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(curio)
a haphazard collection of incoherent curiosities
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(Django Reinhardt) - Born in Liberchies, Belgium, Jean “Django” Reinhardt remains one of the world’s most renowned jazz guitarists, and was truly a self-taught musician. Reinhardt’s nickname, “Django” is Romani (or Gypsy) for “I awake.” Born to a Romani mother, in 1910, Django spent most of his youth in Romani encampments close to Paris. Starting first on the violin, Django eventually moved on to play the banjo after he was given a banjo-guitar at age twelve by a neighbor who had noticed his keen interest in music. During this time, Django was playing Gypsy music professionally in dance halls, as part of a Romani troupe. His first known recordings, in 1928, were of him playing the banjo.
At age 18, Django was badly injured in a fire that ravaged the caravan he shared with his first wife, Florine “Bella” Mayer. The couple was very poor, and to supplement their income Bella made imitation flowers out of celluloid and paper, to sell at the markets in Paris (consequently their caravan was filled with celluloid, which is a highly flammable material). Returning late one night from a performance, Django knocked over a candle on his way to bed, setting his home ablaze. Although his neighbors were quick to pull him from the fire, he still suffered first and second-degree burns over half of his body. Django was left with a right paralyzed leg, and the fourth and fifth fingers of his left hand were badly disfigured.
Doctors believed that Django would never be able to play string instruments again, and had decided they must amputate his leg. Django refused to have the surgery, and left the hospital to start rehabilitation in a nursing home (he was able to walk within a year with the aid of a cane). Django was bedridden for eighteen months - and during this time was given a guitar by his brother Joseph. With great determination, Django created a whole new fingering system built around the two fingers on his left hand that had full mobility. He played all of his guitar solos with only two fingers, and used the two deformed digits only for chord work.
Django continued to improve his technique on the guitar, and was soon picked up for recording sessions with French singers and jazz groups. In 1934, he formed a string quintet with violinist Stephane Grappelli, two other guitarists, and a string bass player. The quintet appeared at the famous Hot Club of France, in 1934, and was an immediate hit - as their fame spread they became known as The Quintet of the Hot Club of France. Between 1934 and 1939, the group toured Europe and England and made a large number of recordings. Once World War II broke out they returned home to France.
Django survived the war unscathed, unlike the many Romanis who perished in the Porajmos (the Nazi regime’s systematic genocide of several hundred-thousand European Romani people). He was especially fortunate, seeing as the Nazi regime detested jazz, and did not allow it to be performed or recorded. Django had apparently been blessed with the protection of Luftwaffe officer Dietrich Schulz-Kohn, who was nicknamed “Doktor Jazz,” and who deeply admired Django’s music.
After the war, Django rejoined Grappelli in the UK, and the two resumed playing and recording together. In the fall of 1946, Djano briefly went on tour in the United States as a special guest soloist with Duke Ellington and his Orchestra, playing at Carnegie Hall with many notable musicians and composers. Despite Django’s great pride in touring with Ellington (one of his two letters to Stephane Grappelli relates this excitement), he was not really integrated into the band. He played only a few tunes at the end of the show, with no special arrangement written personally for him. Django was used to the special treatment he received from his brother Joseph, who would carry around his guitar, and tune it for him. Allegedly, Django was given an un-tuned guitar to play, and it took him five whole minutes to tune it. Also, Django was used to playing a Selmer Modele Jazz, the guitar he made famous, but he was instead required to play a new amplified model. Needless to say, Django returned to France after playing only a few shows with Ellington.
After returning to France, Django spent the remainder of his days re-immersed in Romani life, having found it difficult to adjust to the modern world. Django was known by his band, fans, and managers to be extremely unpredictable. He would sometimes show up for concerts without a guitar or amp, and would often skip sold-out performances to simply “walk to the beach” or “smell the dew.” On a few occasions he refused even to get out of bed. Django did, however, continue to compose, and is still regarded as one of the most advanced jazz guitarists to ever play the instrument.
In 1951, Django retired to Samois-sur-Seine, near Fontainebleau, he continued to play in Paris jazz clubs until his death. On May 16th, 1953, Django suffered a massive brain hemorrhage, when walking home from the train station after playing in a Paris club. It took a full day for a doctor to arrive to his aid, and Django was pronounced dead on arrival at the hospital at Fontainebleau. Django Reinhardt had an enormous influence on the guitarists who followed him, and most of the great guitarists of the second half of the 20th century have acknowledged this debt.
I was introduced to the music of Django by my boyfriend three years ago, and continue to love listening to him on quiet mornings and lazy afternoons. This song, titled “Minor Swing,” was first recorded by Django in 1937.
(Early Grey) - Earl Grey tea gets its distinctive flavor and aroma from the addition to its blend of oil extracted from the rind of the bergamot orange. The bergamot orange (unrelated to the herbs of the same name, which are a part of the mint family) is a citrus fruit native to Asia, that is the size of an orange, but yellow like a lemon, with a pleasant fragrance. The juice of a bergamot tastes less sour than a lemon, but more bitter than a grapefruit. The characteristic aroma of the bergamot orange is most commonly known for its use in Earl Grey tea.
The Earl Grey blend is named after the 2nd Earl Grey, Charles Grey (March 13, 1764 - July 17, 1845). Charles Grey was Prime Minister of the United Kingdom of Great Britain and Ireland from 1830 -1834. A member of the Whig Party, Grey backed significant reform of the British government and was among the primary architects of the Reform Act of 1832. Grey reputedly received a gift of tea flavored with bergamot extract as a sort of diplomatic perk, which he consequently gave his name to. It is unknown for sure who Grey received the tea from- according to one legend, a grateful Chinese bureaucrat first presented the tea to Lord Grey, in 1803, after his son was rescued from drowning by one of Grey’s men. This tale has no basis in fact, as Lord Grey never set foot in China, and the use of bergamot oil to scent tea was at that time unknown in China. Regardless of who Grey actually acquired the tea from, he is said to have given the recipe to George Charlton, one of the partners of the London tea house, Jacksons of Piccadilly. Although it has been contested, Jacksons of Piccadilly claim they originated the production of Earl Grey tea, after they received the recipe for the tea in 1830. According to Jacksons of Piccadilly, the original recipe has been in constant production since it was first given to them by Lord Grey, and has never left their hands.
I was curious about Earl Grey tea after the question of whether bergamot was a part of its blend came up at work. This image was found through a Google search.
(Lowrider) - Lowrider bicycles were a result of the lowrider movement of the 1960’s. The “custom king” George Barris (thought of as the creator of the custom car industry, and one of the best-known designers of custom cars in the world) started the lowrider movement by first lowering automobiles. As hot rod culture became more popular, kids began to customize their bicycles by retrofitting them with equipment typically found on chopper motorcycles. In 1963 Schwinn responded to the trend by coming out with a revolutionary new cruiser bike, the StingRay. The stylized cruiser reflected the fun side of bicycling and was built to resemble a dragster, it included high-rise handle bars and a low-rise banana seat. In 1964, George Barris caught a glimpse of the new Schwinn StringRay and was inspired to create a museum-quality custom. The most famous of Barris’s custom StingRays was the wildly modified one that Eddie Munster, from the hit T.V. show the Munsters, rode around on: 
It wasn’t long before every self-respecting kid in America wanted a Schwinn StingRay like Eddie Munster’s. (Barris was also responsible for the Munster’s Dracula and Munster Coach: http://www.classictvhits.com/munsters/pics/16_MCarsPhoto.jpg )
By the 1970s lowrrider bikes had become a part of the Mexican-American street culture in East Los Angeles. The chrome of Shwinn bicycles was reminiscent of the Latino lowrider cars that had been commonplace since the 60s. Young Mexican-Americans began modifying StingRays by filling in their frames, adding mirrors, streamers, and custom velvet seats, and lowering them by bending the fork. Despite the fact that the lowrider bikes of today originated within the poverty of Mexican-American neighborhoods, lowrider bikes are anything but cheap. Makers of these one-of-a-kind mechanical marvels regard their bicycles as a work of art, and part of the joy of creation has always been parading them down the street once they are completed. Each part is usually carefully selected for its utility as well as its beauty, and the resulting lowrider is a breathtaking example of technical and artistic ingenuity.
This photo was taken at the Awesome Dudes ( www.awesomedudesprinting.com ) block party in South Philadelphia. The only thing hotter than the weather was this crazy lowrider.
(Norma Jeane) - The August 2, 1945 issue of Yank magazine contained an article about the women back home contributing to the war effort. On the cover of the issue was a photograph of a then unknown Marilyn Monroe (still using her given name of Norma Jeane) on the assembly line at the Radio Plane Munitions Factory in Burbank, California.
In 1942, Norma Jeane’s foster family had her married at age sixteen to Jim Dougherty (the son of a neighbor) to prevent her from being put back into an orphanage when they were no longer willing to care for her. In 1943, with World War II raging, Jim Dougherty enlisted in the Merchant Marines and was shipped out to the Pacific- Norma Jeane moved in with Dougherty’s mother. With Dougherty away at war, Norma Jeane found employment with the Radio Plane Munitions Factory, where she sprayed airplane parts with fire retardant and inspected parachutes. It was during this time that Army photographer David Conover snapped the photo of her for Yank magazine. Conover encouraged Norma Jeane to apply to the Blue Book Modeling Agency. Upon signing with Blue Book, Norma Jeane was told that models with lighter hair were most in demand, leading her to bleach her brunette hair to a golden blonde.
Norman Jeane became one of Blue Books’ most successful models, appearing on dozens of magazine covers. Jim Dougherty was oblivious of his wife’s new job, and only became aware of it when he discovered a shipmate of his admiring a photo of a sexy model in a magazine, and the model was Norma Jeane. Dougherty wrote his wife several letters telling her that once he returned from service, she would have to give up her modeling. A dissatisfied Norma Jeane, who now saw the possibilities of a modeling and acting career, decided then and there to divorce Dougherty. The marriage ended in 1946 when Dougherty returned from overseas, Norma Jeane was 20 years old.
Norma Jeane’s successful modeling career brought her to the attention of the 20th Century Fox executive, Ben Lyon, who arranged a screen test for her. Lyon was impressed with Norma Jeane’s performance, and offered her a standard six-month contract with a starting salary of $125 per week. Lyon did not, however, like the name “Norma Jeane”, and when she was invited to spend the weekend with he and his wife at their home, they decided they would find her a new name. Following her idol Jean Harlow, Norma Jeane choose her mother’s maiden name of Monroe. Several variations (such as “Norma Jeane Monroe” and “Norma Monroe”) were tried, and initially “Jeane Monroe” was chosen. Lyon, however, felt that there were too many actresses with the name “Jean,” or some variation of it. Wanting a more distinctive name, Lyon suggested “Marilyn,” explaining to Norma Jean that she reminded him of the sexy 1920s Broadway actress, Marilyn Miller. Lyon felt that the name “Marilyn Monroe” was sexy, had a nice flow, and would be lucky because of the double “M.” After some initial hesitation, Norma Jeane agreed, thus becoming Marilyn Monroe.
I have never had the kind of obsession with Marilyn Monroe that so many of my female peers seem to suffer from. However, after watching her on screen in The Seven Year Itch, I can’t help but feel captivated by her beauty and charm, and by the misfortune of her story.
(Chandelier) - The origin of the word chandelier is from the French term for “something that holds candles”. The earliest candle chandeliers were used in Medieval places of assembly, and generally took the form of a wooden cross fashioned with a number of spikes on which candles could be secured. This type of chandelier would be hoisted by a rope or chain to a suitable height, and suspended from a hook in the ceiling. By the 15th century more complex chandeliers, based on a ring or crown design, became popular decorative features in the palaces and homes of the nobility, clergy, and merchant class. The high cost of night-time illumination made the chandelier a symbol of luxury and status.
By the early 18th century, ornate cast metal and gold-plated chandeliers, with long curved arms and many candles, could be found in the homes of most of the growing merchant class. Developments in glassmaking during the 18th century allowed for cheaper production of lead crystal than in the past. The light-scattering properties of the highly refractive crystal glass became a popular addition to the chandelier, leading to the advancement of the crystal chandelier.
Complex and elaborate forms of chandeliers continued to be developed throughout the 19th century. As gas light became a source of illumination, many candle chandeliers were converted to gas. By the late 19th century the appearance of electricity lead to the production of chandeliers that used both gas and electricity. When the distribution of electricity became wider, and the supply more dependable, chandelier fixtures wired only for electricity became standard. However, as electric lighting became universal it started to devalue the very traditional appeal of chandelier lighting. By the end of the 20th century chandeliers were almost exclusively used as a decorative focal point in a room, and did not necessarily give off any illumination.
This collection of photos depicts some of the light fixtures within Philadelphia’s City Hall that I have discovered while working for the Philadelphia Public Art Program (the office is located within City Hall).
(City Hall) - When it was first envisioned in 1871, Philadelphia’s City Hall was planned as the world’s largest building. In 1909, when construction finally came to an end nearly four decades and $25 million later, it had been passed in the height race by the Eiffel Tower and the Washington Monument. When the final block of marble was put in place on the tower 337 feet above the ground (still the world’s largest masonry tower) in March of 1887, City Hall sprawled across 4 1/2 acres. A National Historic landmark, City Hall is considered the best, and most mammoth, example of French Second Empire Architecture in America. It is the largest operating municipal building in America, bigger even than the United States Capitol.
Everything within City Hall was designed to be built on a massive scale. The 37-foot statue of William Penn located on top of the tower (and created by Alexander Milne Calder) is the tallest on any building in the world. From the ground it measures 548 feet and 11 inches to the top of Penn’s Hat. The 27-ton statue was constructed in 14 pieces, and placed facing Northeast, looking toward the site where Penn negotiated with the Leni Lenape tribes to obtain the land on which Philadelphia was founded. City Hall is covered in more statuary than any other building in the United States, and Calder was responsible for creating almost all of the 250 statues and carvings, working from a studio located in the building’s basement.
For 90 years there was an unwritten “gentlmen’s agreement” that no building in Philadelphia could be constructed higher than “Billy Penn’s hat”. The agreement was broken in 1987 with the construction of Liberty Place at nearby 17th and Market streets, which measures 397 feet taller than William Penn. The Curse of Billy Penn was an alleged curse used to explain a pattern of narrow but spectacular failures by the major professional Philadelphia sports teams to win a championship following the construction of Liberty Place. The curse had gained such prominence in Philadelphia that a documentary, called The Curse of William Penn, was made about it. The curse apparently ended on October 29, 2008, when the Philadelphia Phillies won the World Series, a year and four months after a miniature statue of William Penn was affixed to the final beam of the Comcast Center (currently the tallest building in Philadelphia).
This photo shows the view towards my apartment in South Philadelphia from the observation deck at City Hall, which is located directly beneath the base of the William Penn statue.
(Mauch Chunk Switchback Gravity Railroad) - In 1818, Philadelphia Quaker Josiah White founded the Lehigh Coal & Navigation Company in the town of Mauch Chunk, Pennsylvania. As the newly formed company increasingly found more markets for its coal, it became necessary to improve the transportation system used for moving the coal. In 1827, a gravity railroad was constructed that brought the coal from the mines at the top of Summit Hill down to the company’s coal chutes in Mauch Chunk- where the coal could then be loaded onto canal boats on the Lehigh river.
The Mauch Chunk Switchback Gravity Railroad initially operated on a single track system. The coal-loaded cars ran downhill along the track with their speed regulated by the use of brakes, and mules were used to haul the empty cars back up the track (the mules road back downhill in specially designed stable cars). Thus, downhill cars covered the trip in just a half an hour, whereas the uphill trip took almost four hours. In 1846, a second uphill track was added to the railroad in response to increased demand for coal. The uphill track replaced mule-power with two steam-powered funicular systems (http://en.wikipedia.org/wiki/Funicular), while the downhill track continued to be powered by gravity.
The second railway to be built in the United States, The Mauch Chunk Switchback Gravity Railroad was also the first operating coal road. The scenic and exciting ride downhill became a tourist attraction, and the railroad started occasionally carrying passengers. It wasn’t long before coal was only handled in the morning, giving way to passenger service in the afternoon. As the recreational use of the railroad gained importance its use for coal transportation dwindled, and it ceased to be used for coal service in 1871. The Gravity Road (as it had become known) continued to operate as a tourist attraction, providing rides to thrill-seekers for 50 cents a ride until 1933. Sadly, the railroad fell victim to the Great Depression in 1932-the mortgage on the property foreclosed, and the railway was sold to a scrapper for $18,000. Nevertheless, The Mauch Chunk Switchback Gravity Railroad has the legacy of being considered the first roller coaster in America. The railroad’s design was used as the basis for the amusement rides that were built in the late 1880s at Coney Island, which in turn lead to the development of the modern roller coasters that we continue to ride today. This photo appears to be from an early 1800s newspaper, and was found through a Google search.
(Jim Thorpe, Pennsylvania) - Jacobus Franciscus “Jim” Thorpe was a Native American athlete born May 28, 1888 in the Sac and Fox nation in Oklahoma. The versatile athlete (he played football, baseball, and basketball professionally) and Olympic metal winner (gold metals in the 1912 pentathlon and decathlon) was named the greatest athlete of the first half of the 20th century by the Associated Press in 1950. Despite the recognition he earned for his athletic accomplishments, Thorpe was always discriminated against because of his Native American ancestry, and he struggled to support his family after his sports career ended. By the late 1940s, Thorpe had become a chronic alcoholic and he and his family had run out of money. Thorpe lived his last years in failing health and poverty until he died in 1953 after suffering his third heart attack. When Jim Thorpe’s widow (his 3rd wife, Patricia Askew) heard that the small Pennsylvania towns of Mauch Chunk and East Mauch Chunk were desperately seeking to attract tourism and business to bolster their post-industrial economy, she struck a deal with them. In the mid-1950s, Mauch Chunk and East Mauch Chunk bought Jim Thorpe’s remains, erected a monument to him, and then merged and renamed the newly united town in his honor- even though Thorpe had never actually stepped foot in the area. Jim Thorpe’s grave rests on a mound comprised of soil from his native state of Oklahoma and from the stadium where he won his Olympic metals.
Every June for the past 3 years I’ve gone camping in Mauch Chunk Lake park in Jim Thorpe, PA. The lake and mountains are a postcard-perfect scene for a few days of camping debauchery.
(Soda Water) - In 1776, Joseph Priestly invented carbonated water when he found that water treated with carbon dioxide had a pleasant taste. The Englishman discovered a method for infusing water with carbon dioxide when he suspended a bowl of water above a beer vat at a local brewery in Leeds, England. (The air directly above fermenting beer, known as “fixed air”, is actually just carbon dioxide gas). In 1772, Priestly published a paper titled Impregnating Water with Fixed Air, in which he describes how to drip sulfuric acid onto chalk to produce carbon dioxide gas, and then how to encourage the gas to dissolve into an agitated bowl of water. By the end of the 18th century soda water was being manufactured commercially though the method of passing pressurized carbon dioxide through water, which is how it continues to be made today.
Soda water changed the way people drank. Instead of drinking spirits neat, people began to dilute their drinks with soda water. The soda water dulled the harsh effects of the alcohol, thus making it more socially acceptable to have a drink. Popping into a friend’s house for a “dash and a splash” (whiskey and soda) before going to a social event became commonplace, and having a soda siphon in one’s home became a symbol of middle-class affluence. This clip-art image of an early self-pressurized soda siphon was found through a Google search.
Whiskey and soda (specifically Jameson) happens to be my drink of choice- and there is one bar in South Philadelphia where I think I may be able to order a “dash and a splash” and have the bartender understand what I’m asking for. Next time I’m at Southwark, I’ll have to give it a try.
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