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Béla Fleck

Béla Anton Leoš Fleck (born July 10, 1958) is an American banjo player. An acclaimed virtuoso, he is an innovative and technically proficient pioneer and ambassador of the banjo, playing music from bluegrass, jazz, classical, rock and various world music genres. He is best known for his work with the bands New Grass Revival and Béla Fleck and the Flecktones. Fleck has won 17 Grammy Awards and been nominated 39 times.

In 2020, he was inducted into the International Bluegrass Music Hall of Fame as a member of New Grass Revival.

Early life and career
A native of New York City, Fleck was named after the Hungarian composer Béla Bartók, the Austrian composer Anton Webern, and the Czech composer Leoš Janáček. He was drawn to the banjo at a young age when he heard Earl Scruggs play the theme song for The Beverly Hillbillies television show and when he heard "Dueling Banjos" by Eric Weissberg and Steve Mandell on the radio. At the age of 15, he received his first banjo, from his grandfather. During the train ride home, another man volunteered to tune the banjo and suggested he learn from the book How to Play the Five String Banjo by Pete Seeger. He attended High School of Music & Art in New York City, playing French horn until he flunked and was transferred to the choir, though he spent most of his time on the banjo. He studied the book Bluegrass Banjo by Pete Wernick and took lessons from Erik Darling, Marc Horowitz, and Tony Trischka.

After graduating from high school, he moved to Boston and became a member of the bluegrass group Tasty Licks, with whom he recorded two albums. He released his debut solo album, Crossing the Tracks (1979), and it was chosen Best Overall Album by the readers of Frets magazine.

Fleck played on the streets of Boston with bassist Mark Schatz. Along with guitarist Glen Lawson and mandolinist Jimmy Gaudreau, they formed Spectrum in 1981. That same year, Sam Bush asked Fleck to join New Grass Revival, with whom Fleck would perform for nine years. In 1984, he played on the album Snakes Alive!, by the Dreadful Snakes (Rounder 0177), along with Jerry Douglas, Roland White and Blaine Sprouse. During this time, in 1987 Fleck recorded another solo album, Drive, which was nominated for a Grammy Award in 1988 for Best Bluegrass Album. During the 1980s Fleck and Bush also performed live with Doc and Merle Watson in bluegrass festivals, most notably the annual Telluride Bluegrass Festival. Bela also played with Jerry Garcia at the Hearst Greek Theatre, on August 5, 1990.

Béla Fleck and the Flecktones
In 1988, Fleck and Victor Wooten formed Béla Fleck and the Flecktones with keyboardist and harmonica player Howard Levy and Wooten's brother, Roy "Future Man" Wooten, who played synthesizer-based percussion. They recorded numerous albums, most notably Flight of the Cosmic Hippo, their second album, which reached number one on the Billboard Top Contemporary Jazz Albums chart and found increased popularity among fans of jazz fusion.

Levy left the group in 1992, making the band a trio until saxophonist Jeff Coffin joined the group onstage in 1997. His first studio recording with the band was their 1998 album, Left of Cool. Coffin left the group in 2008 to replace the Dave Matthews Band's saxophonist, the late LeRoi Moore. Levy returned to the Flecktones in 2009. Béla Fleck and the original Flecktones recorded Rocket Science and toured in 2011.

Other music and recordings
Fleck played banjo on Before These Crowded Streets by the Dave Matthews Band, including the album's debut single "Don't Drink the Water".

In 1989 Fleck was invited to join the supergroup Strength in Numbers, headed by Sam Bush on mandolin, with Jerry Douglas on resonator guitar (dobro), Edgar Meyer on bass, and Mark O'Connor on violin. The group recorded just one album, The Telluride Sessions, before Bush disbanded the group.

In 2001, he collaborated with Edgar Meyer on Perpetual Motion, an album of classical music played on the banjo. They were accompanied by John Williams, Evelyn Glennie, Joshua Bell, and Gary Hoffman. Perpetual Motion won Grammy Awards for Best Arrangement and Best Classical Crossover Album.

Fleck and Meyer composed a double concerto for banjo and bass and performed its debut with the Nashville Symphony Orchestra. They were commissioned by the Orchestra to compose a trio concerto, for which they invited Indian tabla player Zakir Hussain. The concerto debuted in Nashville in 2006 when it was recorded for the album The Melody of Rhythm. Fleck premiered the Concerto for Banjo in Nashville, Tennessee on September 22, 2011, performing it with the full Nashville Symphony Orchestra.

In 2005, while the Flecktones were on hiatus, Fleck undertook several new projects: recording with traditional African musicians; co-writing the documentary Bring it Home about the Flecktones; co-producing Song of the Traveling Daughter, the debut album by his wife, Abigail Washburn; forming the acoustic fusion supergroup Trio! with Jean-Luc Ponty and Stanley Clarke; and recording an album as a member of the Sparrow Quartet with Washburn, Ben Sollee, and Casey Driessen.

Personal life
Fleck is married to banjo player Abigail Washburn. Washburn first met Fleck in Nashville at a square dance at which she was dancing and he was playing. Fleck produced Washburn's first solo album. Fleck brought Washburn to the wedding of his half-brother -- award-winning children's television writer Sascha Paladino -- in August 2007, and they played in a scratch band composed of wedding party members. In May 2009, the Bluegrass Intelligencer website satirized the upcoming "strategic marriage" of Washburn and Fleck, with Driessen joking that the couple promised a "male heir" who will be the "Holy Banjo Emperor."

Fleck and Washburn have two sons, born 2013 and 2018.

Media appearances
He appeared on the cover of the July/August 2013 issue of Making Music magazine.

Festivals
Alone and with the Flecktones, Fleck has appeared at the High Sierra Music Festival, Telluride Bluegrass Festival, Merlefest, Montreal International Jazz Festival, Toronto Jazz Festival, Newport Folk Festival, Delfest, Austin City Limits Music Festival, Shakori Hills, Bonnaroo, New Orleans Jazz Fest, Hardly Strictly Bluegrass and Rochester International Jazz Festival.

Music documentary
In the film Throw Down Your Heart (2008), a film crew follows Béla Fleck on his travels to Africa where he collaborates with some of the best musicians and researches the African origins of the banjo.

In a New York Times article about the film, Stephen Holden writes: "At every stop on a journey that takes him from Uganda to Tanzania to Gambia and finally to Mali, Mr. Fleck plays and records with gifted local musicians. Early in the film, a Ugandan villager insists that the common perception of Africa as a continent ravaged by war and disease is 'just a very small bit of what Africa is,' and Throw Down Your Heart sets out to prove him right."

Grammy Awards and nominations
Fleck has shared Grammy Awards with Asleep at the Wheel, Alison Brown, and Edgar Meyer. He has been nominated in more categories than any other musician, namely country, pop, jazz, bluegrass, classical, folk, spoken word, composition, and arranging.

title: Béla Fleck


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Degenerate art

Degenerate art (Entartete Kunst was a term adopted in the 1920s by the Nazi Party in Germany to describe modern art. During the dictatorship of Adolf Hitler, German modernist art, including many works of internationally renowned artists, was removed from state-owned museums and banned in Nazi Germany on the grounds that such art was an "insult to German feeling", un-German, Freemasonic, Jewish, or Communist in nature. Those identified as degenerate artists were subjected to sanctions that included being dismissed from teaching positions, being forbidden to exhibit or to sell their art, and in some cases being forbidden to produce art.

Degenerate Art also was the title of a 1937 exhibition held by the Nazis in Munich, consisting of 650 modernist artworks that the Nazis had taken from museums, that were poorly hung alongside graffiti and text labels mocking the art and the artists. Designed to inflame public opinion against modernism, the exhibition subsequently traveled to several other cities in Germany and Austria.

While modern styles of art were prohibited, the Nazis promoted paintings and sculptures that were traditional in manner and that exalted the "blood and soil" values of racial purity, militarism, and obedience. Similar restrictions were placed upon music, which was expected to be tonal and free of any jazz influences; disapproved music was termed degenerate music. Films and plays were also censored.

Theories of degeneracy
The term Entartung (or "degeneracy") had gained currency in Germany by the late 19th century when the critic and author Max Nordau devised the theory presented in his 1892 book Entartung. Nordau drew upon the writings of the criminologist Cesare Lombroso, whose The Criminal Man, published in 1876, attempted to prove that there were "born criminals" whose atavistic personality traits could be detected by scientifically measuring abnormal physical characteristics. Nordau developed from this premise a critique of modern art, explained as the work of those so corrupted and enfeebled by modern life that they have lost the self-control needed to produce coherent works. He attacked Aestheticism in English literature and described the mysticism of the Symbolist movement in French literature as a product of mental pathology. Explaining the painterliness of Impressionism as the sign of a diseased visual cortex, he decried modern degeneracy while praising traditional German culture. Despite the fact that Nordau was Jewish and a key figure in the Zionist movement (Lombroso was also Jewish), his theory of artistic degeneracy would be seized upon by German Nazis during the Weimar Republic as a rallying point for their antisemitic and racist demand for Aryan purity in art.

Belief in a Germanic spirit—defined as mystical, rural, moral, bearing ancient wisdom, and noble in the face of a tragic destiny—existed long before the rise of the Nazis; the composer Richard Wagner celebrated such ideas in his writings. Beginning before World War I, the well-known German architect and painter Paul Schultze-Naumburg's influential writings, which invoked racial theories in condemning modern art and architecture, supplied much of the basis for Adolf Hitler's belief that classical Greece and the Middle Ages were the true sources of Aryan art. Schultze-Naumburg subsequently wrote such books as ''Die Kunst der Deutschen. Ihr Wesen und ihre Werke (The art of the Germans. Its nature and its works) and Kunst und Rasse (Art and Race''), the latter published in 1928, in which he argued that only racially pure artists could produce a healthy art which upheld timeless ideals of classical beauty, while racially mixed modern artists produced disordered artworks and monstrous depictions of the human form. By reproducing examples of modern art next to photographs of people with deformities and diseases, he graphically reinforced the idea of modernism as a sickness. Alfred Rosenberg developed this theory in ''Der Mythos des 20. Jahrhunderts (Myth of the Twentieth Century''), published in 1933, which became a best-seller in Germany and made Rosenberg the Party's leading ideological spokesman.

Weimar reactionism
The early 20th century was a period of wrenching changes in the arts. The development of modern art at the beginning of the 20th century, albeit with roots going back to the 1860s, denoted a revolutionary divergence from traditional artistic values to ones based on the personal perceptions and feelings of the artists. Under the Weimar government of the 1920s, Germany emerged as a leading center of the avant-garde. It was the birthplace of Expressionism in painting and sculpture, of the atonal musical compositions of Arnold Schoenberg, and the jazz-influenced work of Paul Hindemith and Kurt Weill. Films such as Robert Wiene's The Cabinet of Dr. Caligari (1920) and F. W. Murnau's Nosferatu (1922) brought Expressionism to cinema.

In the visual arts, such innovations as Fauvism, Cubism, Dada, and Surrealism—following Symbolism and Post-Impressionism—were not universally appreciated. The majority of people in Germany, as elsewhere, did not care for the new art, which many resented as elitist, morally suspect, and too often incomprehensible. Artistic rejection of traditional authority, intimately linked to the Industrial Revolution, the individualistic values of the Age of Enlightenment and the advance of democracy as the preferred form of government, was exhilarating to some. However, it proved extremely threatening to others, as it took away the security they felt under the older way of things.

Wilhelm II, who took an active interest in regulating art in Germany, criticized Impressionism as "gutter painting" (Gossenmalerei) and forbade Käthe Kollwitz from being awarded a medal for her print series A Weavers' Revolt when it was displayed in the Berlin Grand Exhibition of the Arts in 1898. In 1913, the Prussian house of representatives passed a resolution "against degeneracy in art".

The Nazis viewed the culture of the Weimar period with disgust. Their response stemmed partly from a conservative aesthetic taste and partly from their determination to use culture as a propaganda tool. On both counts, a painting such as Otto Dix's War Cripples (1920) was anathema to them. It unsparingly depicts four badly disfigured veterans of the First World War, then a familiar sight on Berlin's streets, rendered in caricatured style. (In 1937, it would be displayed in the Degenerate Art exhibition next to a label accusing Dix—himself a volunteer in World War I —of "an insult to the German heroes of the Great War". )

Art historian Henry Grosshans says that Hitler "saw Greek and Roman art as uncontaminated by Jewish influences. Modern art was [seen as] an act of aesthetic violence by the Jews against the German spirit. Such was true to Hitler even though only Liebermann, Meidner, Freundlich, and Marc Chagall, among those who made significant contributions to the German modernist movement, were Jewish. But Hitler ... took upon himself the responsibility of deciding who, in matters of culture, thought and acted like a Jew." The supposedly "Jewish" nature of all art that was indecipherable, distorted, or that represented "depraved" subject matter was explained through the concept of degeneracy, which held that distorted and corrupted art was a symptom of an inferior race. By propagating the theory of degeneracy, the Nazis combined their antisemitism with their drive to control the culture, thus consolidating public support for both campaigns.

Nazi purge
Once in control of the government, the Nazis moved to suppress modern art styles and to promote art with national and racial themes. Various Weimar-era art personalities, including Renner, Huelsenbeck, and the Bauhaus designers, were marginalized.

In 1930 Wilhelm Frick, a Nazi, became Minister for Culture and Education in the state of Thuringia. By his order, 70 mostly Expressionist paintings were removed from the permanent exhibition of the Weimar Schlossmuseum in 1930, and the director of the König Albert Museum in Zwickau, Hildebrand Gurlitt, was dismissed for displaying modern art.

Hitler's rise to power on 30 January 1933, was quickly followed by actions intended to cleanse the culture of degeneracy: book burnings were organized, artists and musicians were dismissed from teaching positions, and curators who had shown a partiality for modern art were replaced by Party members. In September 1933, the Reichskulturkammer (Reich Culture Chamber) was established, with Joseph Goebbels, Hitler's Reichsminister für Volksaufklärung und Propaganda (Reich Minister for Public Enlightenment and Propaganda) in charge. Sub-chambers within the Culture Chamber, representing the individual arts (music, film, literature, architecture, and the visual arts) were created; these were membership groups consisting of "racially pure" artists supportive of the Party, or willing to be compliant. Goebbels made it clear: "In future only those who are members of a chamber are allowed to be productive in our cultural life. Membership is open only to those who fulfill the entrance condition. In this way all unwanted and damaging elements have been excluded." By 1935 the Reich Culture Chamber had 100,000 members.

As dictator, Hitler gave his personal taste in art the force of law to a degree never before seen. Only in Stalin's Soviet Union, where Socialist Realism was the mandatory style, had a modern state shown such concern with regulation of the arts. In the case of Germany, the model was to be classical Greek and Roman art, regarded by Hitler as an art whose exterior form embodied an inner racial ideal.

Nonetheless, during 1933–1934 there was some confusion within the Party on the question of Expressionism. Goebbels and some others believed that the forceful works of such artists as Emil Nolde, Ernst Barlach and Erich Heckel exemplified the Nordic spirit; as Goebbels explained, "We National Socialists are not unmodern; we are the carrier of a new modernity, not only in politics and in social matters, but also in art and intellectual matters." However, a faction led by Alfred Rosenberg despised the Expressionists, and the result was a bitter ideological dispute, which was settled only in September 1934, when Hitler declared that there would be no place for modernist experimentation in the Reich. This edict left many artists initially uncertain as to their status. The work of the Expressionist painter Emil Nolde, a committed member of the Nazi party, continued to be debated even after he was ordered to cease artistic activity in 1936. For many modernist artists, such as Max Beckmann, Ernst Ludwig Kirchner, and Oskar Schlemmer, it was not until June 1937 that they surrendered any hope that their work would be tolerated by the authorities.

Although books by Franz Kafka could no longer be bought by 1939, works by ideologically suspect authors such as Hermann Hesse and Hans Fallada were widely read. Mass culture was less stringently regulated than high culture, possibly because the authorities feared the consequences of too heavy-handed interference in popular entertainment. Thus, until the outbreak of the war, most Hollywood films could be screened, including It Happened One Night, San Francisco, and Gone with the Wind. While performance of atonal music was banned, the prohibition of jazz was less strictly enforced. Benny Goodman and Django Reinhardt were popular, and leading British and American jazz bands continued to perform in major cities until the war; thereafter, dance bands officially played "swing" rather than the banned jazz.

Entartete Kunst exhibit
By 1937, the concept of degeneracy was firmly entrenched in Nazi policy. On 30 June of that year Goebbels put Adolf Ziegler, the head of Reichskammer der Bildenden Künste (Reich Chamber of Visual Art), in charge of a six-man commission authorized to confiscate from museums and art collections throughout the Reich, any remaining art deemed modern, degenerate, or subversive. These works were then to be presented to the public in an exhibit intended to incite further revulsion against the "perverse Jewish spirit" penetrating German culture.

Over 5000 works were seized, including 1052 by Nolde, 759 by Heckel, 639 by Ernst Ludwig Kirchner and 508 by Max Beckmann, as well as smaller numbers of works by such artists as Alexander Archipenko, Marc Chagall, James Ensor, Albert Gleizes, Henri Matisse, Jean Metzinger, Pablo Picasso, and Vincent van Gogh. The Entartete Kunst exhibit, featuring over 650 paintings, sculptures, prints, and books from the collections of 32 German museums, premiered in Munich on 19 July 1937, and remained on view until 30 November, before traveling to 11 other cities in Germany and Austria.

The exhibit was held on the second floor of a building formerly occupied by the Institute of Archaeology. Viewers had to reach the exhibit by means of a narrow staircase. The first sculpture was an oversized, theatrical portrait of Jesus, which purposely intimidated viewers as they literally bumped into it in order to enter. The rooms were made of temporary partitions and deliberately chaotic and overfilled. Pictures were crowded together, sometimes unframed, usually hung by cord.

The first three rooms were grouped thematically. The first room contained works considered demeaning of religion; the second featured works by Jewish artists in particular; the third contained works deemed insulting to the women, soldiers and farmers of Germany. The rest of the exhibit had no particular theme.

There were slogans painted on the walls. For example:
 * Insolent mockery of the Divine under Centrist rule
 * Revelation of the Jewish racial soul
 * An insult to German womanhood
 * The ideal—cretin and whore
 * Deliberate sabotage of national defense
 * German farmers—a Yiddish view
 * The Jewish longing for the wilderness reveals itself—in Germany the Negro becomes the racial ideal of a degenerate art
 * Madness becomes method
 * Nature as seen by sick minds
 * Even museum bigwigs called this the "art of the German people"

Speeches of Nazi party leaders contrasted with artist manifestos from various art movements, such as Dada and Surrealism. Next to many paintings were labels indicating how much money a museum spent to acquire the artwork. In the case of paintings acquired during the post-war Weimar hyperinflation of the early 1920s, when the cost of a kilogram loaf of bread reached 233 billion German marks, the prices of the paintings were of course greatly exaggerated. The exhibit was designed to promote the idea that modernism was a conspiracy by people who hated German decency, frequently identified as Jewish-Bolshevist, although only 6 of the 112 artists included in the exhibition were in fact Jewish.

The exhibition program contained photographs of modern artworks accompanied by defamatory text. The cover featured the exhibition title—with the word "Kunst", meaning art, in scare quotes—superimposed on an image of Otto Freundlich's sculpture Der Neue Mensch.

A few weeks after the opening of the exhibition, Goebbels ordered a second and more thorough scouring of German art collections; inventory lists indicate that the artworks seized in this second round, combined with those gathered prior to the exhibition, amounted to 16,558 works.

Coinciding with the Entartete Kunst exhibition, the Große Deutsche Kunstausstellung (Great German art exhibition) made its premiere amid much pageantry. This exhibition, held at the palatial Haus der deutschen Kunst (House of German Art), displayed the work of officially approved artists such as Arno Breker and Adolf Wissel. At the end of four months Entartete Kunst had attracted over two million visitors, nearly three and a half times the number that visited the nearby Große Deutsche Kunstausstellung.

Fate of the artists and their work
Avant-garde German artists were branded both enemies of the state and a threat to German culture. Many went into exile. Max Beckmann fled to Amsterdam on the opening day of the Entartete Kunst exhibit. Max Ernst emigrated to America with the assistance of Peggy Guggenheim. Ernst Ludwig Kirchner committed suicide in Switzerland in 1938. Paul Klee spent his years in exile in Switzerland, yet was unable to obtain Swiss citizenship because of his status as a degenerate artist. A leading German dealer, Alfred Flechtheim, died penniless in exile in London in 1937.

Other artists remained in internal exile. Otto Dix retreated to the countryside to paint unpeopled landscapes in a meticulous style that would not provoke the authorities. The Reichskulturkammer forbade artists such as Edgar Ende and Emil Nolde from purchasing painting materials. Those who remained in Germany were forbidden to work at universities and were subject to surprise raids by the Gestapo in order to ensure that they were not violating the ban on producing artwork; Nolde secretly carried on painting, but using only watercolors (so as not to be betrayed by the telltale odor of oil paint). Although officially no artists were put to death because of their work, those of Jewish descent who did not escape from Germany in time were sent to concentration camps. Others were murdered in the Action T4 (see, for example, Elfriede Lohse-Wächtler).

After the exhibit, only the most valuable paintings were sorted out to be included in the auction held by Galerie Theodor Fischer (auctioneer) in Luzern, Switzerland, on 30 June 1939 at the Grand Hotel National. The sale consisted of artworks seized from German public museums; some pieces from the sale were acquired by museums, others by private collectors such as Maurice Wertheim who acquired the 1888 self-portrait by Vincent van Gogh that was seized from the Neue Staatsgalerie in Munich belonging to today's Bavarian State Painting Collections. Nazi officials took many for their private use: for example, Hermann Göring took 14 valuable pieces, including a Van Gogh and a Cézanne. In March 1939, the Berlin Fire Brigade burned about 4,000 paintings, drawings and prints that had apparently little value on the international market. This was an act of unprecedented vandalism, although the Nazis were well used to book burnings on a large scale.

A large amount of "degenerate art" by Picasso, Dalí, Ernst, Klee, Léger and Miró was destroyed in a bonfire on the night of 27 July 1942, in the gardens of the Galerie nationale du Jeu de Paume in Paris. Whereas it was forbidden to export "degenerate art" to Germany, it was still possible to buy and sell artworks of "degenerate artists" in occupied France. The Nazis considered indeed that they should not be concerned by Frenchmen's mental health. As a consequence, many works made by these artists were sold at the main French auction house during the occupation.

The couple Sophie and Emanuel Fohn, who exchanged the works for harmless works of art from their own possession and kept them in safe custody throughout the National Socialist era, saved about 250 works by ostracized artists. The collection survived in South Tyrol from 1943 and was handed over to the Bavarian State Painting Collections in 1964.

After the collapse of Nazi Germany and the invasion of Berlin by the Red Army, some artwork from the exhibit was found buried underground. It is unclear how many of these then reappeared in the Hermitage Museum in Saint Petersburg, where they still remain.

In 2010, as work began to extend an underground line from Alexanderplatz through the historic city centre to the Brandenburg Gate, a number of sculptures from the degenerate art exhibition were unearthed in the cellar of a private house close to the "Rote Rathaus". These included, for example, the bronze cubist-style statue of a female dancer by the artist Marg Moll, and are on display at the Neues Museum.

Artists in the 1937 Munich show
• Jankel Adler

• Hans Baluschek

• Ernst Barlach

• Rudolf Bauer

• Philipp Bauknecht

• Otto Baum (sculptor)

• Willi Baumeister

• Herbert Bayer

• Max Beckmann

• Rudolf Belling

• Paul Bindel

• Theodor Brün

• Max Burchartz

• Fritz Burger-Mühlfeld

• Paul Camenisch

• Heinrich Campendonk

• Karl Caspar

• Maria Caspar-Filser

• Pol Cassel

• Marc Chagall

• Lovis Corinth

• Heinrich Maria Davringhausen

• Walter Dexel

• Johannes Diesner

• Otto Dix

• Pranas Domšaitis

• Hans Christoph Drexel

• Johannes Driesch

• Heinrich Eberhard

• Max Ernst

• Hans Feibusch

• Lyonel Feininger

• Conrad Felixmüller

• Otto Freundlich

• Xaver Fuhr

• Ludwig Gies

• Werner Gilles

• Otto Gleichmann

• Rudolf Großmann

• George Grosz

• Hans Grundig

• Rudolf Haizmann

• Raoul Hausmann

• Guido Hebert

• Erich Heckel

• Wilhelm Heckrott

• Jacoba van Heemskerck

• Hans Siebert von Heister

• Oswald Herzog

• Werner Heuser

• Heinrich Hoerle

• Karl Hofer

• Eugen Hoffmann

• Johannes Itten

• Alexej von Jawlensky

• Eric Johansson (artist)

• Hans Jürgen Kallmann

• Wassily Kandinsky

• Hanns Katz

• Ernst Ludwig Kirchner

• Paul Klee

• Cesar Klein

• Paul Kleinschmidt

• Oskar Kokoschka

• Otto Lange

• Wilhelm Lehmbruck

• Elfriede Lohse-Wächtler

• El Lissitzky

• Oskar Lüthy

• Franz Marc

• Gerhard Marcks

• Ewald Mataré

• Ludwig Meidner

• Jean Metzinger

• Constantin von Mitschke-Collande

• László Moholy-Nagy

• Marg Moll

• Oskar Moll

• Johannes Molzahn

• Piet Mondrian

• Georg Muche

• Otto Mueller

• Magda Nachman Acharya

• Erich Nagel

• Heinrich Nauen

• Ernst Wilhelm Nay

• Karel Niestrath

• Emil Nolde

• Otto Pankok

• Max Pechstein

• Max Peiffer Watenphul

• Hans Purrmann

• Max Rauh

• Hans Richter

• Emy Roeder

• Christian Rohlfs

• Edwin Scharff

• Oskar Schlemmer

• Rudolf Schlichter

• Karl Schmidt-Rottluff

• Werner Scholz

• Lothar Schreyer

• Otto Schubert

• Kurt Schwitters

• Lasar Segall

• Fritz Skade

• Heinrich Stegemann

• Fritz Stuckenberg

• Paul Thalheimer

• Johannes Tietz

• Arnold Topp

• Friedrich Vordemberge-Gildewart

• Karl Völker

• Christoph Voll

• William Wauer

• Gert Heinrich Wollheim

Artistic movements condemned as degenerate

 * Bauhaus
 * Cubism
 * Dada
 * Expressionism
 * Fauvism
 * Impressionism
 * Post-Impressionism
 * New Objectivity
 * Surrealism

Listing
The Reichsministerium für Volksaufklärung und Propaganda (Reich Ministry of Public Enlightenment and Propaganda) compiled a 479-page, two-volume typewritten listing of the works confiscated as "degenerate" from Germany's public institutions in 1937–38. In 1996 the Victoria and Albert Museum in London acquired the only known surviving copy of the complete listing. The document was donated to the V&A's National Art Library by Elfriede Fischer, the widow of the art dealer Heinrich Robert ("Harry") Fischer. Copies were made available to other libraries and research organisations at the time, and much of the information was subsequently incorporated into a database maintained by the Freie Universität Berlin.

A digital reproduction of the entire inventory was published on the Victoria and Albert Museum's website in January 2014. The V&A's publication consists of two PDFs, one for each of the original volumes. Both PDFs also include an introduction in English and German. An online version of the inventory was made available on the V&A's website in November 2019, with additional features. The new edition uses IIIF page-turning software and incorporates an interactive index arranged by city and museum. The earlier PDF edition remains available too.

The V&A's copy of the full inventory is thought to have been compiled in 1941 or 1942, after the sales and disposals were completed. Two copies of an earlier version of Volume 1 (A–G) also survive in the German Federal Archives in Berlin, and one of these is annotated to show the fate of individual artworks. Until the V&A obtained the complete inventory in 1996, all versions of Volume 2 (G–Z) were thought to have been destroyed. The listings are arranged alphabetically by city, museum and artist. Details include artist surname, inventory number, title and medium, followed by a code indicating the fate of the artwork, then the surname of the buyer or art dealer (if any) and any price paid. The entries also include abbreviations to indicate whether the work was included in any of the various Entartete Kunst exhibitions (see Degenerate Art Exhibition) or Der ewige Jude (see The Eternal Jew (art exhibition)).

The main dealers mentioned are Bernhard A. Böhmer (or Boehmer), Karl Buchholz, Hildebrand Gurlitt, and Ferdinand Möller. The manuscript also contains entries for many artworks acquired by the artist Emanuel Fohn, in exchange for other works.

21st-century reactions
Neil Levi, writing in The Chronicle of Higher Education, suggested that the branding of art as "degenerate" was only partly an aesthetic aim of the Nazis. Another was the confiscation of valuable artwork, a deliberate means to enrich the regime.

In popular culture
A Picasso, a play by Jeffrey Hatcher based loosely on actual events, is set in Paris 1941 and sees Picasso being asked to authenticate three works for inclusion in an upcoming exhibition of degenerate art.

In the 1964 film The Train, a German Army colonel attempts to steal hundreds of "degenerate" paintings from Paris before it is liberated during World War II.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Degenerate art


text:
Red telephone box

The red telephone box, is a telephone kiosk for a public telephone designed by Sir Giles Gilbert Scott, the architect responsible for Liverpool Cathedral.

The telephone box is a familiar sight on the streets of the United Kingdom, its associated Crown Dependencies, British Overseas Territories and Malta. Despite a reduction in their numbers in recent years, the traditional British red telephone kiosk can still be seen in many places throughout the UK, and in current or former British colonies around the world. The colour red was chosen to make them easy to spot.

From 1926 onwards, the fascias of the kiosks were emblazoned with a prominent crown, representing the British government. The red phone box is often seen as a British cultural icon throughout the world. In 2006, the K2 telephone box was voted one of Britain's top 10 design icons, which included the Mini, Supermarine Spitfire, London tube map, World Wide Web, Concorde and the AEC Routemaster bus. In 2009, the K2 was selected by the Royal Mail for their "British Design Classics" commemorative postage stamp issue.

Many of the phone box designs are protected by trade mark registrations and copyright, held by British Telecommunications plc.

K1
The first standard public telephone kiosk introduced by the United Kingdom Post Office was produced in concrete in 1921 and was designated K1 (Kiosk No.1). The Post Office had taken over almost all of the country's telephone network in 1912. Some local authorities refused to give permission for the K1; Eastbourne Corporation insisted that the kiosks could only be installed if they had thatched roofs. The design of the K1 was not of the same family as the familiar red telephone boxes. As of 2021, there remain fourteen K1 boxes in the UK, including seven that are in museums and museum collections. A further two remain in the Republic of Ireland. Seven of the UK's fourteen have been listed at Grade II by Historic England, some of them still located on British streets, including one situated in Trinity Market in Kingston-upon-Hull, and another in Bembridge High Street, Isle of Wight.

K2
The red telephone box was the result of a competition in 1924 to design a kiosk that would be acceptable to the London Metropolitan Boroughs which had hitherto resisted the Post Office's effort to erect K1 kiosks on their streets.

The Royal Fine Art Commission was instrumental in the choice of the British standard kiosk. Because of widespread dissatisfaction with the GPO's design, the Metropolitan Boroughs Joint Standing Committee organised a competition for a superior one in 1923, but the results were disappointing. The Birmingham Civic Society then produced a design of its own—in reinforced concrete—but it was informed by the Director of Telephones that the design produced by the Office of the Engineer-in-Chief was preferred; as the Architects' Journal commented, "no one with any knowledge of design could feel anything but indignation with the pattern that seems to satisfy the official mind". The Birmingham Civic Society did not give up and, with additional pressure from the Royal Institute of British Architects, the Town Planning Institute and the Royal Academy, the Postmaster General was forced to think again; and the result was that the RFAC organised a limited competition.

The organisers invited entries from three respected architects and, along with the designs from the Post Office and from The Birmingham Civic Society, the Fine Arts Commission judged the competition and selected the design submitted by Sir Giles Gilbert Scott. The invitation had come at the time when Scott had been made a trustee of Sir John Soane's Museum: his design for the competition was in the classical style, but topped with a dome reminiscent of those designed by Soane for his own family mausoleum in St Pancras Old Churchyard, and for the mausoleum for Sir Francis Bourgeois at Dulwich Picture Gallery, both in London. However, Gavin Stamp thinks it "unlikely" that Scott was directly inspired by either of these precedents, arguing instead that "a dome above segmental curves is, in fact, a logical solution to the geometrical problem of designing a sculptural termination to a square pillar when a flat top is not suitable".

The original wooden prototypes of the entries were later put into public service at under-cover sites around London. That of Scott's design is the only one known to survive and is still where it was originally placed, in the left entrance arch to the Royal Academy.

The Post Office chose to make Scott's winning design in cast iron (Scott had suggested mild steel) and to paint it red (Scott had suggested silver, with a "greeny-blue" interior) and, with other minor changes of detail, it was brought into service as the Kiosk No.2 or K2. From 1926 K2 was deployed in and around London and the K1 continued to be erected elsewhere.

K3
The K3, introduced in 1929, again by Giles Gilbert Scott, was similar to the K2 but was constructed from reinforced concrete and intended for nationwide use. Cheaper than the K2, it was still significantly more costly than the K1 and so that remained the choice for low-revenue sites. The standard colour scheme for both the K1 and the K3 was a light stone colour, with red glazing bars. A rare surviving K3 kiosk can be seen beside the Penguin Beach exhibit at ZSL London Zoo, where it has been protected from the weather by the projecting eaves and restored to its original colour scheme. There is another in use at Rhynd in Perthshire.

K4
The K4 (designed by the Post Office Engineering Department in 1927) incorporated a post box and machines for buying postage stamps on the exterior. Only a single batch of 50 K4 kiosks were built. Some contemporary reports said the noise of the stamp-machines in operation disturbed phone-users, and the rolls of stamps in the machines became damp and stuck together in wet weather. This has been widely repeated (including by Stamp ) but Johannessen chose not to, having found no evidence to support the story. Ten survive with four in public use at Frodsham, Warrington, Whitley Bay and near Tunstall, East Riding of Yorkshire. A fine example of a K4 may also be found outside the station building at Bewdley on the Severn Valley Railway. There is a fully restored K4 (including correct telephone and coin operations) at the Bury Transport Museum, Greater Manchester.

K5
The K5 was a metal-faced plywood construction introduced in 1934 and designed to be assembled and dismantled and used at exhibitions. It is not known how many were produced, and there is little evidence they ever reached more than prototype stage. A replica (constructed using the original drawings) can be seen at the Avoncroft Museum (Bromsgrove, Worcestershire), as part of its National Telephone Kiosk Collection.

K6
In 1935 the K6 (kiosk number six) was designed to commemorate the Silver Jubilee of George V. It was consequently sometimes known as the "Jubilee" kiosk. It went into production in 1936. The K6 was the first red telephone kiosk to be extensively used outside London, and many thousands were deployed in virtually every town and city, replacing most of the existing kiosks and establishing thousands of new sites. In 1935 there had been 19,000 public telephones in the UK: by 1940, thanks to the K6, there were 35,000.

The design was again by Scott, and was essentially a smaller and more streamlined version of the K2, intended to be produced at a considerably cheaper cost, and to occupy less pavement space. The principal differences between the two designs were:
 * Size. The K6 was 8 ft tall and weighed 13.5 cwt (0.69 tonnes). This compared with 9 ft and 1.25 tons (1.27 tonnes) for the K2.
 * Elements of the design were simplified and streamlined, in keeping with the "moderne" aesthetics of the 1930s. The Grecian fluting was removed from the door and window surrounds, and the previously separate pediment and frieze were merged.
 * The Crown motif (see below), which had previously been pierced through the ironwork to give ventilation, was now embossed in bas-relief. A new, separate ventilation slot was provided.
 * A new glazing pattern was introduced. The door and two glazed sides of the K2 each had 18 equal-sized panes of glass arranged in 6 rows of 3. In the K6 the number of rows was increased to 8, and the central column of panes was made considerably wider than those to either side. This improved visibility, and gave a more horizontal appearance to the windows, again in keeping with "moderne" principles.

The K6 has since become a British icon, but it was not universally loved at the start. The red colour caused particular local difficulties and there were many requests for less visible colours. The Post Office was forced into allowing a less strident grey with red glazing bars scheme for areas of natural and architectural beauty. Ironically, some of these areas that have preserved their telephone boxes have now painted them red. The paint colour used most widely today is known as "currant red" and is defined by a British Standard, BS381C-Red539.

Kiosk installation: the early years
With continued demand for K6 kiosks, siting them was more widespread than ever before. A purpose built kiosk trailer was designed from 1953 to reduce the running costs of cranes.

Numbers installed
The K6 was the most prolific kiosk in the UK and its growth, from 1935, can be seen from the BT archives:

Manufacture
The K1 and the later K3 concrete kiosks were produced at various (and largely unrecorded) locations, around the country. This made quality control and supervision of the manufacturing process difficult, when compared to the GPO's experience with cast-iron post boxes, and was an important aspect of the GPO's move towards cast-iron telephone kiosks. Over the years, five foundries were involved in this work for the Post Office. Lion Foundry in Kirkintilloch, MacFarlane (Saracen Foundry), and Carron Ironworks near Falkirk all produced batches of the K2, the K6 and the K8; and, in addition, Carron produced the single batch of K4 kiosks. The other two manufacturers were McDowall Steven and Bratt Colbran, both of which produced only relatively small batches of the pre-war Mk1 K6.

Many kiosks have been fitted with replacement backs; unmodified examples usually have the identity of their manufacturer marked on a plate on the outside at the bottom of their back panel. The only exceptions are the few Mk1 models made by Bratt Colbran, which are anonymous. A supplementary way of identifying the manufacturer is by means of casting marks on the various component parts – i.e. LF, CC, MF, MS and BC – which were used to various extents over the years. A more consistent manufacturer mark can be found at about shoulder height on the inner face of the back panel. These marks generally identify both the manufacturer and the precise model of kiosk. Up to around 1949, the year of manufacture is also included. The non-BT K6 kiosks erected later, usually painted black, are for the most part new castings from new manufacturers.

Crown
From 1926 onwards, the fascias of Post Office kiosks were emblazoned with a prominent crown, representing the British government, of which the Post Office was an agency. The design was initially the "Tudor Crown", then in widespread use in government service. The same crown was used in all parts of the United Kingdom and British Empire. On the K2, the design was pierced through the ironwork, and acted as a ventilation hole. On the K6, a separate ventilation slot was provided, and the crown was embossed in bas-relief.

In 1953 the new Queen, Elizabeth II, decided to replace the Tudor Crown in all contexts with a representation of the actual crown used for most English, and later British, coronations, St Edward's Crown; it began to appear on the fascias of K6 kiosks.

St Edward's Crown was initially used on kiosks in all parts of the United Kingdom. However, in Scotland, following protests over the use of English insignia, the Post Office (like other government agencies there) began to use, from 1955, a representation of the actual Crown of Scotland. To accommodate the two different designs of crown on K6 kiosks, the fascia sections were cast with a slot in them, into which a plate bearing the appropriate crown was inserted before the roof section was fitted.

The crowns were originally painted the same red as the rest of the box. However, since the early 1990s, when the heritage value of red kiosks began to be widely recognised, British Telecom picked out the crowns (on both K2s and K6s) in gold paint.

Kiosks installed in Kingston upon Hull were not fitted with a crown, as those kiosks were installed by the Hull Corporation (later Hull City Council, then Kingston Communications). All boxes in Hull were also painted in cream.

Modernisation – K7 & K8
In 1959 architect Neville Conder was commissioned to design a new box. The K7 design went no further than the prototype stage. K8, introduced in 1968, was designed by Bruce Martin. It was used primarily for new sites; around 11,000 were installed, replacing earlier models only when they needed relocating or had been damaged beyond repair. The K8 retained a red colour scheme, but it was a different shade of red: a slightly brighter "Poppy Red", which went on to become the standard colour across all kiosks.

The K8 featured a single large glass panel on two sides and the door. While improving visibility and illumination inside the box, these were vulnerable to damage. There were two versions, the Mk1 and the Mk2, differing mainly in the detail of the roof and the surround of the 'TELEPHONE' opals.

In order to create a new box with easier access, lower maintenance and brighter lighting, the Post Office introduced a prototype run of "Croydon" telephone boxes from 1972, so-named as they were erected in Croydon. The Croydon boxes, painted bright yellow with a black handset silhouette, were erected as an experimental prototype to replace the red telephone boxes. However, although the trials were successful, the quality of the materials and design made it too expensive for the Post Office to mass-produce, and the design was not adopted.

In the late 1970s or late 1980s a new, smaller, hooded booth was introduced known as Booth 7A. These yellow booths were introduced into areas where previous red telephone boxes had been vandalised or even pulled out of the ground. They became known as "Oakham" boxes – a reference to the similarity in shape to "Oak Ham" brand tinned meat.

Privatisation and the KX series
In 1980, in preparation for privatisation, Post Office Telephones was rebranded as British Telecom (BT). In February 1981, it was announced that all the red telephone boxes would be repainted yellow, which was BT's new corporate colour. There was an immediate public outcry; the Daily Mail launched a campaign "against the yellow peril" and questions were asked in Parliament. In the House of Lords, the Earl of Gowrie, the Minister of State for Employment, called on BT "to abandon this ridiculous scheme". In the House of Commons, Mark Lennox-Boyd MP asked Prime Minister Margaret Thatcher if she would treat the decision "with the greatest possible dismay". Thatcher, who was responsible for the privatisation, would only say that she could "see my honourable Friend's point". Shortly afterwards, BT announced that only 90 of the 77,000 remaining traditional boxes had been painted different colours "as an experiment" and that no final decision had been reached.

After privatisation in 1982, British Telecom introduced the KX100, a more utilitarian design, which began to replace most of the existing boxes. The KX100 was one of a series of designs, including the wheelchair-accessible open-sided KX200, and the triangular-footprint KX300. In January 1985, Nick Kane, the Director of Marketing for BT Local Communications Services announced that the old red telephone boxes would be replaced because they "...no longer meet the needs of our customers. Few people like to use them. They are expensive and difficult to clean and maintain and cannot be used by handicapped people". This time, BT did not relent, despite another vociferous campaign.

Many local authorities used legislation designed to protect buildings of architectural or historic importance to keep old telephone boxes in prominent locations and around 2,000 of them were given listed status. Several thousand others were left on low-revenue mostly rural sites, but many thousands of recovered K2 and K6 boxes were sold off. Some kiosks have been converted to be used as shower cubicles in private homes. In Kingston upon Thames a number of old K6 boxes were used to form a work of art resembling a row of fallen dominoes. In January 2020 it was estimated that 8,000 traditional red telephone boxes remained in public service. The KX+, better known as the KX100 PLUS, introduced in 1996 had a domed roof reminiscent of the familiar K2 and K6. Subsequent designs departed significantly from the old-style red boxes. BT followed the KX series with the Multi.phone in 1999 and the ST6 in 2007.

InLinkUK
BT is one of the partners in InLinkUK, a communications service intended to replace over 1,000 payphones in major UK cities. The InLink stations, renamed "Street Hubs" by BT after InLinkUK Ltd failed, provide free public Wi-Fi, phone calls and device charging.

Later use
In 1990, phone boxes peaked at about 100,000. In 2021, 21,000 remained in use. Regulator Ofcom was to protect 5,000 public phone boxes around the UK from closure where there are high accident rates—e.g. mountain rescue—or poor mobile telephone coverage. Some are required to have battery support in case of power cuts. Ofcom's criteria to protect a phone box from removal are: its location is not covered by all four main mobile networks; or it is located at an accident or suicide hotspot; or at least 52 calls have been made from it over the past 12 months; or exceptional circumstances require a public call box. BT and Kcom, which maintain phone boxes, could propose to remove boxes that did not meet one of these criteria, subject to formally consulting local communities first. After Storm Arwen in 2021 communities lost power and mobile phone service, and reported that they wished they still had their phone box.

Payphone use had dropped from about 800 million minutes in 2002 to 7 million in 2020, as 96% of UK adults had a mobile phone. In the year to May 2020 about 5 million calls were made from phone boxes, with 150,000 to emergency services, 25,000 to protection service ChildLine, and 20,000 to the suicide protection service Samaritans.

As organisations can buy a red phone box for £1 for other uses, over 6,000 have been converted to community libraries, to house public defibrillators, and for other purposes. One has been converted into an aquarium. Some boxes are rented out for an initial fee of thousands of pounds, then perhaps £400 a month—box with plenty of passing traffic can be a good place to make sales from.

Phone boxes have always been unprofitable, even in their heyday, and more so following the collapse in usage; vandalism was common, and boxes full of money an invitation to theft.

Adoption
Little-used red telephone boxes can be adopted by parish councils in England for other uses. Some examples are shown below. The kiosk may be used for any legal purpose other than telephony and the contract of sale includes the following clause 5.5.4: "The buyer shall covenant not to sell, lease or license the Goods to a competitor to the Seller nor to permit a competitor to install electronic communications apparatus (as defined in schedule 2 of the Telecommunications Act 1984) within the Goods or itself (as the Buyer) shall not install, provide or operate any form of electronic communications apparatus (as defined in schedule 2 of the Telecommunications Act 1984) within the Goods." It is likely that BT wishes to prohibit the kiosk from being re-used for electronic communications because they retain trade mark rights in the boxes in relation to telecommunication services and such use might be assumed to be provided by BT, which would confuse consumers as to the source of the services provided. In the US, there is an active movement seeking new telecom uses for little-used telephone booths, for example as wi-fi hotspots.

Libraries
During 2009 a K6 in the village of Westbury-sub-Mendip in Somerset was converted into a library or book exchange replacing the services of the mobile library which no longer visits the village. Similar libraries now exist in the villages of North Cadbury in Somerset, Great Budworth in Cheshire, Little Shelford and Upwood in Cambridgeshire and some 150 other locations. One such box was donated by Cumbernauld's town twinning association and installed as a library in Bron, France. The Telephone Box Book Exchange in Cutnall Green opened in June 2016.

Another K6 stands in Barga, Italy, where it is used as a BookCrossing library. It was donated in 2008 by a couple from Edinburgh, Scotland.

In Vittoriosa, Malta a K6 has also been converted into a mini-library.

Art gallery
Also in 2009, the town of Settle in North Yorkshire established the Gallery on the Green in a K6, which had been adopted by the Parish Council. The Gallery has featured a range of exhibitions of both notable artists and photographers (Tessa Bunney, Martin Parr, Mariana Cook) and local community groups. Its most famous contributor was Brian May, with his stereoscopic photography show 'A Village Lost and Found'.

Defibrillator
Following a competition by a Girl Guide unit in 2011 to find a use for their local disused telephone box in Glendaruel, Argyll, it has been fitted with a defibrillator. The equipment can be accessed only by following instructions from the Scottish Ambulance Service during an emergency call. The conversion of the box was paid for by BT under the Adopt A Kiosk scheme and the defibrillator was supplied by the Community Heartbeat Trust. Similar installations have been made in many other places, including Loweswater, Cumbria, Auchenblae, Aberdeenshire, Withernwick, East Riding of Yorkshire, and Witney, Oxfordshire.

Other
In 2010, in the village of Brookwood, Surrey, a project was initiated to restore and preserve the sole remaining K6 kiosk in the village. The kiosk had been adopted by Woking Borough Council in 2009 and a group of residents set about restoring the kiosk. This was achieved through private donations and sponsorship from local businesses. A blog detailed the restoration.

, remanufactured units were offered for sale by X2Connect.

From October 2014, several of London's disused K6 telephone boxes have been painted green and converted to free mobile phone chargers named Solarboxes. They have been considered an outdoor kiosk alternative to indoor chargers such as the Chargebox.

Usage elsewhere
Several of these distinctive telephone boxes have been installed on the Norman, Oklahoma, campus of the University of Oklahoma, where they continue to serve their originally intended function. Elsewhere in the United States, a few have also been installed in downtown Glenview, Illinois, and Glencoe, Illinois. There is also one outside the British Embassy in Washington, D.C. A red telephone box can also be found on the Courthouse Square in Oxford, Mississippi. Two are in use in Tennessee: one is on the square in Collierville, Tennessee, and the other is located next to Pepper Palace in The Village Shops shopping centre in Gatlinburg, Tennessee. A telephone box sits outside The Poppy & Parliament restaurant on the courthouse square in Huntsville, Alabama.

A red telephone box is in use in the student centre of the Massachusetts Institute of Technology. In addition, there is a red telephone box outside the town building (town hall/police station/post office) in the tiny mountain town of Rowe, Massachusetts, which is an original installation dating back to when the town of Rowe first got telephone service. Two red telephone boxes are on display at the World Showcase area of Disney's Epcot in Orlando, Florida, one located in the United Kingdom area and one in the Canada area. One is on display at English Gardens – A Place for Weddings in Winter Park close to downtown Orlando. An original K6 can also be found outside the Allied Building in Treasure Island, Florida. There are also a few red boxes at the Ellenton Outlet Mall, just off I-75, near Bradenton, Florida. These still have their original STD code cards in place and have working US payphone equipment. There is a red telephone box in Westminster, Maryland on the corner of West Main Street and Rt. 27 outside Johanson's Dining House.

In Lake Havasu City, Arizona, a few K6s arrived when the old London Bridge was preserved there. As they are in the US, and not under British restriction, they are fully functional, but with updated electronics to make them code compliant.

Australia and New Zealand each had their own design of red telephone box, and some examples have been preserved in sensitive or historic sites. A brief and colourful campaign was run to "save" the red telephone box in New Zealand by the Wizard of New Zealand.

Many K3 phone boxes survive in Portugal, where they were exported by the Anglo-Portuguese Telephone Company, and where the climate was less harmful to their concrete fabric than in Britain. They are a common sight, for example, in the city of Porto.

British K6 phone boxes are to be found, painted green, in the centre of Kinsale, a historic town in County Cork in the Republic of Ireland.

Red telephone boxes are also found across Malta, some islands of the West Indies such as Antigua, Barbados, as well as in Cyprus, showing that the colonial influence is still present. Some of those telephone booths are being used as internet kiosks.

In France, boxes can also be found on the border of Saint-Maurice (rue de Gravelle), close to Paris, and in the centre of the town of Chinon. In Germany, some stands in the towns of Bad Münstereifel, Bielefeld and Eppingen.

Thames Town, an imitation English town on the outskirts of Shanghai, includes red telephone boxes.

In 2008 ten K6 telephone boxes were imported from the United Kingdom to the Israeli city of Petah Tikva and installed on its main street, Haim Ozer.

Kingston upon Hull
Kingston upon Hull ran a municipal telephone system from 1904. There were several such municipal services in the UK, but whereas most had been brought under the Post Office monopoly by 1913, Hull's, being very efficient, was allowed to remain under the control of Hull Corporation (the city council). As a result, although the Corporation used K6 kiosks, they were painted cream and had the crown omitted from the design. The Hull telephone system was privatised in 1999 and taken over by Kingston Communications (KC; later renamed KCOM Group in 2007). In about 2007 KC removed many of the cream K6 boxes. After public complaints at the loss of heritage it was agreed that about 125 of the boxes would be retained, and they remain in use. KC also allocated limited numbers (around 1,000) for sale to the public and many were sold off even before they had been removed from service. Hull also continues to use K8 and KX100 PLUS kiosks, and in the past has used other non-GPO/BT designs. In 2023 Historic England designated nine of the cream boxes as Grade II listed structures.

Crown Dependencies
The telephone services of the Crown Dependencies were split at various times from the GPO.

Guernsey
Guernsey Telecoms painted its kiosks yellow with white window frames; they were repainted in blue when the company was sold to Cable and Wireless in 2002.

Jersey
Jersey Telecom used locally made kiosks, painted in just yellow, or cream and yellow.

Isle of Man
Manx Telecom has left its kiosks in the red colour used by its predecessors British Telecom and the GPO. The telephone box in Cregneash was temporarily painted green, as was the practice in many rural areas of Britain, but this was only for a film and the phone box is now red again.

Cyprus
At least one is present in Dhekelia.

Gibraltar
Gibtelecom operates red kiosks of various vintages.

Out of Order
Scottish sculptor David Mach created the permanent public work Out of Order in 1989 in Kingston upon Thames, London. It takes the form of a row of twelve K6 telephone boxes, the first one upright, the others gradually falling over like dominoes. It was originally intended that the last upright box was to contain a working telephone.

BT Artboxes

In 2012, BT helped celebrate the 25th anniversary of the free-phone charity ChildLine by commissioning eighty artists to design and decorate full-sized K6 replicas. These were displayed in public spaces across London and then auctioned by Sotheby's as BT Artboxes. Artists included Peter Blake, Willie Christie, David Mach, Denis Masi, Zaha Hadid and Ian Ritchie.

Pop culture
The red telephone box has appeared in British pop culture. In music it has featured in Adele's video "Hello", the front cover of One Direction's album Take Me Home, and the back cover of David Bowie's album The Rise and Fall of Ziggy Stardust and the Spiders from Mars. It was the subject of the 1980 single "Red Frame/White Light" by OMD. In film it features in a prominent scene in the 1955 black comedy The Ladykillers where a motley gang of crooks led by Professor Marcus (Alec Guinness) cram into one, and a red telephone box near Scotland Yard appears in Harry Potter and the Order of the Phoenix (2007) as Harry Potter and Arthur Weasley enter the Ministry of Magic. The telephone box was also featured in Peter Gabriel’s 1993 tour Secret World Live, being on stage for the opening of the show, and used in the song "Come Talk to Me". A phone receiver also features on the live album cover.

In 2016, British chef Gordon Ramsay opened a British-themed fish restaurant in the Las Vegas Strip, with the doors to the entrance resembling the red telephone box.

title: Red telephone box


text: Talk:Legitimacy of the NATO bombing of Yugoslavia


text:
Talk:Accounting reform

Untitled
What makes it particularly difficult to write an NPOV article about this is that the existing system has literally no living defenders - everyone acknowledges at least a few flaws in current accounting standards and practices, but the inertia seems to be dragging us all in a certain direction set in 1944 at Bretton Woods.

It would nice to find even ONE coherent statement of what's OK with the current system - the lobbying efforts referred to tend to be US-centric, secretive, and difficult to decipher. They certainly don't publish defenses of "the system"...

 * This article needs a complete rewrite. It is possible to write an article without taking one point of view, and it is also possible to reference things. Plan B is to revert this article to a stub and start again, as that may be easier. AnthonyUK (talk) 22:58, 10 March 2008 (UTC)

Two Topics for the Price of One
I have attempted to differentiate between the two topics being discussed in this article. I didn't want to add anything since I don't really know the details of "accounting reform." But is sure seemed obvious that two completely different subjects were being "reformed."

Perhaps the problem with finding defendings of the existing system is that the accusations are vague. It's very hard to defend against a will-o-the-wisp. Or that the accusations are saying that accounting isn't measuring something it was never meant to measure? Either way, defense is difficult.--Fredrik Coulter 03:35, Mar 3, 2005 (UTC)

Why?
Why, because double entry accounting works. No business cares about ecological or social costs. People use some sort of currency to exchange goods and services. So it makes sense for a business to measure how much goods and services they are selling versus how much they are purchasing in terms of the currency used in those transactions.

Two different issues
It seems to me that the article is about two quite different things. The systems of national accounts have developed witoout much connection to accounting practices in companies. As far as I understand the proposals for reform are also different between national accounts and usual business accounting. —The preceding unsigned comment was added by 217.210.4.132 (talk) 12:51, 17 January 2007 (UTC).

title: Talk:Accounting reform


text:
Zombie (cocktail)

The Zombie is a Tiki cocktail made of fruit juices, liqueurs, and various rums. It first appeared in late 1934, invented by Donn Beach at his Hollywood Don the Beachcomber restaurant. It was popularized on the East coast soon afterwards at the 1939 New York World's Fair.

History
Legend has it that Donn Beach originally concocted the Zombie to help a hung-over customer get through a business meeting. The customer returned several days later to complain that he had been turned into a zombie for his entire trip. Its smooth, fruity taste works to conceal its extremely high alcoholic content. Don the Beachcomber restaurants limited their customers to two Zombies apiece because of their potency, which Beach said could make one "like the walking dead."

According to the original recipe, the Zombie cocktail included three different kinds of rum, lime juice, falernum, Angostura bitters, Pernod, grenadine, and "Don's Mix", a combination of cinnamon syrup and grapefruit juice.

Beach was very cautious with the recipes of his original cocktails. His instructions for his bartenders contained coded references to ingredients, the contents of which were only known to him. Beach had reason to worry; a copy of the Zombie was served at the 1939 New York World's Fair by a man trying to take credit for it named Monte Proser (later of the mob-tied Copacabana).

Beach's original recipes for the Zombie and other Tiki drinks have been published in Sippin' Safari by Jeff "Beachbum" Berry. Berry researched the origins of many Tiki cocktails, interviewing bartenders from Don the Beachcomber's and other original Tiki places and digging up other original sources. Sippin' Safari details Beach's development of the Zombie with three different recipes dating from 1934 to 1956.

The Zombie was occasionally served heated (a drink more commonly known today as the I.B.A. Hot Zombie), as outlined by the Catering Industry Employee (CIE) journal: "Juice of 1 lime, unsweetened pineapple juice, bitters, 1 ounce heavily bodied rum, 2 ounces of Gold Label rum, 1 ounce of White Label rum, 1 ounce of apricot-flavored brandy, 1 ounce of papaya juice"

The cocktail is named in the lyrics for the song "Haitian Divorce" on the 1976 album The Royal Scam by Steely Dan.

Tiki culture influence
Due to the popularity of the cocktail during the Tiki craze and the fact that Beach kept his recipe secret and occasionally altered it, there are many variations of the Zombie served at other restaurants and bars (some tasting nothing like the original cocktail). The word zombie also began to be used at other tiki themed establishments, such as at the Zombie Hut and Zombie Village.

Trader Vic also listed a recipe for the Zombie in his 1947 Bartender's Guide. Other competitors created drinks linked to the zombie. At Stephen Crane's Chicago Kon-Tiki Ports restaurant they featured a drink on the menu called The Walking Dead: "Makes the dead walk and talk. For those who want immediate action - meet the first cousin to the famous 'Zombie'. Demerara 151 rum. 90¢."

title: Zombie (cocktail)


text:
Becan

Becan (Spanish: Becán) is an archaeological site of the Maya civilization in pre-Columbian Mesoamerica. Becan is located near the center of the Yucatán Peninsula, in the present-day Mexican state of Campeche, about 150 km (93.2 mi) north of Tikal. The Maya sites of Balamku, Calakmul, Chicanna and Xpuhil are nearby. The name Becan was bestowed on the site by archaeologists who rediscovered the site, meaning "ravine or canyon formed by water" in Yukatek Maya, after the site's most prominent and unusual feature, its surrounding ditch.

History
Archaeological evidence shows that Becan was occupied in the middle Preclassic Maya period, about 550 BCE, and grew to a major population and ceremonial center a few hundred years later in the late Preclassic. The population and scale of construction declined in the early classic (c 250 CE), although it was still a significant site, and trade goods from Teotihuacan have been found. A ditch and ramparts were constructed around the site at this time. There is a ditch that runs the circumference of the city which covers approximately 25 hectares (61.7 acres). Around 500 the population again increased dramatically and many large new buildings were constructed, mostly in the Rio Bec style of Maya architecture. Construction of major buildings and elite monuments stopped about 830, although ceramic evidence show that the site continued to be occupied for some time thereafter, although the population went into decline and Becan was probably abandoned by about 1200.

The site was first documented in the archaeological literature in 1934 by archaeologists Karl Ruppert and John Denison on an expedition to the region sponsored by the Carnegie Institution of Washington, who named it "Becan" after the conspicuous ditch surrounding the center of the city; the ancient name of the site is not known. From 1969 to 1971 archaeological excavations were made at Becan sponsored by Tulane University and the National Geographic Society.

In 1984, while conducting research at the site, one of Mexico's "most important archeologists",, fell from the pyramid at Becán, becoming paralyzed. On 13 July 2001, at a homage paid to Piña by the National Museum of Anthropology, it was announced that Lucía Campaña, had discovered a pre-Hispanic tomb in the ninth building at the site, the previous day.

title: Becan


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Catastrophism

In geology, catastrophism is the theory that the Earth has largely been shaped by sudden, short-lived, violent events, possibly worldwide in scope. This contrasts with uniformitarianism (sometimes called gradualism), according to which slow incremental changes, such as erosion, brought about all the Earth's geological features. The proponents of uniformitarianism held that the present was "the key to the past", and that all geological processes (such as erosion) throughout the past resembled those that can be observed today. Since the 19th-century disputes between catastrophists and uniformitarians, a more inclusive and integrated view of geologic events has developed, in which the scientific consensus accepts that some catastrophic events occurred in the geologic past, but regards these as explicable as extreme examples of natural processes which can occur.

Proponents of catastrophism proposed that each geological epoch ended with violent and sudden natural catastrophes such as major floods and the rapid formation of major mountain chains. Plants and animals living in the parts of the world where such events occurred became extinct, to be replaced abruptly by the new forms whose fossils defined the geological strata. Some catastrophists attempted to relate at least one such change to the Biblical account of Noah's flood.

The French scientist Georges Cuvier (17691832) popularised the concept of catastrophism in the early 19th century; he proposed that new life-forms had moved in from other areas after local floods, and avoided religious or metaphysical speculation in his scientific writings.

Geology and biblical beliefs
In the early development of geology, efforts were made in a predominantly Christian western society to reconcile biblical narratives of Creation and the universal flood with new concepts about the processes which had formed the Earth. The discovery of other ancient flood myths was taken as explaining why the flood story was "stated in scientific methods with surprising frequency among the Greeks", an example being Plutarch's account of the Ogygian flood.

Cuvier and the natural theologians
The leading scientific proponent of catastrophism in the early nineteenth century was the French anatomist and paleontologist Georges Cuvier. His motivation was to explain the patterns of extinction and faunal succession that he and others were observing in the fossil record. While he did speculate that the catastrophe responsible for the most recent extinctions in Eurasia might have been the result of the inundation of low-lying areas by the sea, he did not make any reference to Noah's flood. Nor did he ever make any reference to divine creation as the mechanism by which repopulation occurred following the extinction event. In fact Cuvier, influenced by the ideas of the Enlightenment and the intellectual climate of the French Revolution, avoided religious or metaphysical speculation in his scientific writings. Cuvier also believed that the stratigraphic record indicated that there had been several of these revolutions, which he viewed as recurring natural events, amid long intervals of stability during the history of life on Earth. This led him to believe the Earth was several million years old.

By contrast in Britain, where natural theology was influential during the early nineteenth century, a group of geologists including William Buckland and Robert Jameson interpreted Cuvier's work differently. Cuvier had written an introduction to a collection of his papers on fossil quadrupeds, discussing his ideas on catastrophic extinction. Jameson translated Cuvier's introduction into English, publishing it under the title Theory of the Earth. He added extensive editorial notes to the translation, explicitly linking the latest of Cuvier's revolutions with the biblical flood. The resulting essay was extremely influential in the English-speaking world. Buckland spent much of his early career trying to demonstrate the reality of the biblical flood using geological evidence. He frequently cited Cuvier's work, even though Cuvier had proposed an inundation of limited geographic extent and extended duration, whereas Buckland, to be consistent with the biblical account, was advocating a universal flood of short duration. Eventually, Buckland abandoned flood geology in favor of the glaciation theory advocated by Louis Agassiz, following a visit to the Alps where Agassiz demonstrated the effects of glaciation at first hand. As a result of the influence of Jameson, Buckland, and other advocates of natural theology, the nineteenth century debate over catastrophism took on much stronger religious overtones in Britain than elsewhere in Europe.

The rise of uniformitarianism in geology
Uniformitarian explanations for the formation of sedimentary rock and an understanding of the immense stretch of geological time, or as the concept came to be known deep time, were found in the writing of James Hutton, sometimes known as the father of geology, in the late 18th century. The geologist Charles Lyell built upon Hutton's ideas during the first half of 19th century and amassed observations in support of the uniformitarian idea that the Earth's features had been shaped by same geological processes that could be observed in the present acting gradually over an immense period of time. Lyell presented his ideas in the influential three volume work, Principles of Geology, published in the 1830s, which challenged theories about geological cataclysms proposed by proponents of catastrophism like Cuvier and Buckland. One of the key differences between catastrophism and uniformitarianism is that uniformitarianism observes the existence of vast timelines, whereas catastrophism does not. Today most geologists combine catastrophist and uniformitarianist standpoints, taking the view that Earth's history is a slow, gradual story punctuated by occasional natural catastrophic events that have affected Earth and its inhabitants.

From around 1850 to 1980, most geologists endorsed uniformitarianism ("The present is the key to the past") and gradualism (geologic change occurs slowly over long periods of time) and rejected the idea that cataclysmic events such as earthquakes, volcanic eruptions, or floods of vastly greater power than those observed at the present time, played any significant role in the formation of the Earth's surface. Instead they believed that the earth had been shaped by the long term action of forces such as volcanism, earthquakes, erosion, and sedimentation, that could still be observed in action today. In part, the geologists' rejection was fostered by their impression that the catastrophists of the early nineteenth century believed that God was directly involved in determining the history of Earth. Some of the theories about Catastrophism in the nineteenth and early twentieth centuries were connected with religion and catastrophic origins were sometimes considered miraculous rather than natural events.

The rise in uniformitarianism made the introduction of a new catastrophe theory very difficult. In 1923 J Harlen Bretz published a paper on the channeled scablands formed by glacial Lake Missoula in Washington State, USA. Bretz encountered resistance to his theories from the geology establishment of the day, kicking off an acrimonious 40 year debate. Finally in 1979 Bretz received the Penrose Medal; the Geological Society of America's highest award.

Immanuel Velikovsky's views
In the 1950s, Immanuel Velikovsky propounded catastrophism in several popular books. He speculated that the planet Venus is a former "comet" which was ejected from Jupiter and subsequently 3,500 years ago made two catastrophic close passes by Earth, 52 years apart, and later interacted with Mars, which then had a series of near collisions with Earth which ended in 687 BCE, before settling into its current orbit. Velikovsky used this to explain the biblical plagues of Egypt, the biblical reference to the "Sun standing still" for a day (Joshua 10:12 & 13, explained by changes in Earth's rotation), and the sinking of Atlantis. Scientists vigorously rejected Velikovsky's conjectures.

Current application
Neocatastrophism is the explanation of sudden extinctions in the palaeontological record by high magnitude, low frequency events (such as asteroid impacts, super-volcanic eruptions, supernova gamma ray bursts, etc.), as opposed to the more prevalent geomorphological thought which emphasises low magnitude, high frequency events.

Luis Alvarez impact event hypothesis
In 1980, Walter and Luis Alvarez published a paper suggesting that a 10 km asteroid struck Earth 66 million years ago at the end of the Cretaceous period. The impact wiped out about 70% of all species, including the non-avian dinosaurs, leaving behind the Cretaceous–Paleogene boundary (K–T boundary). In 1990, a 180 km candidate crater marking the impact was identified at Chicxulub in the Yucatán Peninsula of Mexico. These events sparked a wide acceptance of a scientifically based catastrophism with regard to certain events in the distant past.

Since then, the debate about the extinction of the dinosaurs and other mass extinction events has centered on whether the extinction mechanism was the asteroid impact, widespread volcanism (which occurred about the same time), or some other mechanism or combination. Most of the mechanisms suggested are catastrophic in nature.

The observation of the Shoemaker-Levy 9 cometary collision with Jupiter illustrated that catastrophic events occur as natural events.

Moon-formation
Modern theories also suggest that Earth's anomalously large moon was formed catastrophically. In a paper published in Icarus in 1975, William K. Hartmann and Donald R. Davis proposed that a catastrophic near-miss by a large planetesimal early in Earth's formation approximately 4.5 billion years ago blew out rocky debris, remelted Earth and formed the Moon, thus explaining the Moon's lesser density and lack of an iron core. The impact theory does have some faults; some computer simulations show the formation of a ring or multiple moons post impact, and elements are not quite the same between the Earth and Moon.

title: Catastrophism


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Pink Squirrel

The Pink Squirrel is a cocktail made of

 * 1 oz crème de Noyaux
 * 1 oz crème de cacao
 * 1 oz heavy cream

Shake with ice, strain into a cocktail glass and serve.

The drink was invented at Bryant's Cocktail Lounge in Milwaukee, Wisconsin. The Pink Squirrel was invented as an ice cream drink. In fact, it is still served as an ice cream drink both in Milwaukee and in many other parts of the upper Midwest. The Pink Squirrel is one of 3 typical ice cream drinks commonly served in Wisconsin Supper Clubs; with the others being a Brandy Alexander and Grasshopper.

title: Pink Squirrel


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Ishi

Ishi (c. 1861 – March 25, 1916) was the last known member of the Native American Yahi people from the present-day state of California in the United States. The rest of the Yahi (as well as many members of their parent tribe, the Yana) were killed in the California genocide in the 19th century. Widely described as the "last wild Indian" in the U.S., Ishi lived most of his life isolated from modern North American culture, and was the last known Native manufacturer of stone arrowheads. In 1911, aged 50, he emerged at a barn and corral, 2 mi from downtown Oroville, California.

Ishi, which means "man" in the Yana language, is an adopted name. The anthropologist Alfred Kroeber gave him this name because in the Yahi culture, tradition demanded that he not speak his own name until formally introduced by another Yahi. When asked his name, he said: "I have none, because there were no people to name me", meaning that there was no other Yahi to speak his name on his behalf.

Anthropologists at the University of California, Berkeley, took Ishi in, studied him, and hired him as a janitor. He lived most of his remaining five years in a university building in San Francisco. His life was depicted and discussed in multiple films and books, notably the biographical account Ishi in Two Worlds published by Theodora Kroeber in 1961.

Early life
In 1865, the Yahi were attacked in the Three Knolls Massacre, in which 40 of them were killed. Although 33 Yahi survived to escape, cattlemen killed about half of the survivors. The last survivors, including Ishi and his family, went into hiding for the next 44 years. Their tribe was popularly believed to be extinct. Until the California Gold Rush of 1848–55, the Yahi probably numbered several hundred, while the total Yana in the larger region numbered around 3,000.

The gold rush brought tens of thousands of miners and settlers to northern California, putting pressure on native populations. Gold mining damaged water supplies and killed fish; deer became scarcer. The settlers brought new infectious diseases such as smallpox and measles. The northern Yana group went extinct while the central and southern groups (who later became part of Redding Rancheria) and Yahi populations dropped dramatically. Searching for food, they came into conflict with settlers, who set bounties of 50 cents per scalp and 5 dollars per head on the natives. In 1865, settlers attacked a group of Yahi while they were asleep.

Richard Burrill wrote, in Ishi Rediscovered: "In 1865, near the Yahi's special place, Black Rock, the waters of Mill Creek turned red at the Three Knolls Massacre. 'Sixteen' or 'seventeen' Indian fighters killed about forty Yahi, as part of a retaliatory attack for two white women and a man killed at the Workman's household on Lower Concow Creek near Oroville. Eleven of the Indian fighters that day were Robert A. Anderson, Harmon (Hi) Good, Sim Moak, Hardy Thomasson, Jack Houser, Henry Curtis, his brother Frank Curtis, as well as Tom Gore, Bill Matthews, and William Merithew. W. J. Seagraves visited the site, too, but some time after the battle had been fought.

Robert Anderson wrote, 'Into the stream they leaped, but few got out alive. Instead many dead bodies floated down the rapid current.' One captive Indian woman named Mariah from Big Meadows (Lake Almanor today), was one of those who did escape. The Three Knolls massacre is also described in Theodora Kroeber's Ishi in Two Worlds.

Since then more has been learned. It is estimated that with this massacre, Ishi's entire cultural group, the Yana/Yahi, may have been reduced to about sixty individuals. From 1859 to 1911, Ishi's remote band became more and more infiltrated by non-Yahi Indian representatives, such as Wintun, Nomlaki, and Pit River individuals.

In 1879, the federal government started Indian boarding schools in California. Some men from the reservations became renegades in the hills. Volunteers among the settlers and military troops carried out additional campaigns against the northern California Indian tribes during that period."

In 1908, a group of surveyors came across the camp inhabited by two men, a middle-aged woman, and an elderly woman. These were Ishi, his uncle, his mother, and a woman who was either a relative or Ishi's wife. The former three fled while the elderly woman tried to hide herself, as she was crippled and unable to flee. The surveyors ransacked the camp, taking fur capes, arrows, bows, and nets. When Ishi appeared near Oroville three years later, he was alone and communicated through mime that his three companions had all died, his uncle and mother by drowning.

Arrival into European American society
After the 1908 encounter, Ishi spent three more years in the wilderness. It is unknown exactly when the rest of his family died. Starving and alone, Ishi, aged about 50, emerged on August 29, 1911, at the Charles Ward slaughterhouse back corral near Oroville after forest fires in the area. He was found pre-sunset by Floyd Hefner, son of the next-door dairy owner (who was in town), who was "hanging out", and who went to harness the horses to the wagon for the ride back to Oroville, for the workers and meat deliveries. Witnessing slaughterhouse workers included Lewis "Diamond Dick" Cassings, a "drugstore cowboy". When Sheriff J.B. Webber arrived, he directed Adolph Kessler, a 19-year-old slaughterhouse worker, to handcuff Ishi, who smiled and complied.

The "wild man" caught the imagination and attention of thousands of onlookers and curiosity seekers. University of California, Berkeley anthropology professors read about him and "brought him" to the Affiliated Colleges Museum (1903–1931), in an old law school building on the University of California's Affiliated Colleges campus on Parnassus Heights, San Francisco. Studied by the university, Ishi also worked as a janitor and lived at the museum the remaining five years of his life.

In October 1911, Ishi, Sam Batwi, T. T. Waterman, and A. L. Kroeber, went to the Orpheum Opera House in San Francisco to see Lily Lena (Alice Mary Ann Mathilda Archer, born 1877),   the "London Songbird," known for "kaleidoscopic" costume changes. Lena gave Ishi a piece of gum as a token.

On May 13, 1914, Ishi, Thomas Talbot Waterman, Alfred L. Kroeber, Saxton Pope, and Saxton Pope Jr. (11 years old), took Southern Pacific's Cascade Limited overnight train, from the Oakland Mole and Pier to Vina, California, on a trek in the homelands of the Deer Creek area of Tehama county, researching and mapping for the University of California, fleeing on May 30, 1914, during the Lassen Peak volcano eruption.

Waterman and Kroeber, director of the museum, studied Ishi closely and interviewed him at length in an effort to reconstruct Yahi culture. He described family units, naming patterns, and the ceremonies he knew. Much tradition had already been lost when he was growing up, as there were few older survivors in his group. He identified material items and showed the techniques by which they were made.

In February 1915, during the Panama–Pacific International Exposition, Ishi was filmed in the Sutro Forest with the actress Grace Darling for Hearst-Selig News Pictorial, No. 30.

In June 1915, for three months, Ishi lived in Berkeley with Waterman and his family.

In the summer of 1915, Ishi was interviewed on his native Yana language, which was recorded and studied by the linguist Edward Sapir, who had previously done work on the northern dialects. Carl Haber's and Vitaliy Fadeyev's optical IRENE technology has recovered these wax cylinders' sound.

Death
Lacking acquired immunity to common diseases, Ishi was often ill. He was treated by Pope, a professor of medicine at UCSF. Pope became a close friend of Ishi, and learned from him how to make bows and arrows in the Yahi way. He and Ishi often hunted together. Ishi died of tuberculosis on March 25, 1916. It is said that his last words were, "You stay. I go." Kroeber, who was in New York at the time of Ishi's death, tried to prevent an autopsy on his body, sending letters and telegrams strongly stating his objections. He believed Yahi tradition called for the body to remain intact. But Pope performed the autopsy, per hospital protocol.

Ishi's brain was preserved and his body cremated, in the mistaken belief that cremation was the traditional Yahi practice. His friends placed several items with his remains before cremation: "one of his bows, five arrows, a basket of acorn meal, a boxfull of shell bead money, a purse full of tobacco, three rings, and some obsidian flakes." Ishi's remains, in a deerskin-wrapped Pueblo Indian pottery jar, were interred at Mount Olivet Cemetery in Colma, California, near San Francisco. Kroeber sent Ishi's preserved brain to the Smithsonian Institution in 1917. It was held there until August 10, 2000, when the Smithsonian repatriated it to the descendants of the Redding Rancheria and Pit River tribes. This was in accordance with the National Museum of the American Indian Act of 1989 (NMAI). According to Robert Fri, director of the National Museum of Natural History, "Contrary to commonly-held belief, Ishi was not the last of his kind. In carrying out the repatriation process, we learned that as a Yahi–Yana Indian his closest living descendants are the Yana people of northern California." His remains were also returned from Colma, and the tribal members intended to bury them in a secret place.

Archery
Ishi used thumb draw and release with his short bows.

Possible multi-ethnicity

Steven Shackley of UC Berkeley learned in 1994 of a paper by Jerald Johnson, who noted morphological evidence that Ishi's facial features and height were more typical of the Wintu and Maidu. He theorized that under pressure of diminishing populations, members of groups that were once enemies had intermarried to survive. Johnson also referred to oral histories of the Wintu and Maidu that told of the tribes' intermarrying with the Yahi. The theory is still debated, and this remains unresolved.

In 1996, Shackley announced work based on a study of Ishi's projectile points and those of the northern tribes. He had found that points made by Ishi were not typical of those recovered from historical Yahi sites. Because Ishi's production was more typical of points of the Nomlaki or Wintu tribes, and markedly dissimilar to those of Yahi, Shackley suggested that Ishi had been of mixed ancestry, and related to and raised among members of another of the tribes. He based his conclusion on a study of the points made by Ishi, compared to others held by the museum from the Yahi, Nomlaki and Wintu cultures.

Among Ishi's techniques was the use of what is known as an Ishi stick, used to run long pressure flakes. This is known to be a traditional technique of the Nomlaki and Wintu tribes. Shackley suggests that Ishi learned the skill directly from a male relative of one of those tribes. These people lived in small bands, close to the Yahi. They were historically competitors with and enemies of the Yahi.

Similar case
Ishi's story has been compared to that of Ota Benga, an Mbuti pygmy from Congo. His family had died and were not given a mourning ritual. He was taken from his home and culture. During one period, he was displayed as a zoo exhibit. Ota shot himself in the heart with a borrowed pistol on March 20, 1916, five days before Ishi's death.

Legacy and honors

 * The Last Yahi Indian Historical landmark, Oro Quincy Highway & Oak Avenue, Oroville, CA 95966
 * Ishi is revered by flintknappers as probably one of the last two native stone toolmakers in North America. His techniques are widely imitated by knappers. Ethnographic accounts of his toolmaking are considered to be the Rosetta Stone of lithic tool manufacture.
 * Kroeber and Waterman's 148 wax cylinder recordings (totaling 5 hours and 41 minutes) of Ishi speaking, singing, and telling stories in the Yahi language were selected by the Library of Congress as a 2010 addition to the National Recording Registry. This is an annual selection of recordings that are "culturally, historically, or aesthetically significant".
 * Writer and critic Gerald Vizenor led a campaign to have the courtyard in Dwinelle Hall at the University of California, Berkeley renamed as "Ishi Court".
 * The Ishi Wilderness Area in northeastern California, believed to be the ancestral grounds of his tribe, is named in his honor.
 * Ishi Giant, an exceptionally large giant sequoia discovered by naturalist Dwight M. Willard in 1993, is named in his honor.
 * Ishi was the subject of a portrait relief sculpture by Thomas Marsh in his 1990 work, Called to Rise, featuring twenty such panels of noteworthy San Franciscans, on the facade of the 25-story high-rise at 235 Pine Street, San Francisco.
 * Anthropologists at the University of California, Berkeley wrote a letter in 1999 apologizing for Ishi's treatment.

Films

 * Ishi: The Last of His Tribe, aired December 20, 1978, on NBC, with Eloy Casados as Ishi, written by Christopher Trumbo and Dalton Trumbo, and directed by Robert Ellis Miller.
 * The Last of His Tribe (1992), with Graham Greene as Ishi, is a Home Box Office movie.
 * Ishi: The Last Yahi (1993), is a documentary film by Jed Riffe.
 * In Search of History: Ishi, the Last of His Kind (1998), television documentary about him.

Literature

 * daughter-in-law of "One-Eyed" Jack Apperson, who in 1908, sacked Ishi's Yahi village
 * (Young Adult Biography)
 * Kroeber wrote about Ishi in two books:
 * A mass-market, second-hand account of Ishi's life story, published in 1961, after the death of her husband Alfred, who had worked with Ishi, but had refused to write or talk about him.
 * Ishi: Last of His Tribe. Illus. Ruth Robbins. (1964). Parnassus Press, Berkeley, California.
 * a juvenile fiction version of his life.
 * Ishi the Last Yahi: A Documentary History (1981), edited by Robert Heizer and Theodora Kroeber, contains additional scholarly materials
 * Novels
 * Othmar Franz Lang. Meine Spur löscht der Fluss (young adult novel in German)
 * Lawrence Holcomb. The Last Yahi: A Novel About Ishi.
 * Novels
 * Othmar Franz Lang. Meine Spur löscht der Fluss (young adult novel in German)
 * Lawrence Holcomb. The Last Yahi: A Novel About Ishi.

Stage productions

 * Ishi (2008), a play written and directed by John Fisher, was performed from July 3–27, 2008, at Theatre Rhinoceros in San Francisco. The San Francisco Chronicle review said the work "is a fierce dramatic indictment of the ugliest side of California history."

Music
Depicted in the video for "Blue Train Lines," a song by Mount Kimbie and King Krule. The video follows the story of the two anthropologists falling out. One proceeds to sell all of Ishi's possessions on eBay.

Comics

 * Osamu Tezuka: The story of Ishi the primitive man, (first appeared in Weekly-Shonen-Sunday, Shogakkan in Japan, issue of October 20, 1975, total 44 pages).

title: Ishi