The Capper tops each bottle with a metal cap called the crown.  That’s it.  Not a complex process.  Even we could do it!

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So Will guided us up the steep stairs.

 

 

 

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Here’s where the syrup is made.  700 pounds of sugar added to well water, and you, too, can make 8000 bottles of soda.  A smaller tank is used for making batches of particular flavors, which is then gravity-fed through pipes to the first floor.

 

And oh what flavors they are.  You wouldn’t want to miss the Zombie Brain Juice, Dog 2016-01-30 14.04.34Drool, or Worm Ooze.  Well, maybe you would.  Those are the instant-cavity fruit drinks from the “Totally Gross Soda”  line.

Like me, you might gravitate more toward the Birch Beer, Root Beer, and Sarsaparilla.  Did you know that natural root of sarsaparilla is a carcinogen?  So artificial flavor is used, enhanced by star anise, just as root beer is flavored with vanilla, cloves, and other spices.

But such delights were literally not on the table for making our own.  Instead we maneuvered around the equipment on the sticky-sugar floor to blend our sodas with fruit flavors.

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One shot equals about an ounce, so each of us calculated the combinations to create up to 2 ounces.  One boy on our tour was proud to have made “Alien Snot”–yes another of those dreaded Totally Gross flavors.  It’s actually a combination of kiwi and blue-raspberry, which doesn’t sound gross at all (excepting the sugar content is about 1000% of the daily value).

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Putting on my Avery’s apron, ready for any spraying syrup

 

 

 

 

I stuck with the slightly tarter lemon and orange, with low quantites of syrup.  My outcome is more like a flavored seltzer.  The Virginia Darr extracts we used have been an Avery partner since 1905.  By the way, that’s how Cream Soda gets made–with vanilla extract.

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Virginia Darr extracts

 

 

 

So with our two ounces of syrup in the bottom of the bottles, all were crated back downstairs to the bottling machine.

 

Here’s a video of the filling and capping, after our exuberant countdown.

Then cold off the line:

The color combinations are so festive, aren’t they?  You may notice that in some of the bottles, the colorful syrup is at the bottom of the bottle.  Our last task was to flip the bottles three times to blend, and voila!  We have soda!

We wrapped with what Will calls “quality control testing.”  You got it, a taste test.  It’s a fizz!

The answer is 62,348.  This was calculated by weight, going on 141 caps to the pound!

The answer is 62,348. This was calculated by weight, going on 141 caps to the pound!

Avery's Lost & Found - stuff found in with the returned empties in the last 10 years

Avery’s Lost & Found – stuff  mixed in with the returned empties over the last 10 years

Bottle cap art: A for Avery's

Bottle cap art: A for Avery’s

The hand-mixed sodas back home

The hand-mixed sodas back home

The weight part is off...

Fun, old stuff at Avery’s.  The weight part is off…

...hopefully, the fate part is not!

…hopefully, the fate part is not!

The Irish Problem

Refugees fleeing untenable situations at home.  That heartbreaking reality seems to recur with uneasy frequency, but I had never made the connection between the Holocaust and the Great Famine in Ireland that lasted from 1845-1852.  But Murray Lender, of Lender’s Bagels and a New Haven native, did.

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Low ceilings and wood planks meant to mimic steerage

He funded the Quinnipiac University collection of materials and art about the famine, which after collection growth, opened in a new home three years ago.

Even the building tells the story.  The exterior is meant to resemble the stone-faced hovels the Irish lived in, and the first floor exudes the cramped feeling of steerage on the ships coming to New York.  Only the upstairs, which references a ship’s topside, has high ceilings and windows.

Alexander Williams. Cottage, Achill Island. The museum facade resembles a stone cottage.

Ireland’s Great Hunger Museum presents the painful facts of the famine and now has an exhibition of Daniel Macdonald’s paintings.  The show features a rare depiction of the famine by any artist during the Great Hunger itself.

Daniel Macdonald. An Irish peasant family discovering the blight of their store. 1847.

The painting shows the severe distress of a family that has discovered that their storage pit has been ravaged by the fungus that rots the potato, killing it from the inside out.  When an average man ate 12 to 14 pounds of potatoes per day (perhaps supplemented with some buttermilk and herring) and the usually hearty crop could last a family for almost a year after working an acre, the blight was devastating.

Macdonald otherwise made fairly ordinary scenes of angelic children, dances, and fairies.  But the Great Hunger that ravaged his people compelled him to make this painting when not only was Realism of everyday people considered unworthy of fine art, but his principal patrons in London would be repulsed by the subject.

The English condescended to most of their colonists, but perhaps none took it quite so hard on the chin as the Irish.  During this famine, unbelievably, Irish food was still being exported to England.  Absentee landlords raised rents so that subsistence, potato-reliant tenants could no longer afford to stay.  The landlords converted their lands to pasture for the more lucrative grazing of cattle.

For those who had nowhere else to go, they dug pits called scalps, roughly covered with a roof of sticks.  Others hit the road.  Who cared if eviction essentially meant death for the poor family?

Daniel Macdonald. Eviction. Crawford Art Gallery, Cork City.

Racist attitudes that relied on stereotypes of the Irish as lazy wastrels justified the lack of action; these evicted families didn’t deserve aid.  It was the Irish Problem, and the British government responded with “systematic neglect.”

Some charity existed.  The workhouse, where 750,000 displaced and homeless families crowded together, fomenting deadly disease.  Many more were on the waiting list.  Three million a day went to soup kitchens run by Quakers.  Other Protestants exchanged soup for conversion.

So you can imagine why emigration appeared to be the only reasonable action.  Two million left Ireland, some stymied by disease before and during the crossing.  Along with the one million who starved or died on the roads, the population of Ireland was decimated and has never recovered to the pre-famine levels.

But the Irish fighting spirit has been there, too.  Emasculated by British imperialism, Irish men long acted out, through rebellious acts and fighting, often spurred on by alcohol.  Factions formed and ritualized fights both were glorified and were killers.  Here’s Macdonald’s heroic take.

Daniel Macdonald. The Fighter. 1844.

The poignant film at the museum suggests how the Irish spirit still bears the wound of the Great Hunger.

Kieran Touhy. Thank you to the Choctaw. 2005

Kieran Touhy. Thank you to the Choctaw. 2005

 

How ironic that 16 years after their own forced removal to Oklahoma, the Choctaw Native American tribe in 1847 raised $170, sent to Ireland for famine relief.

This moving tribute to that extraordinary act of generosity is in the museum’s contemporary art gallery.

The modern painting below by Lillian Lucy Davidson captures the alienation and grief still felt a hundred years after the Great Famine.

 

Lilian Lucy Davidson. Horta. 1946.

 

 

 

 

 

 

 

 

I understand this ongoing wound.  For me, the Holocaust still seems close.  The Somali’s and now the Syrian’s remind us that the world, or more accurately, human nature doesn’t seem to change.  Painful.

IGHM_Website

Could be Anatevka…

Dead Wake

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Having just finished Eric Larson’s Dead Wake about the sinking of the Lusitania by a German U-Boat, I got interested in visiting the Submarine Museum in Groton, CT.  Naturally, I arrived when part of the museum, including the actual submarine were closed off due to a Change-of-Command ceremony.

After heading to a local diner, eloquently called The Shack and packed for lunch, I was able to come back and have the full sub experience.  No, I didn’t have a sub for lunch, although that would have been poetic.

    The tallest point of a sub

The tallest point of a sub

The film told the history of submarines in the U.S., starting in 1900, when the Navy bought a sub from Holland for $150,000 (This ignores the historic submarine written about previously in this blog).  In 1905, Teddy Roosevelt took a 3-hour trip on the second U.S. sub, leaving from his home in Oyster Bay and sailing around Long Island Sound.  He declared it “fun.”  I say, “bully!”

Over time, safety became a priority, with the shift to diesel power from gasoline with its danger of asphyxiation and engineering improvements–angle of diving, the rotating and retracting periscope, and the control room.

But life on subs was woefully hard.  Called ‘pig boats’, subs were basically ‘glorified sewer pipes’ that were cramped, dirty, and smelly.  Little water was available, so no one could bathe or brush their teeth.

One drunk sailor returning from shore leave had a skunk on a leash and apparently argued with the on-board duty officer that the potential smell was no worse than the existing, and everyone would get used to it.  I don’t know the outcome–if Pepe le Pew became a submarine pet–but I bet not.

(Overall, it probably helps to be a man.  I sure couldn’t do it.)

After Pearl Harbor, the US Navy was able to enter the game of war quickly because the submarines were spared.  Within days, unrestricted sub warfare was engaged, with US subs sinking Japanese ships.  Interesting that among the visitors at the museum were Japanese tourists.

Subs continued to play a big part in the Navy through the Cold War.  We “hounded the Soviet Navy,” one captain declared.

On board the Nautilus

On board the Nautilus

The real reason to go to the museum is to board and crawl around in the Nautilus, the nuclear power sub.  I followed a bow-tied, curly hair, bespectacled man with two children.  He explained each thing to them, in terms I could understand, so I didn’t even have to listen to the audio tour.  Apparently, he had worked on a nuclear sub!

The stairways are really, really narrow and the steps very steep.  Discovery number 1: you have to be skinny to work on the sub.

Step way up and duck at the same time

Step way up and duck at the same time

 

 

 

The bunk beds–8 to a closet–are teensy.  Discovery number 2: it helps to be short if you work on a sub.

The hatch opening between areas are kept small, so not only do you have to duck, but you also have to step over the the bottom of the opening to the next compartment–probably about 2 1/2 feet high.  Discovery number 3:  you have to be agile to work on a sub.

Do you qualify?  I, for one, was plenty ready to climb those steep stairs back to the deck.  Clearly, I’m not built for sub life.

The commodious officer's dining room

The commodious officer’s dining room

8 bunks, 4 on each side

8 bunks, 4 on each side

The facilities

Better accommodations

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This electric submarine resembles a whale

This electric submarine resembles a toy whale

Historic Pie

Screen Shot 2016-01-10 at 12.56.49 PMRobert Cox has gone where no man has gone before…well, that’s probably not true.  But he’s done it well, compiling a history of pie in his book New England PieI had the delectable pleasure of hearing him roll the dough at the New Haven Museum.

Affection for pie came from England. Makes sense.

But in New England, pies as we know them weren’t eaten until the 18th century.  Why the delay?  That has to do with the formation and function of pie.  Yeah, really.  The function wasn’t to relish the deliciousness of pie as we know it.

Instead, flour and water were mixed together to make a thick pastry boat, if you will, for cooking your contents.  You know, your squash, your rhubarb, your poultry.  The flour-water mixture made a tough, impermeable shell that worked well in the wood fire, but also was easy to move around.  So it was your cooking dish, serving dish, and potluck transportation, all in one.

The third crust on top?  That kept out insects and crows.  Useful.  Plus keeping air out of the contents of the interior meant you had your Colonial Tupperware, storing contents and even preserving them against rot.  Who needs a refrigerator?

In the early 18th century, butter and lard were added to the flour-water mixture, and something really, really good emerged.  Pie.

The fillings however, were different than today’s pie.   No blueberry pie then.  Blueberries weren’t domesticated until the 1920s.  Instead your Colonial pie likely mixed savory and sweet, with sugar, spices, and  herbs, all together.  The result was a ‘high style’ pie in the 1690s.  The Puritans, whose austerity included rejecting bodily pleasures and presumably delicious foods, then started to lose their power over pie.

The battle of the crust began.  By 1796, Amelia Simmons wrote the first American cookbook by an American, published in Hartford.  The cookbook featured nine different crusts.

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Shepherd’s Pie

Plus there were false pies and mock pies.  What?  Those aren’t the same?  Oh no!

False pies include shepherd’s pie, also called a cottage pie.  Lots of potatoes, mashed in a crust.  Your Maine-inspired Whoopie Pie is false, as is the Washington pie.

GW Pie

 

How did George Washington inspire this pie?  The Parker House Hotel‘s celebrity chef named this pie, although it’s actually sponge cake with raspberry or strawberry jam and powdered sugar on top.  Another version of this pie, with cream and chocolate is the Boston cream pie, another falsie.  In 1824, when Lafayette made his triumphal return to the United States,  he got a pie named for him that’s similar to his friend and mentor Washington’s treat.

Trivia:  at the Parker House Hotel, Ho Chi Minh worked in the kitchen, and Malcolm X was a busboy.  Between them and the GW Pie, something there sparked revolutionary spirit!

Mock pies refer to a ‘culinary mockery.’  Mock turtle soup does have turtle in it.  Mock apple pie?  You guessed it.  No apples.  Before our supermarkets made produce available year-round, pie makers had to content themselves with seasonal everything.  Ritz crackers to the rescue!  Add lemon, butter, and cream of tartar, and you get a taste like apples…  Really?  Don’t take Cox’s word for it.   See below for Corporate America’s recipe.

You can also make mock cherry pie with the more readily available cranberries.  Appearing in an 1890 Chicago cookbook, mock cherry pie took off!  Just add lots of sugar and vanilla.

Women competed to make the best pies, the best crusts, at fairs and beyond, as well as for recognition of their economy, during wartime and beyond.  Mock was the real deal.

Until freezers and processed foods.  You know, our world today.  In New England, the classic pie is simple, heightening its purity.  Simple ingredients, harmonious combinations. Really?  No.

Mince pie

The classic mince pies were a collision of the proverbial kitchen sink–cranberries, rhubarb, chicken, turkey, whatever you had, all in one pie.  That was culinary high taste.  So even the idea of the classic New England pie is a delicious myth.

But really, who cares?  Enjoy!

And in case you’re daring, here’s the promised recipe:

Ritz Mock Apple Pie
The classic pie, featuring Ritz crackers baked in a golden crust,
is perfect for the holidays.

Pastry for two-crust 9-inch pie
36 RITZ Crackers, coarsely broken (about 1 3/4 cups crumbs)
1 3/4 cups water
2 cups sugar
2 teaspoons cream of tartar
2 tablespoons lemon juice
Grated peel of one lemon
2 tablespoons margarine or butter
1/2 teaspoon ground cinnamon

1. Roll out half the pastry and line a 9-inch pie plate. Place
cracker crumbs in prepared crust; set aside.

2. Heat water, sugar and cream of tartar to a boil in saucepan
over high heat; simmer for 15 minutes. Add lemon juice and peel;
cool.

3. Pour syrup over cracker crumbs. Dot with margarine or butter;
sprinkle with cinnamon. Roll out remaining pastry; place over pie.
Trim, seal and flute edges. Slit top crust to allow steam to escape.

4. Bake at 425 F for 30 to 35 minutes or until crust is crisp
and golden. Cool completely.

Makes 10 servings

NUTRITIONAL INFORMATION per serving
413 calories, 3 g protein, 63 g carbohydrate, 17 g total fat,
3 g saturated fat, 339 mg sodium, 0 g dietary fiber.

Preparation Time: 45 mins.
Cook Time: 30 mins.
Cooling Time: 3 hrs.
Total Time: 4 hrs. 15 mins.

 

Beautiful things of late

Winter sensations all around.

The print show at the Yale University Art Gallery contains so much stunning beauty, and for me, a major revelation: Mortimer Menpes, the Australian who made a big career in London. Look at how the light and lines make the water ripple and sway around the piers.

Mortimer Menpes, A Narrow Canal, Vencie, 1912-3

Mortimer Menpes, A Narrow Canal, Vencie, 1912-3

In the age of the Grand Tour, his prints and paintings were wildly popular.

    Mortimer Menpes, The Piazza of St. Mark, Venice, 1910-11

Mortimer Menpes, The Piazza of St. Mark, Venice, 1910-11

The man himself…

Mortimer Menpes, Self portrait, 1916–17

Prints are all about loving the details.  As is high fashion.  The current Downton-Abbey inspired exhibit “From High Collars to Bees Knees” at Connecticut Historical Society is wondrous in the details.

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The 1920s changed the silhouette to simple, straight lines for very thin women.  Connecticut’s Cheney Mills brought French fashion sense to the state, with their fabrics manufactured in Manchester.

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Simple rhinestone embellishments and fresh-as-a-garden fabric.

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How nice for some winter beauty!

 

The Cold War has its moment

Right now, it seems like the creative culture, in all its forms, is about the Cold War.

There are the two Oscar contenders: Stephen Spielberg’s “Bridge of Spies” and “Pawn Sacrific”e about Bobby Fischer and Boris Spassky when chess mattered.  Both films are gray-washed, cold things, as if we need some kind of visual reinforcement of the plots.  Both are very fine films, the former marginally warmed by Tom Hanks; the latter not at all.

The Hours Count by Jillian Cantor tells the woeful story of Ethel and Julius Rosenberg from the viewpoint of a neighbor.  It’s a harrowing piece of fiction based on the facts.  I dare you to put it down.

I just finished the novel when surprise, the new play with Linda Lavin has a doozy of a plot twist.  Spoiler alert ahead.  Absolutely stop reading now if you’re going to see “Our Mother’s Brief Affair.

 

Lavin’s character had a long-ago affair, to the shock and discomfort of her adult children.  Turns out, she had that affair with David Greenglass, Ethel’s brother, who named names all the way to the electric chair.

Or did she?  That’s the question we’re left with, as she states she has a moment–a moment when she was really seen.  So what if he was a spy responsible for the gruesome deaths of his family?  She and he had a moment.  Or did they?

The play is clearly the weakest of all these works.  But I was affected by the idea of the importance of moments, in it and them all, and the ramifications those moments can have.

Now, emerging, I hope, from this Cold War moment, I’m really ready for some color and warmth!

 

P.S. I initially forgot to mention the very fine “Trumbo” in the listings of Cold War movies this season.

 

Folksbiene

Today marked one of my best Christmases in many years.  Why?  Because it was all about the Jews!

Di Goldene Kale

Good thing we got our tickets to “The Golden Bride” of the National Yiddish Theatre Folksbiene many weeks ago.  Our noon performance of this Yiddish operetta was completely sold out.  The New York Times raved about it, and the Jews all headed downtown.

2015-12-25 11.26.04First, we went for our ‘Instant Yiddish’ lesson. “If you’re not fluent after this 15-minute class, you’ll get your money back.”  A little Jewish humor, since, of course, the lesson was free.  And my friend Helen is already fluent.

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During our mini class, the teacher pantomimed his way through the history of Yiddish theater in New York.  From 1880 to the 1949s, Yiddish theater helped immigrants adjust to life in The Golden Medina–the golden land of America–and deal with homesickness and provide some much needed escape from daily hardships.  Broadway as we know it grew out of the musicals of and the immigrants producing shows for the 2nd Avenue theaters.

“The Golden Bride” was first performed in 1923, one of 18 Yiddish shows live in New York at the time.  It toured the country and was continually revived in New York until its last production in 1948.  Until now.

Adam Shapiro (Kalmen) and Company in the National Yiddish Theatre production of 'The Golden Bride (Di Goldene Kale'). Photo by Ben MoodyI can see why the show was so enormously popular.  It’s full of family drama, silly and entangled romances, Shakespearean plot mix-ups, and wonderfully catchy songs.  We were all singing along with the ovation.  Most touching was the reuniting of a divided family, which no doubt the audience could relate to.  And most familiar was the matchmaking scene, which maybe Sheldon Harnick saw before writing his song for “Fiddler.”

Al loved the appropriation of Over There and other patriotic music with plot-driven lyrics in Yiddish.  The American Dream is all over this piece from the Old Country on Act 1 and the realization of that dream in the U.S. In Act 2.

Cameron Johnson in rehearsal

Curiously, the two young-lover leads are not Actor’s Equity, the only in the cast, but they had powerful operatic voices.  We laughed that the tenor looked like a Sean O’Malley, really named Cameron Johnson.  Not terribly Yiddishkeit.

The comedy was great fun and clearly sparked the tropes we see in the Golden Age of musicals, with the serious romantic leads and the comedic secondary couple.

I really felt like an audience member from the 1920s, reveling in a sense of belonging, nostalgia for the Old Country, and pleasure and pride in the new.  Actually quite healing during an often-alienating Christmasmaniacalism season and painful world conditions.

How did we cap this experience?  With Chinese food, of course!

Celebration of Love and Joy

Time for a pause-and-refresh during this busy, busy season.  Here are some eye-treats from contemporary artist books of “The Song of Songs”–that lyrical book of wisdom in the Bible that centers on love, ecstasy, and joy.  These are now on display downstairs in the Yale Art Library.

Zeev Raban, 1923, Art Nouveau style

Look at the beauty of the script and border illustrations…

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…and the elegance of this script.  It looks Arabic and comes from Jerusalem.

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Typeface: Yits’hak Pludwinski, 1999-2001

“He brought me to the banqueting house, and his banner over me was love.”

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Ronald King, 1968

The bold, inky lines.

Hanns H. Heidenheim

Hanns H. Heidenheim

A linear style that adds up to a powerful woman.

Mordechai Beck, 1999-2001

Mordechai Beck, 1999-2001

…and here, too.

Tamar Messer, 2006

Tamar Messer, 2006

Simple, pleasing lines that are nonetheless fresh.

Angelo Valenti, 1935

Angelo Valenti, 1935

Contemporary, sweet.

Rita Galle, 1990

Rita Galle, 1990

A more graphic approach.

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Inspired by Goethe’s color theory with “The Song of Songs” text in German.

Robert Schwarz, 2012

Robert Schwarz, 2012

Your moment of joy and love.

History repeats?

In a time filled with anti-immigration sentiment and perceived threat, how important it is to remember another similar time in our recent history.  On February 9, 2015-12-16 14.46.401942, President Roosevelt singed an order to incarcerate everyone in the U.S. of Japanese ancestry.  Less than 2 months after Pearl Harbor.

President Obama has resisted temptation to act more aggressively after the recent attacks, and hopefully, he will also remember the lessons of history, to remain strong.  As they say, “act in haste,…”

Officer training program at Yale, 1942.  Photo by Samuel Kravitt.

Officer training program at Yale, 1942. Photo by Samuel Kravitt.

 

 

The Sterling Library at Yale has a small but powerful exhibit of ephemera from Japanese and Japanese-Americans who were interned during the war.  The materials tell the story, often with Yale-related interludes, of the evacuation to the assembly centers, launching points to the war relocation centers, and then the imprisonment for the rest of the war.

One student left Yale for the camps.

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Propaganda pieces were produced to keep anti-Japanese sentiment high.

Look at how the Japanese faces are portrayed in this fact sheet produced by the American Council on Race Relations for use by the media. Talk about playing one type off another.  Yikes!

According to the label, the fact sheet also included “pro-Japanese American testimonials.”  Perhaps this was meant to be a balanced perspective?

 

Not every white American supported the move, just as today, many plead for tolerance toward Muslims, to not blame peaceful, U.S. citizens for what extremists do.

Eugene V. Rostow, a Yale law professor, wrote “Our Worst Wartime Mistake” for Harper’s Magazine in 1945.  He suggested that incarceration had frightening legal implications broader than the immediate.

Caleb Foote produced this pamphlet in 1943, with photographs by Dorothea Lange.  You can see her style at work, really instantly recognizable.

Foote himself was imprisoned as a Quaker violating the Selective Service Act.

 

 

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And this pamphlet from the American Baptist Home Mission Society pretested internment, while also offering services in the camps.  Remember these materials were saved by people who had been interned, so it must have held deep meaning.

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Second generation Nisei were shown as productive Americans in pamphlets like this one.

 

 

 

 

Life in the camps, as remembered by children and adults, was hard work and rough living conditions (after all, the camps were thrown together in a matter of weeks from derelict out buildings).  Internees also showed an admirable resilience and adaptation.  Older adults started gardens in the dry soil.  Children went to school and played pranks, just like anywhere.  How about these boys aiming spitballs at a bobby-soxer girl?  Pretty all-American, eh?

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I love this drawing.  Note the blonde girl seated second to the left.  Apparently, children of those who worked at the camps attended school with the Japanese.  Some of the teachers were conscientious objectors and lived in the camps, too, which I had not heard before. This drawing was made in 1944 and lived on in a scrapbook.  It shows the 4th grade Citizenship class.  All part of the Americanization agenda.

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Nancy Karakane wrote and illustrated an essay in 1943 called “Into the Desert,” which tells the story of Masako’s relocation to Poston.  She gives her white best friend a ‘white trinity cord,’ her most precious possession.  Nancy’s scrapbook went to the Junior Red Cross near the camp, “as a gesture of friendship and understanding.”  From the mouths of babes.

 

 

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The entrance sign for the library.  Moments of beauty in bleakness.  The below shows the reality.  Armed guards in towers, hand drawn in a scrapbook.

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Chalres Erubu “Suiko” Mikami, watercolor of Topaz Valley, UT.   Mikami taught at the Topaz Art School.

Sketch of the barracks. by W. Ogino, 1943

Sketch of the barracks. by W. Ogino, 1943

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Not all the Japanese thought alike about the war, their imprisonment, and their choices.  The new musical “Allegiance” on Broadway addresses some of these political differences and their repercussions.

On December 6, 1942, a protest in the camp at Mazanar turned into a riot in response to a beating of Fred Tayalma by a rival faction member in the camp.  One year after Pearl Harbor, the media caught the story, and you can see how incendiary the headline was.

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Some were finally allowed to fight for the U.S. in the war, beginning in 1944.  26,000 Japanese Americans served, men and women in the Women’s Army Corps.

 

 

 

 

 

Published April, 1974

Published April, 1974

Finally, the exhibit shows the process of the release.  A pamphlet called “When You Leave the Relocation Center” was handed out, along with $3 a day for meals while in transit.  The pamphlet, produced by the War Relocation Authority, provided help on employment, going to school, returning home, and living as ‘aliens’ under ongoing wartime regulations.

In this pamphlet 30 years after the war, the term “concentration camp” is used.  During the 1970s, Manzanar was one camp that received pilgrimages from internees and their descendants.  A powerful book about these experiences is “A Farewell to Manzanar” by Jim Houston, a writing teacher I had about 20 years ago, and his wife Jeanne, who was interned.

 

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Ansel Adams, Mazanar

 

 

A Christmas card in watercolor sent from Poston camp.

Riffs on Art and Quirky Toys and Games

As you know from Artventures! Game, I’m so happy to play with the over-seriousness of art.  One thing we need more of in the world right now is laughs.  So I’m delighted to introduce you to Bjorn Okholm Skaarup’s work currently on exhibit at the Bruce.

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Riffing on Degas.

 

 

 

 

 

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Ingres’ Odalisque

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Sphinx cat and Nefertiti

 

 

 

 

 

 

Just what I needed after a tough day.

Being a game inventor now (really?), I was especially interested in the look at historic Connecticut toys and games today at the Connecticut Historical Society.

I know that you like me can’t wait to play these games!

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In particular, I can hardly wait to play the board game ‘Connecticut’s Great Blizzard’.  Not.  Today, temps reached into the 60s.  Global warming has given us an incredibly mild fall.  Imagine during that first big storm calling out, “honey, want to play the Great Blizzard?”

The game is about getting all your errands done before Snowmageddon.  Really.

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Maybe in the 1980s, people loved just this kind of thing, cuddling up with a big mug of tea.  Would that be more fun than, say, ‘Campaigning for Election’–a game that seems to be about fundraising, too.  Both are a little too Reality-Showish for me.  Hilarious nonetheless.

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I’m getting a sense of my age, because toys from my childhood have hit the historic ranks.  We played telephone, my brother and I.  And with the Erector Set and Silly Putty and Whiffle Ball–all Connecticut-made.

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In that era of gendered toys, I’m pretty sure my brother had a chemistry set.

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We definitely had the toys that teach about the world of work–banks, fire trucks, and peculiarly here, a delivery truck of G. Fox & Co.  Maybe to help children to grow up to aspire to work there?  Or just good ol’ fashioned promotion.

 

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I’ve always found dolls creepy, and this c1902 doll in its underwear is absolutely no exception.  But below may be the first Teddy Bear I have ever found off-putting, this one made by the German Steiff Company.

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Gilbert was a New Haven company

Gilbert was a New Haven company

 

 

 

 

Some toys don’t seem to go out of favor and even become timely again–the Star Wars Pez dispenser heads, Barbie Dolls, and this James Bond Action Figure, strongly resembling the young Sean Connery.

Tough enough for boys, buff enough for girls.

How do you like that ad slogan I just invented?

 

I’ve written before about the Frisbee game invention that started with Yalie’s tossing the Frisbee’s 2015-12-12 14.28.25Pie tins.  What I didn’t know is that the Frisbee was originally called the ‘Pluto Platter’, a tie-in to the craze from Pluto’s discovery.  Which do you think works better–Frisbee or the Pluto Platter?

These hotly-debated questions fill my mind as I curl up with my hippo odalisque.

 

 

 

 

Visual Culture of Slavery

Today’s New York Times includes an editorial calling for a Slavery Monument.  Seems overdue to me.  Is there any space left on the National Mall?  In this moment of deep racial and cross-religious tensions and anxiety, I like the way visual culture invites us to reflect and reframe without panic and distraught emotion.

The Wadsworth Atheneum, its glorious renovation completed, now has an concise and engaging exhibition Sound and Sense: Poetic Musings in American Art.  Every object can be inhaled slowly and thoroughly.

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I was taken with the first Clementine Hunter painting I had seen in years.  Hunter, born just after the Civil War to a sharecropper family, began working the fields at age 12 on a Louisiana plantation called Melrose.  As an older woman, she moved indoors to work as a cook, and that’s when she found discarded art supplies left behind by a plantation visitor.  An artist was born.  “Cotton Picking” from around 1940 tells a direct, unexaggerated story of the poor, black life Hunter knew so well.

2015-12-05 13.23.59Here’s a close up of how she created the cotton balls–a thumb smudge of paint, repeated over and over.  Or maybe she dolloped a blob from the paint tube.  The texture energizes the surface, contrasting the rest of the flatly-depicted scene.

Hunter’s paintings caught the eye of local ‘white ladies’ who paid Hunter a pittance for the works, then turned around and sold them to ‘folk art’ collectors for a healthy upcharge.  Of course, Hunter never received any of these profits.  Because collectors bought the paintings, some have landed in museums like the Wadsworth.

I first met Hunter’s works while visiting Melrose, which markets her, her story, and her paintings as a major tourist draw.  In 1955, when she was 68, Hunter painted her African House Murals on plywood.  The murals were then hung in the African House at the plantation.  She still very much lives through these visceral works.  Go see them if you can.

At the Wadsworth, I also was captivated by William Howard’s desk.  He built the desk during the Mississippi Reconstruction, about 1870, from inexpensive yellow pine and salvaged crate wood.  He hand-carved the desk front, honoring the tools associated with his own history as a slave.

You can probably make out the pistol at center and the pointing hand, as if showing how the work got done–under duress.  You can also see the tableware he created, first for plantation owners, then for freed African Americans.

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As with Hunter, Howard must have been self-taught, leaving us with this top-heavy work desk that’s completely distinctive.  The desk, just like Hunter’s painting, tells a story of slavery and freedom, through a quirky creativity and vision.

What a good reminder for us today, to think beyond the fear and foolishness, to rise above the pain of our histories and present, and to actively work to create a world of new possibilities.

Tech Pleasures

A day in New York museums, and for the most part, the architecture and technology interested me more than the art.  Could have been my mood, but I was more charmed by Frank Lloyd Weight’s building at the Guggenheim than the dreary retrospective of Alberto Burri and uninspired Photo-Poetics.  I can show you more poetry from a cell phone camera.
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Inspiring view in the Guggenheim

My long-awaited visit to the Cooper Hewitt didn’t disappoint.  What fun the ‘pen’ is.  You get the fat, two-tipped device at check-in.
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One end allows you to draw on interactive boards around the museum.

You can see my minimalist genius here.  Some people (read children) were creating meticulous designs.  So it’s possible!

The other tip of the pen selects objects for your own collection, coming complete with text, for later delight.

Once I got the the trick down for making the wand scan easily, thanks to a helpful guard, I filled my basket really full.  Before leaving the museum, I then dropped the pen in a plexiglass case.  The pens are collected by a museum employee who downloads the images to a folder on the website that’s all mine.  And there they all were when I visited the website later!

New meaning to the game I typically play–what one object would you take home from this exhibit or museum?  No reason at the Cooper-Hewitt to stop at one.  Perfect for those of you who live in small spaces or lust after being a collector, but are on a budget.

Masdar Mosque (unbuilt), 2009

Masdar Mosque (unbuilt), 2009

Short red contoured cylindrical form reminiscent of a child's toy top; shallow bowl-shaped seat; pointed base, causing form to sit at an angle.I went nuts for the exhibit of Thomas Heatherwick.  If only the yacht or mosque were brought to fruition.  Every design is worth a study, and videos sometimes demonstrate the magic.

Like Spun the chair here.  Love it, although I think I’d be very dizzy.

 

 

Don’t miss the glass bridge and expanding furniture and the Learning Hub.  Seriously, every one is worth a slow look.

Boat (not Yet Realized), 2011

Boat (not Yet Realized), 2011

Indigo-dyed wrapper patterned with stitched resist. The field has a checkerboard layout of alternating design squares, one containing a pyramid-like shape of stacked lines, and the other a sunburst or snowflake pattern surrounded by dots. End borders have a simple dot pattern. The lines are created by overcast stitching, the dots by simple tie-dye.

African indigo-dyed wrapper

Since I’ve been weaving, I was really attracted to the textiles and patterned papers.  African, and especially the collection of French rococo wallpaper of the Hewitt sisters.

Arabesque with two scenes: one of hunting party of three on horse, the other of landscape with architecture; surround of acanthus scrolls and floral swags. Printed on joined sheets of handmade paper.

Arabesque on handmade paper

Cabinet on stand with floral marquetry veneer. Cabinet fronted by two large doors with brass lock plates that open to reveal twelve small interior drawers, each with brass pull, and one cupboard door with brass lock plate, all veneered with floral marquetry. Long narrow drawer in cornice molding on top. Stand has long narrow drawer with two brass pulls and one lock plate, supported by six scrolled legs with curved stretchers and bun feet with metal casters.

Cabinet on stand with floral marquetry veneer, c1675-1700

And the teapots, fans, bandboxes, inlaid furniture, jewelry, and birdcages the sisters collected.  I like their taste.
Green painted wooden frame with metal wires, modeled after the Rialto Bridge. Intricate wire scrollwork; four doors; two feed cups; hinged panel at either end for removal of trays (trays missing).

Rialto Bridge Birdcage

How about this?  Braille wallpaper.  I was mesmerized and really wanted to touch!
Seemingly irregularly placed red flocked dots which form letters of the Braille alphabet, spelling out the "listen and record" process used in creating this design.

Spells out the “listen and record” process used in creating this design

Okay?  What one object would I bring home?  It would have to be something practical for my small space.  So how about a radiator cover?
Black cast iron radiator (b) in the form of a podium surmounted by an arch forming a niche for a standing draped figure (a) of a woman- the goddess Hebe- holding a Greek drinking goblet in either hand (d,e). A composite entablature is surmounted by a Doric cornice crowned by a semi-circular tympanum. The podium base is decorated with bas-reliefs of columns alternating with Greek vases surrounded by drapery at the lower level and repeated scene of a griffin and man pouring liquid into a bowl in the upper level. The arch itself is decorated with bas-reliefs of rosettes and scrolls on two supporting pilasters with fluted capitals. The tympanum has a bas-relief of an eagle clutching a staff from which springs ribbons bearing "Stratton" and Seymour". Stars decorate tympanum, following the semi-circular curve. Radiator stands on four detachable scrolled legs (f/i). The fender (c) is comprised of grille work formed by scrolls, acanthus leaves and rosettes. Flat circular flue key (j) with stylized foliate handle fits on pipe behind tympanum.

Black cast iron radiator cover with the goddess Hebe- holding a Greek drinking goblet

For the sheer pleasure of a seamless, pleasurable meld of good-looking objects and technology, add the Cooper Hewitt to your list.

Red Hot Mama

Sophie Tucker was the original Red Hot Mama and every hot moment is explored in the delightful new documentary Outrageous Sophie Tucker.  It’s new out in theaters in New York, and I saw it at the JCC.  So keep an eye out.

There are all the typical celebrity talking heads and accolades, but also surprising insights that came from a four-year study of her exhaustive scrap books.  She married three times and also had many female friends, implied as lovers.  As a Red Hot Mama, she sang about the sexual pleasures of being fat with all the innuendos the era could stand.

I was genuinely shocked to learn that she started as a ‘coon singer’ in black face, because that’s the only way she could get on stage.  She predated Bessie Smith and several other amazing black women singers from the 1920s who revolutionized the blues, singing in a jazz and (Jewish) blues style they must have known and emulated.

A star that made stars, she starred in the first film after The Jazz Singer, featuring Al Jolson, but she called it a “stinkeroo.”  Her second, Broadway Melody of 1938, launched Judy Garland with her generous helping hand.  She was friends with both Al Capone and J. Edgar Hoover, finding the human in everyone.

The documentary will make you smile, hard, toe-tap to her wonderful voice singing the American songbook, and admire a woman who made it alone when no woman could.  She established the American celebrity culture with her insightful marketing and pushed for racial equality and union rights.  Plus who doesn’t love a proud, big woman?  Here’s a sense of the film:

 

Revolutionary Stuff and Stories

We’re all starting to think early Colonial, big thanks, and bigger turkeys, but today I immersed in the end of the Colonial era, with the behind-the scenes tour of Revolutionary War stuff and stories at the Connecticut Historical Society.

You may have hea2015-11-21 14.10.47rd of Nathan Hale, wishing he had more than one life to give for his country.  He certainly could have used more than one.  This Yalie made a terrible spy, hanged at age 21.  George Washington had recruited Hale to carry messages behind the lines, but he was found out either by the British Major Roberts who pretended to be a patriot or by his cousin Samuel Hale, who exposed him.  I don’t know if this diary gives any clues to his cluelessness, but it’s there to be read.

 

 

Who wouldnCHS 1896.9.1‘t love the battle of the red’s?  This red coat belonged to Redcoat Munson Hoyt, a Connecticut loyalist fighting for the British.  The coat, as you can see, is in remarkable condition, given that Munson fought while wearing it.  After the war, he moved to Canada, taking advantage of the reward for his military service of a plot of land.  That didn’t keep him out of the new United States though.  He moved back to Long Island, where he met his wife and settled.

Somehow the bright red cloak of 22-year-old Deborah Champion not only retained its brilliance, but also didn’t get in the way of her spying activities.  Red is a color that catches the eye, a 2015-11-21 14.22.37notoriously bad choice for sneaking around.  But Deborah, who carried messages from her father to George Washington, apparently was all success.  Whenever she felt threatened, she could hide under a calash bonnet, also known as a ‘bashful bonnet’, with its broad hood, disguising herself as an old lady.  Of course, we all know that old ladies couldn’t possibly be spies!

Although Connecticut didn’t see a lot of battle action as the ‘provision state’ (supplying all of George Washington’s armies’ needs), some memorable battles did happen here.  In 1781, Benedict Arnold betrayed his home state and his mentor Washington with his insider knowledge.  He knew that the signal for an enemy ship along the Connecticut River was two cannon shots, with three for a friendly ship.

The hole on the right shows where he was stabbed.

The hole on the right shows where he was stabbed.

When a British ship was sited and two shots were fired, Arnold had the third fired as well, delaying the patriot army’s response.  Also outnumbered, the patriots lost the battle at Fort Griswold at New London.  Even though the patriots surrendered, fighting continued.  Imagine this vest on Colonel William Ledyard, who in the act of surrendering his sword, was bayoneted 14 times by an unnamed British soldier.  Yikes!  So much for a gentlemanly engagement of war.

The vest came to the Historical Society, blood and all, in 1841.  A diligent curator thought the blood stains would upset the ladies and had the vest cleaned.  All curators since have been turning in their graves and sighing, including the two interns leading our tour.  Still you can clearly see where the bayonet penetrated, making this soldier’s unjust fate all the more real..

Imagine the day-to-day life of a patriot soldier.  You had to “grab your gun and go” to war, bringing your squirrel-hunting rifle, or whatever was handy.  Wear any garments you had that might keep you warm and dry.  Not like the British soldiers who were outfitted in red coats and the latest armament technology–the flint-lock rifle.

Imagine marching with a gun as big as you are!

Imagine marching miles and miles with a gun as big as you are!

You would wear your shoes out marching, so that you’d be better off barefoot.  Your clothes would be in tatters.  Why?  Not only are you carrying a 10-pound rifle, but also your bedroll and all your supplies.  With malnutrition and disease limiting growth, the gun might be as big as the man.  That was verified by the tiny red coat on display and the 5’2″ intern with a rifle.

What a life.  It did help to believe in the cause.  In Connecticut, only 50% were patriots, while 20% were loyalists.  30% probably wanted to see who would win.

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Phineas Meigs’ broad-brimmed hat

Phineas Meigs would never find out.  Ostensibly the last Connecticut soldier to die in the war, his hat made it to the Historical Society in 1859 and clearly shows the entrance and exit sites of the bullet that killed him.

Age 73, this private fought in the Battle of Madison on May 19, 1782, when the war was winding down.  Meigs left his home to respond to the alarm.  Armed British ships had been chasing a merchant vessel that sailed for cover in Madison.  The resulting skirmish left one British soldier and Meigs dead, the latter close to his own home.  Someone included his hat when returning his body home.  The family clung to if for 75 years.  It’s chilling to see in person, taking the war out of the history books and onto a real guy’s head.

2015-11-21 14.30.23Maybe one of the last things he would have seen would have been his regimental flag.  Here’s a remarkable flag that was “raised 1640” and still flew in the Revolutionary War.  Its red color suggests it was a state militia flag originally, then appropriated later by the patriots.  Betsy Ross didn’t make any kind of flag in time for the war.  That’s all myth, and another story.  But this flag is the real deal.  Its silken tatters are a reminder of the remarkable stories that make the past seem like just a moment ago.

 

 

Bonus!  Non-Revolutionary-War gowns being staged for an upcoming Downton Abbey exhibit

Bonus! Non-Revolutionary-War gowns being staged for an upcoming Downton Abbey exhibit

Polo!

Men riding around on horses and hitting a ball.  Long breaks, where British people drink tea and make snarky remarks about everyone else.  Stamping down the divots in the turf.  That was polo for me before today’s Yale-Stanford match-up.

Stanford in red, checking out the arena before play

Stanford in red, checking out the arena before play

While Yale got stomped by the Stanford team, I feel the victory.  I learned that polo is not just a men’s sport, but according to the Yale women players in the stands with us, they don’t ever play co-ed.  “The men are more aggressive,” one said, also acknowledging my query about bruises.  Yes, the play involves pushing into your opponent, playing defense, as well as riding all out to hit a little ball with a mallet.

Yale was in blue

Yale was in blue

The object–to score a goal by knocking the ball into a marked area at each end of the arena, while riding full tilt.  It is definitely harder than it seems.  We saw our share of air-swings, balls once struck that sputtered and went nowhere, balls that ended up knocking around between horses’ legs.

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They bunch up during play

The rules have built-in forms of protection for players and horses, but these are so obscure that even the players don’t quite understand them.  Here’s one.  When a player hits the ball, that forms an ‘imaginary line.’  Yes, imaginary.  You, and the horse, have to envision this line that now you cannot cross.  If you do, foul!  The other team gets to take a foul shot.  This rule supposedly prevents collisions.

“But…,” I said, “but.”

“Yeah,” replied a player.

“It’s imaginary?  Then how…”

“Yeah.”

To make things more complicated, this imaginary line is redrawn every time the ball is hit, too.  Um, okay.

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The father of one of the Yale team, a polo player himself, explained.  “You just get it when you’re out there.  Some horses even get the line and know how to work it.”

I tested this idea out on the women players.  One’s eyes sparkled as she said,”Yes!  The good ones definitely know the line.”

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So you think everyone would want that horse, right?  Well forget it.  The Stanford team traveled across the country for 90 minutes of play (4 chukkers of 6 minutes each, with breaks), so they certainly don’t bring horses with them.  They ride the Yale horses.  And after 2 chukkers, the teams switch horses, to make sure there’s no favoritism.

The visiting players don’t know the horses, their quirks, other than what a handler will tell them before the match.  The players do have a few minutes to canter around the playing field, and that may help some.  There are four players per team, with 3 playing at a time, 3 chukkers each.  So the players rotate horses and teammates.  it’s a game that moves in all kinds of ways.

2015-11-15 12.32.16Oh, by the way, the rules are different when played indoors, as we saw today, versus playing outdoors.  Don’t ask.  These rule changes are too complicated for my simple-poloish mind.  They have something to do with changing which goal is whose after scoring, and, well, you probably have to go to Yale or Stanford to fully understand the rules.

Even so, it was just fun to watch the play, which became noisier as the competition heated up.  At first, the play was so quiet, we could hear the horses’ hooves when they shifted into a gallop.  Then the coaches started calling instructions, and whoops burst out with goals.  I think you’ll hear it all in this video:

Gentlemen to the end, the Yalies and Stanford victors shook hands after the final whistle.  It’s all good fun at the collegiate level.  The summer may call me to a professional competition, outside on a polo green.  I might even get out and do the divot stomp.

Cooling down after the match

Cooling down after the match

The closest I'll ever come to playing polo!

The closest I’ll ever come to playing polo!

Fresh thinking for government?

With presidential politics revving up, maybe it’s appropriate that I saw two political plays today.  Both offer a reminder of the personal cost of political leadership.

King Charles III,” a Brit transplant to Broadway, speculates on the role of the monarchy in democratic Britain and what would happen if that crafted balance were demolished.  Despite the cloying references to Shakespeare including the iambic pentameter verse, the surprises along the. way elevate this play almost to the level it shamelessly imitates.

Two characters attempt fresh approaches to living with, and opting out of, traditional leadership roles, both rebelling in the name of decency and common sense.  That is until the forces for sameness squash the forces for change.  That tension, I will admit, created a Shakespearean calculus.

Too bad for the abrupt ending that needed audience plants to signal.  Otherwise, the audience clearly would have waited for more.  Instead we were left with an unsatisfied craving.  Or at least I was.  The rest of the audience gave the typical standing O.  Stunned, I wanted to rebel!

The inability to rebel is at the heart of “First Daughter Suite” at the Public Theatre-that hot launching pad of new musicals (most recently “Hamilton”).  Whereas Kate (Prince William’s wife) protests being ‘plastic’ and does something about it, American women in the White House have had less choice.

Somehow Chelsea Clinton escaped the roast/opera.  Music mostly discordant and lyrics often laugh-out-loud funny, the political and life traps of being a woman in the White House from Pat Nixon to the Bush generations are the fodder.

Who can forget the competition between Julie and Tricia Nixon and Tricia’s White House wedding on a rainy day?  Poor Pat.

Amy Carter, who was tormented during the Carter years by the media, gets her own dream fantasy.  The dream is complete with a hilarious, diva-dancing Betty Ford, the too-sweet Rosalynn who assures her that boring, normal life is okay, and spiky Susan Ford who contends that first-daughter Amy will never be normal.   Like Prince Harry in “King Charles III,” maybe Burger King is the answer.

Maybe Chelsea was spared because of Hilary.  Maybe because the Clinton’s protected her from the media.  Maybe because she’s come into her own.

Or maybe there’s a different path now for women in the White House…

Artventures™ on amazon

Box frontThe last 24 hours have been a whirlwind.  First, a friend told me she bought Artventures™ on amazon…whaaaat?  I didn’t even know the game was posted yet.  Incomplete, missing pictures, the game was already selling.

Within a day, all the samples amazon ordered were sold.  Hooray!

So now we’re working out the bugs, images of the game are online, and the typos have been fixed.  Woo hoo!

Next, hopefully the mysterious algorithm that drives amazon will spark another order.  What a wild ride!

Thank you for your ongoing support, and if you ordered a game, I hope it brings you hours of delight and lots of laughs!