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Salon (gathering)
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Réunion de dames, Abraham Bosse, 17th century
A salon is a gathering of people under the roof of an inspiring host, held partly to amuse one another and partly to refine the taste and increase the knowledge of the participants through conversation. These gatherings often consciously followed Horace's definition of the aims of poetry, "either to please or to educate" (Latin: aut delectare aut prodesse). Salons, commonly associated with French literary and philosophical movements of the 17th and 18th centuries, were carried on until as recently as the 1940s in urban settings.
Contents
[hide]
1 Overview
2 Historiography of the salons
2.1 Periodisation of the salon
2.2 Conversation, content and the form of the salon
2.3 The salon and the 'public sphere'
2.4 Debates surrounding women and the salon
3 Salonnières and their salons: the role of women
4 Salons outside France
4.1 Belgium
4.2 Denmark
4.3 Germany
4.4 Great Britain
4.5 Italy
4.6 Latin America
4.7 Poland
4.8 Russia
4.9 Sweden
4.10 Spain
4.11 Switzerland
4.12 United States
5 Other uses of the word
6 See also
7 References
8 Bibliography
9 Further reading
10 External links
Overview[edit]
The salon was an Italian invention of the 16th century, which flourished in France throughout the 17th and 18th centuries. The salon continued to flourish in Italy throughout the 19th century. In 16th-century Italy, some brilliant circles formed in the smaller courts which resembled salons, often galvanized by the presence of a beautiful and educated patroness such as Isabella d'Este or Elisabetta Gonzaga.
One important place for the exchange of ideas was the salon. The word salon first appeared in France in 1664 (from the Italian word salone, itself from sala, the large reception hall of Italian mansions). Literary gatherings before this were often referred to by using the name of the room in which they occurred, like cabinet, réduit, ruelle and alcôve.[1] Before the end of the 17th century, these gatherings were frequently held in the bedroom (treated as a more private form of drawing room):[2] a lady, reclining on her bed, would receive close friends who would sit on chairs or stools drawn around. This practice may be contrasted with the greater formalities of Louis XIV's petit lever, where all stood. Ruelle, literally meaning "narrow street" or "lane", designates the space between a bed and the wall in a bedroom; it was used commonly to designate the gatherings of the "précieuses", the intellectual and literary circles that formed around women in the first half of the 17th century. The first renowned salon in France was the Hôtel de Rambouillet not far from the Palais du Louvre in Paris, which its hostess, Roman-born Catherine de Vivonne, marquise de Rambouillet (1588–1665), ran from 1607 until her death.[3][4] She established the rules of etiquette of the salon which resembled the earlier codes of Italian chivalry.
Historiography of the salons[edit]
The historiography of the salons is far from straightforward. The salons have been studied in depth by a mixture of feminist, Marxist, cultural, social and intellectual historians. Each of these methodologies focuses on different aspects of the salons, and thus have varying analyses of the salons’ importance in terms of French history and the Enlightenment as a whole.
A Reading in the Salon of Mme Geoffrin, 1755
Major historiographical debates focus on the relationship between the salons and the public sphere, as well as the role of women within the salons.
Periodisation of the salon[edit]
Breaking down the salons into historical periods is complicated due to the various historiographical debates that surround them. Most studies stretch from the early 16th century up until around the end of the 18th century. Goodman is typical in ending her study at the French Revolution where, she writes: 'the literary public sphere was transformed into the political public'.[5] Steven Kale is relatively alone in his recent attempts to extend the period of the salon up until Revolution of 1848.[6] Kale points out:
'A whole world of social arrangements and attitude supported the existence of French salons: an idle aristocracy, an ambitious middle class, an active intellectual life, the social density of a major urban center, sociable traditions, and a certain aristocratic feminism. This world did not disappear in 1789.'[7]
As recently as the 1940s, salons hosted by Gertrude Stein gained notoriety for including Pablo Picasso and other twentieth-century luminaries like Alice B. Toklas.
Conversation, content and the form of the salon[edit]
The content and form of the salon to some extent defines the character and historical importance of the salon. Contemporary literature about the salons is dominated by idealistic notions of politesse, civilité and honnêteté, but whether the salons lived up to these standards is matter of debate. Older texts on the salons tend to paint an idealistic picture of the salons, where reasoned debate takes precedence and salons are egalitarian spheres of polite conversation.[8] Today, however, this view is rarely considered an adequate analysis of the salon.[9] Dena Goodman claims that rather than being leisure based or 'schools of civilité' salons were instead at 'the very heart of the philosophic community' and thus integral to the process of Enlightenment.[10] In short, Goodman argues, the 17th and 18th century saw the emergence of the academic, Enlightenment salons, which came out of the aristocratic 'schools of civilité'. Politeness, argues Goodman, took second-place to academic discussion.[11]
"Abbé Delille reciting his poem, La Conversation in the salon of Madame Geoffrin" from Jacques Delille, "La Conversation" (Paris, 1812)
The period in which salons were dominant has been labeled the 'age of conversation'.[12] The topics of conversation within the salons - that is, what was and was not 'polite' to talk about - are thus vital when trying to determine the form of the salons. The salonnières were expected, ideally, to run and moderate the conversation (See Women in the salon). There is, however, no universal agreement among historians as to what was and was not appropriate conversation. Marcel Proust 'insisted that politics was scrupulously avoided'.[13] Others suggested that little other than government was ever discussed.[14] The disagreements that surround the content of discussion partly explain why the salon's relationship with the public sphere is so heavily contested. Oppositional politics were frowned upon within the salon, thus whether the salons can be classed as within the public sphere is debatable.
The salon and the 'public sphere'[edit]
Recent historiography of the salons has been dominated by Jürgen Habermas' work, The Structural Transformation of the Public Sphere (triggered largely by its translation into French, in 1978, and then English, in 1989), which argued that the salons were of great historical importance.[15] Theatres of conversation and exchange – such as the salons, and the coffeehouses in England – played a critical role in the emergence of what Habermas termed the public sphere, which emerged in cultural-political contrast to court society.[16] Thus, while women retained a dominant role in the historiography of the salons, the salons received increasing amounts of study, much of it in direct response to, or heavily influenced by Habermas’ theory.[17]
The most prominent defence of salons as part of the public sphere comes from Dena Goodman’s The Republic of Letters, which claims that the ‘public sphere was structured by the salon, the press and other institutions of sociability’.[18] Goodman’s work is also credited with further emphasising the importance of the salon in terms of French history, the Republic of Letters and the Enlightenment as a whole, and has dominated the historiography of the salons since its publication in 1994.[19]
Habermas’ dominance in salon historiography has come under criticism from some quarters, with Pekacz singling out Goodman’s Republic of Letters for particular criticism because it was written with ‘the explicit intention of supporting [Habermas’] thesis’, rather than verifying it.[20] The theory itself, meanwhile, has been criticised for a fatal misunderstanding of the nature of salons.[21] The main criticism of Habermas’ interpretation of the salons, however, is that the salons were not part of an oppositional public sphere, and were instead an extension of court society.
This criticism stems largely from Norbert Elias’ The History of Manners, in which Elias contends that the dominant concepts of the salons – politesse, civilité and honnêteté – were ‘used almost as synonyms, by which the courtly people wished to designate, in a broad or narrow sense, the quality of their own behaviour’.[22] Joan Landes agrees, stating that, ‘to some extent, the salon was merely an extension of the institutionalised court’ and that rather than being part of the public sphere, salons were in fact in conflict with it.[23] Erica Harth concurs, pointing to the fact that the state ‘appropriated the informal academy and not the salon’ due to the academies’ ‘tradition of dissent’ – something that lacked in the salon.[24] But Landes’ view of the salons as a whole is independent of both Elias’ and Habermas’ school of thought, insofar that she views the salons as a ‘unique institution’, that cannot be adequately described as part of the public sphere, or court society.[25] Others, such as Steven Kale, compromise by declaring that the public and private spheres overlapped in the salons.[26] Antoine Lilti ascribes to a similar viewpoint, describing the salons as simply ‘institutions within Parisian high society’.[27]
Debates surrounding women and the salon[edit]
Portrait of Mme Geoffrin, salonnière, by Marianne Loir (National Museum of Women in the Arts, Washington, DC)
Italian in exile, Princess Belgiojoso 1832, salonnière in Paris where political and other émigré Italians, including composer Vincenzo Bellini, gathered in the 1830s. Portrait by Francesco Hayez
When dealing with the salons, historians have traditionally focused upon the role of women within them.[28] Works in the 19th and much of the 20th centuries often focused on the scandals and ‘petty intrigues’ of the salons.[29] Other works from this period focused on the more positive aspects of women in the salon.[30] Indeed, according to Jolanta T. Pekacz, the fact women dominated history of the salons meant that study of the salons was often left to amateurs, while men concentrated on 'more important' (and masculine) areas of the Enlightenment.[31]
Historians tended to focus on individual salonnières, creating almost a 'great-woman' version of history that ran parallel to the Whiggish, male dominated history identified by Herbert Butterfield. Even in 1970, works were still being produced that concentrated only on individual stories, without analysing the effects of the salonnières' unique position.[32] The integral role that women played within salons, as salonnières, began to receive greater - and more serious - study in latter parts of the 20th century, with the emergence of a distinctly feminist historiography.[33] The salons, according to Carolyn Lougee, were distinguished by 'the very visible identification of women with salons', and the fact that they played a positive public role in French society.[34] General texts on the Enlightenment, such as Daniel Roche's France in the Enlightenment tend to agree that women were dominant within the salons, but that their influence did not extend far outside of such venues.[35]
It was, however, Goodman’s The Republic of Letters that ignited a real debate surrounding the role of women within the salons and the Enlightenment as a whole.[36] According to Goodman: ‘The salonnières were not social climbers but intelligent, self-educated, and educating women who adopted and implemented the values of the Enlightenment Republic of Letters and used them to reshape the salon to their own social intellectual, and educational needs’.[37]
Wealthy members of the aristocracy have always drawn to their court poets, writers and artists, usually with the lure of patronage, an aspect that sets the court apart from the salon. Another feature that distinguished the salon from the court was its absence of social hierarchy and its mixing of different social ranks and orders.[38] In the 17th and 18th centuries, "salon[s] encouraged socializing between the sexes [and] brought nobles and bourgeois together".[39] Salons helped facilitate the breaking down of social barriers which made the development of the enlightenment salon possible. In the 18th century, under the guidance of Madame Geoffrin, Mlle de Lespinasse, and Madame Necker, the salon was transformed into an institution of Enlightenment.[40] The enlightenment salon brought together Parisian society, the progressive philosophes who were producing the Encyclopédie, the Bluestockings and other intellectuals to discuss a variety of topics.
Salonnières and their salons: the role of women[edit]
At that time women had powerful influence over the salon. Women were the center of life in the salon and carried very important roles as regulators. They could select their guests and decide the subjects of their meetings. These subjects could be social, literary, or political topics of the time. They also served as mediators by directing the discussion.
The salon was an informal education for women, where they were able to exchange ideas, receive and give criticism, read their own works and hear the works and ideas of other intellectuals. Many ambitious women used the salon to pursue a form of higher education.[41]
Two of the most famous 17th-century literary salons in Paris were the Hôtel de Rambouillet, established in 1607 near the Palais du Louvre by the marquise de Rambouillet and, in 1652, in Le Marais, the rival salon of Madeleine de Scudéry, a long time habituée of the Hôtel de Rambouillet. Here gathered the original "blue-stockings" (les bas-bleus), whose nickname continued to mean "intellectual woman" for the next three hundred years.
A reading of Molière, Jean François de Troy, about 1728
Paris salons of the 18th century:
Madame Geoffrin
Madame de Tencin
Jeanne Quinault, hostess of the Bout-du-Banc
Madame Dupin
Françoise de Graffigny, author of Lettres d'une Péruvienne
Julie de Lespinasse: her chief draw was d'Alembert, but "though the name of M. d'Alembert may have drawn them thither, it was she alone who kept them there."
the marquise du Deffand, the friend of Horace Walpole
the marquise de Lambert
the duchesse du Maine
Madame d'Épinay
Madame Necker, the wife of the financier Jacques Necker
Madame Helvétius, the wife of Helvétius
Sophie de Condorcet, wife of the mathematician and philosopher Condorcet, visited by foreign notables and French thinkers alike
Madame Roland, the political salon that was the resort of the Girondists at the first stages of the Revolution
Madame Swetchine, wife of General Swetchine
Julie Talma, the friend of Benjamin Constant
Some 19th-century salons were more inclusive, verging on the raffish, and centered around painters and "literary lions" such as Madame Récamier. After the shock of the 1870 Franco-Prussian War, French aristocrats withdrew from the public eye. However, Princess Mathilde still held a salon in her mansion, rue de Courcelles, later rue de Berri. From the middle of the 19th century until the 1930s, a lady of society had to hold her "day", which meant that her salon was opened for visitors in the afternoon once a week, or twice a month. Days were announced in Le Bottin Mondain. The visitor gave his visit cards to the lackey or the maître d'hôtel, and he was accepted or not. Only people who had been introduced previously could enter the salon.
Marcel Proust called up his own turn-of-the-century experience to recreate the rival salons of the fictional duchesse de Guermantes and Madame Verdurin. He experienced himself his first social life in salons such as Mme Arman de Caillavet's one, which mixed artists and political men around Anatole France or Paul Bourget; Mme Straus' one, where the cream of the aristocracy mingled with artists and writers; or more aristocratic salons like Comtesse de Chevigné's, Comtesse Greffulhe's, Comtesse Jean de Castellane's, Comtesse Aimery de La Rochefoucauld's, etc. Some late 19th- and early 20th-century Paris salons were major centres for contemporary music, including those of Winnaretta Singer (the princesse de Polignac), and Élisabeth, comtesse Greffulhe. They were responsible for commissioning some of the greatest songs and chamber music works of Fauré, Debussy, Ravel and Poulenc.
Until the 1950s, some salons were held by ladies mixing political men and intellectuals during the IVth Republic, like Mme Abrami, or Mme Dujarric de La Rivière. The last salons in Paris were those of Marie-Laure de Noailles, with Jean Cocteau, Igor Markevitch, Salvador Dalí, etc., Marie-Blanche de Polignac (Jeanne Lanvin's daughter) and Madeleine and Robert Perrier, with Josephine Baker, Le Corbusier, Django Reinhardt, etc.[42]
Salons outside France[edit]
Mariquita Sánchez's salon in Buenos Aires
A salon in mid-19th century Russia
Zinaida Volkonskaya's salon in Moscow
Salon sociability quickly spread through Europe. In the 18th and 19th centuries, many large cities in Europe had salons copied on the Parisian models, although those were not as prominent as their French counterparts.
Belgium[edit]
Prior to the independence of Belgium, Béatrix de Cusance hosted a salon in Brussels in then Spanish Netherlands in the mid 17th-century, and in the late 18th-century, the political salon of Anne d'Yves played a role in the Brabant Revolution of 1789.
In Belgium, the 19th century salon hosted by Constance Trotti attracted cultural figures, the Belgian aristocracy and members of the French exiled colony.[43]
Denmark[edit]
In Denmark, the salon culture was adopted during the 18th century. Christine Sophie Holstein and Charlotte Schimmelman were the most notable hostesses, in the beginning and in the end of the 18th century respectively, both of whom were credited with political influence.[44] During the Danish Golden Age in the late 18th century and early 19th century, the literary salon played a significant part in Danish culture life, notably the literary salons at arranged by Friederike Brun at Sophienholm and that of Kamma Rahbek at Bakkehuset.[45]
Germany[edit]
In Germany, the most famous were held by Jewish ladies, such as Henriette Herz, Sara Grotthuis, and Rahel Varnhagen, and in Austria in the late 18th and early 19th centuries by two prominent Jewish Patrons of the Arts: Adele Bloch-Bauer[46] and Berta Zuckerkandl. In Spain, by María del Pilar Teresa Cayetana de Silva y Álvarez de Toledo, 13th Duchess of Alba at the end of the 18th century; and in Greece by Alexandra Mavrokordatou in the 17th century.
Increasingly emancipated German-speaking Jews wanted to immerse themselves in Germany's rich cultural life. However, individual Jews were faced with a dilemma: they faced new opportunities, but without the comfort of a secure community. For Jewish women, there was an additional issue. German society imposed the usual gender role restrictions and antisemitism, so cultivated Jewish women tapped into the cultural salon. But from 1800 on, salons performed a political and social miracle.[47] The salon allowed Jewish women to establish a venue in their homes in which Jews and non-Jews could meet in relative equality. Like-minded people could study art, literature, philosophy or music together. This handful of educated, acculturated Jewish women could escape the restrictions of their social ghetto. Naturally the women had to be in well-connected families, either to money or to culture. In these mixed gatherings of nobles, high civil servants, writers, philosophers and artists, Jewish salonnières created a radical vehicle for democratisation, providing a context in which patrons and artists freely exchanged ideas. Henriette Lemos Herz, Fanny Mendelssohn Hensel, Dorothea Mendelssohn Schlegel, Amalie Wolf Beer and at least twelve other salonnières achieved fame and admiration.
Great Britain[edit]
In 18th century England, salons were held by Elizabeth Montagu, in whose salon the expression blue stockings originated, and who created the Blue Stockings Society, and by Hester Thrale. In the 19th century, the Russian Baroness Méry von Bruiningk hosted a salon in St. John's Wood, London, for refugees (mostly German) of the revolutions of 1848 (the Forty-Eighters). Clementia Taylor, an early feminist and radical held a salon at Aubrey House in Campden Hill in the 1860s. Her salon was attended by Moncure D. Conway,[48] Louisa May Alcott,[49] Arthur Munby, feminists Barbara Bodichon, Lydia Becker, Elizabeth Blackwell, and Elizabeth Malleson.[50]
Italy[edit]
Italy had had an early tradition of the salon; Giovanna Dandolo became known as a patron and gatherer of artists as wife of Pasquale Malipiero, the doge in Venice in 1457-1462, and the courtisan Tullia d'Aragona held a salon already in the 16th century, and in the 17th century Rome, the abdicated Queen Christina of Sweden and the princess Colonna, Marie Mancini, rivaled as salon hostesses.
The tradition of the literary salon continued to flourish in Italy throughout the 19th century. Naturally there were many salons with some of the most prominent being hosted by Clara Maffei in Milan, Emilia Peruzzi in Florence and Olimpia Rossi Savio in Turin. The salons attracted countless outstanding 19th-century figures including the romantic painter Francesco Hayez, composer Giuseppe Verdi and naturalist writers Giovanni Verga, Bruno Sperani and Matilde Serao. The salons served a very important function in 19th-century Italy, as they allowed young attendees to come into contact with more established figures. They also served as a method of avoiding government censorship, as a public discussion could be held in private. The golden age of the salon in Italy could be said to coincide with the pre-unification period, after which the rise of the newspaper replaced the salon as the main place for the Italian public to engage in conversation.[51]
Latin America[edit]
Argentina's most active female figure in the revolutionary process, Mariquita Sánchez, was Buenos Aires' leading salonnière.[52] She fervently embraced the cause of revolution, and her tertulia gathered all the leading personalities of her time. The most sensitive issues were discussed there, as well as literary topics. Mariquita Sánchez is widely remembered in the Argentine historical tradition because the Argentine National Anthem was sung for the first time in her house, on 14 May 1813.[53]
Poland[edit]
In Poland, the duchess Sieniawska held a salon in the end of the 17th century. They became very popular there during the 18th century. The most renowned were the Thursday Dinners of King Stanisław II Augustus at the end of the 18th century, and the most notable salonnières were Zofia Lubomirska and Izabela Czartoryska.
Russia[edit]
The salon culture was introduced to Imperial Russia during the Westernization Francophile culture of the Russian aristocracy in the 18th-century. During the 19th-century, several famous salon functioned hosted by the nobility in Saint Petersburg and Moscow, among the most famed being the literary salon of Zinaida Volkonskaya in 1820s Moscow.
Sweden[edit]
In Sweden, the salon developed during the late 17th century and flourished until the late 19th century. During the 1680s and 1690s, the salon of countess Magdalena Stenbock became a meeting where foreign ambassadors in Stockholm came to make contacts, and her gambling table was described as a center of Swedish foreign policy. [54] During the Swedish age of liberty (1718-1772), women participated in political debate and promoted their favorites in the struggle between the Caps (party) and the Hats (party) through political salons.[55] These forums were regarded influential enough for foreign powers to engage some of these women as agents to benefit their interests in Swedish politics.[56] The arguably most noted political salonniére of the Swedish age of liberty was countess Hedvig Catharina De la Gardie (1695–1745), whose salon has some time been referred to as the first in Sweden, and whose influence on state affairs exposed her to libelous pamphlets and made her a target of Olof von Dahlin's libelous caricature of the political salon hostess in 1733.[57] Magdalena Elisabeth Rahm was attributed to have contributed to the realization of the Russo-Swedish War (1741–1743) through the campaign for the war she launched in her salon.[58] Outside of politics, Hedvig Charlotta Nordenflycht acted as the hostess of the literary academy Tankebyggarorden and Anna Maria Lenngren did the same for the Royal Swedish Academy. During the reign of Gustavian age, the home of Anna Charlotta Schröderheim came to be known as a center of opposition. Salon hostesses were still attributed influence in politic affairs in the first half of the 19th century, which was said of both Aurora Wilhelmina Koskull[59] in the 1820s as well as Ulla De Geer in the 1840s.[60]
In the 19th century, however, the leading salon hostesses in Sweden became more noted as the benefactors of the arts and charity than with politics. From 1820 and two decades onward, Malla Silfverstolpe became famous for her Friday nights salon in Uppsala, which became a center of the Romantic era in Sweden and, arguably the most famed literary salon in Sweden.[61] During the 1860s and 1870s, the Limnell Salon of the rich benefactor Fredrika Limnell in Stockholm came to be a famous center of the Swedish cultural elite, were especially writers gathered to make contact with wealthy benefactors,[62] a role which was eventually succeeded by the Curman Receptions of Calla Curman in the 1880s and 1890s.[63]
Spain[edit]
In Iberia or Latin America, a tertulia is a social gathering with literary or artistic overtones. The word is originally Spanish and has only moderate currency in English, in describing Latin cultural contexts. Since the 20th century, a typical tertulia has moved out from the private drawing-room to become a regularly scheduled event in a public place such as a bar, although some tertulias are still held in more private spaces. Participants may share their recent creations (poetry, short stories, other writings, even artwork or songs).[64]
Switzerland[edit]
In Switzerland, the salon culture was extant in the mid 18th-century, represented by Julie Bondeli in Bern and Barbara Schulthess in Zürich, and the salon of Anna Maria Rüttimann-Meyer von Schauensee reached in influential role in the early 19th-century.
In Coppet close to Geneva, the author Germaine de Staël hosted a salon which played a key role in the aftermath of the French Revolution and especially under Napoleon Bonaparte's Regime. De Staël is author of around thirty publication, from which De L'allemagne (1813) was the most well-known in its time. She has been painted by such famous painters as François Gérard and Elisabeth Vigée-Lebrun.
United States[edit]
American "society hostesses" such as Perle Mesta have performed a function similar to the host or hostess of the European salon. During the Harlem Renaissance, Ruth Logan Roberts hosted a salon that brought together leading figures in culture and politics of Harlem at the time.[65]
Other uses of the word[edit]
Main article: Paris Salon
The word salon also refers to art exhibitions. The Paris Salon was originally an officially sanctioned exhibit of recent works of painting and sculpture by members of the Académie royale de peinture et de sculpture, starting in 1673 and soon moving from the Salon Carré of the Palace of the Louvre.
The name salon remained, even when other quarters were found and the exhibits' irregular intervals became biennial. A jury system of selection was introduced in 1748, and the salon remained a major annual event even after the government withdrew official sponsorship in 1881.
See also[edit]
Coffeehouse
English coffeehouses in the seventeenth and eighteenth centuries
Stammtisch
French art salons and academies
Heterosociality
Paris Salon
Salon des Refusés
Salon d'Automne
Salon des Indépendants
Salon.com
Social center
Women's literary salons and societies in the Arab World
References[edit]
Jump up ^ (in French) Dictionnaire des lettres françaises: le XVIIe siècle, revised edition by Patrick Dandrey, ed. Fayard, Paris, 1996, p. 1149. ISBN 2-253-05664-2
Jump up ^ Aronson, Nicole, Madame de Rambouillet ou la magicienne de la Chambre bleue, Fayard, Paris, 1988.
Jump up ^ Kale, Steven. French Salons : High Society and Political Sociability from the Old Regime to the revolution of 1848. Baltimore : The Johns Hopkins University Press, 2004. p.2
Jump up ^ Lenotre, G. Le Château de Rambouillet, six siècles d'Histoire, Calmann-Lévy, Paris, 1930. New publication, Denoël, Paris, 1984, chapter: Les précieuses, pp. 20-21
Jump up ^ Dena Goodman, The Republic of Letters: A Cultural History of the French Enlightenment (Ithaca: Cornell University Press, 1994), p. 280.
Jump up ^ Steven Kale, French Salons: High Society and Political Sociability from the Old Regime to the Revolution of 1848 (Baltimore: Johns Hopkins University Press, 2006) p. 9
Jump up ^ Ibid., p. 9
Jump up ^ Sisley Huddleston, Bohemian, Literary and Social Life in Paris: Salons, Cafes, Studios (London: George G. Harrap, 1928)
Jump up ^ Steven Kale, French Salons, p. 5.
Jump up ^ Dena Goodman, 'Enlightenment Salons: The Convergence of Female and Philosophic Ambitions' Eighteenth-Century Studies, Vol. 22, No. 3, Special Issue: The French Revolution in Culture (Spring, 1989), pp. 330
Jump up ^ Ibid., pp. 329-331
Jump up ^ Benedetta Craveri, The Age of Conversation (New York: New York Review Books, 2005)
Jump up ^ Kale, French Salons, p. 5.
Jump up ^ Ibid., p. 5.
Jump up ^ Jürgen Habermas (trans. Thomas Burger), The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society (Camb., Mass.: MIT Press, 1989).
Jump up ^ Ibid., p. 30.
Jump up ^ Joan B. Landes, Women and the Public Sphere in the Age of the French Revolution (Ithaca: Cornell University Press, 1988); Goodman, The Republic of Letters; Erica Harth, Cartesian Women: Versions and Subversions of Rational Discourse in the Old Regime (Ithaca: Cornell University Press, 1992).
Jump up ^ Dena Goodman, The Republic of Letters: a Cultural History of the French Enlightenment (Ithaca: Cornell University Press, 1994), p. 14.
Jump up ^ Kale, French Salons, p. 238 n. 5.
Jump up ^ Jolanta T. Pekacz, Conservative Tradition In Pre-Revolutionary France: Parisian Salon Women (New York: Peter Lang, 1999) p. 3.
Jump up ^ Landes, Women and the Public Sphere in the Age of the French Revolution, pp. 23-4.
Jump up ^ Norbert Elias (Trans. Edmund Jephcott), The Civilising Process: The History of Manners, Vol. 1 (Oxford: Basil Blackwell, 1978), pp. 39-40.
Jump up ^ Landes, Women and the Public Sphere in the Age of the French Revolution, pp. 23-5.
Jump up ^ Harth, Cartesian Women, pp. 61-63.
Jump up ^ Landes, Women and the Public Sphere in the Age of the French Revolution, p. 23
Jump up ^ Kale, French Salons, p. 12.
Jump up ^ Antoine Lilti, ‘Sociabilité et mondanité: Les hommes de lettres dans les salons parisiens au XVIIIe siècle’ French Historical Studies, Vol. 28, No. 3 (Summer 2005), p. 417.
Jump up ^ Jolanta T. Pekacz, Conservative Tradition In Pre-Revolutionary France: Parisian Salon Women, p. 1.
Jump up ^ S. G. Tallentyre, Women of the Salons (New York: G. P. Putnam’s Sons, 1926) and Julia Kavanagh, Women in France during the Enlightenment Century, 2 Vols (New York: G. P. Putnam’s Sons, 1893).
Jump up ^ Edmond et Jules Goncourt, La femme au dix-huitème siècle (Paris: Firmin Didot, 1862) and Paul Deschanel, Figures des femmes (Paris: Calmann-Lévy, 1900).
Jump up ^ Pekacz, Conservative Tradition In Pre-Revolutionary France, p. 2.
Jump up ^ Anny Latour (Trans. A. A. Dent), Uncrowned Queens: Reines Sans Couronne (London: J. M. Dent, 1970)
Jump up ^ Carolyn C. Lougee, Women, Salons and Social Stratification in Seventeenth Century France, pp. 3-7.
Jump up ^ Ibid., pp. 3, 7.
Jump up ^ Daniel Roche (Trans Arthur Goldhammr), France in the Enlightenment, (Cambridge, Mass.: HUP, 1998), pp. 443-8.
Jump up ^ Goodman, The Republic of Letters, pp. 1-11.
Jump up ^ Ibid., p. 76.
Jump up ^ Goodman, Dena.Enlightenment salons: The Convergence of Female and Philosophic Ambitions. Eighteenth-Century Studies, Vol. 22. 3, Special issue : The French Revolution in Culture. (Spring, 1989), p 338
Jump up ^ Kale, Steven.French Salons : High Society and Political Sociability from the Old Regime to the revolution of 1848. Baltimore : The Johns Hopkins University Press,2004. p.2
Jump up ^ Goodman, Dena.Enlightenment salons: The Convergence of Female and Philosophic Ambitions. Eighteenth-Century Studies, Vol. 22. 3, Special issue : The French Revolution in Culture. (Spring, 1989), p.331
Jump up ^ Bodek, Evelyn Gordon.Salonnières and the Bluestockings : Educated Obsolescence and Germinating feminism, Feminist Studies, Vol. 3 No. 3/4 ( spring-summer, 1976), p. 186
Jump up ^ Django Reinhardt - Swing De Paris. 6 Oct. 2012. Exhibit. La Cité de la musique, Paris.
Jump up ^ Éliane Gubin (2006) (French). Dictionnaire des femmes belges: XIXe et XXe siècles. Lannoo Uitgeveri. ISBN 9782873864347
Jump up ^ Dansk Kvindebiografisk Leksikon. KVinfo.dk
Jump up ^ Dansk Kvindebiografisk Leksikon. KVinfo.dk
Jump up ^ http://www.neuegalerie.org/museum/press-releases/klimt-bloch-bauer
Jump up ^ Webberley, Helen, "Cultural Salons and Jewish Women in 19th Century Berlin", Limmud Oz Conference Sydney, July 2005.
Jump up ^ Moncure Daniel Conway (June 2001). Autobiography Memories and Experiences of Moncure Daniel Conway. Volume 2. Elibron.com. pp. 14–. ISBN 978-1-4021-6692-1. Retrieved 1 December 2012.
Jump up ^ TayODNB.
Jump up ^ MunODNB.
Jump up ^ Romani, Gabriela. "A room with a view: interpreting the Ottocento through the literary salon". Retrieved 16 April 2012.
Jump up ^ Soledad Vallejos (July 16, 2004). "Recuperando a Mariquita". Perfil. Retrieved February 10, 2013.
Jump up ^ Galasso, Norberto (2000). Seamos libres y lo demás no importa nada [Let us be free and nothing else matters] (in Spanish). Buenos Aires: Colihue. p. 102. ISBN 978-950-581-779-5.
Jump up ^ Norrhem, Svante: Kvinnor vid maktens sida : 1632-1772 [Women by the side of power: 1632-1772] (2007) Lund (Nordic Academic Press) (Swedish)
Jump up ^ Norrhem, Svante: Kvinnor vid maktens sida : 1632-1772 [Women by the side of power: 1632-1772] (2007) Lund (Nordic Academic Press) (Swedish)
Jump up ^ Norrhem, Svante: Kvinnor vid maktens sida : 1632-1772 [Women by the side of power: 1632-1772] (2007) Lund (Nordic Academic Press) (Swedish)
Jump up ^ Norrhem, Svante: Kvinnor vid maktens sida : 1632-1772 [Women by the side of power: 1632-1772] (2007) Lund (Nordic Academic Press) (Swedish)
Jump up ^ Magdalena Elisabeth Rahm i Wilhelmina Stålberg, Anteckningar om svenska qvinnor (1864)
Jump up ^ Personhistorisk tidskrift 1898-1899, s. 174-175
Jump up ^ Carl De Geer, urn:sbl:17344, Svenskt biografiskt lexikon (art av B. Boethius. Herbert Lundh.), hämtad 2013-10-28
Jump up ^ Österberg, Carin et al., Svenska kvinnor: föregångare, nyskapare. Lund: Signum 1990. (ISBN 91-87896-03-6)
Jump up ^ C Fredrika Limnell, urn:sbl:10390, Svenskt biografiskt lexikon (art av Sven Erik Täckmark), hämtad 2015-03-15.
Jump up ^ Calla Curman (f. Lundström), urn:sbl:15740, Svenskt biografiskt lexikon (art av Gurli Linder.), hämtad 2015-09-05.
Jump up ^ El Madrid de 1900, espacios populares de Cultura y Ocio [Madrid in 1900, popular spaces for culture and leisure]; Tertulia Andaluza ("Tertulia Andaluza")
Jump up ^ Alexander, Adele Logan. "Roberts, Ruth Logan". Religion and Community. Facts On File, 1997. African-American History Online. Retrieved 6 February 2016. Sourced from Hine, Darlene Clark; Thompson, Kathleen, eds. (1997). Facts on File encyclopedia of Black women in America. New York, NY: Facts on File. ISBN 9780816034246. OCLC 906768602.
Bibliography[edit]
Craveri, Benedetta, The Age of Conversation (New York: New York Review Books, 2005)
Davetian, Benet, Civility: A Cultural History (University of Toronto Press, 2009)
Elias, Norbert, (Trans. Edmund Jephcott), The Civilising Process: The History of Manners, Vol. 1 (Oxford: Basil Blackwell, 1978)
Goodman, Dena, The Republic of Letters: A Cultural History of the French Enlightenment (Ithaca: Cornell University Press, 1994)
Goodman, Dena, Enlightenment Salons: The Convergence of Female and Philosophic Ambitions, Eighteenth-Century Studies, Vol. 22, No. 3, Special Issue: The French Revolution in Culture (Spring, 1989), pp. 329–350
Kale, Steven, French Salons: High Society and Political Sociability from the Old Regime to the Revolution of 1848 (Baltimore: Johns Hopkins University Press, 2006)
Habermas, Jürgen, (trans. Thomas Burger), The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society (Camb., Mass.: MIT Press, 1989)
Harth, Erica, Cartesian Women: Versions and Subversions of Rational Discourse in the Old Regime (Ithaca: Cornell University Press, 1992).
Huddleston, Sisley, Bohemian, Literary and Social Life in Paris: Salons, Cafes, Studios (London: George G. Harrap, 1928)
Kavanagh, Julia, Women in France during the Enlightenment Century, 2 Vols (New York: G. P. Putnam’s Sons, 1893)
Landes, Joan B., Women and the Public Sphere in the Age of the French Revolution (Ithaca: Cornell University Press, 1988);
Latour, Anny (Trans. A. A. Dent), Uncrowned Queens: Reines Sans Couronne (London: J. M. Dent, 1970)
Lougee, Carolyn C., Le Paradis des Femmes: Women, Salons and Social Stratification in Seventeenth Century France (Princeton: Princeton University Press, 1976)
Lilti, Antoine, Sociabilité et mondanité: Les hommes de lettres dans les salons parisiens au XVIIIe siècle, French Historical Studies, Vol. 28, No. 3 (Summer 2005), p. 415-445
Pekacz, Jolanta T., Conservative Tradition In Pre-Revolutionary France: Parisian Salon Women (New York: Peter Lang, 1999)
Roche, Daniel, (Trans Arthur Goldhammr), France in the Enlightenment, (Cambridge, Mass.: HUP, 1998)
Tallentyre, S. G., Women of the Salons (New York: G. P. Putnam’s Sons, 1926)
Von der Heyden-Rynsch, Verena, Europaeische Salons. Hoehepunkte einer versunken weiblichen Kultur (Düsseldorf: Artemis & Winkler, 1997)
Further reading[edit]
Beasley, Faith E. Salons, History, and the Creation of Seventeenth-Century France. Hampshire: Ashgate Publishing Company,2006.
Bilski, Emily et al. Jewish Women and Their Salons: The Power of Conversation, Jewish Museum New York, 2005.
Craveri, Benedetta. The Age of Conversation. Trans. Teresa Waugh. New York: New York Review Books,2005.
Benet Davetian "The History and Meaning of Salons"
James Ross, ‘Music in the French Salon’; in Caroline Potter and Richard Langham Smith (eds.), French Music Since Berlioz (Ashgate Press, 2006), pp. 91–115. ISBN 0-7546-0282-6.
Mainardi, Patricia. The End of the Salon: Art and the State of the Early Republic. New York: Cambridge University Press, 1993.
Laure HILLERIN, La comtesse Greffulhe, L'ombre des Guermantes Paris, Flammarion, 2014.
External links[edit]
Look up salon in Wiktionary, the free dictionary.
Private salons
Hum Salon by Falling Apple Charitable Trust, Auckland, New Zealand
Mlle de Scudéry
Julie de Lespinasse, Mme Geoffrin in memoirs.
The Women of the French Salons by Amelia Ruth Gere Mason
Charlottetown Conversation Salon
Benet Davetian's Article on the History and Meaning of Salons
La comtesse Greffulhe, a french salonnière of the Belle Epoque
Comic art: The Paris Salon in Caricature: Getty Museum exhibition, 2003.
Jewish Women and Their Salons
Retrieved from "https://en.wikipedia.org/w/index.php?title=Salon_(gathering)&oldid=812399960"
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text:
Hatton Garden safe deposit burglary
From Wikipedia, the free encyclopedia
Jump to: navigation, search
The entrance to Hatton Garden Safe Deposit Ltd at number 88-90, Hatton Garden
Police at Hatton Gardens Safe Deposits
The underground fire in Kingsway which disrupted the area
In April 2015, the Hatton Garden Safe Deposit Company, an underground safe deposit facility in London's Hatton Garden area, was burgled. The total stolen may have a value of up to £200 million,[1][2][3] the incident has been called the "largest burglary in English legal history."
The heist was planned and carried out by four elderly men who were experienced thieves, all of whom pleaded guilty and received prison sentences in March 2016.[4][5] Four other men were also tried on suspicion of involvement; three were found guilty and sent to prison, while the fourth was cleared.[6]
Contents
[hide]
1 Burglary
2 Timeline
3 Arrests
4 Sentencing
5 In television and film
6 See also
7 References
8 External links
Burglary[edit]
The burglary occurred during a period in which the Easter Bank Holiday and Passover coincided. The police first announced that the facility had been burgled on 7 April,[7] and reports based on CCTV footage state that the attack on the facility commenced on 2 April.[7][8] The theft was so significant that the investigation was assigned to the Flying Squad, a branch of the Specialist, Organised & Economic Crime Command within London's Metropolitan Police Service.[1]
There was no externally visible sign of a forced entry to the premises.[9] It was reported that the burglars had entered the premises through a lift shaft,[10] then drilled through the 50 cm[11] thick vault walls with a Hilti DD350 industrial power drill.[2][12]
On 8 April, press reports emerged speculating that a major underground fire in nearby Kingsway may have been started to create a diversion as part of the Hatton Garden burglary.[13] The London Fire Brigade later stated that the fire had been caused by an electrical fault, with no sign of arson.[14]
A CCTV recording of the incident was released by the Daily Mirror before the police released it. The video showed people nicknamed by the newspaper as "Mr Ginger, Mr Strong, Mr Montana, The Gent, The Tall Man and The Old Man".[15][16]
On 22 April, the police released pictures of the inside of the vault showing damage caused by the burglary, and how the burglars had used holes drilled through the vault's wall to bypass the main vault door.[17]
On 19 May, the Metropolitan Police announced that nine arrests had been made in connection with their investigation into the raid.[18]
On 1 September 2015, it was announced that the Hatton Garden Safe Deposit Company had gone into liquidation as the business had become insolvent because "trade dried up" as a result of the robbery.[19]
Timeline[edit]
On 1 April 2015, electrical cables under the pavement in Kingsway caught fire, leading to serious disruption in central London. The fire continued for the next two days, with flames shooting out of a manhole cover from a burst gas main,[20] before being extinguished.[21] Several thousand people were evacuated from nearby offices, and several West End theatres cancelled performances.[20][22][23] There was also substantial disruption to telecoms infrastructure.[24] On 8 April, press reports emerged stating that the fire may have been started as part of the burglary.[13]
2 April: 21:19 staff lock doors for Easter weekend[7][8]
2 April: 21:23 "Mr Ginger" descends to the vault, followed by three men pulling wheelie bins[8]
3 April: 00:21 police at Scotland Yard are informed that the burglar alarm has been triggered
3 April: 08:05 gang members talk before going to their van and driving away
4 April: 21:17 "Mr Ginger" goes down into vault, and is later joined by two other men
5 April: 06:10 the gang members drive away from the building
7 April: Scotland Yard state they are aware of the burglary[7]
10 April: The Daily Mirror releases CCTV footage[16]
19 May: The Metropolitan Police announce that they have arrested nine suspects[18]
Arrests[edit]
On 19 May 2015, 76-year-old Brian Reader, who was previously involved in laundering the proceeds of the Brink's-Mat robbery,[25] and his 50-year-old son Brian Jr. were arrested in connection with the robbery by Flying Squad officers.[26]
In November 2015, Carl Wood, William Lincoln, Jon Harbinson and Hugh Doyle were all charged with conspiracy to commit burglary and conspiracy to conceal, convert or transfer criminal property. The theft was described as the "largest burglary in English legal history."[27]
Sentencing[edit]
On 9 March 2016, at Woolwich Crown Court, three members of the gang, John "Kenny" Collins, Daniel Jones and Terry Perkins, were found guilty of conspiracy to commit burglary and were each given a seven-year prison term.
Carl Wood and William Lincoln were found guilty of the same offence and also one count of conspiracy to conceal, convert or transfer criminal property, after trial. Lincoln was also given a seven-year sentence, and Wood was jailed for six years.
Hugh Doyle was found guilty of concealing, converting or transferring criminal property. He was jailed for 21 months, suspended for two years.[28]
Finally, the ringleader, Brian Reader, was sentenced to six years and three months in jail on 21 March 2016.[5]
The eighth man, Jon Harbinson, was found not guilty and discharged.[6]
In television and film[edit]
The heist was one of the main features of the American investigative science web-TV series, White Rabbit Project, released on 9 December 2016. The programme sees the presenters investigate and demonstrate the methods used in the heist as well as featuring dramatised re-enactments. It is featured in series one, episode five, "Heist!".
The Heist was also the subject of three films, "One Last Heist" from 2017, "Hatton Garden the Heist!" from 2016 and "The Hatton Garden Job" from 2017. A third film, "Night in Hatton Garden" starring Michael Caine and Ray Winstone is currently in production.[29]
See also[edit]
Antwerp Diamond Heist – dubbed the "heist of the century". The thieves stole loose diamonds, gold, and other jewellery valued at more than $100 million.
Baker Street robbery – 1971 burglary of safe-deposit boxes from a bank in Baker Street, London.
Schiphol Airport diamond heist – took place on 25 February 2005 with an estimated €75 million ($118 million) stolen.
List of missing treasures
References[edit]
^ Jump up to: a b Rose Troup Buchanan (9 April 2015). "Hatton Garden jewellery burglary: How was the £200 million heist pulled off?". The Independent.
^ Jump up to: a b Catherine Neilan (9 April 2015). "Hatton Garden jewel thieves used used heavy duty drill Hilti DD350 to bore holes into vault – but did not break into the building". City AM.
Jump up ^ "Hatton Garden safety deposit box vault burgled". BBC News. 7 April 2015.
Jump up ^ "The Graying Thieves Who Nearly Got Away With a Record Heist in London". The New York Times. 2015-12-12. Retrieved 2015-12-13.
^ Jump up to: a b "Hatton Garden heist ringleader jailed". BBC News. BBC. 21 March 2016. Retrieved 21 March 2016.
^ Jump up to: a b "Hatton Garden heist:Three men found guilty over £14m jewellery raid". Daily Telegraph. 7 March 2016. Retrieved 21 March 2016.
^ Jump up to: a b c d "Hatton Garden raid: CCTV images of 'audacious' raid released". BBC. 11 April 2015. Retrieved 13 April 2015.
^ Jump up to: a b c Tom Pettifor (14 April 2015). "Hatton Garden heist: Detectives to quiz jewellery boss who was out of country". Daily Mirror.
Jump up ^ Alexandra Topping (9 April 2015). "No forced entry in Hatton Garden safety deposit box raid, say police". The Guardian.
Jump up ^ "Hatton Garden raid: Vault breached via lift shaft". BBC News. 9 April 2015.
Jump up ^ "Hole drilled by burglars at Hatton Garden revealed". BBC News. 22 April 2015.
Jump up ^ "How the Hatton Garden robbery was carried out". ITV News. 9 April 2015.
^ Jump up to: a b Rachel Blundy and Sebastian Mann (8 April 2015). "Holborn fire 'could have been deliberately started by burglars responsible for Hatton Garden jewel heist'". London Evening Standard.
Jump up ^ Ross Lydall (9 April 2015). "'Holborn fire wasn't deliberate,' says London fire boss after claims it was linked to London jewel raid". London Evening Standard.
Jump up ^ Collins, David (12 April 2015). "Hatton Garden heist: Robbers returned a SECOND time after cops failed to respond to alarm". Daily Mirror. Mirror Group. Retrieved 13 April 2015.
^ Jump up to: a b "Hatton Garden heist CCTV: Watch dramatic moment £60m gem raiders are caught on camera". Daily Mirror. 10 April 2015. Retrieved 13 April 2015.
Jump up ^ Martin Evans (22 April 2015). "Hatton Garden heist: First images from inside vault".
^ Jump up to: a b "Hatton Garden raid: Nine men arrested". BBC News. 19 May 2015.
Jump up ^ "Hatton Garden safe deposit firm hit by gem heist calls in liquidators". The Guardian. 1 September 2015. Retrieved 1 September 2015.
^ Jump up to: a b "Holborn electrical fire causes mass evacuation". BBC News. Retrieved 2 April 2015.
Jump up ^ "Holborn underground fire extinguished". BBC News. 3 April 2015. Retrieved 4 April 2015.
Jump up ^ "Holborn fire costs London firms £40m: Full scale of damage and disruption revealed". The Standard. Retrieved 2 April 2015.
Jump up ^ O'Connor, Roisin. "Holborn fire: Kingsway remains closed as firefighters continue to tackle blaze burning under pavement in central London". The Independent. Retrieved 2 April 2015.
Jump up ^ Alex Scroxton (2 April 2015). "Kingsway fire brings down broadband services in London". Computer Weekly. Retrieved 4 April 2015.
Jump up ^ "Brink's-Mat: 30 years on from Britain's most notorious gold robbery – Metro News". Metro. Retrieved 1 December 2015.
Jump up ^ "Father and son car dealers are suspects in Hatton Garden heist". Telegraph.co.uk. 20 May 2015. Retrieved 1 December 2015.
Jump up ^ "Hatton Garden raid 'largest in English history'". BBC News. 23 November 2015. Retrieved 23 November 2015.
Jump up ^ "Hatton Garden heist gang members jailed for total of 34 years over £14 million raid". Daily Telegraph. 9 March 2016. Retrieved 9 March 2016.
Jump up ^ Fifield, Nicola. "Michael Caine and Ray Winstone crook the part as they star as the OAPs behind £25m Hatton Garden heist". Mirror. Retrieved 27 May 2017.
External links[edit]
Wikimedia Commons has media related to 88–90 Hatton Garden.
Hatton Garden burglary at met.police.uk
Coordinates: 51°31′10″N 0°06′30″W / 51.5194°N 0.1083°W / 51.5194; -0.1083
Retrieved from "https://en.wikipedia.org/w/index.php?title=Hatton_Garden_safe_deposit_burglary&oldid=802737253"
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Jack Handey
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Jack Handey
Born
(1949-02-25) February 25, 1949 (age 69)
San Antonio, Texas
Website
deepthoughtsbyjackhandey.com
Jack Handey (born February 25, 1949) is an American humorist. He is best known for his "Deep Thoughts by Jack Handey", a large body of surrealistic one-liner jokes, as well as his "Fuzzy Memories" and "My Big Thick Novel" shorts, and for his deadpan delivery.[1] Although many people assume otherwise,[2][3] Handey is a real person, not a pen name or character.
Contents
[hide]
1 Career
1.1 Deep Thoughts
1.2 Other SNL work
1.3 Further writing
2 Personal life
3 Bibliography
3.1 Books
3.2 Essays and reporting
3.3 Television writing
4 References
5 External links
Career[edit]
Handey's earliest writing job was for a newspaper, the San Antonio Express-News. He lost the job, in his words, after writing an article that "offended local car dealerships".[3] His first comic writing was with comedian Steve Martin. According to Martin, Handey got a job writing for Saturday Night Live after Martin introduced Handey to the show's creator, Lorne Michaels.[4] For several years Handey worked on other television projects: the Canadian sketch series Bizarre in 1980; the 1980 Steve Martin television special Comedy Is Not Pretty!; and Lorne Michaels' short-lived sketch show on NBC called The New Show in 1984. Handey returned to Saturday Night Live in 1985 as a writer.[2]
Deep Thoughts[edit]
In April 1984, National Lampoon published the first of Jack Handey's Deep Thoughts. Additional Deep Thoughts appeared in the October and November 1984 editions as well as in the short-lived comedy magazine Army Man, while more appeared in 1988 in The Santa Fe New Mexican. The one-liners were to become Handey's signature work, notable for their concise humor and their outlandish hypothetical situations. For example:
If trees could scream, would we be so cavalier about cutting them down? We might, if they screamed all the time, for no good reason.[5]
"The crows seem to be calling my name", thought Caw.[6]
Handey's work next showed up in the Michael Nesmith-produced TV series Television Parts in the format which would later become famous on Saturday Night Live (though in Television Parts, Nesmith provided the narration). Some of these segments appeared in the compilation video of that program, Doctor Duck's Super Secret All-Purpose Sauce.
Between 1989 and 1990, Deep Thoughts were shown during commercial breaks on The Comedy Channel with Handey's narration.
Between 1991 and 1998, Saturday Night Live included Deep Thoughts on the show as an interstitial segment (between sketches). Introduced by Phil Hartman and read live by Handey (neither actually appeared on screen), the one-liners proved to be extremely popular. Hartman would intone "And now, Deep Thoughts, by Jack Handey...", and peaceful easy listening music would play while the screen showed soothing pastoral scenes, much like a New Age relaxation video. Handey would then read the Deep Thought as the text to it scrolled across the screen. They became an enduring feature of SNL, which often had multiple Thoughts in each episode, and made Handey a well-known name.
Other SNL work[edit]
Other Handey creations that appeared on SNL include the Unfrozen Caveman Lawyer,[2] "Fuzzy Memories" which depicted reenactments of a twisted childhood memory and aired in the late 1990s, and the short-lived "My Big Thick Novel", which were spoken excerpts from a very long book in the style of "Deep Thoughts" and which aired during the 2001–03 seasons of SNL.
Handey is also credited with creating Toonces the Driving Cat, the cat who could drive a car, although not very well.[7] The recurring skit originated in 1989 with Steve Martin and Victoria Jackson as the crash-prone kitten's owners. In 1992 NBC aired a half-hour Toonces special. Handey, who owned a real cat by the same name, once said he could not remember exactly how he dreamed up the premise. He said, "It was just one of those free association ideas you write down and look at later and think, 'Maybe.'"[7]
Further writing[edit]
In early April 2008, Handey published his first collection of magazine humor pieces, "What I'd Say to the Martians and Other Veiled Threats". Associated Press critic Jake Coyle wrote, "With absurdist musings such as these, Handey has established himself as the strangest of birds: a famous comedian whose platform is not the stage or screen, but the page."[4] Handey subsequently became a regular contributor to The New Yorker Shouts and Murmurs section.[8]
On July 16, 2013 Handey's first novel, The Stench of Honolulu, was released.[9]
Personal life[edit]
Handey was born in San Antonio, Texas, in 1949. His family later moved to El Paso, Texas, where Handey attended Eastwood High School (where he was editor of Sabre, the school newspaper) and the University of Texas at El Paso.
Jack Handey lives with his wife, Marta Chavez Handey,[5] in Santa Fe, New Mexico.[10] Previously, the Handeys had lived in the Chelsea neighborhood of Manhattan, New York City.[3]
Bibliography[edit]
This list is incomplete; you can help by expanding it.
Books[edit]
Handey, Jack (1992). Deep thoughts. Berkley.
Deeper Thoughts: All New, All Crispy (1993). Hyperion, ISBN 1-56282-840-1
Deepest Thoughts: So Deep they Squeak (1994). Hyperion, ISBN 0-7868-8044-9
Fuzzy Memories (1996). Andrews McMeel Publishing, ISBN 0-8362-1040-9 – a collection of "stories from Handey's childhood"
Fuzzy Memories: CD-Rom (2003). Disc Us Books Inc, ISBN 1-58444-078-3 - An Emersa*Plus Reader/Viewer E-book that contains all of the text and pictures from the original book plus "new memories," 28 videos of "Jack's home movies", and 60 audio files of Jack reading selected stories.
The Lost Deep Thoughts: Don't Fight the Deepness (1998), Hyperion, ISBN 0-7868-8305-7
What I'd Say to the Martians and Other Veiled Threats (2008), Hyperion, ISBN 978-1-4013-2266-3
The Stench of Honolulu: A Tropical Adventure (2013), Grand Central, ISBN 978-1-4555-2238-5
Please Stop the Deep Thoughts (2017), self-published [1]
Essays and reporting[edit]
Handey, Jack (November 24, 2008). "The plan". Shouts & Murmurs. The New Yorker. 84 (38): 62.
— (July 22, 2013). "Guards' complaints about Spartacus". Shouts & Murmurs. The New Yorker. 89 (21): 33. Retrieved 2014-10-29.
— (October 21, 2013). "Luau". Shouts & Murmurs. The New Yorker. 89 (33): 39.
— (May 4, 2015). "Execution days". Shouts & Murmurs. The New Yorker. 91 (11): 33. Retrieved 2015-06-30.
— (August 3, 2015). "Apocalypse". Shouts & Murmurs. The New Yorker. 91 (22): 29. Retrieved 2016-03-21.
Television writing[edit]
Steve Martin: Comedy Is Not Pretty! (1980)
Prime Times (1983)
The New Show (1984)
Television Parts Home Companion (1985) - sequel to Elephant Parts by Michael Nesmith)
Doctor Duck's Super Secret All-Purpose Sauce (1986) - another sequel to Elephant Parts by Michael Nesmith
Saturday Night Live (1985–1998 and 2001–2002)
References[edit]
Jump up ^ Mclaren, Leah (9 August 2013). "Jack Handey deploys drone strikes in the war against clichés". The Globe and Mail. Retrieved 3 November 2015.
^ Jump up to: a b c Sacks, Mike (2009). And Here's the Kicker: Conversations with 21 Top Humor Writers on Their Craft. Writer's Digest Books. pp. 309–310. ISBN 1-58297-989-8.
^ Jump up to: a b c Handey, Jack (January 2002). Deep Thoughts about Me: Questions I Am Often Asked (and My Answers)", Texas Monthly.
^ Jump up to: a b Coyle, Jake (April 12, 2008). "Jack Handey's Thoughts Get Deeper". USA Today. AP. Retrieved September 1, 2015.
^ Jump up to: a b Handey, Jack (1992). Deep Thoughts. Berkley Publishing Group. ISBN 978-0425133651.
Jump up ^ Handey, Jack (1993). Deeper Thoughts: All New, All Crispy. Hyperion. ISBN 978-1562828400.
^ Jump up to: a b Carman, John (February 14, 1992). "We Paws for This Message", San Francisco Chronicle.
Jump up ^ "Contributors: Jack Handey". The New Yorker. Retrieved September 1, 2015.
Jump up ^ "The Stench of Honolulu". Kirkus Reviews. July 5, 2013. Retrieved September 1, 2015.
Jump up ^ "Biography" Deep Thoughts by Jack Handey website. Accessed June 6, 2008. Archived May 23, 2007, at the Wayback Machine.
External links[edit]
Wikiquote has quotations related to: Jack Handey
Official website
Jack Handey on IMDb
Thorn, Jesse (May 30, 2008). "Jack Handey, Author, TV Writer and Creator of "Deep Thoughts"". Maximum Fun (Podcast). The Sound of Young America.
"My Speech To The Martians" (Podcast). Studio 360. May 5, 2006.
"In Praise of the Human Body". Outside online. May 1, 2005.
Jack Handey's articles at The New Yorker
Kois, Dan (July 21, 2013). "Jack Handey Is the Envy of Every Comedy Writer in America". The New York Times.
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