David Buttolph

Music Appreciation

David Buttolph, born on August 3, 1902, in New York City, was drawn to the piano from a young age, igniting a deep passion for music within him. He pursued his studies at the Institute of Musical Arts in New York City, now known as The Juilliard School of Music, where he perfected his skills as an accompanist and songwriter.

Fascinated by the world of opera, Buttolph ventured to the Akademie für Musik in Vienna, which is currently known as the University of Music and Performing Arts Vienna. During his time in Austria, he immersed himself in opera studies under the guidance of skilled maestros. Additionally, he delighted audiences with his jazz performances at various nightclubs, showcasing his versatile musical talents.

Upon returning to the United States in 1927, Buttolph embarked on a career as an arranger and conductor, collaborating with singing groups and orchestras. Eventually, he made his way to Los Angeles, where he became a studio composer, working alongside the renowned movie composer Alfred Newman.

While Buttolph contributed to numerous film scores throughout his career, it was his work as an arranger on Alfred Newman's score for The Mark of Zorro (1940) that garnered significant acclaim and recognition.

His experience as a conductor provided him with valuable insights into orchestration and a profound understanding of music's ability to enhance visual storytelling. These insights led him to compose scores for television during the mid-1950s. He became widely recognized for his versatility in covering various genres, ranging from musicals to horror to westerns. One of his most iconic works was the theme for the TV western Maverick, starring James Garner.

Buttolph's musical style was characterized by its melodious depth, thematic complexity, and masterful orchestration. He possessed a unique talent for crafting melodies that resonated with both tenderness and strength, evoking a wide array of emotions. His unwavering dedication to storytelling through music, combined with his exceptional abilities, has rightfully secured his place among the great film composers of all time.

Sources:

Wikipedia

https://prod-www.tcm.com/tcmdb/person/26333%7C36220/David-Buttolph

https://www.imdb.com/name/nm0005987/bio/?ref_=nm_ov_bio_sm

https://id.loc.gov/authorities/names/n85378895.html

https://dokumen.pub/the-encyclopedia-of-film-composers-1442245492-9781442245495.html

No Shirt, No Shoes, No Service

What prevents our society from adopting a more widespread acceptance of topless beaches, as seen in other countries where such beach spots are more common? A prime example can be found in the Caribbean, where I encountered an island, St. Martin, boasting the renowned "clothing optional" Orient Beach.

While certain nations have readily embraced progressive viewpoints on nudity and public self-expression, the United States has generally adhered to a more conservative stance on this matter. The few topless beaches that do exist within the U.S. are typically situated in regions that exhibit a more liberal and open-minded attitude towards nudity, valuing personal freedoms and the individual rights enshrined in our Constitution.

Rip Matteson, PLAYBOY (August 1994)

"Viva Milan"

The August 1994 issue of Playboy is one I remember for its pictorials of Carol Shaya, Playmate Maria Checa, and playmates with other international models in Milan. 

"VIVA MILAN," the title read with photos of four beautiful international models.

The write-up explains, "We enlisted a team of alluring international models -- as well as Playmates Samantha  Dorman and Becky DelosSantos -- and jetted off to the city of ancient palazzi and bustling avenues."

The pictorial by photographer Stephen Wayda is lovely. With each turning page, I fell in love with a new model: Nicole Douglas, April Christenson, Alessandra Pertile, Danelle Folta, Donna Perry, Lorenza Pierucci, Nicole Rhodes, Helene Rollingswier, Becky DelosSantos, Erin Hopkins, and Samantha Dorman.

Lorenza Pierucci

Alessandra Pertile

Helene Rollingswier

Alessandra Pertile and Lorenza Pierucci

Sources:

VIVA MILAN. Playboy. Vol. 41. No. 8. Pg. 126.

https://www.iplayboy.com/issue/19940801

Fashion is DEFINITELY Art: Fendi Haute Couture Fall Winter 2023/2024

Artistic Director: Kim Jones

via FF Channel

Hooking Up

Back in August 1994, when I was just 18 years old, I stumbled upon a cartoon in the pages of PLAYBOY that left a lasting impression on me. In that moment, I saw myself as the romantic depicted in the cartoon, holding flowers like a caveman, valuing genuine connections and meaningful courtship. On the other hand, I couldn't help but disdain the players who seemed to have "weekend girlfriends" or changed partners as frequently as the "flavor of the week." To me, dating and courtship were about more than just casual hookups; they were about building something deeper and more substantial.

However, as time raced forward, now three decades later, I find myself looking at things from a different perspective. The dating landscape seems to have evolved, and the norm appears to be "hook up first" to test the waters and then see if there's any chemistry worth pursuing further. It's intriguing how societal norms and attitudes can shift over time, shaping our perspectives and altering our views on matters as personal as relationships and romance.

Bill Woodman, PLAYBOY (August 1994)

 

George Grosz

Art Appreciation 

George Grosz, born Georg Ehrenfried Groß in Berlin, Germany, on July 26, 1893, emerged as a pioneering figure in the early 20th-century art world. His artistic evolution took place amidst the whirlwind of Germany's rapidly changing political and social landscape, and his work served as a powerful critique of the society that engulfed him.

In his youth, Grosz displayed a passion for art, attending a weekly drawing class where he meticulously copied Eduard von Grützner's drinking paintings and imagined battle scenes. At the age of 16, he began his formal training at the Dresden Academy of Fine Arts under the teaching of Robert Hermann Sterl and Osmar Schindler. Later, he perfected his skills at the Berlin College of Arts and Crafts, studying under the renowned painter Emil Orlik.

However, Grosz's life took a significant turn when he volunteered for military service in 1914. The experiences of World War I left an indelible mark on him and became a central theme in his art, illustrating the horrors and absurdities of war.

Disenchanted with German nationalism, he altered the spelling of his name to George Grosz, hoping for a more international sound. After the war, he became associated with the Dada movement, a radical art movement born in response to the senseless violence and destruction of World War I. Rejecting conventional norms, Dada artists embraced a playful, nonsensical, and subversive approach to art.

During this period, Grosz's artworks exuded a satirical tone and offered a scathing critique of the Weimar Republic's political and social establishment. His caricatures and grotesque depictions of politicians, along with his biting commentary on societal ills, garnered both admiration and criticism. Many of his works were biting satires, capturing the moral decay and excesses of post-war Germany.

Following the German Revolution, Grosz joined the radical Spartacist League, which later became part of the Communist Party of Germany (KPD). This affiliation led to the publication of a collection of drawings titled "Gott mit uns," a satire on German society, resulting in fines imposed on him.

As the 1920s progressed, Grosz's artistic style transitioned from Dadaism to Neue Sachlichkeit, or New Objectivity, characterized by a sharp and unflinching portrayal of reality. During this phase, Grosz's work evolved to offer a more realistic depiction of society while retaining his critical edge.

However, his unyielding criticism of the German government and society made him a target of the authorities. Labeled a degenerate artist, Grosz decided to emigrate to the United States in 1933, as the Nazis gained power. He later became a naturalized U.S. citizen in 1938.

In the United States, Grosz continued his artistic pursuits and even ventured into teaching. He accepted an invitation to teach at the Art Students League of New York and later imparted his knowledge at the Huntington Township Art League and the Des Moines Art Center. One of his pupils was American artist Romare Bearden. 

Throughout his life, Grosz received recognition for his artistic contributions. He was elected as an Associate Academician of the National Academy of Design in 1950 and, a few years later, to the American Academy of Arts and Letters.

Despite his time abroad, Grosz returned to Berlin in 1959. Tragically, his life came to an end due to the effects of a fall down a flight of stairs after a night of drinking.

The legacy of George Grosz endures as a testament to the power of art in questioning, criticizing, and challenging societal norms. Through his sharp wit and unflinching portrayal of social injustices, he exposed the flaws of his time, leaving an indelible impact on the art world. George Grosz remains an icon of political and social satire, reminding us of the vital role of art in shaping public consciousness and driving positive change in society.

Eclipse of the Sun, 1926

Cain or Hitler in Hell, 1944

Republican Automatons, 1920

Ecce homo, 1923

Sources:

Wikipedia

https://www.heckscher.org/exhibitions/george-groszs-eclipse-of-the-sun-1926/

https://www.guggenheim.org/blogs/findings/george-groszs-satiric-watercolors

Phillip Dixon

Photography Appreciation

Born in Pasadena, California, Phillip Dixon is an internationally acclaimed American fashion photographer, renowned for his unparalleled vision and mastery in capturing the essence of style and beauty. His iconic images grace the pages of esteemed publications such as Playboy, Elle, and Harper's Bazaar.

Dixon's journey into photography is a fascinating tale. After an enlightening acid trip, he had an epiphany – simplicity held great power. 

"What I realized was this: It was easy to be complicated and difficult to be simple. I got down to the simplest form of what I was good at, which I realized was arranging things. So I thought about all the things I could do to get paid for arranging things. I thought, Ah -- Halleluiah! I could arrange things and take a picture of them."

Realizing his talent lay in arranging things, he set out to find ways to monetize this skill through photography. His path began as a delivery boy for a photographer, later evolving into a photo lab technician and eventually leading him to work in pornography.

A turning point in Dixon's career came when Playboy Magazine stumbled upon his pictures of his then-girlfriend and eagerly bought and published them – an unprecedented feat for unsolicited work. Despite this initial success, his tenure at Playboy was short-lived due to creative differences, with Hugh Hefner dismissing Dixon's photography as too abstract.

"[Hugh Hefner] had put a bunch of pictures to illustrate what he didn't want in the magazine anymore... The pictures were by Helmut Newton and me. He called our pictures abstract. And I said to him, 'Come on. You think a girl on her hands and knees with her ass in the air wearing matching lingerie out is reality? Stick it where the sun don't shine Pajama Man!'"

Undeterred, Dixon went on to make his mark in advertising, capturing editorial images for Jimmy'Z. After 15 fruitful years, he decided to take a break and moved to Mexico. However, his career saw a revival in the 1990s when he joined forces with Harper's Bazaar, collaborating with fashion and Hollywood celebrities. 

Beyond fashion, Dixon ventured into architectural and interior photography, showcasing his exceptional understanding of space and light. This expertise even extended to designing his own house in 1993, a realization of his love for nature and his distinct visual approach to light.

"When I designed my house, I realized... I always photographed in nature." He added, "Architects don't understand natural or artificial light. They're mathematical. I'm visual. The house is kind of inside-out."

What sets Dixon's work apart is his ability to infuse fashion photography with a sense of authenticity and naturalness. His style is a reflection of his personal taste, a pursuit of beauty that embraces rawness, desirability, and authenticity in women, rejecting the artificial and exaggerated.

"I have one style, one point of view. Me... A lot about photography is about personal taste. Mine is about what I find beautiful. I like women to look raw, desirable and real. I don’t like them to look like plastic dolls or clowns."

The impact of Phillip Dixon's photography has earned him countless accolades and exhibitions across the globe, cementing his status as a visionary artist. From New York to Paris, his work has graced prestigious galleries, continually captivating audiences with its unique blend of fashion and art, transcending traditional boundaries.

Laetitia Casta, 1997

Brad Pitts, 1993

Daria Pleggenkuhle for Numéro China June/July 2013

Sharon Stone, 1990 

Sources:

https://loeildelaphotographie.com/en/phillip-dixon-between-genius-and-hermit/

https://www.bellazon.com/main/topic/72501-phillip-dixon/

https://www.fashionmodeldirectory.com/photographers/phillip-dixon/

https://models.com/people/phillip-dixon

https://www.lamag.com/theseen/party-house-of-the-month-photographers-phillip-dixon-and-veronique-vials-venice-home/

https://forums.thefashionspot.com/threads/phillip-dixon-photographer.261399/

https://www.traceymattingly.com/news/tracey-mattingly-llc-welcomes-photographer-phillip-dixon

http://wardrobetrendsfashion.com/tag/phillip-dixon/

https://fashioncow.com/2013/05/daria-pleggenkuhle-by-philip-dixon-for-numero-china-junejuly-2013/