This radio interview is the only recording that we have of his voice. In celebration of the 100th anniversary of the birth of Robert Capa on October 22, 1913, in Budapest, ICP is excited to share a recent discovery of a long-lost recording of his only known radio interview. “Bob Capa Tells of Photographic Experiences Abroad” was broadcast on October 20, 1947, on the 8:30 am morning radio show “Hi! Jinx.” The interview was part of the press relations surrounding the publication of Slightly Out of Focus, his autobiographical novel chronicling his adventures during World War II published by Henry Holt and Company that year. “Hi! Jinx” was a national program on NBC radio that was created in 1946 by Jinx Falkenburg and Tex McCrary. The husband and wife team were pioneers of what became to be called the talk show format. They eventually had two radio programs, a five-day-a-week television program, and a syndicated column in the New York Herald Tribune. Falkenburg was a model and had been photographed by Capa in December 1940 following one of her performances in Al Jolson’s musical Hold On to Your Hat. McCrary was a journalist and as an Army Air Corps colonel had led the first journalists into the ruins of Hiroshima. Previous attempts to locate this in national radio archives were unsuccessful. None had recordings of this specific show. The recording showed up recently on eBay from a seller in Western Massachusetts, who had discovered the recording and others several years ago in the area from an estate sale. The record is a 33 1/3 rpm microgroove recording made by Associated Recording Services, an archival recording service. This recording is the only known recording of Robert Capa. While he gave other public talks, this was the only radio interview and he was never interviewed on television. Only scant newsreel films show him in action, and none with his voice. He appeared in a few Hollywood productions but was cast as a mute Arab. His first language was Hungarian, but he learned, in order, German, French, Spanish, and English. English became his dominant written and spoken language by 1941. His speech was dubbed “Capanese” by friends and was considered incomprehensible, but the interview shows Capa not only clear but highly articulate. His easy style underscores his innate proclivity for self-deprecation, humor, and storytelling. The interview starts with stories from his recent trip to the USSR with John Steinbeck and then turns to other subjects: poker, the invention of his name, and his so-called last image of the war taken of an American soldier killed in Leipzig in April 1945. But it is Capa who brings up his famous “Falling Soldier” image and describes how it was made. He says, “The prize picture is born in the imagination of the editors and the public who sees them.” It is the only public comment we have directly from him about this famous image.
Category Archives: Notes
Cryptomenytices et Cryptographiae libri IX (1624)
“CRYPTOMENYTICES ET CRYPTOGRAPHIAE. Libri IX” is a codebook on the art of Steganography, published in 1624, one year after Shakespeare’s First Folio.
According to some, it reveals that Sir Francis Bacon was the true author of Shakespeare’s work.
The volume contains two engravings that the Baconian writer Sir Edwin Dunning-Lawrence claims offer hints of Bacon’s involvement. On the title page, an illustration shows the statesman sitting at a desk and writing on a folio-sized manuscript.
Another image depicts Bacon handing a folio to a man carrying a spear.
These theories have had their fair share of believers…
Mark Twain and a Chicago judge, who actually ruled in 1916 that Bacon was the mind behind the plays.
Best condolence ever…
Stewart Stern, passed away this month.
a screenwriter most noted for Rebel Without a Cause
was nominated for an Oscar on two occasions,
won an Emmy for the teleplay of Sybil
worked on Dennis Hopper’s The Last Movie
and to James Dean’s aunt and uncle
he wrote one of the most moving and beautiful
condolence letters ever…
Hollywood 46, California
[Redacted]
12 October, 1955
Dear Marcus and Mrs. Winslow:
I shall never forget that silent town on that particular sunny day. And I shall never forget the care with which people set their feet down — so carefully on the pavements — as if the sound of a suddenly scraped heel might disturb the sleep of a boy who slept soundly. And the whispering. Do you remember one voice raised beyond a whisper in all those reverential hours of goodbye? I don’t. A whole town struck silent, a whole town with love filling its throat, a whole town wondering why there had been so little time in which to give the love away.
Gandhi once said that if all those doomed people at Hiroshima had lifted their faces to the plane that hovered over them and if they had sent up a single sigh of spiritual protest, the pilot would not have dropped his bomb. That may or may not be. But I am sure, I am certain, I know — that the great wave of warmth and affection that swept upward from Fairmount has wrapped itself around that irresistible phantom securely and forever.
Nor shall I forget the land he grew on or the stream he fished, or the straight, strong, gentle people whom he loved to talk about into the nights when he was away from them. His great-grandma whose eyes have seen half of America’s history, his grandparents, his father, his treasured three of you — four generations for the coiling of a spring — nine decades of living evidence of seed and turning earth and opening kernel. It was a solid background and one to be envied. The spring, released, flung him into our lives and out again. He burned an unforgettable mark in the history of his art and changed it as surely as Duse, in her time, changed it.
A star goes wild in the places beyond air — a dark star born of coldness and invisible. It hits the upper edges of our atmosphere and look! It is seen! It flames and arcs and dazzles. It goes out in ash and memory. But its after-image remains in our eyes to be looked at again and again. For it was rare. And it was beautiful. And we thank God and nature for sending it in front of our eyes.
So few things blaze. So little is beautiful. Our world doesn’t seem equipped to contain its brilliance too long. Ecstasy is only recognizable when one has experienced pain. Beauty only exists when set against ugliness. Peace is not appreciated without war ahead of it. How we wish that life could support only the good. But it vanishes when its opposite no longer exists as a setting. It is a white marble on unmelting snow. And Jimmy stands clear and unique in a world where much is synthetic and dishonest and drab. He came and rearranged our molecules.
I have nothing of Jim’s — nothing to touch or look at except the dried mud that clung to my shoes — mud from the farm that grew him — and a single kernel of seed corn from your barn. I have nothing more than this and I want nothing more. There is no need to touch something he touched when I can still feel his hand on me. He gave me his faith, unquestioningly and trustfully — once when he said he would play in REBEL because he knew I wanted him to, and once when he tried to get LIFE to let me write his biography. He told me he felt I understood him and if LIFE refused to let me do the text for the pictures Dennis took, he would refuse to let the magazine do a spread on him at all. I managed to talk him out of that, knowing that LIFE had to use its own staff writers, but will never forget how I felt when he entrusted his life to me. And he gave me, finally, the gift of his art. He spoke my words and played my scenes better than any other actor of our time or of our memory could have done. I feel that there are other gifts to come from him — gifts for all of us. His influence did not stop with his breathing. It walks with us and will profoundly affect the way we look at things. From Jimmy I have already learned the value of a minute. He loved his minutes and I shall now love mine.
These words aren’t clear. But they are clearer than what I could have said to you last week.
I write from the depths of my appreciation — to Jimmy for having touched my life and opened my eyes — to you for having grown him all those young years and for having given him your love — to you for being big enough and humane enough to let me come into your grief as a stranger and go away a friend.
When I drove away the sky at the horizon was yellowing with twilight and the trees stood clean against it. The banks of flowers covering the grave were muted and grayed by the coming of evening and had yielded up their color to the sunset. I thought — here’s where he belongs — with this big darkening sky and this air that is thirst-quenching as mountain water and this century of family around him and the cornfield crowding the meadow where his presence will be marked. But he’s not in the meadow. He’s out there in the corn. He’s hunting the winter’s rabbit and the summer’s catfish. He has a hand on little Mark’s shoulder and a sudden kiss for you. And he has my laughter echoing his own at the great big jokes he saw and showed to me — and he’s here, living and vivid and unforgettable forever, far too mischievous to lie down long.
My love and gratitude, to you and young Mark,
Stewart
Nathaniel West: Art Is a Way Out
“Why don’t you give them something new and hopeful? Tell them about art. Here, I’ll dictate:
“Art Is a Way Out.
“Do not let life overwhelm you. When the old paths are choked with the debris of failure, look for newer and fresher paths. Art is just such a path. Art is distilled from suffering. As Mr. Polnikoff exclaimed through his fine Russian beard, when, at the age of eighty-six, he gave up his business to learn Chinese, ‘We are, as yet, only at the beginning…
“Art Is One of Life’s Richest Offerings.
“For those who have not the talent to create, there is appreciation. For those…
“Go on from there.”
Nathaniel West, Miss Lonleyhearts
In December 1940 Nathaniel West and his wife Eileen
were killed in a car crash in the middle of a lettuce field
as they drove to his friend and mentor,
F. Scott Fitgerald’s funeral
He was 37, she was 27.
Nathanael West in a letter to F. Scott Fitzgerald,
a year before their deaths
discussed the reaction to his last novel, The Day of the Locust:
“The box score stands: Good reviews— fifteen per cent, bad reviews—twenty five per cent, brutal personal attacks—sixty percent. Sales: practically none.
I’ll try another one anyway, I guess.”—
Neither West nor Fitzgerald wrote “another one”
Martin Luther King Jr. on Music
God has wrought many things out of oppression. He has endowed his creatures with the capacity to create—and from this capacity has flowed the sweet songs of sorrow and joy that have allowed man to cope with his environment and many different situations.
Jazz speaks for life. The Blues tell the story of life’s difficulties, and if you think for a moment, you will realize that they take the hardest realities of life and put them into music, only to come out with some new hope or sense of triumph.
This is triumphant music.
Modern jazz has continued in this tradition, singing the songs of a more complicated urban existence. When life itself offers no order and meaning, the musician creates an order and meaning from the sounds of the earth which flow through his instrument.
It is no wonder that so much of the search for identity among American Negroes was championed by Jazz musicians. Long before the modern essayists and scholars wrote of racial identity as a problem for a multiracial world, musicians were returning to their roots to affirm that which was stirring within their souls.
Much of the power of our Freedom Movement in the United States has come from this music. It has strengthened us with its sweet rhythms when courage began to fail. It has calmed us with its rich harmonies when spirits were down.
And now, Jazz is exported to the world. For in the particular struggle of the Negro in America there is something akin to the universal struggle of modern man. Everybody has the Blues. Everybody longs for meaning. Everybody needs to love and be loved. Everybody needs to clap hands and be happy. Everybody longs for faith.
In music, especially this broad category called Jazz, there is a stepping stone towards all of these.
Martin Luther King Jr.’s forward for the program of West Berlin’s 14th annual cultural festival that opened on Sept. 13, 1964.
Helen Keller & Beethoven
The New York Symphony Orchestra,
New York City.
Dear Friends:
I have the joy of being able to tell you that, though deaf and blind, I spent a glorious hour last night listening over the radio to Beethoven’s “Ninth Symphony.” I do not mean to say that I “heard” the music in the sense that other people heard it; and I do not know whether I can make you understand how it was possible for me to derive pleasure from the symphony. It was a great surprise to myself. I had been reading in my magazine for the blind of the happiness that the radio was bringing to the sightless everywhere. I was delighted to know that the blind had gained a new source of enjoyment; but I did not dream that I could have any part in their joy. Last night, when the family was listening to your wonderful rendering of the immortal symphony someone suggested that I put my hand on the receiver and see if I could get any of the vibrations. He unscrewed the cap, and I lightly touched the sensitive diaphragm. What was my amazement to discover that I could feel, not only the vibrations, but also the impassioned rhythm, the throb and the urge of the music! The intertwined and intermingling vibrations from different instruments enchanted me. I could actually distinguish the cornets, the roll of the drums, deep-toned violas and violins singing in exquisite unison. How the lovely speech of the violins flowed and plowed over the deepest tones of the other instruments! When the human voice leaped up trilling from the surge of harmony, I recognized them instantly as voices. I felt the chorus grow more exultant, more ecstatic, upcurving swift and flame-like, until my heart almost stood still. The women’s voices seemed an embodiment of all the angelic voices rushing in a harmonious flood of beautiful and inspiring sound. The great chorus throbbed against my fingers with poignant pause and flow. Then all the instruments and voices together burst forth—an ocean of heavenly vibration—and died away like winds when the atom is spent, ending in a delicate shower of sweet notes.
Of course, this was not “hearing” but I do know that the tones and harmonies conveyed to me moods of great beauty and majesty. I also sensed, or thought I did, the tender sounds of nature that sing into my hand—swaying reeds and winds and the murmur of streams. I have never been so enraptured before by a multitude of tone-vibrations.
As I listened, with darkness and melody, shadow and sound filling all the room, I could not help remembering that the great composer who poured forth such a flood of sweetness into the world was deaf like myself. I marvelled at the power of his quenchless spirit by which out of his pain he wrought such joy for others—and there I sat, feeling with my hand the magnificent symphony which broke like a sea upon the silent shores of his soul and mine.
Let me thank you warmly for all the delight which your beautiful music has brought to my household and to me. I want also to thank Station WEAF for the joy they are broadcasting in the world.
With kindest regards and best wishes, I am,
Sincerely yours,
HELEN KELLER
Last page of The Great Gatsby by F. Scott Fitzgerald
Most of the big shore places were closed now and there were hardly any lights except the shadowy, moving glow of a ferryboat across the Sound. And as the moon rose higher the inessential houses began to melt away until gradually I became aware of the old island here that flowered once for Dutch sailors’ eyes—a fresh, green breast of the new world. Its vanished trees, the trees that had made way for Gatsby’s house, had once pandered in whispers to the last and greatest of all human dreams; for a transitory enchanted moment man must have held his breath in the presence of this continent, compelled into an æsthetic contemplation he neither understood nor desired, face to face for the last time in history with something commensurate to his capacity for wonder.
And as I sat there, brooding on the old unknown world, I thought of Gatsby’s wonder when he first picked out the green light at the end of Daisy’s dock. He had come a long way to this blue lawn and his dream must have seemed so close that he could hardly fail to grasp it. He did not know that it was already behind him, somewhere back in that vast obscurity beyond the city, where the dark fields of the republic rolled on under the night.
Gatsby believed in the green light, the orgastic future that year by year recedes before us. It eluded us then, but that’s no matter—tomorrow we will run faster, stretch out our arms farther. . . . And one fine morning——
So we beat on, boats against the current, borne back ceaselessly into the past.
