Sunday, April 19, 2009
MLK and LBJ
Citation No.: 6736Speaker: MARTIN LUTHER KINGTape: WH6501.04 Program No.: 1Length: 13:39
Date: 01/15/1965Time: 12:06PTranscribed: YRestriction: OPEN
Comments: "SUMMARIZED"; CONTINUES ON NEXT PNO; MLK IS DIFFICULT TO HEAR; OFFICE SECRETARY TELLS MLK LBJ IS COMING TO THE TELEPHONE
Topics: MLK PRAISES STATE OF THE UNION SPEECH; LBJ'S LEGISLATIVE STRATEGY FOR GREAT SOCIETY BILLS; IMPORTANCE OF VOTING RIGHTS; MLK ASKS LBJ TO APPOINT NEGRO TO CABINET; LBJ'S PLAN TO MAKE HUD A CABINET POST, APPOINT GEORGE WEAVER; APPOINTMENTS OF NEGROES
Citation No.: 6737Speaker: MARTIN LUTHER KINGTape: WH6501.04 Program No.: 2Length: 9:20
Date: 01/15/1965Time: 12:06PTranscribed: YRestriction: OPEN
Comments: "SUMMARIZED"; CONTINUES FROM PREVIOUS PNO; MLK IS DIFFICULT TO HEAR
Topics: LBJ EMPHASIZES IMPORTANCE OF VOTING RIGHTS, ASKS MLK, NEGRO LEADERS TO PUBLICIZE WORST EXAMPLES OF VOTER REGISTRATION INJUSTICES; APPOINTMENT OF NEGRO TO CABINET; HUD; LBJ ASKS MLK'S HELP IN PASSING GREAT SOCIETY BILLS; PASSAGE OF 1964 CIVIL RIGHTS ACT
Date: 01/15/1965Time: 12:06PTranscribed: YRestriction: OPEN
Comments: "SUMMARIZED"; CONTINUES ON NEXT PNO; MLK IS DIFFICULT TO HEAR; OFFICE SECRETARY TELLS MLK LBJ IS COMING TO THE TELEPHONE
Topics: MLK PRAISES STATE OF THE UNION SPEECH; LBJ'S LEGISLATIVE STRATEGY FOR GREAT SOCIETY BILLS; IMPORTANCE OF VOTING RIGHTS; MLK ASKS LBJ TO APPOINT NEGRO TO CABINET; LBJ'S PLAN TO MAKE HUD A CABINET POST, APPOINT GEORGE WEAVER; APPOINTMENTS OF NEGROES
Citation No.: 6737Speaker: MARTIN LUTHER KINGTape: WH6501.04 Program No.: 2Length: 9:20
Date: 01/15/1965Time: 12:06PTranscribed: YRestriction: OPEN
Comments: "SUMMARIZED"; CONTINUES FROM PREVIOUS PNO; MLK IS DIFFICULT TO HEAR
Topics: LBJ EMPHASIZES IMPORTANCE OF VOTING RIGHTS, ASKS MLK, NEGRO LEADERS TO PUBLICIZE WORST EXAMPLES OF VOTER REGISTRATION INJUSTICES; APPOINTMENT OF NEGRO TO CABINET; HUD; LBJ ASKS MLK'S HELP IN PASSING GREAT SOCIETY BILLS; PASSAGE OF 1964 CIVIL RIGHTS ACT
Build your own Saucy Shingle
BILL OF MATERIALS
Item
Material
No. Pcs.
Size
Bottom, Side & Runner Planking
DF PW Exterior AB
1
1/4" x 4' x 8'
Bow Lamination, Frame Gussets & Floorboards
DF PW Exterior AB
1
1/4" x 4' x 4'
Bow Piece No. 3, Dash Beam No. 7, Transom and motor boards
DF PW Exterior AB
1
1/2" x 4' x 4'
Decking and Cowling Cover
DF PW Exterior AB
1
1/8" x 4' x 8'
Bottom Battens
Spruce or Mahogany
3
1/2" x 2' x 6'
Anti-Trip Chine
Spruce or Mahogany
2
1/2" x 1-3/4" x 4' 6"
Frames
Spruce or Mahogany
1
1/2" x 6' x 9'
Cross Pawl at Frames 1 & 2
Spruce or Mahogany
2
3/4" x 1-1/4" x 4'
Transom Cap
Spruce or Mahogany
1
3/4" x 1-3/4" x 3'
Sheer Clamp & Carlings
Spruce or Mahogany
4
3/4" x 3/4" x 8'
Deck Batten
Spruce or Mahogany
1
1/2" x 1" x 4'
Coaming
Spruce or Mahogany
1
1/2" x 7" (net) x 14' (makes two)
GLUE: Resorcinol or Plastic Resin, Approx. 3 lbs.
FASTENINGS:Nails: Ring-type boat nails, bronze or monel. 3/4" #14--1 lb., 1-1/4" #12--1/2 lb.Screws: Flathead wood type, hot dipped galvanized iron. 1-1/2" #8--22 only, 3" #14--3 only
Reader Comments
Biophysical Journal
March, 1965
Motor Output Patterns during Random and Rhythmic Stimulation of Locust Thoracic Ganglia
D.M. WilsonandR.J. Wyman
This paper employs new statistical techniques to further analyze the flight control system of grasshoppers. The quantitative results confirm some hypotheses which arise from previous studies of this system. After decapitation and ablation of wing proprioceptors, stimulation of the nerve cord at random intervals can elicit a coordinated response closely resembling the normal flight motor output pattern. The coordinated response begins only after many stimuli and there are usually many cycles of after-discharge. The frequency of the cyclic output is rather low and may be increased only slightly by large increases in stimulus frequency. Input from the stretch receptors is necessary to attain normal wingstroke frequency. Frequency of wingbeat rises with a time constant of about 2 seconds (or about 25 wingbeats) when stretch receptor stimulation is initiated. Frequency decay after cessation of stimulation has about the same time constant. No special phase relationship between stimulation and output is necessary for the increase in frequency or maintenance of normal pattern. When input frequency is adjusted as closely as possible to output frequency it is still not possible to force the output to maintain a particular phase with respect to the stimulation, all phase relationships still occur. In some animals all phases occurred with equal probability; in others a particular phase was preferred. When there was a strong phase preference the normal output pattern was disrupted.
Motor Output Patterns during Random and Rhythmic Stimulation of Locust Thoracic Ganglia
D.M. WilsonandR.J. Wyman
This paper employs new statistical techniques to further analyze the flight control system of grasshoppers. The quantitative results confirm some hypotheses which arise from previous studies of this system. After decapitation and ablation of wing proprioceptors, stimulation of the nerve cord at random intervals can elicit a coordinated response closely resembling the normal flight motor output pattern. The coordinated response begins only after many stimuli and there are usually many cycles of after-discharge. The frequency of the cyclic output is rather low and may be increased only slightly by large increases in stimulus frequency. Input from the stretch receptors is necessary to attain normal wingstroke frequency. Frequency of wingbeat rises with a time constant of about 2 seconds (or about 25 wingbeats) when stretch receptor stimulation is initiated. Frequency decay after cessation of stimulation has about the same time constant. No special phase relationship between stimulation and output is necessary for the increase in frequency or maintenance of normal pattern. When input frequency is adjusted as closely as possible to output frequency it is still not possible to force the output to maintain a particular phase with respect to the stimulation, all phase relationships still occur. In some animals all phases occurred with equal probability; in others a particular phase was preferred. When there was a strong phase preference the normal output pattern was disrupted.
Saturday, April 18, 2009
Desolation Row-1965
They're selling postcards of the hangingThey're painting the passports brownThe beauty parlor is filled with sailorsThe circus is in townHere comes the blind commissionerThey've got him in a tranceOne hand is tied to the tight-rope walkerThe other is in his pantsAnd the riot squad they're restlessThey need somewhere to goAs Lady and I look out tonightFrom Desolation Row.Cinderella, she seems so easy"It takes one to know one," she smilesAnd puts her hands in her back pocketsBette Davis styleAnd in comes Romeo, he's moaning"You belong to Me I Believe"And someone says, "You're in the wrong place, my friendYou better leave"And the only sound that's leftAfter the ambulances goIs Cinderella sweeping upOn Desolation Row.Now the moon is almost hiddenThe stars are beginning to hideThe fortunetelling ladyHas even taken all her things insideAll except for Cain and AbelAnd the hunchback of Notre DameEverybody is making loveOr else expecting rainAnd the Good Samaritan, he's dressingHe's getting ready for the showHe's going to the carnival tonightOn Desolation Row.Now Ophelia, she's 'neath the windowFor her I feel so afraidOn her twenty-second birthdayShe already is an old maidTo her, death is quite romanticShe wears an iron vestHer profession's her religionHer sin is her lifelessnessAnd though her eyes are fixed uponNoah's great rainbowShe spends her time peekingInto Desolation Row.Einstein, disguised as Robin HoodWith his memories in a trunkPassed this way an hour agoWith his friend, a jealous monkHe looked so immaculately frightfulAs he bummed a cigaretteThen he went off sniffing drainpipesAnd reciting the alphabetYou would not think to look at himBut he was famous long agoFor playing the electric violinOn Desolation Row.Dr. Filth, he keeps his worldInside of a leather cupBut all his sexless patientsThey're trying to blow it upNow his nurse, some local loserShe's in charge of the cyanide holeAnd she also keeps the cards that read"Have Mercy on His Soul"They all play on penny whistlesYou can hear them blowIf you lean your head out far enoughFrom Desolation Row.Across the street they've nailed the curtainsThey're getting ready for the feastThe Phantom of the OperaIn a perfect image of a priestThey're spoonfeeding CasanovaTo get him to feel more assuredThen they'll kill him with self-confidenceAfter poisoning him with wordsAnd the Phantom's shouting to skinny girls"Get outa here if you don't know"Casanova is just being punished for goingTo Desolation Row.At midnight all the agentsAnd the superhuman crewCome out and round up everyoneThat knows more than they doThen they bring them to the factoryWhere the heart-attack machineIs strapped across their shouldersAnd then the keroseneIs brought down from the castlesBy insurance men who goCheck to see that nobody is escapingTo Desolation Row.They be to Nero's NeptuneThe Titanic sails at dawnEverybody's shouting"Which side are you on ?"And Ezra Pound and T. S. EliotFighting in the captain's towerWhile calypso singers laugh at themAnd fishermen hold flowersBetween the windows of the seaWhere lovely mermaids flowAnd nobody has to think too muchAbout Desolation Row.Yes, I received your letter yesterdayAbout the time the door knob brokeWhen you asked me how I was doingWas that some kind of joke ?All these people that you mentionYes, I know them, they're quite lameI had to rearrange their facesAnd give them all another nameRight now I can't read too goodDont send me no more letters noNot unless you mail themFrom Desolation Row.
Desolation Angels-Kerouac 1965
Desolation Angels (novel)
Desolation Angels, published in 1965, yet written years earlier around the time On the Road was in the process of publication, is a semi-autobiographical novel written by Beat Generation author Jack Kerouac, which makes up part of his Duluoz Legend. According to the book's foreword, the opening section of the novel is almost directly taken from the journal he kept when he was a fire lookout on Desolation Peak in the North Cascade mountains of Washington state. Much of the psychological struggle which the novel's protagonist, Jack Duluoz, undergoes in the novel reflects Kerouac's own increasing disenchantment with the Buddhist philosophy with which he had previously been fascinated.
Style
The book is broken up into two sections called Desolation Angels and Passing Through, which are then subdivided into many shorter parts. Each part focuses on a specific location where Kerouac is at that time. The first section covers Kerouac's time on the mountain and immediately after he leaves the fire lookout. The foreword of the book mentions that Kerouac was hoping to get the second section, Passing Through, published as a standalone novel.
References in Popular Culture
Bad Company's 1979 album Desolation Angels was named after this novel.
Kathy Acker's novel Kathy Goes to Haiti references this book.
A card in the collectible card game Magic: The Gathering is named Desolation Angel, referencing this novel.
The Austin, Texas-based country band Reckless Kelly has a song titled "Desolation Angels".
"Desolation Row", by Bob Dylan, is said to get its title from this novel.
Desolation Angels, published in 1965, yet written years earlier around the time On the Road was in the process of publication, is a semi-autobiographical novel written by Beat Generation author Jack Kerouac, which makes up part of his Duluoz Legend. According to the book's foreword, the opening section of the novel is almost directly taken from the journal he kept when he was a fire lookout on Desolation Peak in the North Cascade mountains of Washington state. Much of the psychological struggle which the novel's protagonist, Jack Duluoz, undergoes in the novel reflects Kerouac's own increasing disenchantment with the Buddhist philosophy with which he had previously been fascinated.
Style
The book is broken up into two sections called Desolation Angels and Passing Through, which are then subdivided into many shorter parts. Each part focuses on a specific location where Kerouac is at that time. The first section covers Kerouac's time on the mountain and immediately after he leaves the fire lookout. The foreword of the book mentions that Kerouac was hoping to get the second section, Passing Through, published as a standalone novel.
References in Popular Culture
Bad Company's 1979 album Desolation Angels was named after this novel.
Kathy Acker's novel Kathy Goes to Haiti references this book.
A card in the collectible card game Magic: The Gathering is named Desolation Angel, referencing this novel.
The Austin, Texas-based country band Reckless Kelly has a song titled "Desolation Angels".
"Desolation Row", by Bob Dylan, is said to get its title from this novel.
Picasso, March 1965
March: Artworks
Makes the aquatint Nu accoudé (Pierre Reverdy, Sable Mouvant) [OPP.65:015]. New themes emerge in painting: 'man carrying a child', 'family', 'watermelon eaters'.
March-April:
Françoise exhibits mostly figurative paintings and gouaches at the David Findley Gallery in New York City.
March 1: Artworks
Executes the works in aquatint Deux femmes I [OPP.65:028] and Deux femmes au miroir III [OPP.65:013]; and in aquatint and dry point Femmes nues au miroir II [OPP.65:059] and Le modèle IV [OPP.65:050].
March 2: Artworks
Executes the works in aquatint Peintre au travail [B.I:1201] and Le modèle [B.I:1204]; in drypoint Les amies [B.I:1202], Deux femmes IV [OPP.65:095] and Trois femmes [OPP.65:036]; and in aquatint and dry point Le modèle [B.I:1205].
March 3:
Makes the dry point Femme et fomme [B.I:1207].
March 9:
Executes the work in aquatint and dry point Femmes nues au miroir [B.I:1208].
March 10: Artworks
Executes the works in aquatint and etching Le peintre et son modèle I [OPP.65:035]; in aquatint and dry point Homme et femme II [OPP.65:027], Deux femmes [B.I:1211], Peintre et modèle [B.I:1212] and Peintre et modèle V [OPP.65:026]; and in aquatint Vénus et l'Amour [B.I:1214]. Also starts the work in etching and aquatint Tête d'homme barbu VI (Pierre Reverdy, Sable Mouvant) [OPP.65:014], completed MARCH 15.
March 12: Artworks
Executes the work in works in aquatint and dry point Dans l'atelier [OPP.65:073], Dans l'atelier [B.I:1216], Dans l'atelier III [OPP.65:043] and Dans l'atelier [B.I:1218].
March 13: Artworks
Executes the work in works in aquatint and dry point Dans l'atelier [B.I:1219], Dans l'atelier III [Peintre à son chevalet avec un modèle] [OPP.65:029] and Dans l'atelier [B.I:1221].
March 14: Artworks
Executes the works in etching Dans l'atelier I [OPP.65:031]; and in aquating and dry point Dans l'atelier II [OPP.65:088].
March 15:
Paints the oil on canvas Le peintre et son modèle [PP.65:050]. Also executes the work in works in aquatint and dry point Dans l'atelier [B.I:1224], Dans l'atelier [B.I:1225], the aquatints Dans l'atelier [B.I:1226] and Dan l'atelier [B.I:1227]. In addition completes the work in etching and aquatint Tête d'homme barbu VI (Pierre Reverdy, Sable Mouvant) [OPP.65:014], started
MARCH 10.
March 15-16: Artworks
Makes the etching Dans l´atelier III [OPP.65:017].
March 17: Artworks
Paints the oils on canvas Le peintre au chapeau [OPP.65:039] and Buste d'homme barbu II [OPP.65:008].
March 18: Artworks
Paints the oil on canvas Le singe et le photographe [OPP.65:020]. Also executes the work in aquatint and etching Dans l'atelier [B.I:1229].
March 19:
Paints the oil on canvas Photographe et singe [PP.65:054].
Spring: Photo 1 Photo 2
Painting and engraving are back in step. Among his works is the oil on canvas Tête d'homme [PP.65:170].
Life With Picasso by Françoise is published in French. It saddens Picasso. Jacqueline and his friends try to keep the book from him and from publication in French. Never reads it.
March 22: Artworks
Executes the wash Portrait de Verlaine [OPP.65:083].
March 23: Artworks
Paints the oils on canvas Le peintre et son modèle I [PP.65:056], Le peintre et son modèle II [OPP.65:066] and Le modèle dans l'atelier IV [PP.65:058]. Also starts the oil on canvas Nu au chevalet III [PP.65:195], completed NOVEMBER 1.
March 24: Artworks
Paints the oils on canvas Nu allongé [PP.65:059], Le modèle dans l'atelier II [PP.65:060], Le modèle dans l'atelier III [OPP.65:090], Le modèle dans l'atelier IV [PP.65:062], Le modèle dans l'atelier VI [OPP.65:063] and Le modèle dans l'atelier VIII [PP.65:064]. Also starts the oils on canvas Le modèle dans l'atelier V [PP.65:087] (completed APRIL 2) and Le modèle dans l'atelier VII [OPP.65:021] (revised MARCH 26~27 and completed APRIL 4).
March 26: Artworks
Paints the oils on canvas Le peintre et son tableau II [PP.65:065], Le peintre et son modèle III [PP.65:066], Le peintre et son modèle [OPP.65:032], Le peintre et son modèle V [PP.65:068] and Le peintre et son modèle [OPP.65:084]. Also starts the oil on canvas Nu assis [PP.65:082], completed MARCH 31.
March 27:
Paints the oils on canvas Nu allongé et tête d'homme de profil II [PP.65:070] and Nu allongé et tête d'homme de profil III [PP.65:071]. Also starts the oil on canvas Nu allongé et tête d'homme de profil I [PP.65:088], completed APRIL 2.
March 28:
Paints the oils on canvas Nu allongé et tête d'homme de profil I [PP.65:072], Nu allongé et tête d'homme de profil II [PP.65:073] and Nu allongé et tête d'homme de profil IV [PP.65:074]. Also starts the oil on canvas Nu couché III [PP.65:083], completed MARCH 31.
March 29:
Paints the oils on canvas Nu allongé et tête d'homme de profil I [PP.65:076], Nu allongé et tête d'homme de profil II [PP.65:075], Nu allongé et tête d'homme de profil IV [PP.65:077], Nu allongé et tête d'homme de profil V [PP.65:078] and Le peintre et son modèle VI [PP.65:079]. Also starts the oil on canvas Nu allongé et tête d'homme de profil III [PP.65:089], completed
APRIL 2.
March 30: Artworks
Paints the oils on canvas Le peintre et son tableau [PP.65:080] and Le peintre et son modèle II [PP.65:081].
March 31: Artworks
Completes the oils on canvas Nu assis [PP.65:082] (started MARCH 26) and Nu couché III [PP.65:083] (started MARCH 28). Also paints the oils on canvas Le peintre I [PP.65:084] and Le peintre II [PP.65:085].
Makes the aquatint Nu accoudé (Pierre Reverdy, Sable Mouvant) [OPP.65:015]. New themes emerge in painting: 'man carrying a child', 'family', 'watermelon eaters'.
March-April:
Françoise exhibits mostly figurative paintings and gouaches at the David Findley Gallery in New York City.
March 1: Artworks
Executes the works in aquatint Deux femmes I [OPP.65:028] and Deux femmes au miroir III [OPP.65:013]; and in aquatint and dry point Femmes nues au miroir II [OPP.65:059] and Le modèle IV [OPP.65:050].
March 2: Artworks
Executes the works in aquatint Peintre au travail [B.I:1201] and Le modèle [B.I:1204]; in drypoint Les amies [B.I:1202], Deux femmes IV [OPP.65:095] and Trois femmes [OPP.65:036]; and in aquatint and dry point Le modèle [B.I:1205].
March 3:
Makes the dry point Femme et fomme [B.I:1207].
March 9:
Executes the work in aquatint and dry point Femmes nues au miroir [B.I:1208].
March 10: Artworks
Executes the works in aquatint and etching Le peintre et son modèle I [OPP.65:035]; in aquatint and dry point Homme et femme II [OPP.65:027], Deux femmes [B.I:1211], Peintre et modèle [B.I:1212] and Peintre et modèle V [OPP.65:026]; and in aquatint Vénus et l'Amour [B.I:1214]. Also starts the work in etching and aquatint Tête d'homme barbu VI (Pierre Reverdy, Sable Mouvant) [OPP.65:014], completed MARCH 15.
March 12: Artworks
Executes the work in works in aquatint and dry point Dans l'atelier [OPP.65:073], Dans l'atelier [B.I:1216], Dans l'atelier III [OPP.65:043] and Dans l'atelier [B.I:1218].
March 13: Artworks
Executes the work in works in aquatint and dry point Dans l'atelier [B.I:1219], Dans l'atelier III [Peintre à son chevalet avec un modèle] [OPP.65:029] and Dans l'atelier [B.I:1221].
March 14: Artworks
Executes the works in etching Dans l'atelier I [OPP.65:031]; and in aquating and dry point Dans l'atelier II [OPP.65:088].
March 15:
Paints the oil on canvas Le peintre et son modèle [PP.65:050]. Also executes the work in works in aquatint and dry point Dans l'atelier [B.I:1224], Dans l'atelier [B.I:1225], the aquatints Dans l'atelier [B.I:1226] and Dan l'atelier [B.I:1227]. In addition completes the work in etching and aquatint Tête d'homme barbu VI (Pierre Reverdy, Sable Mouvant) [OPP.65:014], started
MARCH 10.
March 15-16: Artworks
Makes the etching Dans l´atelier III [OPP.65:017].
March 17: Artworks
Paints the oils on canvas Le peintre au chapeau [OPP.65:039] and Buste d'homme barbu II [OPP.65:008].
March 18: Artworks
Paints the oil on canvas Le singe et le photographe [OPP.65:020]. Also executes the work in aquatint and etching Dans l'atelier [B.I:1229].
March 19:
Paints the oil on canvas Photographe et singe [PP.65:054].
Spring: Photo 1 Photo 2
Painting and engraving are back in step. Among his works is the oil on canvas Tête d'homme [PP.65:170].
Life With Picasso by Françoise is published in French. It saddens Picasso. Jacqueline and his friends try to keep the book from him and from publication in French. Never reads it.
March 22: Artworks
Executes the wash Portrait de Verlaine [OPP.65:083].
March 23: Artworks
Paints the oils on canvas Le peintre et son modèle I [PP.65:056], Le peintre et son modèle II [OPP.65:066] and Le modèle dans l'atelier IV [PP.65:058]. Also starts the oil on canvas Nu au chevalet III [PP.65:195], completed NOVEMBER 1.
March 24: Artworks
Paints the oils on canvas Nu allongé [PP.65:059], Le modèle dans l'atelier II [PP.65:060], Le modèle dans l'atelier III [OPP.65:090], Le modèle dans l'atelier IV [PP.65:062], Le modèle dans l'atelier VI [OPP.65:063] and Le modèle dans l'atelier VIII [PP.65:064]. Also starts the oils on canvas Le modèle dans l'atelier V [PP.65:087] (completed APRIL 2) and Le modèle dans l'atelier VII [OPP.65:021] (revised MARCH 26~27 and completed APRIL 4).
March 26: Artworks
Paints the oils on canvas Le peintre et son tableau II [PP.65:065], Le peintre et son modèle III [PP.65:066], Le peintre et son modèle [OPP.65:032], Le peintre et son modèle V [PP.65:068] and Le peintre et son modèle [OPP.65:084]. Also starts the oil on canvas Nu assis [PP.65:082], completed MARCH 31.
March 27:
Paints the oils on canvas Nu allongé et tête d'homme de profil II [PP.65:070] and Nu allongé et tête d'homme de profil III [PP.65:071]. Also starts the oil on canvas Nu allongé et tête d'homme de profil I [PP.65:088], completed APRIL 2.
March 28:
Paints the oils on canvas Nu allongé et tête d'homme de profil I [PP.65:072], Nu allongé et tête d'homme de profil II [PP.65:073] and Nu allongé et tête d'homme de profil IV [PP.65:074]. Also starts the oil on canvas Nu couché III [PP.65:083], completed MARCH 31.
March 29:
Paints the oils on canvas Nu allongé et tête d'homme de profil I [PP.65:076], Nu allongé et tête d'homme de profil II [PP.65:075], Nu allongé et tête d'homme de profil IV [PP.65:077], Nu allongé et tête d'homme de profil V [PP.65:078] and Le peintre et son modèle VI [PP.65:079]. Also starts the oil on canvas Nu allongé et tête d'homme de profil III [PP.65:089], completed
APRIL 2.
March 30: Artworks
Paints the oils on canvas Le peintre et son tableau [PP.65:080] and Le peintre et son modèle II [PP.65:081].
March 31: Artworks
Completes the oils on canvas Nu assis [PP.65:082] (started MARCH 26) and Nu couché III [PP.65:083] (started MARCH 28). Also paints the oils on canvas Le peintre I [PP.65:084] and Le peintre II [PP.65:085].
Theater
March 29, 1951: Rodgers and Hammerstein's The King and I premiered at the St. James Theatre in New York.
March 29, 1966: The musical It’s a Bird…It’s a Plane…It’s Superman opens at the Alvin Theatre, New York.
March 29, 1981: Kander and Ebb's Woman of the Year premieres at the Palace Theatre, New York.
March 29, 1966: The musical It’s a Bird…It’s a Plane…It’s Superman opens at the Alvin Theatre, New York.
March 29, 1981: Kander and Ebb's Woman of the Year premieres at the Palace Theatre, New York.
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