Category Archives: Essays

Robert Motherwell: Elegies to the Spanish Republic

 

 

Elegy to the Spanish Republic No. 110 by Robert Motherwell, 1971, Solomon R. Guggenheim Museum

Robert Motherwell’s Elegies to the Spanish Republic has been interpreted as the artist’s on-going personal expression of his belief “that a terrible death happened that should not be forgotten.” Motherwell was referring to the events of the Spanish Civil War (1936-1939). The savage nature of that war—more than 700,000 killed, including the mass-executions of thousands of civilians—roused a legion of artists to action. Pablo Picasso’s famous painting Guernica (1937) expresses his outrage over the unfair nature of the conflict, specifically the bombing of defenseless civilians from the sky by the Generalissimo’s Nazi allies. That painting has become the enduring symbol of the war.

For Robert Motherwell, the war became a metaphor for all injustice. Elegies to the Spanish Republic (over 100 paintings completed between 1948 and 1967) is a commemoration of human courage in the face of terror and suffering. He saw the heroism of the defenders of the elected government in stark contrast to the duplicitous dealings of the fascist alliance that ultimately prevailed. To portray this visually Motherwell’s recurring theme is a sublime contemplation of life and death, equating to light and dark. The abstract concept common to the Elegies—an alternating pattern of oval shapes slotted between columnar forms—has been said to represent the dialectical nature of life itself, expressed through the juxtaposition of black against white—the colors of death and life. The Republic is evoked as a bull (the symbol of Spain), once strong and radiant, heartbreakingly butchered by Franco, now only a dark memory.

 

 

 

Barcelona v. Las Palmas match played without fans amid Catalonia vote

The match between FC Barcelona and UD Las Palmas was played with empty stands at Camp Nou in protest of the Spanish government’s actions in Catalonia. (Alex Caparros / Getty Images)

Barcelona plays Las Palmas in an empty stadium due to the vote today for Catalonian independence from Spain. Barcelona is in Catalonia. Las Palmas is in the Canary Islands. In the Spanish Civil War (1936-1939) one of the great fears of the Nationalists was that the Republican government would allow Catalonia to split from Spain. When the Nationalists launched the war to overthrow the elected Republican government their top general, Francisco Franco, was flown from the Canary Islands to lead the insurgency. In the decades that followed the Nationalist victory, a victory aided and abetted by Hitler and Mussolini, Franco brutalized the Catalonians. One of the only avenues left for them to get back at him, and hold on to their independence, was through their beloved soccer club– Barcelona. Today Las Palmas wore the Spanish national flag on their uniforms to protest the vote. History rhymes in mysterious ways. Barcelona won the game! We’ll see what happens with the vote.

Christmas Greetings from the Abraham Lincoln Brigade – Spain 1937

The XV International Brigade, nicknamed Brigada Abraham Lincoln, fought against Franco for the Spanish Republic in the Spanish Civil War. Composed primarily of volunteer battalions from Britain and America, but also Canada, Ireland, the Balkans, France and Cuba, the 15th fought valiantly, and suffered heavy casualties, at Jarama, BruneteTeruel and the Ebro River. Here is the Christmas greetings card sent out by the XV International Brigade and comrades in the Republican Army in 1937….

intl-brigades-xmas-card

 

Del Berg, a 100-year-old veteran of the Abraham Lincoln Brigade, who was its last known survivor, passed away on February 28, 2016. NY Times Obituary
Read John McCain’s Tribute to Berg: Salute to A Communist
 Watch The Spanish Earth:

The Rise Of Freeform Radio in the 1960s

UPenn_student_hosts_radio_showIn the mid-1960s FM radio featured a handful of “progressive” or “freeform” programs that became foundational influences on a growing counter-cultural generation. Coinciding with the youth backlash against the sterile consumerism of the 1950s, against the “plastic people” as the Mothers of Invention coined them, listeners were primarily urban kids, many recently radicalized by the civil rights, free speech and anti-Vietnam war movements, many others were just lovers of provocative thought and music.

In the early days most FM and AM stations were owned by the same broadcasting companies. AM simply duplicated their programming onto the FM band in an effort to broaden audiences. Everything began to change in 1964 when the FCC moved to enact a non-duplication rule in an effort to broaden the chances for under-represented demographics to be served. The rule, emerging in the midst of the civil rights struggles, was at first vigorously opposed by many established AM/FM affiliate stations as an egregious example of government overreach, not to mention the financial costs of hiring new staff and DJs.

Not all stations resisted, WBAI in New York and Pacifica stations in California were early adopters for example, but powerful owners did manage to delay official enactment until January 1, 1967. Once passed the FM Non-Duplication Rule required FM stations to broadcast original content over 50% of their broadcast day. This little remembered event was a key moment in the cultural formation of the 1960s and early 1970s (and my life!). Programmers could no longer take the lazy route of repetitiously spinning Top 40 banality, they were forced to begin experimenting. Many gave disc jockeys more freedom and control over the material on their shows. These new “underground” jockeys began to manipulate their playlists to feature a broad range of genres interspersed with political and cultural discussions, comedy and interviews. The style came to be known as freeform. There was no preset playlist schedule to follow. The only rules were those laid down by the FCC regarding profanity and station identification. With no stylistic boundaries, programming was shaped by the intellectual eclecticism and uniqueness of the individual personalities behind the mic.

The first prototype for what would become freeform radio was Pacifica Radio (KPFA in Berkeley, California) launched in 1949 by a group World War II conscientious objectors. KPFA was dedicated to free artistic expression and countering many of the accepted political norms of the early postwar period. The first so-called freeform radio show was Night Sounds hosted by John LeonardIt was here that beat poets like Ginsberg, Corso, Ferlinghetti and Kerouac were heard for the first time over the airwaves. This was powerful stuff. Other founding fathers included WBAI New York’s Bob Fass, WOR New York’s Murray the K (who called himself the 5th Beatle) and in Los Angeles it was KPFK’s pioneering talk show “Radio Free oZ” hosted by the Firesign Theatre troupe.

But perhaps the most recognized commercial freeform station was San Francisco’s KMPX, with its DJ/program director Tom “Big Daddy” Donahue. His timing was perfect, coming online in the run-up to the summer of love just as the San Francisco sound was beginning to peak. On any evening in San Francisco one could tune in and hear everything from the Stones, Mingus and Miles Davis to Mongolian chants. KMPX-FM and Donahue were the amplifiers that first brought the likes of Janis Joplin, Jefferson Airplane, Grateful Dead and Quicksilver Messenger Service to the Bay Area and world.

One evening in April 1967, Donahue invited Phil Lesh and Jerry Garcia to be guest DJs on KMPX. Listen to the show below. This fascinating time-capsule has Phil and Jerry discussing the Grateful Dead’s brand-new debut album, their upcoming first tour in the east and odd topics such as a top-secret “sound gun.” But the real treat is the exposure of the musical influences that shaped Garcia and Lesh, both very young at the time, culled straight from their own personal record collections! I have visions of them riding the Muni bus from the Haight to downtown, stacks of wax tucked under their arms. Listen and Enjoy…

Murray the K interviews the Beatles:

Bob Fass Interviews Bob Dylan on WBAI 1966:

Bob Fass from Chicago ’68: