the national – morning dew

A brand new version of this song, made famous by Lee Hazlewood and the Grateful Dead. It was written by folk singer Bonnie Dobson.

From Wikipedia:

Morning Dew“, also known as “(Walk Me Out in the) Morning Dew“, is a post-apocalyptic folk rock song written by Canadian folk singer Bonnie Dobson and made famous by the Grateful Dead.

The song is a dialogue between the last man and woman left alive following an apocalyptic catastrophe: Dobson has stated that the initial inspiration for “Morning Dew” was the film On the Beach which is focused on the survivors of virtual global annihilation by nuclear holocaust. The actual writing of the song occurred in 1961 while Dobson was staying with a friend in Los Angeles: Dobson would recall how the guests at her friend’s apartment were speculating about a nuclear war’s aftermath and “after everyone went to bed, I sat up and suddenly I just started writing this song [although] I had never written [a song] in my life”.[1] Dobson premiered “Morning Dew” in her set at the inaugural Mariposa Folk Festival that year with the song’s first recorded version being on Dobson’s At Folk City live album in 1962. Dobson would not record a studio version of the song until 1969, that being for her Bonnie Dobson album.

“Morning Dew” was not published until 1964 when Jac Holzman of Elektra Records contacted Dobson with an offer to sign her as a songwriter as Elektra artist Fred Neil had heard “Morning Dew” and wished to record it. The first studio recording of “Morning Dew” appeared on the 1964 album Tear Down The Walls by Fred Neil and Vince Martin. It was this version which introduced the song to Tim Rose who in 1966 recorded “Morning Dew” for his self-titled debut album after soliciting permission to revise the song with a resultant co-writing credit. Dobson agreed without having any intended revision specified and was subsequently much discomforted to learn that the changes were minimal. As of the February 1967 release of the Tim Rose single version of “Morning Dew” the standard songwriting credit for the song has been Bonnie Dobson and Tim Rose: Dobson, who in 1998 averred she’d never met Rose (d. 2002), has consistently questioned Rose’s right to a credit.

“Morning Dew” became a signature song of the Grateful Dead whose frontman Jerry Garcia was introduced to the Fred Neil recording by roadie Laird Grant in 1966.

the amen break – a documentary

Utterly fascinating documentary on the use of the “Amen Break”, sampled from The Winston’s 1969 soul record, “Amen Brother” (although the narrator has the most boring voice ever, and the images shown are really pointless – it’s actually an audio documentary), looking at the intersection of technology, creativity and copyright.

marchel duchamp took the credit for his friend elsa’s work

Just another sorry tale of appropriation:

Evidence that Marcel Duchamp may have stolen his most famous work, Fountain, from a woman poet has been in the public domain for many years. But the art world as a whole—museums, academia and the market—has persistently refused to acknowledge this fact.

The Museum of Modern Art (MoMA) in New York is the latest eminent body to bury its head in the sand. It has just published a new edition of Calvin Tomkins’s 1996 life of Duchamp, updated by its author. Ann Temkin, MoMA’s chief curator of painting and sculpture, praises Tomkins in her introduction for his “thorough research”. But Tomkins avoids addressing the implications of the question marks over the origins of the work that Duchamp himself raised in 1917.

Irene Gammel and Glyn Thompson have revealed the truth of his much earlier private account that he did not submit the urinal to the Society of Independent Artists exhibition in New York in 1917. Nevertheless, Duchamp’s late, fictional story is still taught in every class and recited in every book…

Should museums re-label the work Fountain as “a replica, appropriated by Marcel Duchamp (1887-1968), of an original by Baroness Elsa von Freytag-Loringhoven (1874-1927)”? Photo: Felix Clay

Should museums re-label the work Fountain as “a replica, appropriated by Marcel Duchamp (1887-1968), of an original by Baroness Elsa von Freytag-Loringhoven (1874-1927)”? Photo: Felix Clay

… Duchamp wrote to his sister, a nurse in war-torn Paris, telling her that “one of my female friends under a masculine pseudonym, Richard Mutt, sent in a porcelain urinal as a sculpture”. The explosive contents of this letter did not enter the public domain until 1983 when the missive was published in the Archives of American Art Journal.

The mere fact that Duchamp referred to the urinal as a sculpture suggests that it could not have been his, since by 1913, prompted by the work of the wealthy, chess-playing writer Raymond Roussel, he had stopped creating art. His Roussel-inspired “Readymades” were elaborate, personal rebuses to be read, not viewed.

The literary historian Irene Gammel was the first to discover who Duchamp’s “female friend” was. She was born Else Plötz in Germany in 1874, the daughter of a builder and local politician who philandered freely and beat her mother. Afflicted with syphilis, her mother attempted suicide and died later in an institution. As Elsa put it, she “left me her ­heritage… to fight”.

Elsa first married the leading Jugendstil architect August Endell, then Felix Paul Greve, the translator of Oscar Wilde, who faked his own suicide to escape his creditors and fled with Elsa to America. Her third marriage was to Leopold Karl Friedrich Baron von Freytag-Loringhoven, the impoverished son of a German aristocrat who had also escaped to America to avoid debts. He soon ­vanished with Elsa’s paltry savings but left her with a title and entrée into artistic circles in New York.

Elsa simultaneously inspired and repelled all who came into contact with her, from Ezra Pound to Ernest Hemingway. Nevertheless The Little Review treated her as a star and ­published her poems alongside excerpts from James Joyce’s Ulysses. Elsa’s genius was to find new ways to break out of the social straightjacket that bound women so that she could fight her mother’s battle in public, whenever and wherever she wanted, not when men told her she could.

In October 1917, the painter George Biddle described her room in New York filled with “odd bits of ­ironware, automobile tiles… ash cans, every conceivable horror, which to her tortured yet highly sensitive ­perception, became objects of formal beauty… it had to me quite as much authenticity as, for instance, Brancusi’s studio in Paris.”

Elsa was a poet of found objects, but she didn’t leave them as they were—she transformed them into works of art.

Elsa exploded in fury when the US declared war on her motherland, on Good Friday, 6 April 1917. Her ­target was the Society of Indepen­dent Artists, whose representatives had consistently cold-shouldered her. We believe she submitted an upside-down urinal, signed R. Mutt in a script similar to the one she sometimes used for her poems.

Armut—the homophone of R. Mutt—has many resonances in German. It is used in common phrases to mean “poverty”, and in some contexts “intellectual poverty”. Elsa’s submission was a double-pronged attack. The society was hoist by its own petard, for in accepting the entry it would demonstrate its inability to distinguish a work of art from an everyday object, but in rejecting it, it would break its own rule that the definition of what was art should be left to the submitting artist. Hence the “intellectual poverty” of its stance.

The urinal was Elsa’s declaration of war against a man’s war—an extraordinary visual assault on all that men stood for. As a sculpture of a transformed everyday object, it deserves to rank alongside Picasso’s Bull’s Head, 1942, made of bicycle ­handlebars and a saddle, and Dali’s Lobster Telephone, 1936.

If Duchamp did not submit the urinal, why would he pretend later that he did? After Elsa died in 1927, forgotten and in abject poverty, Duchamp began to let his name be associated with the urinal, and by 1950, four years after the death of Alfred Stieglitz, who photographed the original Fountain, he began to assume its authorship…

… When the mood took him, Duchamp could be honest about his dishonesty. In an interview in 1962, he told William Seitz: “I insist every word I am telling you now is stupid and wrong.” Why, then, has the art world persisted in believing an account grounded in the myths he promulgated?

Sélavy, baby… Read the full article HERE.

how to dance the “black bottom”

The “Black Bottom” (aka “Swanee Bottom”) was originally from New Orleans, later worked its way to Georgia and finally New York. Some say the “Black Bottom” was introduced by blues singer Alberta Hunter (which is probably true as many songs & dances were “stolen” and reproduced by someone else). However, it has been reported that the Black Bottom was derived from an earlier and similar dance called the “Echo.” The dance was done all over the South before Perry Bradford wrote his “Original Black Bottom Dance” in 1919.

Simple moves were created by natural movements, like the stomp was to imitate a cow’s feet stuck in mud.
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The above info is posted below the Youtube video. Read more (a different story) about the supposed origins of this ’20s dance craze HERE, and watch another video from 1927 from the British Pathe archive:

flapper