Month: March 2018

Calendar: March 25

Year: Day to Day Men: March 25

Brushstrokes of Light

The twenty-fifth of March in 1939 marks the birth date of Dorothy Catherine Fontana, an American novelist and television script writer and story editor. She is best known for her work on the original “Star Trek” series. 

Born in Sussex, New Jersey, Dorothy Catherine Fontana attended New Jersey’s Fairleigh Dickinson University where she graduated with an Associate Degree as an Executive Secretarial major. After graduation, Fontana relocated to New York City where she became junior secretary at the Screen Gems Studios office. She later relocated to Los Angeles where she gained employment at Revue Studios as secretary to Samuel A. Peeples, the  scriptwriter for the 1960 television Western “Overland Trail”. 

After the series was cancelled, Samuel Peeples and Fontana began work on the 1960 Western series “The Tall Man” for Revue Productions. Fontana wrote the story for episode six “A Bounty for Billy” and episode thirty-three “The Cloudbusters”. She worked with Peeples on “Frontier Circus” and, for producer Nat Holt, on “Shotgun Slade”. All of Fontana’s stories at this time were created under the name of Dorothy C. Fontana. 

In 1963, Dorothy Fontana saw an opportunity for a position on NBC’s new Marine Corps series “The Lieutenant”. She began working as a secretary for NBC producer Del Reisman who had previously edited for Rod Sterling’s “The Twilight Zone”. As one of only a few female writes at NBC, Fontana adopted the gender-blind pen name, D. C. Fontana, to prevent her stories from being prejudged. She became secretary for Gene Roddenberry, the creator of the Lieutenant series, who encouraged her writing. As the series came to an end in 1964, Fontana published her first novel “Brazos River” written in collaboration with Harry Sanford. 

In mid-1964, Gene Roddenberry began work on “Star Trek”. Encouraged by associate producer Robert H. Justman, Roddenberry assigned Fontana the task of writing the teleplay for an episode he called “The Day Charlie Became God”. She created the script for “Charlie X”, the second episode of the first season, for which she received credit for the teleplay. Fontana wrote episode nineteen of the first season, “Tomorrow is Yesterday”, that became the first “Star Trek” episode solely written by a woman. She also rewrote “This Side of Paradise”, the twenty-fourth episode in which flower spores induce Spock to fall in love. In September of 1966, Fontana was promoted to story editor by Roddenberry and the NBC network.

Dorothy Fontana worked on “Star Trek” through the entire second season as both story editor and rewriter. She was responsible for the ideas behind second season’s episodes “Journey to Babel” and “Friday’s Child”. Instrumental in the rewrite of the 1968 “The Ultimate Computer” episode, Fontana was one of four writers who made initial changes in Harlan Ellison’s “The City on the Edge of Forever”. The script was ultimately rewritten three more times by Roddenberry before it was aired. Fontana left the “Star Trek” team prior to the third season but wrote scripts for it on a freelance basis. Among these were the episodes “The Way to Eden”, “The Enterprise Incident” and “That Which Survives”.

During the 1970s, Fontana took on many roles: scriptwriter, story editor, and associate producer. She wrote the script for Roddenberry’s 1973 “Genesis II” and was both story editor and associate producer on “Star Trek: The Animated Series” which won the 1975 Daytime Emmy Award for Outstanding Children’s Series. Fontana worked briefly on the 1977 “Fantastic Journey” and wrote for several series including “The Six Million Dollar Man”, “The Waltons”, and “The Streets of San Francisco”. For the first season of “Star Trek: The Next Generation”, she worked as both story editor and associate producer; however, her relationship with Roddenberry became strained so she left the series in May of 1988. 

Dorothy Fontana continued to work within the “Star Trek” universe. She wrote the 1989 “Vulcan’s Glory”, a “Star Trek: The Original Series” novel published by Pocket Books. Fontana wrote the “Dax” episode of “Star Trek; Deep Space Nine”, sharing a joint credit with Peter Allan Fields. For the show “Babylon 5”, she wrote “The War Prayer”  and “Legacies” episodes for the first season as well as “A Distant Star”, a second season episode that featured her character Neroon. Fontana also created scripts for Bethesda Softworks’s “Star Trek: Legacy” and “Star Trek: Tactical Assault” video games.

A board member of the Writers Guild of America and a twice-inducted member of the American Screenwriters Association Hall of Fame, Dorothy Catherine Fontana died of cancer at the Burbank Hospital in California on the second of December in 2019. 

Hendrick’s Gin

Hendrick’s Gin Poster

Mr William Grant with his seven sons and two daughhters built their family distillery in Scotland. In 1860 the Bennet Still used by the distillery was made by coppersmiths in London. Although few of these Bennet Stills are produced, they yield a spirit that is robust and flavorful. The John Dore and Company manufactured a Carter-Head Still for Hendrick’s in 1948 with a vapor-driven flavor basket atop a long neck, yeilding a subtle and delicate spirit. This type of still is quite rare today; only a few are known to exist.

Hendrick’s Gin has a rather unusual website which includes videos on the distilling process as well as the story of Horatio, the distilling pig. Enjoy. The Hendrick’s Gin website is:  https://us.hendricksgin.com

Heinrich Lefler and Joseph Urban

Heinrich Lefler and Joseph Urban, Illustrations for “Die butcher der Chronika der drei Schwestern: The Books of the Chronicles of the Three Sisters”

“The Books of the Chronicles of the Three Sisters” is a German fairy tale translated by Johann Karl August Musäus, The illustrations from the 1900 edition were done by Heinrich Lefler and Joseph Urban who were set designers as well as illustrators. The publisher was Verlag von J. A. Stargardt in Berlin, Germany.

Johann Karl August Musäus (1735-87) was part of the extraordinary flowering of literary culture that characterized the court of the Duchess Anna Amalia at Weimar, a court that included Wieland, Goethe and Herder among its luminaries. Musäus had himself written two satirical novels before he published in 1782-86 his “Volksmährchen der Deutschen (Folktales of the Germans)”.  Irony, critical spirit and linguistic virtuosity make Musäus’s tales one of the brilliant, unsung achievements of eighteenth-century German literature.

Musäus has suffered at the hands of folklorists because he did not treat his material like the Grimms. Most literary historians have neglected him because his more serious attitude towards the folktale was quite different from that of the Romantics. Nonetheless, his tales have survived, sometimes revised or abridged and made suitable for children, who were certainly not the readership that Musäus first intended.

Gazing Upwards

Photographer Unknown, (Gazing Upwards)

“The madness of the eyes is the lure of the abyss. Sirens lurk in the dark depths of the pupils as they lurk at the bottom of the sea, that I know for sure – but I have never encountered them, and I am searching still for the profound and plaintive gazes in whose depths I might be able, like Hamlet redeemed, to drown the Ophelia of my desire.”
― Jean Lorrain, Monsieur De Phocas

Richard Hamilton

Richard Hamilton, “He Foresaw His Pale Body”, 1990, Photo Etching, Aquatint and Engraving on Paper, 51.8 x 37.5 cm, Tate Museum

Richard Hamilton’s project to illustrate “Ulysses” began in the late 1940′s and to date comprises seven etchings and a digital print “The Heaventree of Stars”. In 1981 he made the decision to create one illustration for each of the novel’s eighteen chapters and a nineteenth image of Leopold Bloom destined as a frontispiece.

In this version, which was to form the basis for the final heliogravure print owned by the Tate Museum, the Richard Hamilton inverted and foreshortened Bloom’s body in a pose reminiscent of Andrea Mantegna’s famous image of the “Dead Christ” painted in 1480. As Hamilton explained: ‘The key word “foresaw” demands an interior perspective, foreshortened as though seen from an inner eye’.

‘He foresaw his pale body reclined in it at full, naked, in a womb of warmth, oiled by scented melting soap, softly laved’ -Joyce, “Ulusses”

The image shows a bath viewed from above and behind, so that the taps are at the top of the page, partially cropped out of the image. Bloom lies in the bath, his naked body extending down the page from his feet, just below the taps, to his upper body and shoulders filling the bath at the bottom of the picture, crowned by an aerial view of his bald head. The area around the bath is dark and empty; the colour is all in the flesh tones of Bloom’s body and the brass yellow of the taps. A round yellow object, half concealed under Bloom’s right knee, recalls the yellow flower with no scent that Bloom receives in the letter from his erotic correspondent Martha Clifford, as described in the ‘Lotus Eaters’ episode of Joyce’s novel.

For this etching, a few adjustments were made to the original composition: a greater part of Bloom’s right hand was raised out of the water; the alignment of the bath taps was reversed and the chain of the bathplug was lengthened so that a section appears to sit on the floor of the bath. By cropping the top of the taps, Hamilton creates a sense of the intimacy of internal contemplation; at the same time the viewer looks down at Bloom’s body from an external position, evoking an out-of-body experience.

Calendar: March 24

A Year: Day to Day Men: 24th of March

Tensile Strength of Cotton

March 24, 1887 is the birthdate of Roscoe Conkling Arbuckle, an American comedian and film director.

At twenty years of age Roscoe Arbuckle was already a veteran of carnivals, vaudeville, and traveling stock companies, with an act that consisted of jokes, songs, acrobatics, and magic tricks. Weighing between 250 and 300 pounds for most of his adult life, he amazed audiences with his physical prowess and gained a reputation for versatility.

Roscoe Arbuckle was hired by Mack Sennett’s Keystone comedy studio in 1913. Appearing opposite such seasoned clowns as Ford Sterling, Mabel Normand, and Charlie Chaplin, “Fatty” Arbuckle quickly emerged as one of Keystone’s top attractions. From late 1914 onward he wrote and directed virtually all the comedies in which he starred, including such classics as “Fatty and Mabel Adrift” and “He Did and He Didn’t”.

In 1917 Arbuckle took creative control of producer Joseph M. Schenck’s Comique Film Corporation, for which he directed and starred in a series of knockabout two-reelers. During this period he also discovered and nurtured the talents of the young Buster Keaton who costarred in several Arbuckle films. With “The Round Up” in 1920, Arbuckle became the first major comedy star to make the transition from short subjects to feature films. Though most of his subsequent features tended to downplay slapstick in favor of situational humor, his popularity grew unabated.

After completing three films back to back in September 1921, an exhausted Arbuckle attended a weekend party at the St. Francis Hotel in San Francisco. A few days after the drunken festivities, one of the participants, movie starlet Virginia Rappe, died of a ruptured bladder. On the basis of questionable “eyewitness” testimony, Arbuckle was accused of rape and manslaughter by a battery of politically ambitious prosecutors. He also endured a prejudicial “trial by headline,” orchestrated largely by newspaper mogul William Randolph Hearst. Ultimately, three court trials were held; the first two ended in hung juries, but the third resulted in a full acquittal.

This verdict notwithstanding, Hollywood’s top executives, hoping to deflect attention from other scandals in the motion picture industry, persuaded censorship czar Will Hayes to ban Arbuckle from the screen. Throughout the 1920s and early ’30s, Arbuckle found work as a film director using the pseudonym William Goodrich (his father’s name) and enjoyed modest success in vaudeville and as co-owner of a popular California nightclub. He made an impressive screen comeback in 1932 as the star of a series of Vitaphone two-reel comedies. On the evening of June 29, 1933 after signing a lucrative feature film contract with Warner Brothers, he died in his sleep.

Avalokiteshvara Bodhisattva

Avalokiteshvara Bodhisattva, Date Unknown, Location Unknown

“Two things are to be practiced on the level of relative bodhichitta: meditation on the equality of self and other, and meditation on the exchange of self and other. Without training in the former, the latter is impossible. This is why Shāntideva says that we should first meditate strenuously on equality of self and other; for without it, a perfectly pure altruistic attitude cannot arise. All beings, ourselves included, are in exactly the same predicament of wanting to be happy and not wanting to suffer. For this reason we must vigorously train in ways to develop the intention to protect others as much as ourselves, creating happiness and dispelling suffering. We may think that this is impossible, but it isn’t.”
― Śāntideva, The Way of the Bodhisattva 

Calendar: March 23

A Year: Day to Day Men: 23rd of March

Blades of Grass

March 23, 1910 was the birthdate of Japanese film director and screenwriter Akira Kurosawa, regarded as one of the most important and influential filmmakers in cinema history.

Kurosawa entered the Japanese film industry in 1936. After years of working on numerous films as an assistant director and scriptwriter, he made his debut as a director during World War II with the popular action film “Sanshiro Sugata”, known as “Judo Saga”. After the war, the critically acclaimed film “Drunken Angel” made in 1948, in which Kurosawa cast then-unknown actor Toshiro Mifune in a starring role, cemented the director’s reputation as one of the most important young filmmakers in Japan.

His film “Rashomon”, which premiered in Tokyo, became the surprise winner of the Golden Lion Award, the highest prize at the 1952 Venice Film Festival. The film’s multiple conflicting eye-witness testimonies, the sound complexity, and the experimental cinematography combined to produce a classic film. The commercial and critical success of that film opened up Western film markets for the first time to the products of the Japanese film industry, which in turn led to international recognition for other Japanese filmmakers.

Kurosawa directed approximately one film per year throughout the 1950s and early 1960s, including a number of highly regarded (and often adapted) films, such as “Ikuro” in 1952, “Seven Samurai” in 1954, and “Yojimbo” in 1961. After the 1960s he became much less prolific; even so, his later work—including his final two epics, “Kagemusha” in 1980 and “Ran” in 1985—continued to win awards, though more often abroad than in Japan. These two epic films, particularly “Ran”, are often considered to be among Kurosawa’s finest works. After the release of “Ran”, Kurosawa would point to it as his best film, a major change of attitude for the director who, when asked which of his works was his best, had always previously answered “my next one”.

Akira Kurosawa wrote the original screenplays “The Sea is Watching” in 1993 and “After the Rain” in 1995. While putting finishing touches on the latter work in 1995, Kurosawa slipped and broke the base of his spine. Following the accident, he would use a wheelchair for the rest of his life, putting an end to any hopes of him directing another film. After his accident, Kurosawa’s health began to deteriorate. While his mind remained sharp and lively, his body was giving up, and for the last half-year of his life, the director was largely confined to bed, listening to music and watching television at home. On September 6, 1998, Kurosawa died of a stroke in Setagaya, Tokyo at the age of 88.

“One thing that distinguishes Akira Kurosawa is that he didn’t make one masterpiece or two masterpieces. He made, you know, eight masterpieces.”- Francis Ford Coppola

“Let me say it simply: Akira Kurosawa was my master, and … the master of so many other filmmakers over the years.”- Martin Scorsese

Brian Dettmer

Brian Dettmer: Book Sculpture

For years, Atlanta-based Brian Dettmer has made fascinatingly original sculptures in which he contorts, bends, glues and manipulates old books, creating strange new forms from these familiar objects. Using the sharp cutting implements of a surgeon — Dettmer cuts into the depths of these vintage tomes, revealing themes and variations like some graduate student teasing a dissertation out of English literature. In doing so, the artist chooses to isolate key images and words amidst a fracas of information.