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"K. W. Beniczky, Photographer, No. 2 Chambers St., cor. Chatham St., N.Y."
I believe she is wearing a hair mourning brooch at her throat.
This image cannot be used on websites, blogs or other media without my explicit permission.
© All rights reserved.
"Mrs. D. Sears' Photograph Artist Rooms on Second Street, Three doors West of Town Hall, Camden, N.Y." Blue 2-cent tax revenue stamp.
insidemovies.moviefone.com/2010/06/15/psycho-50th-anniver...
Shower scene: www.youtube.com/watch?v=8VP5jEAP3K4&feature=related
The film's pivotal scene, and one of the most famous scenes in cinema history, is the murder of Janet Leigh's character in the shower. As such, it spawned numerous myths and legends. It was shot from December 17 to December 23, 1959, and features 77 different camera angles. The scene "runs 3 minutes and includes 50 cuts." Most of the shots are extreme close-ups, except for medium shots in the shower directly before and directly after the murder. The combination of the close shots with the short duration between cuts makes the sequence feel longer, more subjective, more uncontrolled, and more violent than would the images if they presented alone or in a wider angle.
In order to capture the straight-on shot of the shower head, the camera had to be equipped with a long lens. The inner holes on the spout were blocked and the camera placed farther back, so that the water appears to be hitting the lens but actually went around and past it.
The soundtrack of screeching violins, violas, and cellos was an original all-strings piece by composer Bernard Herrmann entitled "The Murder." Hitchcock originally wanted the sequence (and all motel scenes) to play without music, but Herrmann begged him to try it with the cue he had composed. Afterwards, Hitchcock agreed that it vastly intensified the scene, and he nearly doubled Herrmann's salary. The blood in the scene is in fact chocolate syrup, which shows up better on black-and-white film, and has more realistic density than stage blood. The sound of the knife entering flesh was created by plunging a knife into a melon.
It is sometimes claimed that Leigh was not in the shower the entire time, and that a body double was used. However, in an interview with Roger Ebert, and in the book Alfred Hitchcock and the Making of Psycho, Leigh stated that she was in the scene the entire time; Hitchcock used a live model as her stand-in only for the scenes in which Norman wraps up Marion's body in a shower curtain and places her body in the trunk of her car.
Another popular myth is that in order for Leigh's scream in the shower to sound realistic, Hitchcock used ice-cold water. Leigh denied this on numerous occasions, saying that he was very generous with a supply of hot water.Also, all of the screams are Leigh's.
Another myth was that Leigh was only told by Hitchcock to stand in the shower, and had no idea that her character was actually going to be murdered the way it was, causing an authentic reaction. The most notorious urban legend arising from the production of Psycho began when Saul Bass, the graphic designer who created many of the title sequences of Hitchcock's films and storyboarded some of his scenes, claimed that he had actually directed the shower scene. This claim was refuted by several people associated with the film. Leigh, who is the focus of the scene, stated, "...absolutely not! I have emphatically said this in any interview I've ever given. I've said it to his face in front of other people... I was in that shower for seven days, and, believe me, Alfred Hitchcock was right next to his camera for every one of those seventy-odd shots." Hilton Green, the assistant director and cameraman, also denies Bass' claim: "There is not a shot in that movie that I didn't roll the camera for. And I can tell you I never rolled the camera for Mr. Bass." Roger Ebert, a longtime admirer of Hitchcock's work, was also amused by the rumor, stating, "It seems unlikely that a perfectionist with an ego like Hitchcock's would let someone else direct such a scene."
However, commentators such as Stephen Rebello and Bill Krohn have established that Saul Bass did contribute to the creation of that scene in his capacity as a graphic artist. Bass is credited for the design of the opening credits, and also as "Pictorial Consultant" in the credits. When interviewing Hitchcock, François Truffaut asked about the extent of Bass' contribution to the film, to which Hitchcock said that Bass designed the titles as well as provided storyboards for the Arbogast murder (which he claimed to have rejected), but made no mention of Bass providing storyboards for the shower scene. According to Bill Krohn's Hitchcock At Work, Bass's first claim to have directed the scene was in 1970, when he provided a magazine with 48 drawings used as storyboards as proof that he directed the scene.
Krohn's analysis of the production of Psycho in his book Hitchcock at Work, while refuting Bass' claims for directing the scene, notes that these storyboards did introduce key aspects of the final scene—most notably, the fact that the killer appears as a silhouette, and details such as the shower curtain being torn down, the curtain rod being used as a barrier, and the transition from the hole of the drainage pipe to Marion Crane's dead eyes which (as Krohn notes) is highly reminiscent of the iris titles for Vertigo.
Krohn's research also notes that Hitchcock shot the scene with two cameras: one a BNC Mitchell, the other a handheld camera called an Éclair which Orson Welles had used in Touch of Evil (1958). In order to create an ideal montage for the greatest emotional impact on the audience, Hitchcock shot a lot of footage of this scene which he trimmed down in the editing room. He even brought a Moviola on the set to gauge the footage required. The final sequence, which his editor George Tomasini worked on with Hitchcock's advice, went far beyond the basic paradigms set up by Bass' storyboards.
According to Donald Spoto in The Dark Side of Genius, Hitchcock's wife, Alma Reville, spotted a blooper in one of the last screenings of Psycho before its official release: after Marion was supposedly dead, one could see her blink. According to Patricia Hitchcock, talking in Laurent Bouzereau's "making of" documentary, Alma spotted that Leigh's character appeared to take a breath. In either case, the postmortem activity was edited out and was never seen by audiences. Although Marion's eyes should be dilated after her death, the contacts necessary for this effect would have required six weeks of acclimatization in order to wear them, so Hitchcock decided to forgo them.
It is often claimed that, despite its graphic nature, the "shower scene" never once shows a knife puncturing flesh. Leigh herself was so affected by this scene when she saw it, that she no longer took showers unless she absolutely had to; she would lock all the doors and windows and would leave the bathroom and shower door open. She never realized until she first watched the film "how vulnerable and defenseless one is".
Leigh and Hitchcock fully discussed what the scene meant:
Marion had decided to go back to Phoenix, come clean, and take the consequence, so when she stepped into the bathtub it was as if she were stepping into the baptismal waters. The spray beating down on her was purifying the corruption from her mind, purging the evil from her soul. She was like a virgin again, tranquil, at peace.
Film theorist Robin Wood also discusses how the shower washes "away her guilt". He comments upon the "alienation effect" of killing off the "apparent center of the film" with which spectators had identified.
To read more about this photo and others, visit Your Dying Charlotte, www.dyingcharlotte.com, my site for long-form articles on my historic research.
Written on reverse: "Aunt Abby Hanks Hitchcock", "Gubelman, 77 &79 Montgomery St., Jersey City"
Abigail Irena Hanks, was born on 10 November, 1816, in Mansfield, Tolland County, Connecticut. She was the daughter of Rodney Hanks (1782 – 1846), a Mansfield, Connecticut, manufacturer of silk machinery, woolen goods, cannon swabs, and other machinery, and Olive Freeman (1783 – 1816), and was the wife of Alexander Hitchcock (b. 4 Feb., 1812 in West Troy, NY), a merchant and former bellfoundry finisher. Alexander was the son of James Hitchcock (1785 – 1858) and Peggy Meneely (1790 – 1818). James married again to a woman named Eleanor, by whom he had a number of children.
The Hanks and Meneely family were players in the Meneely (Watervliet) foundry, which closed about 1950, and provided bells for various carillons and chimes throughout the Western hemisphere. The bellfoundry began in 1826 in Gibbonsville, New York, on the west bank of the Hudson River, a few miles north of Albany.
Abby and Alexander were married around 1840. Their children were Julia Philena (b. 1841); Madeline Louise (b. 1844); Olive Hanks (1848-1929); Adele (b. 1849); and Oliver (b. 1851). In, 1866, Madeline married James Randolph Mercein (b. 1840), and had one daughter and one granddaughter. In 1877, Olive married George Willis Calvert Phillips (1845-1912); they had two daughters, no grandchildren.
On the 1850 census, the family was enumerated in Albany, New York, with Alexander giving his occupation as finisher--probably of bells and chimes. Living with the family was Jesse Hanks, probably Abby's younger brother--also a finisher. The neighborhood in which they lived was peopled with immigrant laborers and other working people, and the wealth that the family obviously accumulated in later years is not apparent. Ten years later, however, the family had moved south to New Jersey. On the 1860 census of Jersey City, the Hitchcocks had a domestic servant and Alexander Hitchcock claimed a personal estate of $10,000.
Abby lost her husband on 18 January, 1872. He died in Rahway, New Jersey, at the age of 60. He was eventually interred in Menands, New York, on 15 May, 1872, in Albany Rural Cemetery in the lot of J.H. Hitchcock. He was removed to another lot in the same cemetery belonging to Julia P. Morgan, almost certainly his daughter, in 1885. This cabinet card of Abby in widow's clothing dates to approximately that same year. In the image, Abby is wears a white widow's cap and some very nice gutta percha mourning jewelry that was so fashionable, even for regular wear, in the 1870s.
On the 1880 census, Abby was staying in the home of Druggist George Phillips and his wife Olive, Abby's daughter. Abigail died Christmas Day, 25 December, 1884, in Jersey City. She is buried with her husband in Albany Rural Cemetery.
After Abby's daughter, Madeleine, died in 5 December, 1893, her obituary read: "The death of Madeline Louise Mercein, wife of James R. Mercein, occurred suddenly Tuesday at her home on Madison Avenue, New York City. Mrs. Mercein was a daughter of the late Alexander Hitchcock, for many years master mechanic at the Watervliet arsenal, and during her girlhood was a leader in social circles in this vicinity, being a lady of unusual refinement. She is survived by a son and a daughter. The burial will be in the family plat at Albany Rural cemetery."
"Munro, Exotic Nursery, Canterbury."
James Munro operated out of 56 St. Peter's Place, Canterbury. The Exotic Nursery was apparently of the plant variety. It was a Canterbury tourist attraction.
"W. J. Moulton, Photographer, 116 & 118 Water St., El Mira, N.Y."
Helen M. Wisner was 1838-1920, the daughter of Chemung County, New York, Judge John Wheeler Wisner (1801-1852), of which much can be read here: www.joycetice.com/books/1879b283.htm, and Mary Ann Butler (1812-1870). The couple had married in 1835. Helen was the Judge's second child, having an elder half-sister Frances E., and a younger sister, Eliza (b. 1845), as well as a younger brother, Gabriel (1847-1889). The Wisners were descendants of Henry Wisner, and general in the Continental Army during the American Revolution. Helen's grandson, Lawrence Muller Hunter, would go on to apply for membership in the Sons of the American Revolution in 1927, citing his pedigree back to Henry.
(As an interesting aside, Frances Wisner married Henry Loftie in 1861, who is renown as a maker of fishing lures. You can read about him here: www.oldfishinglure.com/henryloftielures.htm.)
Helen married the lawyer William Thomas Lawrence Muller (19 Jan 1841-5 Jan 1891) on 8 December, 1858, in Elmira, New York. He was the son of Adrian Herman Muller (1792-1886) and Catharine Schermerhorn Abeel (1799-1894).
Helen and William had two daughters, Ida Mary (1865-1946), and Kate (b. 1869).
Muller went on to become a judge and a commissioner on the New York Court of Claims and, his obituary notes, "was a close personal friend of the governor, and was his ally and advisor." The obituary states that he died of a blood clot traveling to his brain. He was buried in Greenwood Cemetery, Brooklyn. One must assume that Helen is also buried there. She appears to have outlived him, but is not mentioned in his obituary. She also does not appear with the family on the 1880 census, and I cannot as yet locate the family on later censuses. Also unknown is who Helen is wearing deepest mourning for in this image. It would have to be a very close relative.
POESIA CONTEMPORÂNEA DO CANADÁ.
edited & translated by John Havelda, Isabel Patim & Manuel Portela.
Lisboa (Portugal), Antígona, february 2o1o.
ISBN 978-972-6o8-211-8.
8-1/4 x 8-1/4, 148 sheets ivory bomd perfectbound in matte PVC wite card wrappers with 3-15/16 flaps, all except inside covers & 4 pp (1st leaf, 8, 12) printed black offset with yellow & red additions to covers.
cover unacknowledged.
contributors ID'd:
Robin Blaser, Christian Bök, Dionne Brand, Alberto Caeiro, Dennis Cooley, Jeff Derksen, John Havelda, Robert Kroetsch, Karen Mac Cormack, Steve McCaffery, Roy Miki, Erin Mouré, bpNichol, Isabel Patim, Manuel Portela, Lisa Robertson, Fred Wah.
Nichol inclusions:
i) 4 MOODS (p.224; concrete poetry in 4 parts:
–1. The Friendliness of the Alphabet
–2. The Denial of the Alphabet
–3. The Sanctimoniousness of the Alphabet
–4. The Self-Centredness of the Alphabet)
ii) 4 HUMORES, translated by [--?--] (p.225; translation into Portuguese of 4 MOODS ((i) above) in 4 parts:
–1. A Amizade do Alfabeto
–2. A Negação do Alfabeto
–3. A Santimónia do Alfabeto
–4. O Egocentrismo do Alfabeto)
iii) "visions of poetry" (p.226; poetry, extract of lines 54-73 (ie 3rd page in full) of Hour 1 10:35 to 11:35 p.m.)
iv) "visões da poesia", translated by [--?--] (p.227; poetry, translation into Portuguese of "visions of poetry" ((iii) above), comic panels relettered by [--?--])
v) The Frog Variations (pp.228-23o; poetry & concrete poetry in 9 parts:
–1. "Dawn fog" (p.228; concrete poetry in 3 parts:
––a. Dawn
––b. Noon
––c. Dusk)
–2. "fog fog fog" (p.228; concrete poem)
–3. "moonfrog" (p.228; concrete poem)
–4. (definition of a lily-pad) (p.228; concrete poem with incorrect letter-spacing)
–5. (the frog's obsession with the fly) (p.228; poem with incorrect letter-spacing)
–6. "frog's tongue: fly catcher" (p.228; poem, 5 lines)
–7. "o moon" (pp.228-23o; poem, 12 lines)
–8. "splash" (p.23o; poem, 8 lines with incorrect letter-spacing)
–9. "into the sky at night" (p.23o; poem, 4 lines))
vi) Variações do Sapo, translated by [--?--] (pp.229-231; poetry & concrete poetry, translation into Portuguese of The Frog Variations ((v) above) in 4 parts:
–1. "Alba névoa" (p.229; concrete poetry in 3 parts:
––a. Alba
––b. Meio-dia
––c. Lusco-fusco)
–2. "névoa névoa névoa" (p.229; concrete poem)
–3. "lua-sapo" (p.229; concrete poem)
–4. (definição de nenúfar) (p.229; concrete poem with incorect letter-spacing)
–5. (a obsessão do sapo com a mosca) (p.229; poem)
–6. "lingua de sapo: caça moscas" (p.229; poem, 5 lines)
–7. "oh lua" (pp.229-231; poem, 12 lines)
–8. "chape" (p.231; poem, 8 lines)
–9. "no céu à noite" (p.231; 4 lines))
vii) from "parallel lines" (p.232; poem, 9 lines)
viii) de "linhas paralelas", translated by [--?--] (p.233; poem, translation into Portuguese of from "parallel lines" ((vii) above), 9 lines)
ix) from "talking about strawberries all of the time" (pp.234-236; prose & poetry, excerpt of 4 of 8 parts includes (unindicated) parts
–2. "madness is language is how you use it if you are not mad" (p.234; prose)
–3. "strawberries julia are best fresh better than frozen straw" (p.234-236; poem, 13 lines)
–4. "now" (p.236; poem, 8 lines)
–5. "now let me say this again" (p.236; poem, 9 lines))
x) de "falar de morangos o tempo todo", translated by [--?--] (pp.235-237; prose & poetry translated into Portuguese ((ix) above), 4 of 8 parts includes (unindicated) parts
–2. "a loucura é linguagem é como a usas se não és louco" (p.235; prose)
–3. "os morangos julia são melhores frescos do que congelados" (pp.235-237; poem, 13 lines)
–4. "agora" (p.237; poem, 8 lines)
–5. "agora deixa-me dizer isto outra vez" (p.237; poem, 9 lines))
xi) LANDSCAPE: I* (p.238; concrete poem)
xii) PAISAGEM: I, translated by [--?--] (p.239; concrete poem ((xi) above) translated into Portuguese)
xiii) Inchoate Road (pp.240-242; poetry, parts 4 & 5 of section 1 only:
–4. "water music" (p.24o; 19 lines)
–5. "'for other waters are" (pp.24o-242; 12 lines))
xiv) Estrada incoada, translated by [--?--] (pp.241-243; poetry, translation into Portuguese of parts 4 & 5 of section 1 only of Inchoate Road ((xiii) above):
–4. "música aquática" (p.241; 19 lines)
–5. ""porque outras águas" (pp.241-243; 12 lines))
also includes:
xv) QUE SENTIDO É O SENTIDO QUE O SENTIDO FAZ?, byJohn Havelda, Isabel Patim & Mnuel Portela (pp.5-7; prose introduction (what sense is the sense what sense does it make?); references Nichol pp.5 & 7)
xvi) ROBIN BLASER (1925-2009), by [--?--] (p.29; prose bionote with passing reference to Nichol)
xvii) STEVE MCCAFFERY (1947), by [--?--] (p.175; prose bionote with passing references to Nichol, Four Horsemen & Toronto Research Group)
xviii) BIBLIOGRAFIA, by [--?--] (p.176; bibliography of Steve McCaffery in 4 parts with passing references to Nichol & Toronto Research Group in part
–2. ENSAIO)
xix) ROY MIKI (1942), by [--?--] (p.2o1; prose bionote with passing reference to Nichol)
xx) BIBLIOGRAFIA, by [--?--] (p.2o2; bibliography of Roy Miki in 3 parts with references to Nichol in parts
–1. POESIA
–2. ENSAIO)
xxi) bpNICHOL (1944-1988), by [--?--] (pp.244-246; prose bionotes in 2 parts:
–1. NOTA BIOGRÁFICA (p.245; includes a quote by Nichol from Intent/sion (interview by Steve McCaffery) translated into Portuguese)
–2. BIBLIOGRAFIA (p.246; list in 5 parts:
––a. POESIA (14 titles)
––b. NARRATIVA (5 titles)
––c. ENSAIO (2 titles)
––d. ENSAIOS SOBRE A SUA OBRA (6 titles)
––e. FONTES ELECTRÓNICAS (3 titles)))
xxii) COPYRIGHT, by [--?--] (pp.285-29o; list in 13 parts, includes part
–11. BPNICHOL (3 sources given))
___________________________
• translators of individual works not given
• Nichol's material is all sourced from the martyrology book 6 books & the 2 postmortem selecteds An H in the Heart & The Alphabet Game
She wears full morning. He wears a crepe band around his top hat. Both have adorable tinted pink cheeks and pose in the faux woodland.
Deadwood is most closely associated with James Hickok, better known as Wild Bill Hickok, one of the most famous legends of the American West. A gunfighter from an early age, Wild Bill later preformed scouting duties for the Union Army during the American Civil War, served as Marshal or sheriff of numerous towns, most infamously Abilene, and participated in his friend Buffalo Bill Cody's Wild West show. During this time, he participated in numerous shootouts where he exhibited his prowess as a fast draw and marksmen. More or less retired in 1876, Wild Bill met his end at Deadwood, when he was infamously shot in the back while playing cards by Jack McCall, an incident that only added to the lawless reputation of the city.
Born to an abolitionist family in Illinois who ran a station of the Underground Railroad, James Hickok quickly gained a reputation as an expert marksmen. After thinking that he killed someone in a fight, James ran away from home at age 18, eventually joining James Lane's Free State Army (better known as Jayhawkers) in Kansas Territory during the Bleeding Kansas period. Here, he gained the nickname, "Duck Bill" for his long nose and lips, which he later hid with a mustache and recoined himself as "Wild Bill". He also met a young William Cody, who at age 12 was already serving as a scout for the US Army. Later, he was severely mauled by a bear, and killed David McCanles of the supposed McCanles Gang, in a somewhat unclear incident at a Pony Express station. During the American Civil War he rejoined Lane's Jayhawkers, serving as a scout, teamster, and provost marshal. He also reacquainted himself with William Cody, who also was serving as a scout, and the two became friends.
During this time, Wild Bill also began to gamble. At the very end of the war, he became acquainted with Davis Tutt, a former Confederate soldier. Apparently over a $25 debt owed to Tutt, Hickok gave his watch as collateral, but warned Tutt against wearing it in public. Tutt did so anyways, leading to a fallout and a duel in the public square of Springfield, Missouri. Standing on opposite sides of the 69m long square, the two agreed to a quick draw revolver duel (where revolvers were pulled out of their holsters and fired), perhaps the first use of this now legendary dueling method. While Tutt missed, Hickok shot Tutt straight through the heart. Hickok was tried for murder, but was acquitted under somewhat controversial circumstances. This was perhaps the first of what would become the legend of Wild Bill Hickok.
Wild Bill became a Deputy Federal Marshal in Fort Riley, Hays City, and Abilene, as well as a scout for the 10th Cavalry and periodic showmen. As such he was involved in more shootouts: a barroom dispute led to a shootout where Wild Bill killed three drunken cowboys with a bullet to the head at 12m, with the fourth wounded through the cheek (Hickok also went with a shoulder wound), another encounter with a drunken rampager led to the death of Bill Mulvey, and a final dispute led to the death of Samuel Strawhun, when he "made remarks against Hickok. A final incident in 1870 led to two 7th Cavalry troopers pinning Hickok to the ground, one pointing a gun to Hickok's ear. The gun misfired, and Hickok shot both, killing one. The single most famous incident of the time occurred when Wild Bill was Sheriff of Abilene and happened to befriend Wesley Clemmons, alias of the legendary outlaw John Wesley Hardin, though the circumstances remain unclear. What is clear is that Hardin greatly respected Hickok, and when Hardin killed Charles Couger (by firing through the wall) for snoring too loudly, he immediately fled the city.
What ended Hickok's career as a lawman came immediately before, when Wild Bill got into an argument with Phil Coe, a saloon owner of the Bull's Head Tavern, over Coe's sexually explicit mural painted on the side of his tavern. Coe apparently had a bone to pick with Hickok, as he tried to get his friend Hardin to fight Hickok. Hardin refused, stating "If Bill needs killing why don't you kill him yourself?" Coe then boasted that he could "kill a crow on the wing". Hickok supposedly retorted: "Did the crow have a pistol? Was he shooting back? I will be."
On October 5, 1871, while breaking up a street brawl, Hickok was shot at by Coe, who claimed that he was shooting at a dog. Coe them suddenly pointed his gun on Hickok, who fired first and mortally wounded him. Just then, Deputy Marshal Mike Williams, coming to Hickok's aid, ran by and was accidentally shot and killed by Hickok, an incident that he greatly regretted. Weeks later, Hickok was relied of his duties for alleged misconduct.
Now unemployed, Hickok worked a variety of jobs, including that of a professional gambler. Hickok briefly joined his old friend, now Buffalo Bill Cody, and Cody's extremely popular Wild West show. However, Hickok proved to be a poor entertainer, hiding behind scenery and supposedly once shooting out a spotlight that shined on him. In 1876, only 39, having just married (and left) his wife Agnes Lake, suffering from glaucoma and ophthalmia, Wild Bill joined Charlie Utter's wagon train to head to the new city of Deadwood, returning to his profession of gambler.
On August 1, 1876 Wild Bill Hickok was playing poker at Nuttal & Mann's, when Jack McCall, a drunk, arrived to play. He lost heavily. Hickok told McCall to quit and gave him some money for breakfast. While he took the money, McCall was apparently insulted. The next day, while Hickok was playing poker again with his back to the door (Hickok asked to switch chairs twice but it was refused), McCall arrived and immediately shot Wild Bill in the back of the head with a "Damn you! Take that!" Wild Bill Hickok died instantly. McCall was arrested, and infamously hanged after two trials. Utter, a friend of Hickok's, had him buried in Ingelside Cemetery, attended by nearly the entire city of Deadwood. He erected a wooden marker:
Wild Bill, J. B. Hickock [sic] killed by the assassin Jack McCall in Deadwood, Black Hills, August 2, 1876. Pard, we will meet again in the happy hunting ground to part no more. Good bye, Colorado Charlie, C. H. Utter.
Later after the cemetery was closed, Utter had the grave moved to the new Mount Moriah cemetery. The marker moved with the body, but was destroyed by souvenir hunters. A large statue was then erected, only to be destroyed by souvenir hunters again. A second statue was also vandalized and finally moved to the Adams Museum.
Behind the grave of Wild Bill Hickok is the grave of Calamity Jane.
Martha Canary, better known as Calamity Jane was a hellion woman infamous for dressing up like a man, daredevil ways, and supposed relationship to Wild Bill Hickok. Much of her story has be enshrined in legend, and little seems substantiated, least of all by her own wildly inaccurate autobiography. Apparently from Missouri as the eldest of a large, poor family, Canary moved with her family to Salt Lake City, only to be orphaned at an early age and forced to take care of her 5 siblings. She moved to Fort Bridger, Wyoming Territory, and took a variety of jobs, including dishwasher, cook, waitress, dance-hall girl, nurse, and ox team driver. She probably accurately claimed work as a scout, and may have also worked as a prostitute. Canary claimed that her nickname "Calamity Jane" came from when she rescued a Capt. Egan, who had fallen wounded during a skirmish with Natives, and that the captain laughingly said: "I name you Calamity Jane, the heroine of the plains." Capt Jack Crawford however later claimed that Calamity Jane "never saw service in any capacity under either General Crook or General Miles. She never saw a lynching and never was in an Indian fight. She was simply a notorious character, dissolute and devilish, but possessed a generous streak which made her popular." Others stated that the name simply as a warning to those trying to "court calamity".
In 1876 Calamity Jane joined Charles Utter and Wild Bill Hickok to arrive at Deadwood. Later Calamity Jane would claim that she married Wild Bill Hickok and decades later a Jean McCormick would claim that he was the son of Wild Bill Hickok and Calamity Jane. However this seems unlikely, as Wild Bill Hickok had just married Lake Agnes and as far as anyone could tell did not cheat. When Jack McCall killed Wild Bill, Jane claimed that she went after McCall with a meat cleaver, having left her guns at home. This has not been verified. Jane did have two daughters, apparently having a benefit to raise money for their education, but ended up succumbing to bad habits and spending much of the money on drinks. She was also friends with Dora DuFran, Deadwood's leading madam, and occasionally worked as a cleaner for the brothel owner. A few years later, after the driver of a stagecoach she was on was killed by attacking Natives, Calamity Jane took the reigns herself to drive the wagon to safety. Probably Calamity Jane's biggest contribution however was when the smallpox outbreak occurred. Without formal training, though resistant to the disease from a childhood infection, Jane nursed eight stricken miners day and night, saving five of them.
In 1881, Calamity Jane started a ranch in Miles City, Montana. Later she married Clinton Burke and had a daughter she gave up for adoption. In 1893, Calamity Jane started to appear in Buffalo Bill's Wild West show as a storyteller, and also participated in the 1901 Pan-American Exposition. She returned to Deadwood in 1903 and again worked for Madame Dora DuFran until her death of inflammatory bowels and pneumonia. She is buried near Wild Bill Hickok.
A popular legend states that Calamity Jane requested that she be buried next to her husband, and that the Deadwood residents honored her request. The four men who planned her funeral later stated that as Wild Bill Hickok had "absolutely no use" for Calamity Jane, they buried her next to him in a sort of postmortem practical joke. They are the single most popular attraction in Deadwood.
Deadwood, South Dakota
nephew an first son-in law of Augustus
for educational purpose only
please do not use without permission
Part of: "res noscenda" / postmortem / insects
#schönbrunn #tiergarten #zoo #aquarienhaus #chrysalis #chrysalises #chrysalides #pupa #puppe #schmetterling #butterfly #kokon #cocoon
DMC-G2 - P1520675
© Ann Longmore-Etheridge Collection
"The picture of Flora and her mother, taken when she was three years old at McGrawville, Cortland Co., NY.
"I'll think of thee at eventide,
"When shines the star of love,
"When Earth is garnished like a bride,
and all is joy a-bove,
"and when the moon's pale genial face
is shed or [sic] land & sea,
"and throughs [sic] around her soft light,
"t'is then I think of thee. EM
"Flora & I are in the parlor as I write this, talking of the war, etc. Henry ??? burried Th day (Thursday?) Oct. 30th, '62."
See www.flickr.com/photos/60861613@N00/6015422656/in/photostr... for my ruminations and questions on this....
The DeGroote Quadruplets, born November 1888. I haven't been able to find too much on them, but from what I've found: Lillian is deceased in this photograph. Alice died on December 26, 1888. Anna died on December 29, 1888. Laura died in 1889, but I haven't been able to find a date for her.
Written on reverse: "Aunt Mary Ann Keller, sister of Abram Keller." Whilst there are a plethora of Mary Ann Kellers and Abram Kellers, I cannot find any documentation on a family with children of both those names. Maybe someone will see this and throw me a bone....
"Photographed by Purviance, cor. Fifth and Wood Sts., Pittsburgh."
Rock On The Range 2014:
Video of Slayer performing 'Postmortem':
In Memorial:
Jeff Hanneman
1964-2013
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The passing of the old queen on 22 January, 1901, marked the end of a reign that had lasted longer than anyone but the very elderly could remember. The national loss was commemorated in every corner of the British Empire and left plentiful traces behind, such as this memorial card. This photo of the queen shows her dressed, as she had done for a half century, in widow's weeds. The queen never left mourning after the death of her husband, Prince Albert, in the early 1860s.