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"The Murder City Devils is an American garage rock band formed in 1996. History The band's original lineup, consisting of Spencer Moody, Dann Gallucci, Derek Fudesco, Coady Willis, and Nate Manny, formed in Seattle, Washington, in 1996. Gabe Kerbrat was their permanent roadie, and was considered a member. Within a year, the band had released two singles, Three Natural Sixes (Hopscotch Records #5) and Dance Hall Music (Empty Records MTR-354), and signed with the Die Young Stay Pretty label, a subsidiary of Sub Pop. Their self-titled debut album was released in 1997. In 1998, the band released Empty Bottles, Broken Hearts, its second full-length album. This release saw a greatly increased use of electric organ, and in the same year they recruited Leslie Hardy as their full-time keyboard player. Hardy had previously played bass guitar for several Seattle bands, including several months in Hole. The Murder City Devils then embarked on a year-long tour of North America to support the record. During that tour, they played with At the Drive-In, Pearl Jam, The Black Halos, Modest Mouse (for whom Dann Gallucci also played guitar), and Built to Spill. After a short break, the band released In Name and Blood in 2000, with photos in the liner notes notoriously depicting every member as a murder victim. They also appeared as both individual actors as well as a band in David Larson's independent film The Edge of Quarrel. The band released the Thelema EP in 2001. Mid-tour, keyboardist Leslie Hardy left the band. Later that year the band broke up due to circumstances surrounding Hardy's departure. (The Stranger Sept 27 – Oct 3, 2001 issue, It's My Party column by Kathleen Wilson). Hardy was replaced by Nick Dewitt for their final concerts. Bassist Derek Fudesco agreed to leave the band in September 2001 to focus on his own new band, Pretty Girls Make Graves. The band's farewell concert on Halloween 2001 (October 31) at Seattle's Showbox Theater was recorded and released by Sub Pop in 2003, titled 'R.I.P.' and included two previously unrecorded songs. It was also released on DVD in 2005. =Return= In 2006 the band announced they were playing a July show in Seattle with all original members. The band performed on July 29 at the Capitol Hill Block Party closing the two-day music festival on Saturday night. The day following the Block Party performance the band played a show with The Blood Brothers at The Showbox in downtown Seattle, the same venue where "R.I.P." was recorded. The show was not announced until the end of their set at the Block Party. The next show was Saturday, November 3rd at Mowhawk in Austin, Texas with The Peabodys and Hex Dispensers while in town for Fun Fun Fun Fest, on November 3–4, 2007 in Austin, Texas."Official Fun Fun Fun Fest lineup announced." Punknews.org. August 28, 2007. The band played a handful of shows throughout 2008 and launched a brief West Coast tour on February 11, 2009 at Seattle's The Showbox."The Murder City Devils 2009 Tour Dates." LineOut (The Stranger). December 10, 2008. Murder City Devils' week-long tour culminated in Los Angeles with two performances at the Henry Fonda Theater on February 17 and 18, 2009.Murder City Devils Live at the Henry Fonda Theater, L.A. Weekly Retrieved 2009-02-18 =New material= At the end of their set, on December 30, 2009, at The Showbox in Seattle, Washington, Hardy thanked the audience for coming and confirmed that the band was working on new material. No additional information was given. After the set finished, the band returned to the stage and performed a cover of The Birthday Party's song, "Several Sins." On July 17, 2010, a live performance of an untitled new song was uploaded to YouTube. It was filmed at their July 15, 2010, performance at The Note, in West Chester, Pennsylvania (a venue that has since closed). On October 17, 2010, a live performance of another untitled new song was uploaded to YouTube. It was filmed at their October 16, 2010, performance at The Showbox in Seattle. In January 2012, the band released a 7-inch with two new songs, recorded in San Pedro, California. The new songs were "Every Day I Rise" and "Ball Busters in the Peanut Gallery". On August 5, 2014, the band released their first album in 11 years, The White Ghost Has Blood on Its Hands Again, which includes eight songs. Members *Spencer Moody - vocals (1996-2001, 2006-present) *Dann Gallucci - guitar (1996-2001, 2006-present) *Derek Fudesco - bass (1996-2001, 2006-present) *Coady Willis - drums (1996-2001, 2006-present) *Nate Manny - guitar, bass (1996-2001, 2006-present) *Leslie Hardy - keyboard (1998-2001, 2006-2010) *Nick Dewitt - keyboard (2001) *Gabe Kerbrat - roadie (1996-2001) DiscographyStudio Albums= * The Murder City Devils (1997) * Empty Bottles, Broken Hearts (1998) * In Name and Blood (2000) * The White Ghost Has Blood on Its Hands Again (2014) =Extended Play= * Thelema (2001) =Live Album= * R.I.P. (Live album of last show at The Showbox in Seattle, October 31, 2001) (2003) =Compilation Album= * Feather Bed Whiskey Blanket (Boxed Set of all 4 albums & Thelema) (2009) =Singles= * "Three Natural Sixes" (1997) * "Dance Hall Music" (1997) * "Dancin Shoes" (1998) * "Christmas Bonus Single" (1998) * "Murder City Devils" / "Botch Split" (Sound track to the movie The Edge of Quarrel) (1999) * "Murder City Devils" / "Glucifer Split" (1999) * "Murder City Devils" / "At The Drive-In Split" (2000) * "Every Day I Rise" / "Ball Busters in the Peanut Gallery" (2011) =Music Videos= * 18 Wheels (1998) * Idle Hands (2000) =Compilation Appearances= * Technology (Remix of "Dance Hall Music" by DJ Ropstyle) (2000) * Free the West Memphis 3 (Cover of "She" by The Misfits) (2000) * Give The People What We Want: Songs of The Kinks (Cover of "Alcohol" by The Kinks) (2001) * Buddyhead Suicide Sampler CD (Remix of "Press Gang" by the Latch Brothers) (2004) =Video= * The Edge of Quarrel (VHS) (2000) * Rock & Roll Won't Wait (VHS) (2001) * Rock & Roll Won't Wait (DVD) (2004) * The End (DVD) (2005) * The Edge of Quarrel (DVD) (2007) ReferencesExternal links * Official Band Website * [ Allmusic Murder City Devils article] * Crawdaddy! article on Murder City Devils and Dead Low Tide, "Ride the Dead Low Tide," March 26, 2008 * Sub Pop Murder City Devils page * MTV Murder City Devils page * Murder City Devils collection at the Internet Archive's live music archive * The Edge of Quarrel at Excursion Records Category:Garage rock groups from Washington (state) Category:Musical groups established in 1996 Category:Garage punk groups Category:Horror punk groups Category:Sub Pop artists "
"Dei gesta per Francos ("Deeds of God through the Franks") is a narrative of the First Crusade by Guibert of Nogent written between 1107 and 1108. Traditionally it has not been well received by scholars, but recent translators and editors (such as Levine 1997 and Rubenstein 2002) have shown it to contain important original material. Dei gesta was a radical departure for the type of literary work for Guibert who had previously worked on theological tracts. He decided to undertake a history of the crusade, he says, after he read an anonymous eyewitness account called Gesta Francorum. In the eyes of Guibert this work was rough and simple and "frequently left the reader stunned with its insipid vacuity" (Dei gesta, preface). Guibert felt a much higher standard of grammar and diction was needed. He also inserted into the account of the First Crusade anti-Jewish rhetoric. There were some who believed it was best to leave the writing of history to those who had actually seen the events themselves, and thus were critical of Guibert's project. Guibert himself had said as much about 10 years earlier in a preachers manual. However he justified the book by saying if "someone objects to me that I have not seen, he can not object that I have not heard--for I truly believe that hearing is, in a way, almost as good as seeing." (Dei gesta, preface). Guibert personally knew crusaders, had grown up with crusaders, and had talked with them about their memories and experiences on their return. Crusade historians have traditionally not been forthcoming with favourable reviews of Guibert's narrative. The fact that he stays so close to the original Gesta Francorum, and the difficulty of his Latin, make it seem superfluous. Recent editors and translators, however, have called attention to his excellent writing and original material. More importantly, Dei gesta provides invaluable information about the reception of the crusade in France, both for the general public and Guibert's own personal reactions to the stories he heard from returning crusaders. Guibert was a rare eyewitness to the preachings of Peter the Hermit for whom he felt nothing but contempt. The hermit, he says, walked barefoot and ate no bread, but he did drink wine and eat fish - criticism of an itinerant hermit from the monastic Guibert. When Peter fled the siege of Antioch, most chroniclers glossed over Peter's flight, but Guibert spared no measure when he wrote this mocking song, wondering why Peter could not withstand the starving pressures of a siege: ::Stand firm! Remember your life as a hermit, ::Your old customary fasts! ::Hitherto you have been skin and bone. ::You've had no choice but to eat grass with the cattle ::Your grumbling stomach calmed with uncooked roots. ::How could you now remember gluttonous feasts? ::--Dei gesta Dei gesta was not only a historical narrative but contained moral instruction; the reader might learn lessons for his own spiritual quest. It also contained elements of prophecy, discussing how the crusade was part of the larger divine plan. Thus it was a medieval allegory work containing the four elements of allegory: literal, typological, moral, and anagogical. Like the Bible, it worked on different levels at the same time. References *The Deeds of God through the Franks, e-text from Project Gutenberg. Translated by Robert Levine 1997. *Robert Levine (1997). The Deeds of God through the Franks : A Translation of Guibert de Nogent's 'Gesta Dei per Francos' . *Jay Rubenstein (2002). Guibert of Nogent: Portrait of a Medieval Mind. * Specific Category:Crusade literature Category:First Crusade "
"William Spratling, 1921. Spratling with Candlesticks, 1935. William Spratling (September 22, 1900 – August 7, 1967) was an American-born silver designer and artist, best known for his influence on 20th century Mexican silver design. Early life Spratling was born in 1900 in Sonyea, Livingston County, New York, the son of epileptologist William P. Spratling. After the deaths of Spratling's mother and sister, he moved to his father's boyhood home outside of Auburn, Alabama. Spratling graduated from Auburn High School and the Alabama Polytechnic Institute (currently known as Auburn University), where he majored in architecture. CareerArchitecture professor and lecturer= Upon graduation, Spratling took a position as an instructor in the architecture department at Auburn University, and in 1921 he was offered a similar position at Tulane University's School of Architecture in New Orleans, Louisiana.William Spratling, File on Spratling (Boston and Toronto: Little, Brown and Company, 1967): 6-8. At the same time, he was an active participant in the Arts and Crafts Club and taught in the New Orleans Art School. During the summers of 1926-1928, Spratling lectured on colonial architecture at the National University of Mexico's Summer School. =SilverworkTaller de las Delicias The highly charged political and social environment in Mexico after the revolution influenced Spratling's decision in 1931 to reestablish a silver industry in Taxco. Taxco was a traditional site of silver mines, but had no native silverworking industry. Spratling began designing works in silver based primarily on pre-Columbian and traditional motifs, and hired local goldsmiths to produce those designs in Taxco. Spratling was the primary designer for his workshop, Taller de las Delicias, and was insistent on the high quality of the materials and techniques used in production. Talented maestros shared in the creative dialogue with Spratling, transforming his design drawings into prototypes in silver. Spratling's use of an aesthetic vocabulary based on pre-Columbian art can be compared to the murals of Diego Rivera, in that both artists were involved in the creation of a new cultural identity for Mexico. Primarily, Spratling's silver designs drew upon pre- conquest Mesoamerican motifs, with influence from other native and Western cultures. To many, his work served as an expression of Mexican nationalism, and gave Mexican artisans the freedom to create designs in non-European forms. Because of his influence on the silver design industry in Mexico, Spratling has been called the "Father of Mexican Silver". The forms that evolved in silver at Las Delicias were admired by visitors to the workshop, who purchased the objects as talismans of a remote and exotic culture. Wholesale In the late thirties, Spratling expanded beyond sales at Las Delicias and into a wholesale business. He employed over 500 artisans in the workshop to meet the demand in the United States for luxury good during World War II. Spratling silver was sold through the Montgomery Ward catalog and at Neiman Marcus and Saks Fifth Avenue. With the cost of moving the workshop to an ancient silver hacienda, La Florida, Spratling incorporated to provide cash flow for his company. On June 30, 1945, a majority of the shares was sold to North American investor Russell Maguire, whose business practices ultimately took the company into bankruptcy.Penny C. Morrill and Carole A. Berk, Mexican Silver: 20th Century Handwrought Jewelry and Silver (Atglen, PA: Schiffer Publishing, Ltd., 4th edition, 2007): 50-54 Alaska Native Arts Spratling had received widespread notoriety as a result of his development of what many considered a model handwrought industry. In 1945, Spratling was asked by two friends, Alaska's Territorial Governor, Ernest Gruening, and the Director of the Indian Arts and Crafts Board, Rene d'Harnoncourt, to replicate his success in Alaska.William Spratling, File on Spratling (Boston and Toronto: Little, Brown and Company, 1967): 126-140; Penny C. Morrill and Carole A. Berk, Mexican Silver: 20th Century Handwrought Jewelry and Silver (Atglen, PA: Schiffer Publishing, Ltd., 4th Edition, 2007): 54-56, 60-67 Spratling recommended the establishment of workshop and exhibit centers in various regions of Alaska organized into a Federation of Alaska Native Arts. Each center's unique production would be born out of the traditions in iconography, materials, and techniques belonging to that specific region.Records of the Bureau of Indian Affairs. RG 75. Box no. 78. Location 04/02/10(6). General Subject Correspondence, 1933-1963, Files 950-969. File 969: Spratling. National Archives, Juneau Area Office. Report: A Plan for Organizing the Crafts and Smaller Industries (all Manual or Semi-Manual Production) and a Policy for their Constant Future Development in Alaska, Oct. 1945 In 1948, Alaskan World War II veterans were sent to Taxco for instruction in silversmithing. Spratling also produced 200 prototypes as future inspiration for the newly trained Alaskans in their workshop centers.RG 75, File 969. Spratling to Tony Polet, Oct. 26, 1948; Foster to Gov. Gruening, Nov. 8, 1948; Foster to William Zimmerman, Nov. 10, 1948. These prototypes are now in the Smithsonian's National Museum of the American Indian and the Alaska State Museum. See Penny C. Morrill, editor and author, Maestros de Plata: William Spratling and the Mexican Silver Renaissance {Harry N. Abrams, Inc., with the San Antonio Museum of Art, 2002}: 38-39 Unfortunately, Congress did not allocate funds and the project was not implemented. Taxco workshop In 1952, Spratling reestablished a small workshop at his ranch in Taxco el Viejo and began production of silver jewelry and decorative objects that clearly were influenced by his Alaskan experience. In a 1955 article, "25 Years of Mexican Silverware," Spratling expressed his belief that the object in silver should be considered the culmination of a mystical and visionary process.William Spratling, "25 Years of Mexican Silverware," Artes de Mexico, Vol. III, No. 10 (1955): 90 For Spratling, the necessity of direct human involvement in every phase of a handwrought industry meant there were contributions to be made by every maestro and silversmith. The designer continuously interacted with and was aware of the capabilities of members of the workshop. The final statement, the object itself, was a result of an ongoing experiment in creativity. Silver works Spratling's earliest work can be characterized as inspired expressions in silver, resembling the power of the reliefs on the Temple of Quetzalcoatl at Xochicalco or the pre-Columbian clay stamps he admired.Spratling sent his friend, Tulane University archaeologist Frans Blom, imprints of his clay stamps in 1938. These are housed in the Latin American Library at Tulane University. See also Penny C. Morrill, editor and author, Maestros de Plata: William Spratling and the Mexican Silver Renaissance {Harry N. Abrams, Inc., with the San Antonio Museum of Art, 2002}: 24. The designs incorporate sinuous lines that were deeply carved, with strong light and shadow contrasts. The inspiration from pre-Columbian models could be direct, as in the repousse Quetzalcoatl brooch, based on the heart bowl in the Museo Nacional de Antropología, or indirect, like the silver pitcher with the eagle handle in carved wood.Penny C. Morrill, editor and author, Maestros de Plata: William Spratling and the Mexican Silver Renaissance {Harry N. Abrams, Inc., with the San Antonio Museum of Art, 2002}: 167. Spratling marked his earliest work with a simple interlocking WS. After 1938, he began using a circular mark with the WS sans-serifs at its center, around which read "Spratling Made in Mexico". This mark was accompanied, up until 1945, with an oval in which was imprinted, "Spratling Silver". The Alaska pieces and work from c. 1950 were marked with a simple script "WS". Spratling also collaborated briefly (1949–51) with the Mexico City silver company Conquistador, and these pieces were marked with a circle in which was inscribed "Spratling de [or of] Mexico" and across, "Sterling". The eagle or assay mark for the Conquistador pieces contained the number 13, and for Spratling, the numbers 1 or 30.Penny C. Morrill, editor and author, Maestros de Plata: William Spratling and the Mexican Silver Renaissance {Harry N. Abrams, Inc., with the San Antonio Museum of Art, 2002}: 255-256 for Spratling's maker's marks. Another source of information for Spratling's marks is the website, "Spratling Silver", authored by Phyllis Goddard: http://www.spratlingsilver.com/. Spratling's later work is more linear and refined. The croissant necklace has a great deal of movement, but now based on abstract form. Spratling's maker's mark in this period once again took the form of a circle, this time with the script "WS" surrounded by the words, "William Spratling Taxco Mexico". In the 1960s, Spratling began producing jewelry in gold with pre-Columbian stones. Each piece was unique and marked with a simple "WS" beneath "18K".Drawings for a number of these unique gold jewelry designs are now in the Spratling-Taxco Collection in Tulane University's Latin American Library. Published works * In 1926 Spratling collaborated with William Faulkner on Sherwood Anderson And Other Famous Creoles, a series of caricatures depicting the bohemian atmosphere of artists and writers living and working in the French Quarter in the 1920s.William Spratling, File on Spratling (Boston and Toronto: Little, Brown and Company, 1967): 13, 16-30, 34-35; William Spratling and William Faulkner, Sherwood Anderson and Other Famous Creoles, New Orleans, 1926; Penny C. Morrill and Carole A. Berk, Mexican Silver: 20th Century Handwrought Jewelry and Silver (Atglen, PA: Schiffer Publishing, Ltd., 4th edition, 2007): 17-18; 256-257. * In 1927, Spratling did illustrations for his good friend Natalie Scott's Old Plantation Houses in Louisiana. The balanced interaction between illustration and text was characteristic of all of Spratling's published work. In Plantation Houses, the renderings of the buildings are as descriptive as Natalie Scott's narrative, which, when taken together, transport the reader into settings where people lived out their lives.Natalie Scott and William Spratling, Old Plantation Houses in Louisiana, New York: William Helburn, Inc., 1927. Also see John W. Scott, Natalie Scott: A Magnificent Life, Gretna, LA: Pelican Publishing Co., 2008 * In a 1928 article for Scribner's Magazine, Spratling had sensitively portrayed the people of Isle Breville, Louisiana.William Spratling, "Cane River Portraits", Scribner's Magazine, Vol. LXXXIII, No. 1 (January 1928): 411-418. * Little Mexico was published in 1932 and is considered his most significant literary work.William Spratling, Little Mexico, New York: Jonathan Cape and Harrison Smith, 1932. The same qualities of observation by Spratling for the 1928 articles are present and compelling in Little Mexico. In the following passage, Spratling comes close to defining the intensity of his encounters: "To rub shoulders with the Indian population, to see them smiling and occupied, eating their simple meals, arguing agrarian problems over a cup of tequila, arranging themselves on the ground for the night, and, above all, to witness their dances and to observe the mystery of the faces of the dancers - is a profound experience."William Spratling, Little Mexico, New York: Jonathan Cape and Harrison Smith, 1932, 69, 84-5 Personal life While teaching at Tulane, Spratling shared a house with writer William Faulkner. When lecturing at the National University of Mexico's Summer School in 1926-1928, Spratling quickly integrated himself into the Mexican art scene and became a friend and a strong proponent of the work of muralist Diego Rivera, for whom he organized an exhibition at the Metropolitan Museum of Art in New York. Using money received from commissions he organized for Rivera, Spratling bought a home in Taxco, Mexico in 1928, where he began work on a book, Little Mexico, about this small mountain town. Spratling was gay, but most accounts of his life mention this only indirectly if at all. Spratling amassed a large collection of pre-Columbian figurines from Remojadas, Veracruz, which he donated, in large part, to the museum of the National Autonomous University of Mexico in 1959. Photographed by Manuel Álvarez Bravo, several of these works were published in More Human Than Divine.William Spratling, More Human than Divine: An Intimate and Lively Self-Portrait in Clay of a Smiling People from Ancient Vera Cruz (Mexico: Universidad Nacional Autonoma de Mexico, 1960): 11-13 Spratling also donated hundreds of pre- Columbian objects to a museum in Taxco that today bears his name. File:Colima - Standing Figure with Elaborate Costume Holding Rattles - Walters 482808.jpgStanding Figure with Elaborate Costume Holding Rattles, 300 BC-AD 300 (Late Pre-Classic), previously in Spratling's collection, now at Walters Art Museum. File:Teotihuacán - Tripod Vase - Walters 482769 - Profile.jpgTripod Vase, between 250 and 600 (Early Classic), previously in Spratling's collection, now at Walters Art Museum. Death Spratling was killed in an automobile accident outside of Taxco on August 7, 1967, at the age of 66."Famed Silversmith Killed in Auto Crash", Chicago Tribune, August 8, 1967, p3 Sabina Leof (aka Tibby Leof, wife of noted Pre-Columbian art collector and preeminent dentist Dr Milton Arno Leof) commented on her friendship with Spratling: "He had no political views, was not dedicated to anything special. He believed in humanity. He was an ardent American, but had a great love for the Mexican people."Mary Daniels, "The Many Sides of William Spratling," The News, Mexico, D.F. (week of Aug. 20, 1967): 11b-13b NotesSee also List of Mexican artisans References Further reading * Goddard, Phyllis M., Spratling Silver: A Field Guide, Keenan Tyler Paine, Altadena CA 2003 * Littleton, Taylor D. The Color of Silver: William Spratling, His Life and Art, Louisiana State University Press, Baton Rouge 2000 * Morrill, Penny C., William Spratling and the Mexican Silver Renaissance: Maestros de Plata, Harry N. Abrams, New York; San Antonio Museum of Art, San Antonio 2002 * Morrill, Penny Chittim, and Berk, Carole A., Mexican Silver: 20th Century Handwrought Jewelry & Metalwork, Schiffer Publishing, Atglen, PA 1994 * Reed, John Shelton, "The Man from New Orleans," Oxford American, November/December 2000: 102–107 * Spratling, William, File on Spratling: An Autobiography, Little, Brown and Company, Boston 1967 External links * Spratling Silver Hallmarks and other information Category:1900 births Category:1967 deaths Category:20th-century American educators Category:American emigrants to Mexico Category:Art educators Category:Auburn High School (Alabama) alumni Category:Auburn University alumni Category:People from Auburn, Alabama Category:People from Groveland, New York Category:American silversmiths Category:LGBT artists from the United States Category:LGBT artists from Mexico Category:Road incident deaths in Mexico Category:Educators from New York (state) "