All posts by Greg Letson

Greg Letson is an artist, photographer, sound artist and filmmaker based in NYC. His artwork can be found at: gregletson.com and his photographic works at: gregletsonphotography.com Greg founded The Incubator in the fall of 2016.

ADOLF LOOS: ORNAMENT AND CRIME, modernist essay/lecture, 1908

“I will not subscribe to the argument that ornamention increases the pleasure of the life of a cultivated person, or the argument which covers itself with the words: “But if the ornament is beautiful! …” To me, and to all the cultivated people, ornament does not increase the pleasures of life. – Adolf Loos, Ornament and Crime

Ornament and Crime was an essay and a lecture by modernist architect Adolf Loos, that criticizes ornament in art, first given on 21 January 1908 in Vienna and first published in Cahiers d’aujourd’hui(issue 5 of 1910) under the German title Ornament und Verbrechen. It was under this challenging title that in 1913 the essay was translated into French; it was not published in German until 1929. “The evolution of culture marches with the elimination of ornament from useful objects”, Loos proclaimed, linking the optimistic sense of the linear and upward progress of cultures with the contemporary vogue for applying evolution to cultural contexts. Loos’ work was prompted by regulations Loos encountered when he designed a tailorshop without ornamentation next to a palace. He eventually conceded to requirements by adding a flowerpot. 

The essay was written when Art Nouveau, which Loos had excoriated even at its height in 1900, was about to show a new way of modern art. The essay is important in articulating some moralizing views, inherited from the Arts and Crafts movement, which would be fundamental to the Bauhaus design studio and would help define the ideology of Modernism in architecture.

In Loos’ essay, “passion for smooth and precious surfaces” he explains his philosophy, describing how ornamentation can have the effect of causing objects to go out of style and thus become obsolete. It struck him that it was a crime to waste the effort needed to add ornamentation, when the ornamentation would cause the object to soon go out of style. Loos introduced a sense of the “immorality” of ornament, describing it as “degenerate”, its suppression as necessary for regulating modern society. He took as one of his examples the tattooing of the “Papuan” and the intense surface decorations of the objects about him—Loos says that, in the eyes of western culture, the Papuan has not evolved to the moral and civilized circumstances of modern man, who, should he tattoo himself, would either be considered a criminal or a degenerate.

Loos never argued for the complete absence of ornamentation, but believed that it had to be appropriate to the type of material.

Loos concluded that “No ornament can any longer be made today by anyone who lives on our cultural level … Freedom from ornament is a sign of spiritual strength”. -wikipedia, ornament and crime

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**republished from Archdaily.com

Ornament and Crime began as a lecture delivered by Adolf Loos in 1910 in response to a time (the late 19th and early 20th Centuries) and a place (Vienna), in which Art Nouveau was the status quo.

Loos used the essay as a vehicle to explain his distain of “ornament” in favour of “smooth and previous surfaces,” partly because the former, to him, caused objects and buildings to become unfashionable sooner, and therefore obsolete. This—the effort wasted in designing and creating superfluous ornament, that is—he saw as nothing short of a “crime.” The ideas embodied in this essay were forerunners to the Modern movement, including practices that would eventually be at core of the Bauhaus in Weimar.

Extract from Ornament and Crime

The human embryo goes through all the phases of animal life while still inside the womb. When man is born, his instincts are those of a newborn dog. His childhood runs through all the changes corresponding to the history of mankind. At the age of two he looks like a Papuan, at four like one of an ancient Germanic tribe, at six like Socrates, at eight like Voltaire. When he is eight years old, he becomes conscious of violet, the colour discovered by the eighteenth century, for until then violets were blue and purple-fish were red. The physicist today points out colours in the spectrum of the sun that have already been named, but whose comprehension has been reserved for future generations.

The child is amoral. So is the Papuan, to us. The Papuan kills his enemies and eats them. He is no criminal but if a modern man kills someone and eats him, he is a criminal or a degenerate.

The Papuan tattoos his skin, his boat, his rudder, his oars; in short, everything he can get his hands on. He is no criminal. The modern man who tattoos himself is a criminal or a degenerate. There are prisons in which eighty per cent of the prisoners are tattooed. Tattooed men who are not behind bars are either latent criminals or degenerate aristocrats. If someone who is tattooed dies in freedom, then he does so a few years before he would have committed murder.

The urge to decorate one’s face and everything in reach is the origin of the graphic arts. It is the babbling of painting. All art is erotic.

The first ornament invented, the cross, was of erotic origin. The first work of art, the first artistic act, which the first artist scrawled on the wall to give his exuberance vent. A horizontal line: the woman. A vertical line: the man penetrating her. The man who created this felt the same creative urge as Beethoven, he was in the same state of exultation in which Beethoven created the Ninth.

But the man of our own times who covers the walls with erotic images from an inner compul­sion is a criminal or a degenerate. Of course, this urge affects people with such symptoms of degeneracy most strongly in the lavatory. It is possible to estimate a country’s culture by the amount of scrawling on lavatory walls. In children this is a natural phenomenon: their first artistic expression is scribbling erotic symbols on walls. But what is natural for, a Papuan and a child, is degenerate for modern man. I have discovered the following truth and present it to the world: cultural evolution is equivalent to the removal of Ornament from articles in daily use. I thought I was giving the world a new source of pleasure with this; it did not thank me for it. People were sad and despondent. What oppressed them was the realization that no new ornament could be created. What every Negro can do, what all nations and ages have been able to do, why should that be denied to us, men of the nineteenth century? What humanity had achieved in earlier millennia without decoration has been carelessly tossed aside and consigned to destruction. We no longer possess carpenters’ benches from the Carolingian period, but any trash that exhibited the merest trace of decoration was collected and cleaned up, and splendid palaces built to house it. People walked sadly around the showcases, ashamed of their own impotence. Shall every age have a style of its own and our age alone be denied one? By style they meant decoration. But I said: Don’t weep! Don’t you see that the greatness of our age lies in its inability to produce a new form of decoration? We have conquered ornament, we have won through to lack of ornamentation. Look, the time is nigh, fulfilment awaits us. Soon the streets of the town will glisten like white walls. Like Zion, the holy city, the metropolis of heaven. Then we shall have fulfillment.

But there are some pessimists who will not permit this. Humanity must be kept down in the slavery of decoration. People progressed far enough for ornament to give them pleasure no longer, indeed so far that a tattooed face no longer heightened their aesthetic sensibility, as it did with the Papuans, but diminished it. They were sophisticated enough to feel pleasure at the sight of a smooth cigarette case while they passed over a decorated one, even at the same price. They were happy with their clothes and glad that they did not have to walk about in red velvet pants with gold’ braid like monkeys at a fair. And I said: look, Goethe’s death chamber is more magnificent than all the Renaissance grandeur and a smooth piece of furniture more beautiful than all the inlaid and carved museum pieces. Goethe’s language is finer than all the florid similes of the Pegnitz Shepherds.[1]

The pessimist heard this with displeasure and the State, whose task it is to retard the cultural progress of the people, took up the fight for the development and revival of ornament. Woe to the State whose revolutions are made by Privy Councillors! A sideboard was soon on show in the Vienna Museum of Arts and Crafts called The Rich Haul of Fish, soon there were cupboards called The Enchanted Princess or something similar, relating to the ornament that covered these unfortunate pieces. The Austrian government takes its task so seriously that it makes sure that puttees do not disappear from the borders of the Austro-Hungarian Monarchy. It forces every civilized twenty-year-old man to wear puttees instead of knitted hose for three years. For every government still labours under the supposition that a nation on a low standard is easier to govern.

All right, then, the plague of ornament is recognized by the State and subsidized by State finds. But I look on this as retrogression. I do not allow the objection that ornament heightens a cultivated man’s joy in life; I do not allow the objection: “but what if the ornament is beautiful…” As far as I am concerned, and this goes for all cultivated people, ornament does not give zest to life. If I want to eat some gingerbread, I choose a piece that is quite plain, and not in the shape of a heart or a baby or a horseman, and gilded all over. The man from the fifteenth century will not understand me. But all modem people will. The advocate of ornament believes that my urge for simplicity is equivalent to a mortification of the flesh. No, my dear art school professor, I’m not mortifying myself. I prefer it that way. The specta­cular menus of past centuries, which all include decorations to make peacocks, pheasants and lobsters appear even tastier, produce the opposite effect on me. I walk though a culinary display with revulsion at the thought that I am supposed to eat these stuffed animal corpses. I eat roast beef.

The immense damage and devastation wrought on aesthetic development by the revival of decoration could easily be overcome, for no one, not even governments, can arrest the evolution of mankind. It can only be retarded We can wait. But it is a crime against the national economy that human labour, money and material should thereby be ruined. This kind of damage cannot be put right by time.

The tempo of cultural progress suffers through stragglers. I may be living in 1908, yet my neighbour still lives in 1900 and that one over there in 1880. It is a misfortune for a country if the cultural development of its people is spread over such a long period. The peasant from Kals lives in the twelfth century. And in the jubilee procession there were contingents from national groups which would have been thought backward even in the period of the migrations of the tribes. Happy the country that has no such stragglers and marauders! Happy America! In our country there are old-fashioned people even in the cities, stragglers from the eighteenth century, who are shocked by a picture with violet shadows because they can’t yet see violet. They prefer the pheasant on which the chef has had to work for days, and cigarette cases with Renaissance decoration please them better than smooth ones. And how is it in the country? clothes and furniture belong entirely to earlier centuries. The farmer is not a Christian, he is still a heathen.

Stragglers slow down the cultural progress of nations and humanity; for ornament is not only produced by criminals; it itself commits a crime, by damaging men’s health, the national economy and cultural development. where two people live side by side with the same needs, the same demands on life and the same income, and yet belong to different cultures, the following process may be observed from the economic point of view: the man from the twentieth century becomes ever richer, the one from the eighteenth ever poorer. I am supposing that each lives according to his inclinations. The twentieth century man can pay for his needs with much less capital and can therefore save. The vegetables he likes are simply boiled in water and then served with a little melted butter. The other man doesn’t enjoy them until honey and nuts have been added and someone has been busy cooking them for hours. Decorated plates are very dear, while the plain white china that the modem man likes is cheap. One man accumulates savings, the other one debts. So it is with whole nations. Woe to the country that lags behind in cultural development! The English become richer and we poorer…

Even greater is the damage ornament inflicts on the workers. As ornament is no longer a natural product of our civilization, it accordingly represents backwardness or degeneration, and the labour of the man who makes it is not adequately remunerated.

Conditions in the woodcarving and turning trades, the criminally low prices paid to em­broiderers and lacemakers, are well known. The producers of ornament must work twenty hours to earn the wages a modern worker gets in eight. Decoration adds to the price of an object as a rule, and yet it can happen that a decorated object, with the same outlay in materials and demonstrably three times as much work, is offered for sale at half the price of a plain object. The lack of ornament means shorter working hours and consequently higher wages. Chinese carvers work sixteen hours, American workers eight. If I pay as much for a smooth box as for a decorated one, the difference in labour time belongs to the worker. And if there were no ornament at all – a circumstance that will perhaps come true in a few millennia – a man would have to work only four hours instead of eight, for half the work done at present is still for ornamentation.

Ornament is wasted labour and hence wasted health. That’s how it has always been. Today, however, it is also wasted material, and both together add up to wasted capital.

As ornament is no longer organically linked with our culture, it is also no longer an expression of our culture. Ornament as created today has no connection with us, has no human con­nections at all, no connection with the world as it is constituted. It cannot be developed. What has happened to the decorations of Otto Eckmann and those of Van de Velde? The artist always used to stand at the forefront of humanity, full of health and vigour. But the modem ornamentalist is a straggler, or a pathological case. He rejects even his own products within three years. To cultivated people they are unbearable immediately, others are aware of their unbearableness only after some years. Where are the works of Otto Eckmann today? Where will Olbrich’s work be in ten years’ time? Modern ornament has no forbears and no descendants, no past and no future. It is joyfully welcomed by uncultivated people, to whom the true greatness of our time is a closed book, and after a short period is rejected.

Mankind today is healthier than ever, only a few people are sick. But these few tyrannize over the worker who is so healthy that he cannot invent ornament. They force him to make the ornaments they have invented in the greatest variety of materials.

Changes in decoration account for the quick devaluation of the product of labour. The worker’s time and the material used are capital items that are being wasted. I have coined an aphorism: The form of an object should last (i.e., should be bearable) as long as the object lasts physically. I shall try to clarify this: A suit will change in fashion more often than a valuable fur. ball gown for a lady, only meant for one night, will change its form more speedily than a desk But woe to the desk that has to be changed as quickly as a ball gown because its shape has become unbearable, for than the money spent on the desk will have been wasted.

This is well-known to the ornamentalists, and Austrian ornamentalists try to make the most of it. They say: “A consumer who has his furniture for ten years and then can’t stand it anymore and has to re-furnish from scratch every ten years, is more popular with us than someone who only buys an item when the old one is worn out. Industry thrives on this. Millions are employed due to rapid changes.” This seems to be the secret of the Austrian national economy; how often when a fire breaks out one hears the words: “Thank God, now there will be something for people to do again.” I know a good remedy: burn down a town, burn down the country and everything will be swimming in wealth and well-being. Make furniture that you can use as firewood after three years and metal fittings that must be melted down after four years because even in the auction room you can’t realize a tenth of the outlay in work and materials, and we shall become richer and richer.

The loss does not hit only the consumer, it hits the manufacturer above all. Today, ornament on items that need no ornament means wasted labour and spoilt materials. If all objects were aesthetically enduring for as long as they lasted physically, the consumer could afford to pay a price that would enable the worker to earn more money and work shorter hours. I don’t mind spending four times as much for an article which I am certain I can make use of and use up completely as I would for one inferior in shape and material. I don’t mind spending forty kronen for my boots although I could get boots for ten kronen in another shop. But in trades suffering under the tyranny of the ornamentalists, good or bad work­manship does not count. The work suffers because nobody wants to pay its true value.

And that is a good thing, because these decorated objects are only bearable in the cheapest form. I can get over a fire’s havoc more easily if I hear that only worthless rubbish has been destroyed. I can enjoy the tripe in the Künstlerhaus because I know that it has been put up in a few days and will be torn down in a day. But throwing gold coins around instead of pebbles, lighting cigarettes with a banknote and pulverizing a pearl and than drinking it is unaesthetic. The most unaesthetic decorated objects are those made of the best materials with the greatest care, those that have demanded hours of work. I cannot deny having asked for high quality work above all-but not this kind.

Modern men who revere ornament as a sign of the artistic expression of earlier generations, will immediately recognize the painfully laboured and sickly ornament of today. No-one can create ornament now who lives on our level of culture.

It is different for people and nations who have not yet attained this level.

I am preaching to the aristocrats; I mean, to the people in the forefront of humanity who still fully appreciate the needs and strivings of those beneath: them. They understand the native weaving ornaments into textiles to a certain rhythm, which can be seen only when torn apart, the Persian knotting his carpet, the Slovak peasant woman embroidering her lace, the old lady crocheting wonderful objects in beads and silk. The aristocrat lets them be, for he knows they work in moments of revelation. The revolutionary would go there and say “This is all nonsense.” Just as he would pull the old woman away from the roadside shrine with the words: “There is no God.” But among the aristocrats the atheist raises his hat on passing a church.

My shoes are covered over and over with decoration, the kind made up of pinking and perforations. Work done by the shoemaker but not paid for. I go to the shoemaker and say: “You want thirty kronen for a pair of shoes. I’ll pay you forty.” In this way I have raised the man to a level of happiness which he will repay me for by work and material of a quality absolutely out of proportion to the extra cost. He is happy. Good fortune rarely comes his way. Here is a man who understands him and appreciates his work and does not doubt his honesty. In his imagination he can already see the finished shoes before him. He knows where the best leather is to be had at present, he knows which of his workers he can entrust the shoes to. And the shoes will boast perforations and scallops, as many as can possibly be fitted on an elegant shoe. And then I add: “but there’s one condition. The shoe must be quite plain.” With that I’ve toppled him from the heights of contentment into Tartarus. He has less work, but I have robbed him of all his pleasure.

I am preaching to the aristocrats. I tolerate ornaments on my own body if they afford my fellow-men pleasure. Then they are a pleasure to me, too. I put up with the ornaments of the natives, the Persians, the Slovak peasant woman and my shoemaker’s ornaments, for these workers have no other means of reaching the heights of their existence. We have art, which has replaced ornament. We go to Beethoven or Tristan after the cares of the day. My shoemaker can’t. I must not take away his joy as I have nothing to replace it with. But whoever goes to the Ninth Symphony and than sits down to design a wallpaper pattern is either a rogue or a degenerate.

Lack of ornament has pushed the other arts to unimagined heights. Beethoven’s symphonies would never have been written by a man who was obliged. to go about in silk, velvet and lace. Those who run around in velvet nowadays are not artists but buffoons or house painters. We have become more refined, more subtle. The herd must distinguish themselves by the use of various colors, modern man uses his clothes like a mask. His individuality is so strong that he does not need to express it any longer by his clothing. Lack of ornament is a sign of spiritual strength. Modern man uses the ornaments of earlier and foreign cultures as he thinks fit. He concentrates his own powers of invention on other things.

Footnotes
[1] 
A society founded in 1644 by Georg Philipp Harsdörffer and Johann Clajus, devoted to ennobling the German language.

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NINA LEEN, Photographer

**from Time.com:

Photographer Spotlight: Nina Been

 by Liz Ronk, Nov 18, 2012

Nina Leen’s life, from early on, was one in which travel played a key role — a life that, in retrospect, had something of a purposefully nomadic quality. Born in Russia (the date of her birth is unknown, as she adamantly refused to reveal or even discuss her age), Leen grew up in Europe. She studied painting in Berlin before emigrating to the United States in 1939. With her first camera, a Rolleiflex, she honed her photography skills, teaching herself how to take pictures — and developing what would become her signature style — by creating at-once intimate and stylized portraits of animals at New York’s Bronx Zoo.

In fact, the first pictures she published in LIFE were a series of photos of ancient, combative tortoises (see slide #6 in this gallery) that she made at the Bronx Zoo and subsequently, at the urging of friends, submitted to the magazine. LIFE published the pictures in its April 1, 1940 issue, launching Leen’s relationship with the preeminent photography magazine of the age. (Interestingly, while she is often described as “one of the first women staff photographers at LIFE,” Nina Leen was never, in fact, officially on the staff of the magazine. Instead, she was a contract photographer who enjoyed an astonishingly long working affiliation with LIFE — one that lasted from the 1940s until the magazine ceased publishing as a weekly at the end of 1972.)

Nina LeenSerge Balkin—Time & Life Pictures/Getty Images 

Leen produced a vast and varied body of work during the three decades she shot for LIFE, including more than 50 covers and countless reports and photo essays from around the world. But perhaps the single assignment that had the most lasting effect on her own life and work was actually one on which her colleague Leonard McCombe was the photographer. In 1949, McCombe was covering a story in Texas when he came across a dead dog and its cowering, flea-ridden and filthy — but still very much alive — puppy.

McCombe, unable to simply abandon the creature, shipped it off to the LIFE offices in New York, where Leen — who was well-known for liking animals far more than she liked most humans — adopted it. In very short order the dog, dubbed “Lucky,” became America’s pet. Nina brought Lucky with her everywhere, documenting the dog’s post-rescue adventures in follow-up articles, a book (and book tour) and even a short film.

A great animal lover whose pictures of dogs, cats, bats (she had a special affinity for and obsession with the furry flying mammals) and other creatures could, and eventually would, fill entire books, Nina Leen also had a way with those other wild things: teenagers. Her numerous essays on the fads, etiquette and attitudes of the American teen captured the younger generations of the ’40s and ’50s with a winning mix of bemusement and empathy. She was also one of the most prolific and accomplished fashion photographers LIFE ever had, covering Paris shows in the 1940s, for example, with a cool, discerning eye.

That she was not limited to photographing animals and hormonally addled youngsters, however, is evidenced by two of her most famous group portraits: one, a picture featuring four generations of an Ozark family (selected by Carl Sagan to fly aboard the Voyager space probe as part of a message, of sorts, to any extraterrestrial civilization who might intercept the spacecraft); the other a photo of “The Irascibles” — a now-legendary group of artists including de Kooning, Pollock, Rothko and others (see slide #8) who protested the Metropolitan Museum’s refusal to include Abstract Expressionist works in a major 1950 retrospective of American painting.

After LIFE folded (for the first time) in 1972, Nina Leen’s career hardly slowed. Throughout the 1970s she produced an average of two books a year, and published 15 in her lifetime — including a groundbreaking work on her beloved bats. Nina Leen died on January 1, 1995, at her home in New York City. A spokesperson for LIFE said that she was in her late 70s or early 80s — but no one really knows for sure.

HELGA PARIS: FOTOGRAFIE

NOTES FOR THE EXHIBITION OF HELGA PARIS’ PHOTOGRAPHIC WORKS, STREET LEVEL PHOTOWORKS, GLASGOW, 2014

Fotografie is a retrospective look at the work of German photographer, Helga Paris. Exhibiting a collection of photos taken in East Germany in the postwar period, Paris’s work is considered to be one of the most revealing and compassionate bodies of work reflecting life in Germany at that time. Going beyond a simple ‘social study’, Paris’s technique was simply to engage with her subjects, rather than take on the role of the distant street photographer. In making this connection, the result has been a collection of photos that give the viewer an insight into a moment of the everyday lives of an East German resident.

Starting in the 60s, Helga Paris took an interest in photography and began teaching herself the basics. Paris came from a fashion and art background, but it was her interest in the everyday lives of the East Berlin people, during the postwar period that made her want to capture that on film.

JONAS MEKAS: HARE KRISHNA, video, 5min.,3sec.

Jonas Mekas: Hare Krishna
5 min. 3 sec.

This was filmed on November 5, 1966 in New York City. It is with Srila Prabhupada, Barbara Rubin, Phil Corner, and many others. Sound: Chanting by the participants and Allen Ginsberg

Jonas Mekas‘ 1966 four-minute short documentary film featuring a kaleidoscope of images, anchored, to some degree, by Allen and Peter chanting Hare Krishna, is the next (seventh) in our series of Annotated Streaming Videos. Here’s Mekas’ note from the catalog of the Film-Makers’ Cooperative: “A “documentary” – one Sunday afternoon in New York – beautiful new generation – dancing in the streets of New York – singing “Hare Hare” – filling the streets and the air with love – in the very beginning of the New Age – Allen Ginsberg and Peter Orlovsky (on soundtrack) singing “Hare Hare”. Mekas incorporated this footage into his diary film, Walden, three years later – “Filmed 1964-68. Edited in 1968-69. Since 1950, I have been keeping a film diary. I have been walking around with my Bolex and reacting to the immediate reality: situations, friends, New York, seasons of the year…Walden contains materials from the years 1965-69 strung together in chronological order.

– The Allen Ginsberg Project, http://allenginsberg.org/2011/06/jonas-mekas-hare-krishna-asv-7/#!/archive/document

The End Of An Old Song, Appalachian Mountain Music Documentary by John Cohen, 25min., 1970

“The End of an Old Song” by John Cohen, is a movie about Dillard Chandler an American Appalachian Folk singer and the mountain people in North Carolina. Cohen himself is know for being a founding member of the New Modal Rounders and maker of the documentary “The High Lonesome Sound”.  Cohen’s recordings of Dillard Chandler were released by Folkway records and later reissued by Tompkins Square. –dying for bad music Continue reading The End Of An Old Song, Appalachian Mountain Music Documentary by John Cohen, 25min., 1970

George Landers : The Scotland Man, from The End Of An Old Song, documentary by John Cohen, 1970

Appalachian rural musician George Landers, was featured on musicologist John Cohen’s acclaimed 1965 album High Atmosphere, a compilation of appalachian music from North Carolina and Virginia. In 1970, Cohen followed up with the 27 minute film The End of an Old Song”, filmed in the mountains of North Carolina and revisiting the region where folklorist Cecil Sharp had collected British ballads in the early 1900s and focusing on the ballad singer Dillard Chandler. Within the film, Landers is featured, singing The Scotland Man while playing in his unique two-finger clawhammer banjo style. Continue reading George Landers : The Scotland Man, from The End Of An Old Song, documentary by John Cohen, 1970

Henri Cartier-Bresson: Gestapo Informer Identified, Dessau, Germany, April, 1945

 

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Cartier-Bresson was 36 years old at the time the photo was taken and had been taking photographs since 1931. He had also worked in filmmaking and had assisted the celebrated French director Jean Renoir on two of his films.

At the outbreak of the Second World War in 1939, Cartier-Bresson joined the French Army’s film and photo unit. His work involved filming and photographing artillery fire, road bombardments and troop movements. However, in June 1940, he was taken prisoner by the German army and was held for more than three years, most of which were spent doing hard manual labour.

He tried to escape three times and succeeded at the third attempt, returning to France with forged papers. Before being captured, Cartier-Bresson had buried his beloved Leica in farmland in France. One of the first things he did after escaping was to return to the farm and dig it up. He later photographed the liberation of Paris in the summer of 1944 while working as a war correspondent. Continue reading Henri Cartier-Bresson: Gestapo Informer Identified, Dessau, Germany, April, 1945

Johnny Cash, Kris Kristofferson & Sunday Morning Coming Down: The Story Behind The Song

 “Actually,” Kristofferson told NPR last year, “it was the song that allowed me to quit working for a living.”

-40 Saddest Country Songs of All Time, Rolling Stone Magazine, Sept. 26, 2014

Kris Kristofferson wrote this song while living in a run-down tenement in Nashville when he was working as a janitor for Columbia Records – a strange occupation considering he had a master’s degree from Oxford University and risen to the rank of captain in the US Army. But Kristofferson wanted to be a songwriter, so he turned down a professor position at the US Military Academy at West Point and swept floors at Columbia waiting for his break.

In the military Kristofferson learned to fly planes and he worked as a commercial helicopter pilot in Nashville, and the story of how he got his demo tape of this song to Cash has become legend: He flew his National Guard helicopter to Cash’s front yard, where he landed and delivered the tape. The story is often skewed to imply that Cash had never met Kristofferson, but they had known each other since 1965. In a 2008 interview with the San Luis Obispo Tribune, Kristofferson explained: “I knew John before then. I’d been his janitor at the recording studio, and I’d pitched him every song I ever wrote, so he knew who I was. But it was still kind of an invasion of privacy that I wouldn’t recommend.

To be honest, I don’t think he was there. He had a whole story about me getting out of the helicopter with a tape in one hand and a beer in the other.

John had a pretty creative memory but I would never have disputed his version of what happened because he was so responsible for any success I had as a songwriter and performer. He put me on the stage the first time I ever was, during a performance at the Newport Folk Festival.”

This song is about a hangover, with Cash singing about “coming down” on a Sunday morning after being “stoned” on Saturday night. Many of Kris Kristofferson’s songs deal with what happens after the fun, and it’s usually not pretty. In this song, our hero puts on his cleanest dirty shirt, drinks a few beers, and heads out to face a lonely day.

This song was #1 on the Country charts for two weeks in September 1970. It was Kristofferson’s first Country #1 as a writer.

In a 2009 Rolling Stone article about Kris Kristofferson that was written by Ethan Hawke, it explains that Kris made Johnny Cash listen to the song before removing the helicopter. After hearing it Cash said he “liked his songs so much that I would take them off and not let anybody else hear them.”

Cash recorded the song live on The Johnny Cash Show, and before the show, ABC censors asked him to change the lyrics, “Wishing, Lord, that I was stoned” to “Wishing, Lord, that I was home.” Cash sang it the way Kristofferson wrote it, and even stressed the word “stoned.”
The original version of this song was recorded by Ray Stevens in 1969. At the 2009 BMI Country Awards, where Kristofferson was honored as an icon, he recalled how Stevens took a chance on his tune, when he was still an unknown songwriter. “Nobody had ever put that much money and effort into recording one of my songs,” Kristofferson said. “I remember the first time I heard it – he’s a wonderful singer – I had to leave the publishing house and I just sat on the steps and wept because it was such a beautiful thing.”

Stevens added that he was drawn to the song because he felt Kristofferson had a “spark.”
“He was very talented, very smart and right on time with his style,” Stevens recalled. “A lot of people since then have copied those songs that he put out so at this point in time it doesn’t seem all that different. It still is of course. There are very few writers who get that spark at the right time.”
-from songfacts.com   http://www.songfacts.com/detail.php?id=3904