Tag Archives: 1935

RIP Ramsey Lewis (1935 – 2022)

“The ‘In’ Crowd”

Ramsey Lewis was an American pianist and occasional composer working in the smooth jazz idiom. Lewis recorded over 80 albums, most of them featuring cover songs. He is known for such recordings as “The ‘In’ Crowd” (1965), “Wade in the Water” (1966), “Quinn the Eskimo (Mighty Quinn)” (1968), “Sun Goddess” (1974) and “Les Fleurs” (1983).

RIP Paula Rego (1935 – 2022)

Paula Rego (1935 – 2022) was a Portuguese-born artist known for such paintings as The Dance (1988), Nursery Rhymes (1989), Dog Woman (1994) and War (2003).

Paula Rego short documentary, French, English subtitles

Her masculine women remind me of Fernando Botero, her depictions of loneliness remind me of Jean Rustin and her graphic work of Francisco Goya.

I found her Dog Woman on the internet in the early 2000s and immediately canonized her. Following this post, I will also canonize Jean Rustin.

RIP Kurt Westergaard (1935 – 2021)

Kurt Westergaard was a Danish cartoonist famous for drawing the cartoons of Mohamed that were the object of the Jyllands-Posten Muhammad cartoons controversy in 2005.

These cartoons made him the target of multiple death threats and assassination attempts. As a result, Westergaard lived, for the rest of his life, under police protection and in hiding.

RIP Gary Peacock (1935 – 2020)

Gary Peacock was an American jazz double-bassist. He recorded a dozen albums under his own name, and also performed and recorded with major jazz figures such as Albert Ayler, Paul Bley, Bill Evans, Keith Jarrett and Tony Williams.

Life Time (1964) by Tony Williams

On Life Time (Blue Note, 1964), Gary Peacock plays bass on tracks one to three.

RIP Zeev Sternhell (1935 – 2020)

The Birth of Fascist Ideology (1989)

Zeev Sternhell was an Israeli scholar known for his study of fascism, The Birth of Fascist Ideology (1989).

I headed for the university library and found that book.

I read the introduction and the rest of the book ‘by index’.

Doing that, I stumbled upon the grand sweeping statements by T. E. Hulme on his hatred for the Renaissance, Rousseau and Romanticism:

“That is why he [Hulme] was so hostile to romanticism: underlying romanticism and the French Revolution, he believed, was the Rousseauist concept of the individual. Rousseau, he wrote, taught the people of the eighteenth century “that man was by nature good,” that he was “an infinite reservoir of possibilities,” and that the source of all evils was “bad laws.” According to Rousseau, the destruction of the existing oppressive order would open up infinite possibilities of progress. Classicism, wrote Hulme, was defined by an opposite conception, namely, that “man is an extraordinarily fixed and limited animal whose nature is absolutely constant. It is only by tradition and organization that anything decent can be got out of him.””

The citations are from T. E. Hulme’s Speculations (1936).

It is interesting to note that Sternhell locates the origins of fascism within the artistic realm:

“A desire to cleanse the world of the defilements of the eighteenth century and to introduce various forms of discipline such as classicism and nationalism, no less than a rejection of liberal and bourgeois “decadence,” united in a single tide of sentiment some of the most important literary and artistic avant-gardes in Europe.”