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O’Keefe driven by passion
New biography discloses hot side of previously ‘cool’ painter
BOSTON (AP) — Passion and
commitment to her art drove
Georgia O’Keeffe’s painting, which
both illuminates her appeal and
adds a compassionate dimension to
the O’Keeffe legend, according to a
recent biographer.
Roxana Robinson, author of
“Georgia O’Keeffe: A Life,” said the
artist endures because she painted
emotion in the 20th century.
“From the start of this century,
painting in this country has been
done in the masculine tradition
(which) has been either cold or an
gry. O’Keeffe’s paintings are pas
sionate, tender and full of joy. And
specifically they refer to the female
experience,” she said in a recent in
terview.
The findings by Robinson, aided
in her study by cooperation from
O’Keeffe’s family, come in contrast
to popular notions that O’Keeffe was
detached, even cool about her work
and relationships.
In “Georgia O’Keeffe: A Life”
(Harper and Row, $25) Robinson
draws from O’Keeffe’s letters and
interviews with her associates and
relatives to trace the artist’s life from
childhood on the Wisconsin prairie
in the early 1900s through her tu
multuous marriage to New York
photographer and art impresario
Alfred Stieglitz.
“She was much warmer and more
vulnerable than I expected,” said
Robinson, a novelist and art histo-
At that period of her
deepest grief and
unhappiness she turned
her energies toward her art
instead of her anguish.”
— Roxana Robinson,
Author
rian. “She was alsp probably colder
and more difficult, too. But doing
the research, I began to understand
why.”
O’Keeffe’s life as the eldest
daughter of a farm family with six si
blings taught her the importance of
self-sufficiency; her independence
was established early in life.
Her love for Stieglitz, nearly two
decades her senior, was strong. He
was not only enamored with her, but
as a leading artist in the New York
art world he was also her greatest
booster.
“If you were a woman and a
painter, you were a woman painter.
And that was very different from be
ing a painter,” Robinson said. “It was
important that she had somebody
that was at least trying to get her
work perceived as equal to men. But
he didn’t promote her work as any
better than it actually was.”
Stieglitz, however, was also
O’Keeffe’s greatest source of pain,
with his appetite for other young
women.
She demanded solitude to work
and began spending about half the
year apart from her husband, paint
ing in New Mexico.
“At that period of her deepest
rief and unhappiness she turned
er energies toward her art instead
of her anguish,” Robinson said. “If
Stieglitz chose to make her unhappy,
her job was to see that she was not
unhappy. It was not to change his
behavior.”
O’Keeffe died in 1986 at the age
of 98.
The sexual content of much of
O’Keeffe’s bright, enormous flowers
has long been debated, most vehe
mently by the artist herself.
“When you took time to really no
tice my flower, you hung all your
own associations with flowers on mv
flower,” O’Keeffe wrote to one critic
“And you write about my flowerasif
I think and see what you think and
see of the flower — and I don’t."
Similarly, O’Keeffe’s later start
depictions of cattle skulls and bones
she found on the desert of Nev
Mexico were often misinterpreted to
symbolize death.
“I have wanted to paint the desen
and I haven’t known how," she
wrote in an exhibition catalog. “Sol
brought home the bleached bonesas
my symbols of the desert. To me
they are as beautiful as anything!
know.... The bones seem to cut
sharply to the center of something
that is keenly alive in the desert even
tho’ it is vast and empty and un
touchable — and knows no kindness
with all its beauty."
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Book: Bogie never said ‘Play it again, Sam’
1
NEW YORK (AP) — Movie pro
ducer Sam Goldwyn has been cred
ited as the source of lots of rib-tick
ling quotes — but the odds are the
words were put into Goldwyn’s
mouth.
Among the Goldwynisms attrib
uted to the alleged master of the
malaprop are: “You’ve got to take
the bull by the teeth” and “Quick as a
flashlight!”
According to “They Never Said
It: A Book of Fake Quotes, Misqu
otes, and Misleading Attributions”
(Oxford University Press), those im
mortal words never came out of
Goldwyn’s mouth.
Authors Paul F. Boiler Jr. and
John George say the former quote is
“another popular — but fake —
Goldwynism” and the latter was
coined by a Goldwyn publicity man
who once said, “Sure, we used to
make up Goldwynisms all the time in
order to get publicity breaks. I re
member one right now that I made
up — ‘Quick as a flashlight.’ ”
The most famous line attributed
to Goldwyn is “Gentlemen, include
me out!” He was supposed to have
said it after disagreeing with a deci
sion made at a meeting of the Mo
tion Picture Producers and Distribu
tors of America.
But, according to Boiler and
George, “Goldwyn always denied he
had said anything like that. What he
said, he insisted, was: ‘Gentlemen,
I’m withdrawing from the associa
tion.’”
Goldwyn is just one of the famous
and not-so-famous people whose
mangled words (or non-words) are
included in this book.
Among the many others are:
Humphrey Bogart: He did not
say, “Play it again, Sam.”
“The actual line in Warner Broth
ers’ famous World War II movie,
‘Casablanca’ (1943) is, ‘Play it, Sam.
Play, “As Time Goes By.’” And it’s
uttered by Ingrid Bergman (Use),
not by Bogart (Rick) to pianist-singer
Dooley Wilson (Sam). But Sam
doesn’t really play it; he just sings it.
For Wilson couldn’t play the piano,-
and the song’s accompaniment was
dubbed in.”
William Congreve: In his play
“The Mourning Bride” (1697), he
did not say: “Music hath charms to
soothe the savage beast.” He actually
Talking Heads’ Byrne
influenced by Latin
rhythms on new LP
LOS ANGELES (AP) — Forsak
ing African rhythms, jazz arrange
ments and avant-garde electronics of
previous Talking Heads and solo ef
forts, David Byrne’s latest musical
safari has brought him to the seduc
tive beats of Brazil and Latin Amer
ica.
“It’s a little different, maybe,”
Byrne said from the stage of the
Pantages theater to the bobbing con-
certgoers below.
“But maybe not,” he quickly adds,
springing into another conga-laced
tune.
Those familiar with the hybrid
tastes of Byrne, the lead singer of
Talking Heads, knew just what he
meant. His musical prowess is well
established, from his critically-ac
claimed Talking Heads work to the
Oscar-winning score he composed
for the movie “The Last Emperor.”
Although his new album, Rei
Momo, is infused with merengues
and sambas, it’s about as traditional a
record as any he’s made.
“I’m not trying to convert people,
or educate people or do any of that
kind of stuff,” Byrne said in an inter
view while stopping in Los Angeles
during a national tour this fall. “For
me, it’s purely something I’m getting
a lot of enjoyment out of — music
that I think is deep and fun. It’s what
I want to do. It’s not as though I’m
saying, ‘Now, I want to tell you about
this! You must sit down and listen!’ ”
Unlike the contemplative, occa
sionally downcast themes cascading
through Byrne’s prior work, Rei
Momo carries both invigorating ly
rics and beats. In “Don’t Want to Be
Part of Your World,” for example,
he sings of children escaping an im
perfect life to a place “free from
greed and hunger, free from hate
and war.”
“I think it is somewhat inherent in
the culture — the music, the melo
dies and rhythms — that it can give
you a kind of tinge of something
uplifting, spiritual or whatever,” the
3/-year-old Byrne said.
“In Brazil, there’s a vast differ
ence between the rich and the poor.
The economy is in pretty bad shape.
And yet they have these incredible
cultural resources. The spirit of the
people is very rich.
“Not only in Brazil but also in a lot
of Latin culture, in the barrios in
New York and Los Angeles and
Texas . . . music is filled with the
spirit of life. And you feel, ‘This is
what is allowing people to go on.’
“The music seems to reflect their
lives and add something to their
lives, rather than being the latest re
cord that’s foisted on them.”
Byrne is the latest American artist
to use Latin and South American
sounds in pop music in the 1980s.
Others have included Paul Simon,
who has worked with Brazilian star
Milton Nascimento, Quincy Jones
and the Manhattan Transfer.
Madonna recorded a song, “La
Isla Bonita,” which had a Latin fla
vor, and Linda Ronstadt put out an
album of Mexican favorites taught to
her by her father.
Twenty-five years after Brazilian
music first caught American ears
with the quiet strains of bossa nova, a
second Brazilian invasion is occur
ring. Brazilian superstars such as
Djavan, Simone, Gaetano Veloso
and Nascimento have been signed to
American labels and are touring the
United States.
Latin music has likewise grown in
popularity, with the arrival of cross
over artists such as Miami Sound
Machine and Reuben Blades.
said: “Music hath charms to soothe a
savage breast.”
W.C. Fields: He’s credited with,
“Anybody who hates children and
dogs can’t be all bad.” The original
line was: “Anybody who hates dogs
and babies can’t be all bad.” But “it
wasn’t the great comedian who said
it. It was Leo Rosten, the humorous
writer, who said it when introducing
Fields at a dinner.”
How about the oft-echoed: “Win
one for the Gipper!”? Did George
Gipp really make this deathbed
plea? Probably not. Notre Dame
football coach Knute Rockne “was in
the habit of thinking up all kinds of
dramatic tales to inspire his players.
and the Gipp story was almost «[•
tainly one of them.”
This may seem elementary, ta
did Sherlock Holmes say, “Elemer.
tary, my dear Watson?"
Instead, Boiler and George say:
“Between 1887 and 1927, Britist
writer A. Conan Doyle publisheo
four novels and 56 short storie
about the celebrated detective Shei
lock Holmes and his physician
friend Dr. John H. Watson. But not
even once did he have Holmes uttfi
the well-known phrase. It was Bai
Rathbone, British actor playing tk
ratiocinative sleuth in a series d
Hollywood movies appearing in tk
1930s and 1940s, who made tk
words famous.”
Rescue dogs aid in
emergency searches
RICHMOND, Va. (AP) —
They squeeze into spaces barely
big enough to breathe in, search
ing for victims of earthquakes,
hurricanes or mudslides. And
they do it for a dog biscuit or a
pat on the head.
Search and rescue dogs,
trained to pick up human scent in
the air, sniff out victims before
heavy rescue crews bulldoze their
way through the rubble of a natu
ral disaster.
“We can put them into an area
where we have no idea who may
be lost,” says Mark A. Penning
ton, who helps coordinate the
dog teams through the Virginia
Department of Emergency Serv
ices, “and they’ll find any human
being in that area.”
Actually, Pennington says the
dogs are successful about 75 per
cent of the time. The department
has coordinated 148 searches in
Virginia since January.
Pennington and Ralph E. Wil-
fong, who heads the search and
rescue division, also sent teams on
earthquake missions to Mexico
City in 1985, El Salvador in 1986
and Armenia last December.
Teams were sent to aid in the
Puerto Rico mudslides of 1985
and most recently to help in the
aftermath of Hurricane Hugo in
the Carolinas. They offered to
help with the San Francisco
earthquake rescue, but workers
ultimately managed without
them.
“If it’s a very good dog, it can
differentiate between a live and a
dead victim,” says Pennington’s
wife, Winnie, assistant program
manager of the search and rescue
unit.
Most dog teams adhere to stan
dards that are being developed
on the national level. Dogs used
for search and rescue missions av
erage 3 years of age and rep
resent various breeds. They gen
erally work until they’re about 8
or 9.
“It used to be shepherds were
the best breed,” Pennington says.
“But now they’re using anything,
as long as it’s a working or hunt
ing class dog. Labrador retrievers
are popular because they’re very
gentle dogs, particularly when
dealing with children and old
people.”
A dog must be proficient at wil
derness rescues and undergo two
years of training before it’s ready
for disaster work.
“For disaster work, they do an
extensive amount of agility train
ing for the dogs,” Winnie Pen
nington says. “People think a dog
can automatically jump over a
fence or jump through a small
opening, but tnat’s not true. They
have to learn how to use their
pads and their claws a certain way
to be able to balance.”
The animals also must learn to
travel in all sorts of vehicles.
“You don’t know whether
you’re going to be riding in the
back of a pickup truck or hoisted
in by helicopter,” Pennington
says. “All the dogs have to be op
erational in all modes of air trans
portation.”
“The dogs have to be pretty
self-controlled to function in
that,” he says.
But the animal is only half the
story. No dog search team is com
plete without the handler, in most
cases the dog’s owner, who is a
volunteer trained and certified in
rescue missions.
Each handler provides his own
food, water ana shelter. “Well
provide the transportation,” says
Pennington.
Handlers must be able to find
their way out of the woods, sur
vive in all sorts of weather and
know first aid because they often
are the first people to reach a vic
tim.
No dogs have been killed dur
ing a rescue, though one was hit
by a car during a wilderness
search.
But danger is ever present for
dogs as well as handlers.
“T hey’re on the rubble piles
along with the dogs,” Pennington
says. “A lot of times they go into
the buildings. In the case of an
earthquake, if there’s an af
tershock while they’re in the
building, that’s it.”
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