Gin Blossoms - Found Out About You

Music Appreciation

During the 1990s, the Gin Blossoms were the rock band that had that catchy melodic alternative rock sound. One of their most popular songs, Found Out About You, which was a track from their 1992 album "New Miserable Experience," became a classic and beloved by fans.  

Written by former lead guitarist Doug Hopkins, Found Out About You tells the story of a person who has just discovered that their love has been unfaithful. The singer describes the shock and pain of the discovery, but the unwavering love and longing to go back to how it was before. Although somber, the story is told with an upbeat catchy guitar riff and sing-along chorus. 

Directed by David Hogan, the music video captures the mood and tone of the song. It features the band performing the song in a dimly-lit room and images of a woman interspersed throughout. 

Sources:

Wikipedia

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