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455_18 | There are also tribally operated schools affiliated with the BIE.
Albuquerque Resource Center:
Blackwater Community School (Coolidge, Arizona)
Casa Blanca Community School (Bapchule, Arizona)
Dishchii'bikoh Community School (Cibecue, Arizona)
Gila Crossing Community School (Laveen, Arizona)
Hopi Day School (Kykotsmovi, Arizona)
Hopi Junior/Senior High School (Keams Canyon, Arizona)
Hotevilla Bacavi Community School (Hotevilla, Arizona)
Jicarilla Dormitory School (Dulce, New Mexico)
Kha'p'o Community School (Espanola, New Mexico)
Laguna Elementary School (Laguna Pueblo, New Mexico)
Laguna Middle School (Laguna Pueblo, New Mexico)
Mescalero Apache School (Mescalero, New Mexico)
Moencopi Day School (Moenkopi, Arizona with a Tuba City postal address)
Ohkay Owingeh Community School (Ohkay Owingeh, New Mexico)
Pine Hill Schools (Pine Hill, New Mexico)
Salt River Elementary School (Scottsdale, Arizona)
Santa Fe Indian School (Santa Fe, New Mexico) |
455_19 | Second Mesa Day School (Second Mesa, Arizona)
Te Tsu Geh Oweenge Day School (Santa Fe, New Mexico)
Theodore Roosevelt School (Fort Apache, Arizona)
Window Rock, Arizona Resource Center:
Hunters Point Boarding School (St. Michaels, Arizona)
Kin Dah Lichi'I Olta (Ganado, Arizona)
T'iisyaakin Residential Hall (Holbrook, Arizona)
Wide Ruins Community School (Chambers, Arizona)
Winslow Residential Hall (Winslow, Arizona)
Chinle, Arizona Resource Center:
Black Mesa Community School (Pinon, Arizona)
Greasewood Springs Community School (Ganado, Arizona)
Lukachukai Community School (Lukachukai, Arizona)
Many Farms Community School (Many Farms, Arizona)
Nazlini Community School (Ganado, Arizona)
Pinon Community School (Pinon, Arizona)
Rock Point Community School (Rock Point, Arizona)
Rough Rock Community School (Chinle, Arizona)
Tuba City, Arizona Resource Center:
Chilchinbeto Community School (Kayenta, Arizona)
Dilcon Community School (Winslow, Arizona) |
455_20 | Greyhills Academy High School (Tuba City, Arizona)
KinLani Bordertown Dormitory (Flagstaff, Arizona)
Leupp Schools, Inc. (Winslow, Arizona)
Little Singer Community School ( southeast of Birdsprings, Arizona, with a Winslow postal address)
Naa Tsis'aan Community School (Tonalea, Arizona)
Richfield Residential Hall (Richfield, Utah)
Shonto Preparatory School (Shonto, Arizona)
Crownpoint, New Mexico Resource Center:
Alamo Navajo Community School (Alamo, New Mexico, with a Magdalena postal address)
Ch'ooshgai Community School (Tohatchi, New Mexico)
Dibe Yazhi Habitiin Olta' Inc. (Borrego Pass) (Crownpoint, New Mexico)
Na'Neelzhin Ji'Olta (Torreon) (Cuba, New Mexico)
To'hajiilee Day School (Canoncito, New Mexico)
Shiprock, New Mexico Resource Center:
Atsa'Biya'a'zh Community School (Shiprock, New Mexico)
Dzilth-Na-O-Dith-Hle Community School (Bloomfield, New Mexico)
Hanaa'dli Community School/Dormitory Inc. (Bloomfield, New Mexico) |
455_21 | Kinteel Residential Academy (Aztec Dorm) (Aztec, New Mexico)
Navajo Preparatory School (Farmington, New Mexico)
Shiprock Northwest High School (Shiprock, New Mexico)
Shiprock Reservation Dormitory (Shiprock, New Mexico)
Bloomington, Minnesota Resource Center:
Bug-O-Nay-Ge-Shig School (Bena, Minnesota)
Circle of Life Survival School (White Earth, Minnesota)
Circle of Nations (Wahpeton, North Dakota)
Fond du Lac Ojibwe School (Cloquet, Minnesota)
Hannahville Indian School (Wilson, Michigan)
Joseph K. Lumsden Bahweting Anishnabe (Sault Sainte Marie, Michigan)
Lac Courte Oreilles Ojibwa School (Hayward, Wisconsin)
Menominee Tribal School (Neopit, Wisconsin)
Nay-Ah-Shing School (Onamia, Minnesota)
Oneida Nation School (Oneida, Wisconsin)
Rapid City, South Dakota Resource Center:
American Horse School (Allen, South Dakota)
Crazy Horse School (Wanblee, South Dakota)
Little Wound School (Kyle, South Dakota)
Loneman Day School (Oglala, South Dakota) |
455_22 | Pierre Indian School Learning Center (Pierre, South Dakota)
Porcupine Day School (Porcupine, South Dakota)
Sicangu Owayawa Oti (Mission, South Dakota)
St. Francis Indian School (Saint Francis, South Dakota)
St. Stephens Indian School (St. Stephens, Wyoming)
Takini School (Howes, South Dakota)
Tiospaye Topa School (Ridgeview, South Dakota)
Wounded Knee (Manderson, South Dakota)
Seattle, Washington Resource Center:
Chief Leschi Schools (Puyallup, Washington)
Coeur d'Alene Tribal School (DeSmet, Idaho)
Duckwater Shoshone Elementary School (Duckwater, Nevada)
Lummi Nation School (Bellingham, Washington)
Muckleshoot Tribal School (Auburn, Washington)
Noli Indian School (San Jacinto, California)
Northern Cheyenne Tribal School (Busby, Montana)
Paschal Sherman Indian School (Omak, Washington)
Pyramid Lake Jr./Sr. High School (Nixon, Nevada)
Quileute Tribal School (LaPush, Washington)
Shoshone Bannock Jr./Sr. High School (Pocatello, Idaho) |
455_23 | Two Eagle River School (Pablo, Montana)
Wa He Lut Indian School (Olympia, Washington)
Yakama Nation Tribal School (Toppenish, Washington)
Flandreau, South Dakota Resource Center
Crow Creek Reservation High School (Stephan, South Dakota)
Crow Creek Sioux Tribal Elementary School (Stephan, South Dakota)
Enemy Swim School (Waubay, South Dakota)
Lower Brule Day School (Lower Brule, South Dakota)
Marty Indian School (Marty, South Dakota)
Meskwaki Settlement School (Tama, Iowa)
Chickasaw Children's Village (Kingston, Oklahoma)
Eufala Dormitory (Eufaula, Oklahoma)
Jones Academy (Hartshorne, Oklahoma)
Kickapoo Nation School (Powhattan, Kansas)
Sequoyah High School (Tahlequah, Oklahoma)
Tiospaye Zina School (Agency Village, South Dakota)
Nashville, Tennessee Resource Center
Ahfachkee Day School (near Clewiston, Florida)
Beatrice Rafferty School (Perry, Maine)
Bogue Chitto Elementary School (Philadelphia, Mississippi) |
455_24 | Cherokee Central Elementary School (Cherokee, North Carolina)
Cherokee Central High School (Cherokee, North Carolina)
Chitimacha Tribal School (Jeanerette, Louisiana)
Choctaw Central High School (Choctaw, Mississippi)
Choctaw Central Middle School (Choctaw, Mississippi)
Conehatta Elementary School (Conehatta, Mississippi)
Indian Island School (Indian Island, Maine)
Indian Township School (Princeton, Maine)
Miccosukee Indian School (near Miami, Florida)
Pearl River Elementary School (Choctaw, Mississippi)
Red Water Elementary School (Carthage, Mississippi)
Standing Pine Elementary School (Carthage, Mississippi)
Tucker Elementary School (Philadelphia, Mississippi)
Bismarck, North Dakota Resource Center
Mandaree Day School (Mandaree, North Dakota)
Rock Creek Grant School (Bullhead, South Dakota)
Little Eagle Grant School (Little Eagle, South Dakota) - It was known as Sitting Bull School until 2016.
Standing Rock Community School (Fort Yates, North Dakota) |
455_25 | Tate Topa Tribal School (Fort Totten, North Dakota)
Theodore Jamerson Elementary School (Bismarck, North Dakota)
Turtle Mountain High School (Belcourt, North Dakota)
Twin Buttes Day School (Halliday, North Dakota)
White Shield School (West Roseglen, North Dakota) |
455_26 | American Horse School
It was established in 1931 as the consolidation of Day School #20 and Day School #21, with the former buildings of those two schools becoming teacher housing. its enrollment is 330. Its service area, in addition to Allen, includes Kyle and Martin, and includes the Lacreek, Pass Creek and Medicine Root Creek districts of the reservation.
In 2015 the Minneapolis Star-Tribune editorial board wrote that American Horse had poor insulation, had too many students relative to building capacity, has tile flooring in poor repair and using asbestos, and "lacks the electrical and communications infrastructure needed to support the technology used in modern education." |
455_27 | Chitimacha Tribal School
In 1937 a two classroom public school building condemned by the St. Mary Parish School Board was moved to Charenton, and began serving the community as a 1-8 school; the student population went over 60. In 1968 the kindergarten was established. The Bureau of Indian Affairs (BIA) built a new school, which began operations in 1978, to replace the former facility. It had 38 in the 1978-1979 school year, but this went down to 29 in 1980-1981 and 22 in 1981-1982. In 1982 it got a funding cut due to Reaganomics, which led to fears that the school could close. |
455_28 | Lukachukai Community School
The campus has of property and includes a dormitory. In 1976, the seventh grade at Lukachukai ended so that grade was sent to Chinle Boarding School (now Many Farms Community School). In 2015 the school was under-resourced, and the school community made an effort to get a replacement facility. Principal Arthur Ben personally recruited teachers, including some who were previously retired.
Theodore Roosevelt School
Theodore Roosevelt School (TRS) is a tribally controlled middle school in Fort Apache, Arizona. It includes grades 6-8. It is in the White Mountains and serves the White Mountain Apache Tribe. |
455_29 | The dormitories opened sometime after 1935. A cafeteria opened in 1948. In 1995 it had 100 students. By 1995 conditions at the school had deteriorated to the point where students had to be boarded at ad hoc dormitorites as the standard dormitory buildings needed heating repairs and asbestos removal. Additionally the cafeteria was at times unusuable; the school took students to a restaurant so they could eat there.
Wingate Elementary School
the Wingate Elementary dormitory is a former military barracks that also houses students at Wingate High. In 1968 the girls' dormitory had 125 girls; the Associated Press stated that the dormitory lacked decoration and personal effects and was reflective of a campaign to de-personalize Native American students. At the time the school strongly discouraged students from speaking Navajo and wanted them to only speak English. Circa 1977 it opened a 125-student $90,000 building which used a solar heating system. |
455_30 | Former facilities
Includes the BIE, OIEP, and predecessor agencies:
Albuquerque Indian School
Manuelito Hall in Gallup, New Mexico, a dormitory which housed Native American students attending Gallup-McKinley County Schools. In 1973 it had about 300 students, including 12 from Arizona. That year the BIA closed Manuelito Hall, planning to move students to various boarding schools. The public school system's funding was not anticipated to be harmed by this closure. There were some families that wanted their children to remain at Gallup-McKinley schools as they perceived them to be better than BIA schools. The BIA planned to send the Arizonans to Arizona, and of the remaining students: 110 high school students to Wingate High School, 80 elementary students to Crownpoint Boarding School, 45 elementary school students to Wingate Elementary School, and others to Chuska Boarding School and Tohatchi Boarding School. |
455_31 | Mount Edgecumbe High School in Sitka, Alaska, now operated by the State of Alaska
Phoenix Indian School
Eight Mile School District - Public school district that was BIE/OIE-funded from 1987 to 2008; in 2008 the BIE declared that it was not tribally controlled and therefore should never have received BIE funds. |
455_32 | See also
Bureau of Indian Affairs
Charles Monty Roessel
References
Further reading
Carter, Patricia A. ""Completely Discouraged": Women Teachers' Resistance in the Bureau of Indian Affairs Schools, 1900-1910." Frontiers: A Journal of Women Studies Vol. 15, No. 3 (1995), pp. 53–86. University of Nebraska Press. Available at JSTOR. DOI 10.2307/3346785.
- Read chapter online - Introduction
External links
United States Bureau of Indian Affairs
School districts in the United States |
456_0 | Chester William David Brown (born 16 May 1960) is a Canadian cartoonist. |
456_1 | Brown has gone through several stylistic and thematic periods. He gained notice in alternative comics circles in the 1980s for the surreal, scatological Ed the Happy Clown serial. After bringing Ed to an abrupt end, he delved into confessional autobiographical comics in the early 1990s and was strongly associated with fellow Toronto-based cartoonists Seth and Joe Matt, and the contemporary autobiographical comics trend. Two graphic novels came from this period: The Playboy (1992) and I Never Liked You (1994). Surprise mainstream success in the 2000s came with Louis Riel (2003), a historical-biographical graphic novel about rebel Métis leader Louis Riel. Paying for It (2011) drew controversy as a polemic in support of decriminalizing prostitution, a theme he explored further with Mary Wept Over the Feet of Jesus (2016), a book of adaptations of stories from the Bible that Brown believes promote pro-prostitution attitudes among early Christians. |
456_2 | Brown draws from a range of influences, including monster and superhero comic books, underground comix, and comic strips such as Harold Gray's Little Orphan Annie. His later works employ a sparse drawing style and flat dialogue. Rather than the traditional method of drawing complete pages, Brown draws individual panels without regard for page composition and assembles them into pages after completion. Since the late 1990s Brown has had a penchant for providing detailed annotations for his work and extensively altering and reformatting older works. |
456_3 | Brown at first self-published his work as a minicomic called Yummy Fur beginning in 1983; Toronto publisher Vortex Comics began publishing the series as a comic book in 1986. The content tended towards controversial themes: a distributor and a printer dropped it in the late 1980s, and it has been held up at the Canada–United States border. Since 1991, Brown has associated himself with Montreal publisher Drawn & Quarterly. Following Louis Riel Brown ceased serializing his work to publish graphic novels directly. He has received grants from the Canada Council to complete Louis Riel and Paying for It.
Life and career |
456_4 | Early life
Chester William David Brown was born on 16 May 1960 at the Royal Victoria Hospital in Montreal, Quebec, Canada. He grew up in Châteauguay, a Montreal suburb with a large English-speaking minority. His grandfather was history professor Chester New, after whom Chester New Hall is named at McMaster University in Hamilton, Ontario. He has a brother, Gordon, who is two years his junior. His mother suffered from schizophrenia, and died in 1976 after falling down the stairs while in the Montreal General Hospital.
Though he grew up in a predominantly French-speaking province and had his first mainstream success with his biography of French-speaking Métis rebel leader Louis Riel, Brown says he doesn't speak French. He said he had little contact with francophone culture when he was growing up, and the French speakers he had contact with spoke with him in English. |
456_5 | Brown described himself as a "nerdy teeneager" attracted to comic books from a young age, especially ones about superheroes and monsters. He aimed at a career in superhero comics, and after graduating from high school in 1977 headed to New York City, where he had unsuccessful but encouraging interviews with Marvel and DC Comics. He moved to Montreal where he attended Dawson College. The program did not aim at a comics career, and he dropped out after a little more than a year. He tried to find work in New York, but was rejected again. He discovered the alternative comics scene that was developing in the early 1980s, and grasped its feeling freedom to produce what he wanted. At 19 he moved to Toronto, where he got a job in a photography lab and lived frugally in rooming houses. |
456_6 | Toronto (1979–1986)
At around twenty, Brown's interests moved away from superhero and monster comic books towards the work of Robert Crumb and other underground cartoonists, Heavy Metal magazine, and Will Eisner's graphic novel A Contract with God (1978). He started drawing in an underground-inspired style, and submitted his work to publishers Fantagraphics Books and Last Gasp; he got an encouraging rejection when he submitted to Art Spiegelman and Françoise Mouly's Raw magazine. He became friends with film archivist Reg Hartt, and the two unsuccessfully planned to put out a comics anthology called Beans and Wieners as a showcase for local Toronto talent. |
456_7 | In 1983 Brown's girlfriend Kris Nakamura introduced him to the small-press publisher John W. Curry (or "jwcurry"), whose example inspired the local small-press community. Nakamura convinced Brown that summer to print his unpublished work as minicomics, which he did under his Tortured Canoe imprint. The sporadically self-published Yummy Fur lasted seven issues as a minicomic. Brown soon found himself at the centre of Toronto's small-press scene. While he found it difficult at first, Brown managed to get the title into independent bookstores, the emerging comic shops, and other countercultural retailers, and also sold it through the growing North American zine network. Yummy Fur had respectable sales through several reprintings and repackaging. |
456_8 | Brown and a number of other cartoonists featured in a show called Kromalaffing at the Grunwald Art Gallery in early 1984. He had become a part of Toronto's avant-garde community, along with other artists, musicians and writers, centred around Queen Street West. In 1986, at the urging of Brown's future friend Seth, Vortex Comics publisher Bill Marks picked up Yummy Fur as a regular, initially bimonthly comic book. Brown quit his day job to work full-time on Yummy Fur.
Vortex and Ed the Happy Clown (1986–1989) |
456_9 | Starting publication in December 1986, the first three issues of Yummy Fur reprinted the contents of the seven issues of the earlier minicomic, and Brown quit his job at the copy shop. Brown began to weave together some of the earlier unrelated strips into an ongoing surreal black comedy called Ed the Happy Clown. The bizarre misfortunes of the title character include being inundated in the faeces of a man unable to stop defaecating, being chased by cannibalistic pygmies, befriending a vengeful vampire, and having the head of his penis replaced by the head of a miniature Ronald Reagan from another dimension. |
456_10 | A counterpoint to the at-times blasphemous Ed serial, Brown also began to run straight adaptation of the Gospels, beginning with the Gospel of Mark in a subdued style. What appeared a natural target of satire for the author of Ed was instead a continuing attempt of Brown's to find what he really believed, having been raised a Christian Baptist. The adaptations later continued with the Gospel of Matthew and the apocryphal "The Twin" from the Gnostic text Pistis Sophia, and Brown went through periods of agnosticism and Gnosticism.
The offensive content of Ed caused it to be dropped by one printer, and is suspected to be behind Diamond Comic Distributors' decision to stop distributing Yummy Fur starting with issue #9. After The Comics Journal announced they would be investigating the issue, Diamond started distributing it again. |
456_11 | In 1989 the first Ed collection appeared, collecting the Ed stories from the first twelve issues of Yummy Fur with an introduction by American Splendor writer Harvey Pekar and drawn by Brown. At this point, Brown had grown to lose interest in the Ed story as he gravitated toward the autobiographical approach of Pekar, Joe Matt, and Julie Doucet, and the simpler artwork of Seth. He brought Ed to an abrupt end in Yummy Fur #18 to turn to autobiography.
Autobio and Drawn & Quarterly (1990–1992) |
456_12 | The 19th issue of Yummy Fur began his autobiographical period. First came the strip "Helder", about a violent tenant in Brown's boarding house, followed by "Showing 'Helder'", about the creation of "Helder" and the reactions of Brown's friends to the work-in-progress. With "Showing 'Helder'" Brown breaks from his earlier syle by giving the panels no borders and arranging them organically on the page—a style that was to characterize his work of this period. He found his friends were uncomfortable with his writing about their lives, and soon turned to his adolescence for source material. |
456_13 | Brown began the first installment of what was to become the graphic novel The Playboy in Yummy Fur #21, under the title Disgust. The revealing, confessional story tells of the teenage Brown's feelings of guilt over his obsessive masturbating over the Playmates of Playboy magazine, and the difficulties he had relating to women even into adulthood. Critical and fan reception was strong, though it drew some criticism from those who saw it glorifying pornography. Playboys publisher Hugh Hefner wrote Brown a letter of concern that Brown could feel such guilt in a post-sexual revolution world. It appeared in a collected edition titled The Playboy in 1992. |
456_14 | Around this time, Brown had become friends with the cartoonists Seth and Joe Matt. The three became noted for doing confessional autobio comics in the early 1990s, and for depicting each other in their works. In 1993, they did an interview together in The Comics Journals autobiographical comics issue. Seth had joined the new Montreal-based comics publisher Drawn & Quarterly, which had also started publishing Julie Doucet. D&Q's Chris Oliveros had been courting Brown to join as well, but Brown had felt loyal to Bill Marks for giving him his first break. When his contract came up in 1991, however, Oliveros offered Brown nearly double the royalty he was getting from Vortex. Brown moved to D&Q starting with Yummy Fur #25.
Vancouver and Underwater (1992–1997) |
456_15 | In 1992, Brown began a relationship with musician Sook-Yin Lee, and in 1993 moved to Vancouver to be with her. He stayed there with her until 1995, when Lee began as VJ at MuchMusic in Toronto, and the two moved back there together.
Brown moved away from autobio after the conclusion of Fuck, and for his next major project, Chris Oliveros convinced him to change the title, believing the title Yummy Fur was no longer a fitting one for the direction that Brown's work had taken, and that the title made the book harder to sell. His next work, Underwater, would appear under its own title, while continuing the Gospel of Matthew adaptation as a backup feature. |
456_16 | Underwater was an ambitious work. Its lead character, Kupifam, was an infant who was surrounded by an encoded gibberish-like language, which she comes to understand in bits and pieces. Fans and critics gave the series a lukewarm reception, with its glacial pacing and obscure narrative. Eventually, Brown came to feel he had gotten in over his head with the scope of the project. In early 1998, he decided to leave it in an unfinished state.
Partway through the series, in 1996, Brown and Lee broke up. They continued to live with each other, and have continued to be close friends. Brown came to decide that he no longer wanted to have exclusive relations with women, but also realized he lacked the social skills to pick up girls for casual sex. He spent the next few years celibate.
Louis Riel and frequenting of prostitutes (1998–2003) |
456_17 | Brown's father died in 1998 as he was putting together his collection of short strips, The Little Man. He lost interest in Underwater, and had been reading about Métis resistance leader Louis Riel, and decided he wanted to do a biography on him. He wanted to do it as an original graphic novel, but Chris Oliveros convinced him to serialize it first. Drawn & Quarterly put out the ten issues of Louis Riel from 1999 until 2003, and with help from a CAD$16,000 grant from the Canadian Council for the Arts, the finished annotated collection appeared in 2003, to much acclaim and healthy sales. In Canada it became a bestseller, a first for a Canadian graphic novel. |
456_18 | In 1999, after three years of celibacy, Brown decided he would start frequenting prostitutes. His open nature prevented him from hiding this fact from his friends, and the fact soon became widely known. After completing Louis Riel, he embarked upon another autobiographical graphic novel that would detail his experiences as a john. This time, the work would not be serialized, and would wait until 2011 to be published as Paying for It.
In the early 2000s, Brown moved out from the place he shared with Lee and got himself a condominium, where he lived by himself, and was free to bring prostitutes home. Around this time, Joe Matt moved back to the US, and Seth moved to Guelph, Ontario, breaking up the "Toronto Three".
Libertarianism and Paying for It (2004–present) |
456_19 | While reading up on issues surrounding Louis Riel, Brown became increasingly interested in property rights. His reading eventually took him to believe that countries with strong property rights prospered, while those without them did not. This path gradually led him to espouse the ideology of libertarianism. He joined the Libertarian Party of Canada and ran as the party's candidate in the riding of Trinity—Spadina in Toronto in the 2008 and 2011 federal elections. |
456_20 | During the long wait between Louis Riel and Paying for It, Brown allowed Drawn & Quarterly to reprint Ed the Happy Clown as a serial comic book, with explanatory notes that were becoming both more common and more detailed in Brown's work. In 2007 Brown provided six weeks worth of strips to Toronto's NOW magazine as part of the "Live With Culture" ad campaign. The strip features a male zombie and a living human girl participating in various cultural activities, culminating in the two going to a movie theatre to watch Bruce McDonald's yet-unmade Yummy Fur adaptation. |
456_21 | Brown's next graphic novel, Paying for It, came out during the 2011 election, in which he was running. Again he finished with the help of a Canada Council grant. It was a polemic promoting the decriminalization of prostitution, and attracted praise for its artistry and bare-all honesty, and criticism for its subject matter and Brown's perceived naïveté where brushes aside concerns about human trafficking and dismisses drug addiction as a myth. At about this time, Brown finally stated he didn't intend to finish his Gospel of Matthew, which had been on hiatus since 1997. |
456_22 | In 2016 Brown followed up Paying for It with Mary Wept Over the Feet of Jesus, made up of adaptations of stories from the Bible that Brown believes promote pro-prostitution attitudes among early Christians, and argues for the decriminalization of prostitution. Brown declared his research determined that Mary, mother of Jesus, was a prostitute, that early Christians practised prostitution, and that Jesus' Parable of the Talents should be read in a pro-prostitution light. Brown describes himself as a Christian who is "not at all concerned with imposing 'moral' values or religious laws on others" and believes that Biblical figures such as Abel and Job "find favour with God because they oppose his will or challenge him in some way".
Personal life
Religion |
456_23 | Brown was brought up in a Baptist household, and in his early twenties he began adapting the Gospels. Brown later said that this "was a matter of trying to figure out whether even believed the Christian claims—whether or not Jesus was divine". During this time, Brown went through periods where he considered himself an agnostic then a gnostic. Since then, Brown has consistently described himself as religious, but has alternated between periods of identifying as a Christian and simply believing in God. As of 2016, Brown describes himself as a Christian.
Politics |
456_24 | In the 1980s Brown expressed sympathy for left-wing politics, although he has stated his understanding of politics was not deep. He considered himself an anarchist until, while researching Louis Riel, he became interested in issues of property rights, especially influenced by his reading of Tom Bethell's The Noblest Triumph, a book which argues that the West owes its prosperity to having established strong property rights. Brown thus gained an interest in libertarianism–a belief that government should protect property rights (although, he says, not copyrights), and otherwise should mostly keep out of people's lives. After attending a few meetings of the Libertarian Party of Canada, he was asked to run for Parliament, and collected the 100 signatures necessary to appear on the ballot. |
456_25 | Brown ran as the Libertarian Party's candidate for the riding (or constituency) of Trinity—Spadina in the 2008 federal election. He came in fifth out of seven candidates. He stood in the same riding for the same party in the 2011 Canadian federal election, coming in fifth out of six candidates. The 2011 election coincided with the release of Paying for It, in which Brown talks about his frequenting prostitutes. He was worried his promotion of that topic in the media would make the Libertarian Party uncomfortable with having him run, but his official Party agent and the Ontario representative assured him that, as libertarians, they believed in individual freedom, and would continue to support his candidacy.
Personal relations |
456_26 | A longtime friend of fellow cartoonists Joe Matt and Seth, Brown has been regularly featured in their autobiographical comics over the years, and collaborated with them on various projects. The three were often mentioned together, and have been called "the Three Musketeers of alternative comics" and the "Toronto Three", forming "a kind of gutter rat pack trying to make it through their drawing boards in 1990s Toronto". Brown dedicated The Playboy to Seth, and Paying for It to Matt. Seth dedicated his graphic novel George Sprott to Brown ("Best Cartoonist, Best Friend"). |
456_27 | Brown had a long-term relationship with the musician, actress and media personality Sook-Yin Lee from 1992 until 1996. She is depicted in several of his comics. He moved to Vancouver for two years to be with her, and moved back to Toronto with her when she became a VJ for MuchMusic. He also drew the cover for her 1996 solo album Wigs 'n Guns. Brown's relationship with Lee is the last boyfriend/girlfriend relationship he had, as he explains in Paying for It. They remain good friends, and Brown has contributed artwork to her productions as recently as 2009's Year of the Carnivore.
Work
Thematic subjects |
456_28 | Throughout his early years as a cartoonist he mostly experimented with drawing on the darker side of his subconscious, basing his comedy on free-form association, much like the surrealist technique Automatism. An example of such methods in Brown's work can be found in short one-pagers where he randomly selects comic panels from other sources and then mixes them up, often altering the dialogue. This produced an experimental, absurdist effect in his early strips. |
456_29 | Brown first discusses mental illness in his strip "My Mother Was A Schizophrenic". In it, he puts forward the anti-psychiatric idea that what we call "schizophrenia" isn't a real disease at all, but instead a tool our society uses to deal with people who display socially unacceptable beliefs and behaviour. Inspired by the evangelical tracts of Jack T. Chick, Brown left Xeroxes of these strips at bus stops and phone booths around Toronto so its message would reach a wider audience. It first appeared in Underwater #4, and is also reprinted in the collection The Little Man. |
456_30 | Brown's Louis Riel book was inspired by the alleged mental instability of Riel, and Brown's own anarchist politics, and he began his research for the book in 1998. Over the course of researching for the book, he shifted his politics over the course of several years until he was a libertarian. Regarding anarchy, Brown has said, "I'm still an anarchist to the degree that I think we should be aiming towards an anarchist society but I don't think we can actually get there. We probably do need some degree of government."
Art style
Brown's drawing style has evolved and changed a lot throughout his career. He's been known to switch between using Rapidograph pens, dip pens, brushes, pencils and markers for his black-and-white cartooning, and has used paints for some colour covers (notably in Underwater).
Working method |
456_31 | Brown does not follow the tradition of drawing his comics by the page – he draws them one panel at a time, and then arranges them on the page. In the case of his acclaimed graphic novels The Playboy and I Never Liked You, this allowed him to rearrange the panels on the page as he saw fit. In the case of I Never Liked You, this resulted in a different page count in the book collection than was in the Yummy Fur serialization. The panels were slightly rearranged again when the "New Definitive Edition" of I Never Liked You was released in 2002. Brown depicted himself making comics in this way in the story Showing Helder in Yummy Fur #20 (also collected in The Little Man). Despite drawing his panels individually, he says his "brain doesn't tend to think in terms of one image at a time", so that he has difficulty coming up with one-image covers. |
456_32 | He has used a number of different drawing tools, including Rapidograph technical pens, markers, crowquill pens and ink brushes, the latter of which he has called his favourite tool, for its "fluid grace". For much of Ed the Happy Clown, he had artwork printed from photocopies of his pencils, which was faster for him than inking the work, and produced a more spontaneous feel, but in the end he turned away from this method, feeling it was "too raw".
Drawing influences
In an interview with Seth, Brown says his earliest childhood cartoon was an imitation of Doug Wright's Little Nipper. He frequently mentions Steve Gerber as amongst his foremost influences of his teenage years. From about the age of 20, Brown discovered the work of Robert Crumb and other underground artists, as well as class comic strip artists such as Harold Gray, whose influence is most evident in Brown's Louis Riel. |
456_33 | Brown often talks of contemporaries Seth, Joe Matt and Julie Doucet's influence on his work, especially during his autobiographical period. He also had been reading the Little Lulu Library around this time, and credit's the cartooning of Little Lulu'''s John Stanley and Seth with his desire to simplify his style during this period.
The stiff, stylized look of Fletcher Hanks' comics, reprints from Fantagraphics of which Brown had been reading around the time, was the primary influence on the style Brown used in Paying for It.
Bibliography
Series
Books
Title changes |
456_34 | Many of his books have undergone title changes, sometimes at the behest of his publisher, sometimes without his permission. Ed the Happy Clown: the Definitive Ed Book was given the Definitive title, despite the fact that he "didn't want to put that as the subtitle of the second edition. Vortex did it for marketing reasons." The Playboy was originally titled Disgust and then The Playboy Stories, and I Never Liked You was called Fuck (the German translation retains that title). Underwater was originally intended to appear in Yummy Fur, but Brown's new publisher felt they could attract more readers with a different title. Paying For It carries the sense of a double entendre that Brown dislikes–he would have preferred to call the book I Pay For Sex.
Illustration |
456_35 | Brown has also done a certain amount of illustration work. In 1998, he did the cover to Sphinx Productions' Comic Book Confidential #1; in 2005 he did the cover to True Porn 2 from Alternative Comics; and he illustrated the cover for Penguin Books' Deluxe Classics edition of Lady Chatterley's Lover by D. H. Lawrence. Brown illustrated the cover to the 11 July 2004, issue of The New York Times Magazine, an issue whose theme was graphic novels. He has done the cover for Sook-Yin Lee's 1996 solo album Wigs 'n' Guns (to which he also contributed lyrics for one song), and the poster for her film, Year of the Carnivore.
Collaborations
Brown provided the illustrations for the story "A Tribute to Bill Marks" in Harvey Pekar's American Splendor #15 in 1990, and "How This Forward Got Written" in The New American Splendor Anthology in 1991. |
456_36 | He inked Seth's pencils for the story "Them Changes" in Dennis Eichhorn's Real Stuff #6 in 1992, and shared artwork duties with Sook-Yin Lee on the story "The Not So Great Escape" in Real Stuff #16 in 1993.
He also inked Steve Bissette's pencils for the story "It Came From ... Higher Space!" in Alan Moore's 1963 #3 in 1993.
A jam piece with Dave Sim was included in the Cerebus World Tour Book in 1995.
Recognition
Over the years, Brown has received four Harvey Awards and numerous Harvey and Ignatz award nominations. "The autobiographical comics from Yummy Fur" placed on the Comics Journal's list of the 100 best comics of the century. Brown was inducted into the Canadian Comic Book Creator Hall of Fame, on 18 June 2011, at the Joe Shuster Awards in Calgary, Alberta, Canada. Brown was one of the cartoonists to appear in the first volume of Fantagraphics' two-volume The Best Comics of the Decade (1990. ).
Awards
Nominations |
456_37 | See also
Alternative comics
The Beguiling
It's a Good Life, If You Don't WeakenReferences
Notes
Works cited
Brown, Chester. Ed the Happy Clown. Drawn & Quarterly. Nine issues (February 2005 – September 2006)(notes pages unnumbered, counted from first page of notes)
(in Swedish)
(followup at The Comics Journal, Notes to a Note on the Notes of Chester Brown)
part 2 3 4 5 6 7 8.
Also available online: parts 1 2 and 3.
Further readingChester Brown: Conversations'' by Dominick Grace and Eric Hoffman, with notes by Chester Brown, University Press of Mississippi, 2013
External links
News Briefs featuring Chester Brown at Drawn & Quarterly's website
Time.com interview with Chester Brown
CBC Arts Online article about Chester Brown's Ed The Happy Clown series
Chester Brown induction into CBC Arts Online's Alternative Canadian Walk of Fame
Audio interview of Brown by Seth |
456_38 | 1960 births
Living people
Alternative cartoonists
Album-cover and concert-poster artists
American Splendor artists
Anglophone Quebec people
Anti-psychiatry
Canadian anarchists
Canadian cartoonists
Canadian Christians
Canadian comic strip cartoonists
Canadian comics artists
Canadian graphic novelists
Canadian libertarians
Christian libertarians
Christian writers
Film poster artists
Former Baptists
Harvey Award winners for Best Cartoonist
Harvey Award winners for Best Graphic Album
Harvey Award winners for Best Graphic Album of Previously Published Work
Harvey Award winners for Best Writer
Inkpot Award winners
Libertarian Party of Canada candidates in the 2008 Canadian federal election
Libertarian Party of Canada candidates in the 2011 Canadian federal election
Obscenity controversies in comics
People from Châteauguay
Underground cartoonists
21st-century Canadian non-fiction writers
20th-century Canadian non-fiction writers |
457_0 | I'm a Celebrity...Get Me Out of Here! returned for its fifteenth series on 15 November 2015 on ITV.
On 11 October 2015, a 5-second teaser aired on ITV for the first time, with more short trailers following, with Ant & Dec yelling "Let's get ready to jungle!", a pun on their well-known song "Let's Get Ready to Rhumble".
Geordie Shore'''s Vicky Pattison won the show on 6 December 2015, with Union J singer George Shelley finishing runner up.
This was the second time that a late-entry contestant had won the show, the first being Christopher Biggins in 2007.
Ant & Dec both returned as presenters of the main show, whilst Joe Swash and Laura Whitmore returned to present the ITV2 spin-off show, I'm a Celebrity...Get Me Out of Here! NOW!, alongside David Morgan, who replaced Rob Beckett. |
457_1 | Celebrities
The celebrity cast line-up for the fifteenth series was confirmed on 9 November 2015. Spencer Matthews withdrew on 20 November, because of health issues. Lady Colin Campbell also withdrew on 1 December, also for medical reasons.
Results and elimination
Indicates that the celebrity was immune from the vote
Indicates that the celebrity received the most votes from the public
Indicates that the celebrity received the fewest votes and was eliminated immediately (no bottom two
Indicates that the celebrity was named as being in the bottom two
Indicates that the celebrity received the second fewest votes and were not named in the bottom two |
457_2 | Notes
The celebrities were split into four teams for a set of challenges to earn immunity; Green (Lady C, Susannah and Yvette), Pink (Duncan, George and Vicky), Purple (Brian, Jorgie and Tony) and Yellow (Chris, Ferne and Kieron). The Pink team won, earning immunity.
There was no elimination on Day 14, with the votes being carried over and added to the next day's results.
There was no elimination on Day 18, due to Lady C's withdrawal. Viewers were given refunds for their votes for Day 18 and lines were reopened for the impending Day 19 eviction.
The public were voting for who they wanted to win rather than to save. |
457_3 | Bushtucker trials
The contestants take part in daily trials to earn food. These trials aim to test both physical and mental abilities. The winner is usually determined by the number of stars collected during the trial, with each star representing a meal earned by the winning contestant for their camp mates. As of 2014, the public voted for who took part in the trials via the I'm a Celebrity...'' app, from iOS devices. From 2015, the public cannot vote via phone, and can also vote via Android devices.
The public voted for who they wanted to face the trial
The contestants decided who would face the trial
The trial was compulsory and neither the public nor celebrities decided who took part |
457_4 | Notes
The celebrities were split up into two teams, Red (George, Jorgie, Kieron, Lady C and Tony) and Yellow (Brian, Chris, Duncan, Susannah and Yvette), with Tony and Susannah picking the teams as captains. The teams then faced a series of challenges, which the yellow team won 2-1, therefore moving straight into 'Croc Creek', while the red team automatically faced the first bushtucker trial. Chris, ejected after the yellow team's challenge loss, joined them for the trial. The losing team also were up for the 2nd and 3rd Bushtucker Trials.
Lady C refused to take part in this bushtucker trial.
This was a head-to-head trial. Since Ferne won, she was allowed to immediately enter the camp; she chose Vicky to join her, meaning Spencer was forced to return to Snake Rock.
This was a head-to-head trial. Since Lady C won, she was allowed to return to Croc Creek, choosing George to take her place in Snake Rock.
Chris, Lady C and Tony were excluded from the trial on medical grounds. |
457_5 | Brian and Lady C were excluded from the trial on medical grounds.
This trial was previously meant for Lady C, however she refused to take part.
Tony was excluded from this trial on medical grounds. |
457_6 | Star count
Dingo Dollar challenges
Members from camp will take part in the challenge to win 'Dingo Dollars'. If they win them then they can then take the dollars to the 'Outback Shack', where they can exchange them for camp luxuries with Kiosk Keith. Two options are given and the celebrities can choose which they would like to win. However, to win their luxury, a question is asked to the celebrities still in camp via the telephone box. If the question is answered correctly, the celebrities can take the items back to camp. If wrong, they receive nothing and Kiosk Keith will close the shack.
The celebrities got the question correct
The celebrities got the question wrong
Notes
A storm hit the jungle during the challenge and the celebrities were evacuated to the Bush Telegraph, so Ferne and Jorgie were unable to complete the challenge. However, they were given the Dollars and went to the Outback Shack to spend them once the storm had passed. |
457_7 | Jungle Vending Machine
This year was the first ever time that a jungle vending machine was introduced. It was also the final time, as it has not returned since (2016-present). It was introduced in the 2nd episode, which Lady C and Yvette took part in. Lady C refused to take part, but Yvette was still allowed to. Due to her success in spelling out the correct word, which was later confirmed as 'Kangaroo', the celebrities received a key to unlock a door, which revealed a vending machine.
Ratings
Official ratings are taken from BARB.
References
External links
Episode list using the default LineColor
2015 British television seasons
15 |
458_0 | Ptyas mucosa, commonly known as the oriental ratsnake, Indian rat snake, darash or dhaman, is a common non-venomous species of colubrid snake found in parts of South and Southeast Asia. Dhamans are large snakes. Typical mature total length is around though some exceed . The record length for this species was , second only to their cousin Ptyas carinata among living colubrid snakes. Despite their large size, oriental ratsnakes are usually quite slender with even a specimen of commonly measuring only around in diameter. Furthermore, the average weight of ratsnakes caught in Java was around , though larger males of over (which average mildly larger of the two sexes in the species) may easily weigh over .<ref name= Auliya Their color varies from pale browns in dry regions to nearly black in moist forest areas. Rat snakes are diurnal, semi-arboreal, non-venomous, and fast-moving. Rat snakes eat a variety of prey and are frequently found in urban areas where rodents thrive. |
458_1 | Geographic range
Found in Afghanistan, Andaman and Nicobar Islands, Bangladesh, Myanmar, Cambodia, China (Zhejiang, Hubei, Jiangxi, Fujian, Guangdong, Hainan, Guangxi, Yunnan, Tibet, Hong Kong), Taiwan, India, Sri Lanka, Indonesia (Sumatra, Java, Bali), Iran, Laos, West Malaysia, Nepal, Myanmar, Pakistan (Sindh area), Thailand, Turkmenistan and Vietnam.
Predators
Adult rat snakes have no natural predators, although younger specimens are the natural prey of King cobras that overlap them in their range. Juveniles fear birds of prey, larger reptiles, and mid-sized mammals. They are wary, quick to react, and fast-moving.
Rat snakes and related colubrids are aggressively hunted by humans in some areas of their range for skins and meat. Harvesting and trade regulations exist in China and Indonesia, but these regulations are often ignored.
Description
Description from Boulenger's Fauna of British India: Reptilia and Batrachia volume of 1890: |
458_2 | Snout obtuse, slightly projecting; eye large; rostral a little broader than deep, visible from above; suture between the internasals shorter than that between the prefrontals; frontal as long as its distance from the end of the snout, as long as the parietals or slightly shorter; usually three loreals; one large preocular, with a small subocular below; two postoculars; temporals 2+2; 8 Upper labials, fourth and fifth entering the eye; 5 Lower labials in contact with the anterior chin shields, which are shorter than the posterior; the latter in contact anteriorly. Dorsal scales in 17 rows at midbody, more or less strongly keeled on the posterior part of the body. Ventrals 190–208; anal divided; subcaudals 95–135, divided. Brown above, frequently with more or less distinct black crossbands on the posterior part of the body and on the tail; young usually with light crossbands on the front half of the body. Lower surface yellowish; the posterior ventral and the caudal shields may be edged |
458_3 | with black. |
458_4 | It is the second largest snake in Sri Lanka, after the Indian rock python.
Behavior
Rat snakes, though harmless to humans, are fast-moving, excitable snakes. In captivity, they are territorial and may defend their turf aggressively, attempting to startle or strike at passing objects. Rat snakes are diurnal and semi-arboreal. They inhabit forest floors, wetlands, rice paddies, farmland, and suburban areas where they prey upon small reptiles, amphibians, birds, and mammals. Adults, unusually for a colubrid, prefer to subdue their prey by sitting on it rather than by constricting, using body weight to weaken prey. |
458_5 | Rat snakes mate in late spring and early summer, though in tropical areas reproduction may take place year round. Males establish boundaries of territory using a ritualised test of strength in which they intertwine their bodies. The behaviour is sometime misread by observers as a "mating dance" between opposite-sex individuals. Females produce 6–15 eggs per clutch several weeks after mating.
Adult members of this species emit a growling sound and inflate their necks when threatened. This adaptation may represent mimicry of the king cobra or Indian cobra which overlaps this species in range. The resemblance often backfires in human settlements, though, as the harmless animal may be mistaken for a venomous snake and killed. |
458_6 | Nomenclature
The International Code for Zoological Nomenclature (ICZN) directs that the grammatical gender of any given species name should follow logically from the gender of its associated genus name. As Ptyas is a feminine word form (from πτυάς, a Greek word for a venom-spitting snake), the proper form of the species name is mucosa (a Late Latin word meaning "slimy"). Reference materials older than 2004 often show the masculine form, mucosus, and the CITES list continues to list the species this way.
Gallery
References
Further reading |
458_7 | David, P., and I. Das. 2004. On the grammar of the gender of Ptyas Fitzinger, 1843 (Serpentes: Colubridae). Hamaddryad 28 (1 & 2): 113–116.
Günther, A. 1898. Notes on Indian Snakes in Captivity. Ann. Mag. Nat. Hist., Series 7, 1: 30–31. (Zamenis mucosus, p. 30.)
Jan, G., & F. Sordelli. 1867. Iconographie générale des Ophidiens: Vingt-quatrième livraison. Baillière. Paris. Index + Plates I.–VI. ("Coryphodon Blumenbachi, Merr.", Plate III., Figures 2–4.)
Lazell, J.D. 1998. Morphology and the status of the snake genus Ptyas. Herpetological Review 29 (3): 134.
Linnaeus, C. 1858. Systema naturæ per regna tria naturæ, secundum classes, ordines, genera, species, cum characteribus, diferentiis, synonymis, locis. Tomus I. Editio Decima, Reformata. L. Salvius. Stockholm. 824 pp. (Coluber mucosus, p. 226.) |
458_8 | Morris, P.A. 1948. Boy's Book of Snakes: How to Recognize and Understand Them. A volume of the Humanizing Science Series, edited by Jacques Cattell. Ronald Press. New York. viii + 185 pp. ("The Indian Rat Snake", pp. 136–137, 181.)
Nixon, A.M.A., and S. Bhupathy. 2001. Notes on the occurrence of Dhaman (Ptyas mucosus) in the higher altitudes of Nilgiris, Western Ghats. Cobra (44): 30–31. |
458_9 | External links
Colubrids
Reptiles described in 1758
Reptiles of Afghanistan
Reptiles of Bangladesh
Reptiles of Cambodia
Reptiles of Central Asia
Reptiles of China
Reptiles of India
Reptiles of Indonesia
Reptiles of Iran
Reptiles of Laos
Reptiles of Myanmar
Reptiles of Nepal
Reptiles of Pakistan
Reptiles of Sri Lanka
Reptiles of Taiwan
Reptiles of Thailand
Reptiles of Vietnam
Snakes of Asia
Taxa named by Carl Linnaeus
ceb:Ptyas korros
sv:Ptyas korros |
459_0 | Murray Melvin (born 10 August 1932) is an English author, actor and director, best known for his acting work with Joan Littlewood, Ken Russell and Stanley Kubrick. He is the author of two books: The Art of Theatre Workshop (2006) and The Theatre Royal, A History of the Building (2009).
Early years
Melvin was born in St. Pancras, London. The son of Hugh Victor Melvin and Maisie Winifred Driscoll, Melvin left his north London secondary school at the age of fourteen unable to master fractions but as head prefect, a qualification he says he gained by always having clean fingernails and well-combed hair. He started work as an office boy for a firm of travel agents off Oxford Street.
To help channel the energies of the young after the disturbing times of the war, his parents had helped to found a youth club in Hampstead, financed by the Co-operative Society of which they were longstanding members. A drama section formed with Melvin its most enthusiastic participant. |
459_1 | A short-lived job followed as an import and export clerk in a shipping office, during which he inadvertently exported quantities of goods to destinations that had not ordered them. This was followed by two unhappy years of National Service in the Royal Air Force (his father had served in the RAF during the Second World War).
He was employed as clerk and secretary to the director of the Royal Air Force sports board at the Air Ministry, then based at Adastral House in Kingsway. Knowing nothing about sport, he considered his clean fingernails, well combed hair and his father's service had done the trick. |
459_2 | At the Theatre Workshop
Melvin attended evening classes at the nearby City Literary Institute and studied drama, mime and classical Ballet. During an extended lunch break from the Ministry, he applied to Joan Littlewood's Theatre Workshop company at the Theatre Royal Stratford East and auditioned on stage singing and dancing for Littlewood and Gerry Raffles. On being asked to create a character he knew from life, he impersonated a rather rotund director of the sports board. Having ascertained that he had to return that afternoon to work for this character, Littlewood said to Gerry Raffles: "the poor little bugger, we must get him away from there" – which they did. |
459_3 | In October 1957, he became an assistant stage manager, theatre painter and general dogsbody to John Bury, the set designer, and he was cast in his first professional role as the Queen's Messenger in the then in rehearsal production of Macbeth. From the Scottish Court to a building site, his next performance was as a bricklayer in You Won't Always Be On Top, soon followed by a peasant in And the Wind Blew, Bellie in Pirandello's Man Beast and Virtue, Calisto in De Rojas's Celestina; Young Jodi Maynard in Paul Green's Unto Such Glory (all 1957) and then came the last play of the 1957–58 season which was to be the start of an extraordinary year in the history of Theatre Workshop and Melvin's career. He was cast as Geoffrey in Shelagh Delaney's play, A Taste of Honey. |
459_4 | After the summer break in 1958, he played the title role in the seminal production of Brendan Behan's The Hostage. Both scripts had been transformed in rehearsals by Joan Littlewood's painstaking and inspired methods of getting to the truth of the text and building a lively poetic and dangerous theatrical event. Though both plays were to blow a refreshing wind through the British theatre, neither play transferred to the West End immediately, so Melvin stayed on to play Scrooge's nephew in Joan Littlewood's adaptation of A Christmas Carol (1958).
In February 1959, A Taste of Honey opened at the Wyndham's Theatre and transferred to the Criterion some six months later. It was the hit of the season. Melvin reprised the role of Geoffrey in the 1961 film version directed by Tony Richardson (1961). He won the Cannes Film Festival Award for Best Actor in 1962 and was also nominated for the BAFTA "Most Promising Newcomer" award. |
459_5 | In April 1960, William Saroyan, on a world tour, stopped off in London where he wrote and directed a play for Theatre Workshop in which he cast Melvin as the leading character called Sam, the Highest Jumper of Them All. Then the troupe paid their annual visit to the Sarah Bernhardt Theatre for the Paris World Theatre Season with Ben Jonson's Every Man in his Humour in which he played Brainworm. Rehearsals then started for Stephen Lewis's Sparrows Can't Sing in which Melvin played the role of Knocker Jugg. The following year he transferred to the role Georgie Brimsdown for the film adaptation of the play. The film was directed by Joan Littlewood. |
459_6 | After a break of nearly two years, the company came together to create the musical, Oh, What a Lovely War! After its initial run at Stratford it went to the Paris Festival and won it. The company returned to the Wyndham's Theatre where the play won the Best Musical category in the Evening Standard Theatre Awards. Between the end of its London run and the opening at the Broadhurst Theatre in New York, the company visited the Edinburgh Festival with Shakespeare's Henry IV, Parts 1 and 2, in which Melvin metamorphosed as Gadshill, Shallow, Vernon and the Earl of March. The production of Oh, What a Lovely War! in New York in 1964 was his last for Joan Littlewood and the Theatre Workshop Company. |
459_7 | The production attracted the interest of filmmakers, including Ken Russell and Lewis Gilbert. Melvin became a member of what has often been called the Ken Russell Repertory Company, appearing in many of Russell's films, including The Devils and The Boy Friend. Lewis Gilbert cast Melvin in H.M.S. Defiant (1962), alongside Dirk Bogarde, and in Alfie (1966), where he played Michael Caine's work friend, stealing petrol and taking photographs to sell to tourists. |
459_8 | The Ken Russell connection
Melvin appeared in Russell's BBC television version of Diary of a Nobody, which was filmed at the Ealing Studios on a specially built 'silent film' set. Alongside Melvin, who played the errant son, Lupin, were other actors from Joan Littlewood's Theatre Workshop, including Bryan Pringle and Brian Murphy, who also became Russell regulars. Lupin's girlfriend in the film is played by Vivian Pickles, whose performance at the Royal Court Theatre in John Osborne's Plays for England had attracted national attention. |
459_9 | Melvin was seen in a cameo in the final scenes of Isadora Duncan, the Biggest Dancer in the World (1966), Ken Russell's film of Isadora Duncan, which starred Vivian Pickles as the great American dancer.
Melvin's best known role for Ken Russell was as Father Mignon in The Devils (1971). Mignon is the catalyst to the true-life horrors documented in the film. His appointment to the convent of Loudon, whose leading members were expecting Father Grandier (played by Oliver Reed), causes the nun's demonic condemnation of Grandier to spiral out of control.
After the film, Melvin directed two works by The Devils composer, Peter Maxwell Davies: the theatre piece Miss Donnithorne's Maggot and the opera The Martyrdom of St Magnus. Further work with Davies followed. He was the speaker in a production of Davies's Missa super l'homme armé and he played the Virgin in the premiere production of Davies's Notre Dame des Fleurs. |
459_10 | In Russell's The Boy Friend (1971), Melvin and another Theatre Workshop alumnus, Brian Murphy, are among the company players trying to catch the eye of a Hollywood producer who watches their provincial performance of Sandy Wilson's The Boy Friend. In the film, Melvin has a spectacular solo dance number in a caped French officer's outfit. He again had a cameo as Hector Berlioz in Ken Russell's Lisztomania (1975), as a test-run to a film about Berlioz which Russell was preparing.
He appeared in Russell's film about the poet, Samuel Coleridge, The Rime of the Ancient Mariner (1978).
Returning with the French theme, Melvin played an enthusiastic French lawyer in Prisoner of Honour (1991), Ken Russell's film about the French Dreyfus Affair. |
459_11 | Melvin remained a lifelong friend of Ken Russell, and was often seen with Russell at festival screening of the director's films. At the Barbican screening of the director's cut of The Devils, 1 May 2011, Melvin and Ken Russell arrived together, with Melvin pushing Ken Russell's wheelchair.
Other film performances
Melvin had an important role as Reverend Samuel Runt in Stanley Kubrick's Barry Lyndon (1975). In the video project "Stanley and Us", he talks about Kubrick's "57 takes (plus 20)".
He was reunited with his co-stars from the film version of A Taste of Honey, Rita Tushingham and Paul Danquah, in the swinging sixties comedy Smashing Time (1967), in which he and Danquah had cameo roles.
He co starred with Russell regular Oliver Reed in Richard Fleischer's film of The Prince and the Pauper, Crossed Swords (1977), and in Alberto Lattuada's four part television film Christopher Columbus (1985). |
459_12 | Peter Medak cast Melvin in five films: A Day in the Death of Joe Egg (1972), starring Alan Bates; Ghost in the Noonday Sun (1973, starring Peter Sellers); The Krays (1990); Let Him Have It (1991); and as Dr. Chilip in David Copperfield (2000).
He has featured in two films by Christine Edzard, Little Dorrit (1988), and As You Like It (1992). As Monsieur Reyer, the musical director and conductor of the Opera Populaire, he was cast in Joel Schumacher's film adaptation of the musical The Phantom of the Opera (2004).
Television performances
He appeared in the very first episode of the television series The Avengers in 1960. |
459_13 | He played the Dauphin in Shaw's St. Joan, directed in 1966 by Waris Hussein. He played Bertold in a Theatre 625 production of Pirandello's Henry IV (1967) directed by Michael Hayes; Don Pietro in Peter Hammond's TV series based on The Little World of Don Camillo; and The Hermit in Mai Zetterling's production of William Tell. He also appeared in The Adventures of Don Quixote (1973) as the Barber in the BBC television film directed by Alvin Rakoff and starring Rex Harrison. |
459_14 | Melvin starred in The Tyrant King (1968), the six-part children's television series directed by Mike Hodges. He played a crucial role in the last two episodes of The Flaxton Boys (1973), where he plays the upper-class twit character Gerald Meder. In 1994, Melvin supplied the voice of the villain Lucius on the British children's animated TV series Oscar's Orchestra for the BBC and France 3. Melvin appeared in a Christmas Special episode of the BBC's Jonathan Creek called "The Black Canary" (1998)
In 2007 he appeared as the sinister Bilis Manger in the Doctor Who spinoff Torchwood, a role he has been reprising for Big Finish Productions since 2017. In July 2011 Melvin played the Professor in a short comedy/drama called The Grey Mile, a story about two ex-master criminals who are now confined to a care home. |
459_15 | Other work
Melvin was a founder member of the Actors' Centre and was its chairman for four years during which time he started a centre in Manchester in honour of Joan Littlewood and the Theatre Workshop.
As a theatre director, he has worked across all genres including opera, recital, drama and comedy. He directed the first productions of three of Graeme Garden's perennially popular pantomimes.
In 1991, thirty four years after first making the tea and sweeping the stage at the Theatre Royal, he was invited to become a member of the board of the theatre, a position he held until 2011. It is partly in this role that he is becoming widely known as a learned and popular theatre and film historian — he can be seen and heard, for example, on the BFI DVD release of the Bill Douglas Trilogy. |
459_16 | In 1992, he became the Theatre Royal's voluntary archivist and in 2009 he was appointed a member of the Theatre Workshop Trust. He led the successful campaign to erect a statue of Joan Littlewood in Theatre Square at Stratford.
On 18 July 2013, he was awarded an honorary degree of Doctor of Arts by De Montfort University and in July 2015 he was awarded an honorary degree by the University of Essex. In September 2016 he received an Honorary Fellowship from the Rose Bruford College
Several commercial available audio recordings have been made featuring Murray Melvin. These include four plays on LPs produced by Caedmon Records (Two Gentlemen of Verona (1965); A Midsummer Night's Dream; Bernard Shaw's St. Joan (1966); The Poetry of Kipling). His performance in Oh, What a Lovely War is available on Decca Records (1969). |
459_17 | In 2007, he narrated Tales of the Supernatural Volume 3 by M. R. James for Fantom Films. This was followed in 2009 by M.R. James - A Ghost Story for Christmas, and in 2011 and 2012 by two recordings of Wilkie Collins: Supernatural Stories, Volumes 2 & 3 and The Dark Shadows Legend :The Happier Dead.
Selected filmography |
459_18 | The Criminal (1960) - Antlers
Suspect (1960) - Teddy Boy
A Taste of Honey (1961) - Geoffrey Ingham
Petticoat Pirates (1961) - Kenneth
Solo for Sparrow (1962) - Larkin
H.M.S. Defiant (1962) - Wagstaffe
Sparrows Can't Sing (1963) - Georgie
The Ceremony (1963) - First Gendaime
Alfie (1966) - Nat
Kaleidoscope (1966) - Aimes
Smashing Time (1967) - 1st Exquisite
The Fixer (1968) - Priest
Start the Revolution Without Me (1970) - Blind Man
The Devils (1971) - Mignon
The Boy Friend (1971) - Alphonse
A Day in the Death of Joe Egg (1972) - Doctor
Gawain and the Green Knight (1973) - Seneschal
Ghost in the Noonday Sun (1973) - Hamidos
Ghost Story (1974) - Mc Fayden
Lisztomania (1975) - Hector Berlioz
Barry Lyndon (1975) - Rev. Samuel Runt
Shout at the Devil (1976) - Lt. Phipps
The Bawdy Adventures of Tom Jones (1976) - Blifil
The Ballad of Salomon Pavey (1977)
Gulliver's Travels (voice, 1977)
Joseph Andrews (1977) - Beau Didapper |
459_19 | The Prince and the Pauper (1977) - Prince's Dresser
Stories from a Flying Trunk (1979) - Hans Christian Andersen
Nutcracker (1982) - Leopold
Sacred Hearts (1985) - Father Power
Christopher Columbus (1985) - Father Linares
Comrades (1986) - Clerk
Funny Boy (1987) - Arthur
Little Dorrit (1988) - Dancing Master
Testimony (1988) - Film Editor
Slipstream (1989) - Man on Stairs
The Krays (1990) - Newsagent
The Fool (1990) - Jeremy Ruttle
Let Him Have It (1991) - Secondary School Teacher
Prisoner of Honour (1991) - Bertillon
As You Like It (1992) - Sir Oliver Martext
Princess Caraboo (1994) - Lord Motley
England, My England (1995) - Anthony Ashley Cooper, Earl of Shaftesbury
Alice in Wonderland (1999) - Chief Executioner
The Emperor's New Clothes (2001) - Antommarchi
The Phantom of the Opera (2004) - Reyer
The Grey Mile (2012) - Professor Worth
The Lost City of Z (2016) - Lord James Bernard |
459_20 | Selected theatre performances (as an actor) |
459_21 | Queen's Messenger in Shakespeare's Macbeth (1957)
Calisto in De Roja's La Celestina (1958)
Jodie in Paul Green's Unto Such Glory (1958)
Scrooge's Nephew in Dickens' A Christmas Carol (1958)
Geoffrey in Shelagh Delaney's A Taste of Honey (1958)
Leslie in Brendan Behan's The Hostage (1958)
Sam in William Saroyan's Sam, The Highest Jumper of Them All
Brainworm in Ben Johnson's Every Man in His Humour (1960)
Gadshill, Shallow, Earl of March and Vernon in Shakespeare's Henry IV (Pts 1 & 2) (1960)
Knocker in Stephen Lewis's Sparrers Can't Sing (1960)
Theatre Workshop's Company musical Oh, What a Lovely War (1963)
Waterhouse and Hall's revue England Our England (1963)
Adolphus in Bernard Shaw's Trifles and Tomfooleries (1967)
Boy in Arthur Kopit's Oh Dad. Poor Dad (1965)
Bouzin in Georges Feydeau's Cat Among the Pigeons (adapted by John Mortimer) (1969)
Dufausset in Georges Feydeau's The Pig in a Poke
Gilbert in Willis Hall's Kidnapped at Christmas (1975) |
459_22 | Dorset in Rosemary Anne Sisson's The Dark Horse (1978)
Arthur Deakin in Ridley's The Ghost Train
The Dauphin in Bernard Shaw's Saint Joan
Charlie Boy in Iain Blair's Mulligan's Last Case
Etienne in Georges Feydeau's French Dressing
The Spirits of Christmas in Musgrave's Opera A Christmas Carol
Ko-Ko in Gilbert & Sullivan's The Mikado
Fiddler in Henry Living's Don't Touch Him He Might Resent It
Backbite in Sheridan's A School For Scandal
Ephraim Smooth in O'Keefe's Wild Oats
Jacopone in Peter Barnes's Sunsets and Glories (1990)
Anton Zagorestky in Griboyedov/Anthony Burgess' Chatsky (or The Importance of Being Stupid) (1993)
Konrad in Ludwig Holberg/Kenneth McLeish's Jeppe of the Hill (1994)
Father Domingo in Schiller's Don Carlos
Ratty in Willis Hall's Musical version of The Wind In The Willows
Hopkins in Patrick Prior's The Lodger
Oliver Nashwick in Rodney Ackland's After October (1997)
The Priest in Schiller's The Robbers (1998)
Coupler in John Vanburgh's The Relapse (1998) |
459_23 | Don Perlimpin in Lorca's The Love of Don Perlimplín and Belisa in the Garden
Burrus in Racine's Brittanicus
Cool in Boucicault's London Assurance
Tireseas and Chorus in Seamus Heaney's The Burial at Thebes (2008) |
459_24 | Selected music theatre performances
Narrator, Walton's Facade
Narrator, The Poetry And Songs of Leo Aylen
Narrator, Geoffrey King's King Arthur's Dream
Devil, Stravinsky's The Soldiers Tale
Narrator, Stravinsky's The Soldiers Tale
Performer, Maxwell Davies's Missa super l'homme armé
Virgin, Maxwell Davies's Notre Dame Des Fleur
Da Ponte Rennison & Melvins Roses and Laurels
Selected theatre and opera performances as a director
Miss Donnithorne's Magot (1976)
The Martydom of St. Magnus (1977)
The Raft of the Medusa (1977)
The Mime of Nick, Mick and the Maggies (1978)
Cinderella (1979)
Aladdin (1980)
Quack Quack (1980)
The Sleeping Beauty (1984)
Don't Touch Him, He Might Resent It (1982)
Jack The Giant Killer (1985)
Puss in Boots (1986)
Adventures of Huckleberry Finn (1987)
Sinbad The Sailor (1987)
Brotherly Love (1988)
Selected television performances |
459_25 | Salesman in Small Fish Are Sweet (1959)
Lupin in The Diary of a Nobody (1964)
Dauphin in St. Joan (Shaw)
Turgis in Angel Pavement
Teddy Boy in Paradise Street Series
Reporter in Isadora Duncan (1966)
Bertold in Henry IV (Pirandello, 1967)
Thumb in The Memorandum (1967)
Hoopdriver in The Wheels of Chance
Robert Lovell in The Rime of the Ancient Mariner
Nathaniel Giles in The Ballad of Salomon Pavey (1977)
Don Pietro in The Little World of Dom Camillo
The Devil in The Soldier's Tale
Spirits of Christmas in A Christmas Carol
Jack Spratt in Bulman
Hermit in William Tell (1992)
Ignatius in T. Bag and the Sunstones Of Montezuma (episode One Million Years B.C.)
Clerk in Doomsday Gun (1994)
Roger Parry in Cone Zones (episode One for the Money, 1985)
Lord Shaftesbury in England, My England
Lucius in Oscar's Orchestra
Architect in The Village
Delamere in Bugs
Lionel in Jonathan Creek
Caravaggio in Starhunter Series
Da Ponte in The Genius of Mozart |
459_26 | King of the Knight in Tom's Christmas Tree (2006)
Librarian in The Village
Bilis Manger in Torchwood (2006) |
459_27 | Recognition
Honorary Doctorate of Arts. De Montfort University 18 July 2013
Honorary Degree. University of Essex 17 July 2015
Honorary Fellowship. Rose Bruford College 16 September 2016
References
Bibliography
The Art of the Theatre Workshop, compiled and introduced by Murray Melvin (2006)
The Theatre Royal. A History of the Building, Murray Melvin (2009)
The Authorised Biography of Ken Russell, Vol 1. Becoming Ken Russell, Paul Sutton (2012).
External links
1932 births
English male film actors
English male stage actors
Living people
Male actors from London
20th-century English male actors
21st-century English male actors
Royal Air Force airmen
Cannes Film Festival Award for Best Actor winners |
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