Original 1930s Old Vintage Rare Drink Coca Cola Oval Porcelain Enamel Sign Board

Original 1930s Old Vintage Rare Drink Coca Cola Oval Porcelain Enamel Sign Board
Original 1930s Old Vintage Rare Drink Coca Cola Oval Porcelain Enamel Sign Board
Original 1930s Old Vintage Rare Drink Coca Cola Oval Porcelain Enamel Sign Board
Original 1930s Old Vintage Rare Drink Coca Cola Oval Porcelain Enamel Sign Board
Original 1930s Old Vintage Rare Drink Coca Cola Oval Porcelain Enamel Sign Board
Original 1930s Old Vintage Rare Drink Coca Cola Oval Porcelain Enamel Sign Board
Original 1930s Old Vintage Rare Drink Coca Cola Oval Porcelain Enamel Sign Board
Original 1930s Old Vintage Rare Drink Coca Cola Oval Porcelain Enamel Sign Board
Original 1930s Old Vintage Rare Drink Coca Cola Oval Porcelain Enamel Sign Board
Original 1930s Old Vintage Rare Drink Coca Cola Oval Porcelain Enamel Sign Board
Original 1930s Old Vintage Rare Drink Coca Cola Oval Porcelain Enamel Sign Board

Original 1930s Old Vintage Rare Drink Coca Cola Oval Porcelain Enamel Sign Board
Collection Of Lost Arts. Original 1930’s Old Vintage Very RARE Drink Coca Cola Ice Cold Adv. Porcelain Enamel Sign Board. 70-80 Years Old Rare Oval Shape Enamel Sign. Drink Coca Cola Ice Cold Written. Coca Cola Embossed Porcelain Enamel. Excellent Piece For Collection & Decoration. See photos for actual condition & more details. 35.6 x 24.8 Cms. (14 x 9.75 Inch) Approx. Please Do Not Hesitate To Sent A Offer. If You Have Any Question Please Do Not Shrink To Sent A Message. Whole-Sellers Are Most Welcome. ” Your Feedback Is Very Important To Us “. We Are New Here And In Case Your Are Not Satisfied With Our Product. Have A Nice Day.. This item is in the category “Collectibles\Advertising\Merchandise & Memorabilia\Signs\Original\1930-69″. The seller is “collection_of_lost_arts” and is located in this country: IN. This item can be shipped worldwide.
  • Brand: Coca Cola
  • Type of Advertising: Sign
  • Size: 35.6 x 24.8 Cms. ( 14 x 9.75 Inch ) Approx.
  • Color: Multi-color
  • Date of Creation: 1939-69
  • Original/Reproduction: Original
  • Featured Refinements: Enamel Sign
  • Specification: Vintage Embossed Porcelain Enamel Sign
  • Time Period Manufactured: 1930-69
  • Country/Region of Manufacture: United States
  • Modified Item: No
  • Weight: 903 Grams Approx.

Original 1930s Old Vintage Rare Drink Coca Cola Oval Porcelain Enamel Sign Board

Original Vintage Sky Chief Gasoline Sign Metal Porcelain Texaco Pump Plate RARE

Original Vintage Sky Chief Gasoline Sign Metal Porcelain Texaco Pump Plate RARE
Original Vintage Sky Chief Gasoline Sign Metal Porcelain Texaco Pump Plate RARE
Original Vintage Sky Chief Gasoline Sign Metal Porcelain Texaco Pump Plate RARE
Original Vintage Sky Chief Gasoline Sign Metal Porcelain Texaco Pump Plate RARE
Original Vintage Sky Chief Gasoline Sign Metal Porcelain Texaco Pump Plate RARE
Original Vintage Sky Chief Gasoline Sign Metal Porcelain Texaco Pump Plate RARE
Original Vintage Sky Chief Gasoline Sign Metal Porcelain Texaco Pump Plate RARE
Original Vintage Sky Chief Gasoline Sign Metal Porcelain Texaco Pump Plate RARE
Original Vintage Sky Chief Gasoline Sign Metal Porcelain Texaco Pump Plate RARE
Original Vintage Sky Chief Gasoline Sign Metal Porcelain Texaco Pump Plate RARE
Original Vintage Sky Chief Gasoline Sign Metal Porcelain Texaco Pump Plate RARE
Original Vintage Sky Chief Gasoline Sign Metal Porcelain Texaco Pump Plate RARE
Original Vintage Sky Chief Gasoline Sign Metal Porcelain Texaco Pump Plate RARE
Original Vintage Sky Chief Gasoline Sign Metal Porcelain Texaco Pump Plate RARE
Original Vintage Sky Chief Gasoline Sign Metal Porcelain Texaco Pump Plate RARE
Original Vintage Sky Chief Gasoline Sign Metal Porcelain Texaco Pump Plate RARE
Original Vintage Sky Chief Gasoline Sign Metal Porcelain Texaco Pump Plate RARE
Original Vintage Sky Chief Gasoline Sign Metal Porcelain Texaco Pump Plate RARE
Original Vintage Sky Chief Gasoline Sign Metal Porcelain Texaco Pump Plate RARE

Original Vintage Sky Chief Gasoline Sign Metal Porcelain Texaco Pump Plate RARE
Original Vintage Texaco Sky Chief Gasoline Sign Metal Porcelain Pump Plate. 100% authentic guaranteed Original. Made in USA 5-21-90. This item is in the category “Collectibles\Advertising\Merchandise & Memorabilia\Signs\Original\1930-69″. The seller is “jonathan-930″ and is located in this country: US. This item can be shipped to United States, New Zealand, Fiji, Papua New Guinea, Wallis and Futuna, Gambia, Malaysia, Taiwan, Poland, Oman, Suriname, United Arab Emirates, Kenya, Argentina, Guinea-Bissau, Armenia, Uzbekistan, Bhutan, Senegal, Togo, Ireland, Qatar, Burundi, Netherlands, Slovakia, Slovenia, Equatorial Guinea, Thailand, Aruba, Sweden, Iceland, Macedonia, Belgium, Israel, Kuwait, Liechtenstein, Benin, Algeria, Antigua and Barbuda, Italy, Swaziland, Tanzania, Pakistan, Burkina Faso, Panama, Singapore, Kyrgyzstan, Switzerland, Djibouti, Chile, China, Mali, Botswana, Republic of Croatia, Cambodia, Indonesia, Portugal, Malta, Tajikistan, Vietnam, Cayman Islands, Paraguay, Saint Helena, Cyprus, Seychelles, Rwanda, Bangladesh, Australia, Austria, Sri Lanka, Gabon Republic, Zimbabwe, Bulgaria, Czech Republic, Norway, Côte d’Ivoire (Ivory Coast), Kiribati, Turkmenistan, Grenada, Greece, Haiti, Greenland, Yemen, Afghanistan, Montenegro, Mongolia, Nepal, Bahamas, Bahrain, United Kingdom, Bosnia and Herzegovina, Hungary, Angola, Western Samoa, France, Mozambique, Namibia, Peru, Denmark, Guatemala, Solomon Islands, Vatican City State, Sierra Leone, Nauru, Anguilla, El Salvador, Dominican Republic, Cameroon, Guyana, Azerbaijan Republic, Macau, Georgia, Tonga, San Marino, Eritrea, Saint Kitts-Nevis, Morocco, Saint Vincent and the Grenadines, Mauritania, Belize, Philippines, Democratic Republic of the Congo, Republic of the Congo, Colombia, Spain, Estonia, Bermuda, Montserrat, Zambia, South Korea, Vanuatu, Ecuador, Albania, Ethiopia, Monaco, Niger, Laos, Ghana, Cape Verde Islands, Moldova, Madagascar, Saint Pierre and Miquelon, Lebanon, Liberia, Bolivia, Maldives, Gibraltar, Hong Kong, Central African Republic, Lesotho, Nigeria, Mauritius, Saint Lucia, Jordan, Guinea, Canada, Turks and Caicos Islands, Chad, Andorra, Romania, Costa Rica, India, Mexico, Serbia, Kazakhstan, Saudi Arabia, Japan, Lithuania, Trinidad and Tobago, Malawi, Nicaragua, Finland, Tunisia, Luxembourg, Uganda, Brazil, Turkey, Germany, Egypt, Latvia, Jamaica, South Africa, Brunei Darussalam, Honduras.
  • Brand: Texaco Gas
  • Type of Advertising: Sign
  • Color: Red
  • Original/Reproduction: Original
  • Featured Refinements: Vintage Metal Sign
  • Country/Region of Manufacture: United States

Original Vintage Sky Chief Gasoline Sign Metal Porcelain Texaco Pump Plate RARE

35 Original RARE Vintage 1980s Duran Duran Collector Pins Great Condition-WOW

35 Original RARE Vintage 1980s Duran Duran Collector Pins Great Condition-WOW
35 Original RARE Vintage 1980s Duran Duran Collector Pins Great Condition-WOW
35 Original RARE Vintage 1980s Duran Duran Collector Pins Great Condition-WOW
35 Original RARE Vintage 1980s Duran Duran Collector Pins Great Condition-WOW
35 Original RARE Vintage 1980s Duran Duran Collector Pins Great Condition-WOW
35 Original RARE Vintage 1980s Duran Duran Collector Pins Great Condition-WOW
35 Original RARE Vintage 1980s Duran Duran Collector Pins Great Condition-WOW
35 Original RARE Vintage 1980s Duran Duran Collector Pins Great Condition-WOW
35 Original RARE Vintage 1980s Duran Duran Collector Pins Great Condition-WOW
35 Original RARE Vintage 1980s Duran Duran Collector Pins Great Condition-WOW
35 Original RARE Vintage 1980s Duran Duran Collector Pins Great Condition-WOW
35 Original RARE Vintage 1980s Duran Duran Collector Pins Great Condition-WOW

35 Original RARE Vintage 1980s Duran Duran Collector Pins Great Condition-WOW
This is DURAN DURAN! These pins are in mint condition–only a few were very gently and lovingly used for a short time then put away. Even those show no wear on the front. HUGE SET–They are in PRISTINE condition. The square pins aren’t as common and show the band with great posed for pictures. Great lettering, design, smiles or sexy sulks are all accounted for. THESE PINS ARE SO RARE AND OFFERED AT A LOW PRICE FOR SUCH A COLLECTION WITH SO MANY DIFFERENT IMAGES. The 35 pins which are wrapped and stored properly waiting for YOU! This is one lot consisting of 35 pins which will be secured and protected along the journey to you. Please note all of the pictures as they are part of the description. I want you to be happy with this set. FROM A CLEAN- NON SMOKING HOME. This item is in the category “Entertainment Memorabilia\Music Memorabilia\Rock & Pop\Artists D\Duran Duran”. The seller is “upon.a.dream” and is located in this country: CA. This item can be shipped to Canada, United States.
  • Modified Item: No
  • Original/Reproduction: Original
  • Artist/Band: Duran Duran
  • Industry: Music
  • Genre: 1980s Music

35 Original RARE Vintage 1980s Duran Duran Collector Pins Great Condition-WOW

Original Vintage Red Hot Chili Peppers RHCP Giant Subway Poster 40 x 60 Rare

Original Vintage Red Hot Chili Peppers RHCP Giant Subway Poster 40 x 60 Rare

Original Vintage Red Hot Chili Peppers RHCP Giant Subway Poster 40 x 60 Rare
Original Vintage Red Hot Chili Peppers RHCP Giant Subway Poster 40 x 60 Rare. Original Vintage Red Hot Chili Peppers RHCP Rock Band Giant Subway Poster 40″x 60″ Professionally scanned to get image, the actual poster may be a little worn from storage and its age. This item is in the category “Art\Art Posters”. The seller is “wookiesdontburn” and is located in this country: US. This item can be shipped to United States, Canada, United Kingdom, Denmark, Romania, Slovakia, Bulgaria, Czech Republic, Finland, Hungary, Latvia, Lithuania, Malta, Estonia, Australia, Greece, Portugal, Cyprus, Slovenia, Japan, China, Sweden, South Korea, Indonesia, Taiwan, South Africa, Belgium, France, Hong Kong, Ireland, Netherlands, Poland, Spain, Italy, Germany, Austria, Bahamas, Israel, Mexico, New Zealand, Philippines, Singapore, Switzerland, Norway, Saudi Arabia, United Arab Emirates, Qatar, Kuwait, Bahrain, Republic of Croatia, Malaysia, Chile, Colombia, Costa Rica, Panama, Trinidad and Tobago, Guatemala, Honduras, Jamaica, Antigua and Barbuda, Aruba, Belize, Dominica, Grenada, Saint Kitts-Nevis, Saint Lucia, Montserrat, Turks and Caicos Islands, Barbados, Bangladesh, Bermuda, Brunei Darussalam, Bolivia, Egypt, French Guiana, Guernsey, Gibraltar, Guadeloupe, Iceland, Jersey, Jordan, Cambodia, Cayman Islands, Liechtenstein, Sri Lanka, Luxembourg, Monaco, Macau, Martinique, Maldives, Nicaragua, Oman, Pakistan, Paraguay, Reunion.
  • Subject: Musical Bands & Groups
  • Size: Large
  • Artist: Red Hot Chili Peppers
  • Original/Licensed Reprint: Original
  • Featured Person/Artist: Red Hot Chili Peppers
  • Type: Poster
  • Theme: Music
  • Item Length: 60 in
  • Item Width: 40 in
  • Never Hung: Yes

Original Vintage Red Hot Chili Peppers RHCP Giant Subway Poster 40 x 60 Rare

1938 Original India Leader Rare Photo Subhas Chandra Bose Indian Vintage

1938 Original India Leader Rare Photo Subhas Chandra Bose Indian Vintage
1938 Original India Leader Rare Photo Subhas Chandra Bose Indian Vintage

1938 Original India Leader Rare Photo Subhas Chandra Bose Indian Vintage
AN EXTREMELY RARE VINTAGE ORIGINAL 1938 PHOTO MEASURING 6.5X8.5 INCHES OF SUBHAS CHANDRA BOSE. Subhas Chandra Bose was an Indian nationalist whose defiant patriotism made him a hero in India, but whose attempts during World War II to rid India of British rule with the help of Nazi Germany and Imperial Japan left a troubled legacy. Subhas Chandra Bose, byname Netaji (Hindi: “Respected Leader”), born c. January 23, 1897, Cuttack, Orissa [now Odisha], India-died August 18, 1945, Taipei, Taiwan? , Indian revolutionary prominent in the independence movement against British rule of India. He also led an Indian national force from abroad against the Western powers during World War II. He was a contemporary of Mohandas K. Gandhi, at times an ally and at other times an adversary. Bose was known in particular for his militant approach to independence and for his push for socialist policies. January 23, 1897 Odisha India. Died: August 18, 1945 Taipei? Political Affiliation: Indian National Congress. Notable Works: “The Indian Struggle”. Early life and political activity. The son of a wealthy and prominent Bengali lawyer, Bose studied at Presidency College, Calcutta (Kolkata), from which he was expelled in 1916 for nationalist activities, and the Scottish Churches College (graduating in 1919). He then was sent by his parents to the University of Cambridge in England to prepare for the Indian Civil Service. In 1920 he passed the civil service examination, but in April 1921, after hearing of the nationalist turmoils in India, he resigned his candidacy and hurried back to India. Bose joined the noncooperation movement started by Mohandas K. Gandhi, who had made the Indian National Congress a powerful nonviolent organization. Bose was advised by Gandhi to work under Chitta Ranjan Das, a politician in Bengal. There Bose became a youth educator, journalist, and commandant of the Bengal Congress volunteers. His activities led to his imprisonment in December 1921. In 1924 he was appointed chief executive officer of the Calcutta Municipal Corporation, with Das as mayor. Bose was soon after deported to Burma (Myanmar) because he was suspected of connections with secret revolutionary movements. Shortly thereafter he and Jawaharlal Nehru became the two general secretaries of the Indian National Congress. Together they represented the more militant, left-wing faction of the party against the more compromising, right-wing Gandhian faction. A falling-out with Gandhi. Know about Subhas Chandra Bose and his role in India’s independence movement. Questions and answers about Indian revolutionary Chandra Subhas Bose. See all videos for this article. Vocal support for Gandhi increased within the Indian National Congress, meanwhile, and, in light of this, Gandhi resumed a more commanding role in the party. When the civil disobedience movement was started in 1930, Bose was already in detention for his associations with an underground revolutionary group, the Bengal Volunteers. Nevertheless, he was elected mayor of Calcutta while in prison. Released and then rearrested several times for his suspected role in violent acts, Bose was finally allowed to proceed to Europe after he contracted tuberculosis and was released for ill health. Meanwhile, Bose became increasingly critical of Gandhi’s more conservative economics as well as his less confrontational approach toward independence. In 1938 he was elected president of the Indian National Congress and formed a national planning committee, which formulated a policy of broad industrialization. However, this did not harmonize with Gandhian economic thought, which clung to the notion of cottage industries and benefiting from the use of the country’s own resources. Bose’s vindication came in 1939, when he defeated a Gandhian rival for reelection. Nonetheless, the “rebel president” felt bound to resign because of the lack of Gandhi’s support. He founded the Forward Bloc, hoping to rally radical elements, but was again incarcerated in July 1940. His refusal to remain in prison at this critical period of India’s history was expressed in a determination to fast to death, which frightened the British government into releasing him. On January 26, 1941, though closely watched, he escaped from his Calcutta residence in disguise and, traveling via Kabul and Moscow, eventually reached Germany in April. In Nazi Germany Bose came under the tutelage of a newly created Special Bureau for India, guided by Adam von Trott zu Solz. He and other Indians who had gathered in Berlin made regular broadcasts from the German-sponsored Azad Hind Radio beginning in January 1942, speaking in English, Hindi, Bengali, Tamil, Telugu, Gujarati, and Pashto. A little more than a year after the Japanese invasion of Southeast Asia, Bose left Germany, traveling by German and Japanese submarines and by plane, and arrived in May 1943 in Tokyo. On July 4 he assumed leadership of the Indian Independence Movement in East Asia and proceeded, with Japanese aid and influence, to form a trained army of about 40,000 troops in Japanese-occupied Southeast Asia. On October 21, 1943, Bose proclaimed the establishment of a provisional independent Indian government, and his so-called Indian National Army (Azad Hind Fauj), alongside Japanese troops, advanced to Rangoon (Yangon) and thence overland into India, reaching Indian soil on March 18, 1944, and moving into Kohima and the plains of Imphal. In a stubborn battle, the mixed Indian and Japanese forces, lacking Japanese air support, were defeated and forced to retreat; the Indian National Army nevertheless for some time succeeded in maintaining its identity as a liberation army, based in Burma and then Indochina. With the defeat of Japan, however, Bose’s fortunes ended. Subhas Chandra Bose, leader of the Indian National Army. A few days after Japan’s announced surrender in August 1945, Bose, fleeing Southeast Asia, reportedly died in a Japanese hospital in Taiwan as a result of burn injuries from a plane crash. We commemorate his death anniversary on 18 August every year because, according to some of the significant biographers, Netaji died in a plane crash in Taihoku (Japanese Taiwan) on that day in 1945. The initial investigations carried out by the British Army, the government of British India, the government of Japan, and the Allied Forces also reached the same conclusion that Netaji suffered severe burns during the crash and later died in a hospital on the same day. According to an article published in The Wire, an independent and private investigation was carried out by war journalist Harin Shah, also corroborated the same story. The Beginning of The Dispute. The seed of mystery and dispute grew after Indian Independence, in 1956 when the Indian government established the Netaji Inquiry Committee consisting of Shahnawaz Khan (the parliamentary secretary of the time) Netaji’s brother Suresh Chandra Bose, and S. Maitra of the Indian Civil Service to investigate the freedom fighter’s death. The committee’s report concurred with the fact that Netaji died during the crash. However, Netaji’s brother refused to sign the report, indicating that this was a cover-up and blamed several political leaders, including Jawaharlal Nehru, for it. In 1966, Suresh Bose also claimed that Netaji is all set to make a return. Although it didn’t happen, a string of conspiracy theories and several reports of Netaji sightings begin doing rounds over the years, keeping one question alive in public consciousness: Is Netaji Still Alive? For years, some rumours claimed that a saint named Gumnami Baba in Uttar Pradesh was Netaji in disguise. At the same time, a book by Retired Major Gen. GD Bakshi propounded that the plane crash was just a distraction that the Japanese used to help Bose escape to Russia. In 1970, Justice Khosla Commission reinvestigated Netaji’s death and reached the same conclusion as all the other investigations before – that Netaji died in a crash. The De-classification of Netaji Files. However, the plane crash death narrative is still challenged not only by the public but also lawyers and academicians over the years. One of the biggest reasons for people not believing the plane crash story came after Mukherjee Commission’s report. In 1999, the Mukherjee Commission was founded to look into the death of Netaji. Justice Manoj Mukherjee led it, and the conclusion of their investigation confirmed what the public had speculated for years that Netaji did not die in a plane crash, and the ashes in the Japanese temple is not his. There had been several pleas to declassify Netaji’s files over the years, and in 2015, the West Bengal government made public a set of files from the state archives related to Netaji. Following this move, in January 2016, 304 files on Netaji were also declassified by Central Ministry. However, the government claims that a total of over 2000 files related to Bose have been released so far since 1997, and there aren’t any more files in the archives to be declassified. Post declassification too, there are many questions left unanswered. While the files declassified by the Indian government have so far not challenged the plane crash death narrative, it has also raised questions about the Nehru government’s need to spy on Netaji’s family for decades, especially if they did not believe Bose to be alive. Subhash Chandra Bose or Netaji Subhash Chandra Bose, as he is fondly known as, is one of the most revered freedom fighters of India. Born in Cuttack (city in Odisha), Bose was one of the brightest students since his school days. Since his young days, he was highly influenced by Vivekananda’s teachings and considered him as his spiritual Guru. Bose was active with the radical wing of Indian National Congress during his young days. His nationalistic temperament first came to light when he was expelled from Presidency College for assaulting Professor Oaten for anti-national comments. Bose’s ideologies were highly contradictory to that of Mahatma Gandhi, who was highly popular among masses. While Bose stood for self-governance, even if it meant the use of force against the British, Gandhi emphasized on non-violent means. On June 22, 1939, Bose organized the All India Forward Bloc, a faction within the Indian National Congress, aiming at consolidating the political left. The impact was considerable in Bengal and South India. While his death is one of the greatest mysteries in the history, Bose is said to have died from third-degree burns in a plane crashed in Taiwan on August 18, 1945. Many Indians did not believe that any such crash had happened. Masses also believe that Bose’s body was cremated in the main Taihoku crematorium on August 20, 1945. Having been schooled in Cuttack, Orissa, where his father worked as a lawyer, Subhas Chandra Bose went to Calcutta in 1913 and joined Presidency College. In 1916, Bose was expelled for his complicity in beating a college tutor, Professor Oaten, whom he had heard had manhandled some Indian students. Bose had been involved in student political groups in Calcutta and received much sympathy for his expulsion. He joined Scottish Church College and graduated in 1919 with a degree in philosophy. Bose’s father proposed to send him to England to study for the Indian Civil Service (ICS). Despite Bose’s misgivings about accepting a job under the British Government, he set sail for England in September 1919. Upon arriving in Britain, Bose went up to Cambridge to gain admission. He managed to gain entry to Fitzwilliam Hall, a body for non-collegiate members of the University. Bose took the Mental and Moral Sciences Tripos and studied for the Civil Service exams. He attended the Cambridge Union Society debates and was a member of the Cambridge Majlis. He gave evidence to the Lytton Committee investigating Indian students in the UK, and appealed to the India Office to allow Indians to join the University Officers’ Training Corps (without success). In July 1920, Bose took the ICS exams in London and came fourth. Bose then faced a dilemma as to whether to take up this opportunity and sought advice from his family through correspondence to India. In Calcutta, Bose joined the Indian National Congress and worked with the Bengali leader C. Bose was in and out of jail in the 1920s, 1930s and 1940s for his political action (often violent) against the British. In the meantime, he rose through the Congress ranks, working with Nehru, and became president of Congress in 1938. Successful again in 1939 against Gandhi’s candidate, Bose then resigned over the selection of the working committee. In 1941, Bose managed to leave India through Afghanistan. In 1943, Bose was in Japan and supported the Prime Minister’s efforts to reconstitute the Indian National Army (INA) and set up the’Azad Hind’ or Free India provisional government. In 1944, the INA and Japanese invaded India but suffered a heavy defeat. Bose fled and was killed in a plane crash over Taiwan in August 1945 – although many of his followers remain(ed) doubtful as to the cause of his death, wondering if he had managed to escape the crash. UNIVERSAL HISTORY ARCHIVE/GETTY IMAGES. Subhash Chandra Bose was one of India’s greatest freedom fighter. He revived the Indian National Army, popularly known as’Azad Hind Fauj’ in 1943 which was initially formed in 1942 by Rash Behari Bose. He had visited London during pre-independence period to discuss the future of India, with the members of the Labor party. His sudden disappearance from Taiwan, led to surfacing of various theories, unfortunately none of which were investigated thoroughly by successive governments; leaving people in the dark about one of the most beloved leaders India has ever produced. Life history of Subhash Chandra Bose. Subhash Chandra Bose was born on 23 January, 1897 in Cuttack (Orissa) to Janakinath Bose and Prabhavati Devi. Janakinath Bose was one of the successful lawyer in Cuttack and received the title of “Rai Bahadur”. He, later became a member of the Bengal Legislative Council. He was a very intelligent and sincere student but never had much interest in sports. He passed his B. In Philosophy from the Presidency College in Calcutta. He was strongly influenced by Swami Vivekananda’s teachings and was known for his patriotic zeal as a student. He also adored Vivekananda as his spiritual Guru. Start of the opposition to British. Subhash Chandra Bose decided to take revenge, after reading so many incidents about the exploitation of the fellow Indians by the British. In 1916, Subhash reportedly beat and thrashed one of his British teachers E F Otten. The professor made a racist remark against the Indian students. As a result, Subhash Chandra Bose was expelled from the Presidency College and banished from Calcutta University. The incident brought Subhash in the list of rebel-Indians. In December 1921, Bose was arrested and imprisoned for organizing a boycott of the celebrations to mark the Prince of Wales’s visit to India. In Britain for ICS and return to India. Subhash Chandra Bose at young age. Subhash Chandra Bose’s father wanted him to become a civil servant and therefore, sent him to England to appear for the Indian Civil Service Examination. Bose was placed fourth with highest marks in English. But his urge for participating in the freedom movement was intense that in April 1921, Bose resigned from the coveted Indian Civil Service and came back to India. Soon, he left home to become an active member of India’s independence movement. He, later joined the Indian National Congress, and also elected as the president of the Youth wing party. Subhash Chaandra Bose with Congress. Subhash Chandra Bose worked under the leadership of Chittaranjan Das, an active member of Congress in Calcutta. It was Chittaranjan Das, who along with Motilal Nehru, left Congress and founded the Swaraj Party in 1922. Subhash would regard Chittaranjan Das as his political guru. While Chittaranjan Das was busy in developing the national strategy, Subhash Chandra Bose played a major role in enlightening the students, youth and labourers of Calcutta. He was eagerly waiting to see India, as an independent, federal and republic nation. Subhash Chandra Bose Vs. In freedom struggle congress was large organisation. Subhash Chandra Bose became a strong leader in Congress and he made brave attempt to mould the entire party differently. Congress party was always lenient and never in a position to oppose. Saubhashbabu outrightly opposed this behaviour. This opposition was against Gandhi’s philosophy. Therefore Mahatma Gandhi and other leaders were hurt and since then they opposed him. Congress party had undertaken a mission of opposing his every thought, insulting him and to stifle his highflying ambitions. In this manoeuvre of congress many a time he felt suffocated. Once there was a picture of’Subhash Chandra Bose against entire congress party’. It was first election of congress that time. Usually closer aide of Mahatma Gandhi used to get elected; but this time Subhash Chandra Bose got elected with higher votes. This insulted Gandhi group, which lead to their less interest of thinking towards parties campaign for independence. In order to acknowledge outside support and get freedom he journeyed to far away Germany, Japan when it was period of 2nd world war! He decided to induce soldiers from outside to get freedom. Nehru at that time said If Subhash would bring soldiers from outside and enter India, then I would be the first person to wield a sword and oppose him. That was the extent to which he detested Subhash babu. Formation of Azad Hind FaujNetaji with Azad Hind Fauj. Netaji with Azad Hind Fauj. Netaji Subhash Chandra Bose was against rendering any kind of help to the British during the World War II. He warned them so. The second World War broke out in September of 1939, and just as predicted by Bose, India was declared as a warring state (on behalf of the British) by the Governor General, without consulting Indian leaders. The Congress party was in power in seven major states and all state governments resigned in protest. He now started a mass movement against utilizing Indian resources and men for the great war. To him, it made no sense to further bleed poor Indians for the sake of colonial and imperial nations. There was a tremendous response to his call and the British promptly imprisoned him. He took to a hunger-strike, and after his health deteriorated on the 11th day of fasting, he was freed and was placed under house arrest. The British could do nothing except locking him in the prison. It was in 1941, that Subhash Chandra Bose suddenly disappeared. The authorities did not come to know for many days that he was not in his Barrack (the house in which he was being guarded). He traveled by foot, car and train and resurfaced in Kabul (now in Afghanistan), only to disappear once again. In November 1941, his broadcast from German radio sent shock waves among the British and electrified the Indian masses who realized that their leader was working on a master plan to free their motherland. It also gave fresh confidence to the revolutionaries in India who were challenging the British in many ways. The Axis powers (mainly Germany) assured Netaji Subhash Chandra Bose military and other help to fight the British. Japan by this time had grown into another strong world power, occupying key colonies of Dutch, French, and British colonies in Asia. Netaji Bose had struck alliance with Germany and Japan. He rightly felt that his presence in the East would help his countrymen in freedom struggle and second phase of his saga began. It is told that he was last seen on land near Kiel canal in Germany, in the beginning of 1943. A most hazardous journey was undertaken by him under water, covering thousands of miles, crossing enemy territories. He was in the Atlantic, the Middle East, Madagascar and the Indian ocean. Battles were being fought over land, in the air and there were mines in the sea. At one stage he traveled 400 miles in a rubber dingy to reach a Japanese submarine, which took him to Tokyo. He was warmly received in Japan and was declared the head of the Indian army, which consisted of about 40,000 soldiers from Singapore and other eastern regions. These soldiers were united by another great revolutionary Rash Behari Bose. Rash Behari handed over them to Netaji Subhash Chandra Bose. Netaji Bose called it the Indian National Army (INA) and a government by the name “Azad Hind Government” was declared on the 21st of October 1943. INA freed the Andaman and Nicobar islands from the British and were renamed as Swaraj and Shaheed islands. The Government started functioning. Subhash Chandra Bose wanted to free India from the Eastern front. He had taken care that Japanese interference was not present from any angle. Army leadership, administration and communications were managed by Indians only. Subhash Brigade, Azad Brigade and Gandhi Brigade were formed. INA marched through Burma and occupied Coxtown on the Indian Border. A touching scene ensued when the solders entered their’free’ motherland. Some lay down and kissed, some placed pieces of mother earth on their heads, others wept. They were now inside India and were determined to drive out the British! Delhi Chalo (Let’s march to Delhi) was the war cry. The bombing of Hiroshima and Nagasaki changed the history of mankind. Japan had to surrender. Effect of Netaji Subhash Chandra Bose’s earlier visits to England. During his sojourn to England, he met with the leaders of British Labor Party and political thinkers including Clement Attlee, Arthur Greenwood, Harold Laski, G. Cole, and Sir Stafford Cripps. Bose also discuss with them about the future of India. Disappearance of Subhash Chandra Bose. Although it was believed that Netaji Subhash Chandra Bose died in a plane crash, his body was never recovered. There have been many theories put forward regarding his disappearance. The government of India set up a number of committees to investigate the case and come out with truth. In May 1956, the Shah Nawaz Committee visited Japan to look into the situation of Bose’s assumed death. Citing their lack of political relations with Taiwan, the Centre, did not seek for the assistance from their government. The reports of Justice Mukherjee Commission, tabled in Parliament on 17 May, 2006 said, “Bose did not die in the plane crash and the ashes at Renkoji temple are not his”. However, the findings were rejected by the government of India. (All India Forward Block)??? (INA – Indian National Army)???? Subhas Chandra Bose /?? S/ (About this soundlisten) shuub-HAHSS CHUN-dr? BOHSS;[11] 23 January 1897 – 18 August 1945[h] was an Indian nationalist whose defiant patriotism made him a hero in India, [13][i][j][k] but whose attempts during World War II to rid India of British rule with the help of Nazi Germany and Imperial Japan left a troubled legacy. [l][m][n] The honorific Netaji (Hindustani: “Respected Leader”) was first applied to Bose in Germany in early 1942-by the Indian soldiers of the Indische Legion and by the German and Indian officials in the Special Bureau for India in Berlin. It is now used throughout India. Subhas Bose was born into wealth and privilege in a large Bengali family in Orissa during the high noon of the British Raj. The early recipient of an unusually Anglocentric education, his teenage and young adult years were interspersed with brilliant academic success, oversize religious yearning, and stark rebellion against authority. In a college in which his five brothers had preceded him, he was expelled for participating in an assault on a professor. He was also rusticated from the University of Calcutta, but after reinstatement 18 months later he managed to study blamelessly and excel academically. Sent to England at his father’s urging to take the Indian Civil Service examination, he succeeded with distinction in the vital first exam but demurred at taking the more routine but clinching final exam. He cited nationalism to be a higher calling than the civil service. Returning to India in 1921 to join the nationalist movement led by Mahatma Gandhi and the Indian National Congress, Bose at first worked with C. He flowered under Das’s mentorship. He then followed Jawaharlal Nehru to leadership in a group within the Congress. The group was younger, less keen on constitutional reform, and more open to socialism. [p] Bose rose precociously to become Congress president in 1938. After reelection in 1939, differences arose between Bose and Gandhi. The senior leadership in the Congress supported Gandhi, and Bose resigned as president, and was eventually ousted from the party. [20] In July 1940, Bose was arrested by the Bengal government over a small protest, and later kept housebound under a strict police watch. In mid-January 1941, he escaped from India in dramatic cloak-and-dagger fashion, heading northwestward into Afghanistan. In April 1941, Bose arrived in Nazi Germany, where the leadership offered unexpected, if equivocal, sympathy for India’s independence. [23][24] In November 1941, German funds were used to open a Free India Centre in Berlin, and to set up a Free India Radio on which Bose broadcast nightly. A 3,000-strong Free India Legion was recruited from among Indian POWs captured by Erwin Rommel’s Afrika Korps to serve under Bose. [25] Bose’s reputation as a politician, adversely affected in the previous two years, was refurbished somewhat. [q] Throughout 1941 the Germans intermittently but inconclusively considered a land invasion of India. Although it was peripheral to their main goals in Eastern Europe, Bose remained optimistic about its likelihood. By the spring of 1942, however, the German army had become mired in Russia, and Japan had won quick victories in Asia. A German land invasion of India became untenable, and Bose became keen to move to southeast Asia. [27] Adolf Hitler, during his only meeting with Bose in late May 1942, suggested the same and offered to arrange a submarine. [28] During this time Bose became a father; his wife, [5][r] or companion, [4][s] Emilie Schenkl, whom he had met during an earlier visit to Europe in 1934, gave birth to a baby girl in November 1942. [5][t][23] Identifying strongly with the Axis powers, Bose boarded a German submarine in February 1943. [29][30] Off Madagascar, he was transferred to a Japanese submarine from which he disembarked in Japanese-held Sumatra in May 1943. [29] His wife, child, and 3,000 Indian men remained in Germany, the latter left to an uncertain future. The Indian National Army (INA) had been formed in 1942 from the Indian POWs of the British Indian army captured by the Japanese in the Battle of Singapore. [32] After arrival in Singapore, Bose enlisted Indian civilians, chiefly Tamil ones, in Malaya and Singapore. The Japanese had come to support a number of puppet and provisional governments in the captured regions. With Japanese support, a Provisional Government of Free India under Bose was formed in the Japanese-occupied Andaman and Nicobar Islands. Although the Japanese military at all times exercised firm control over the islands, Bose’s visit in December 1943 was widely publicized. [v][32][w] Charismatic and driven, Bose displayed unflagging enthusiasm for the cause of liberating India. The INA under Bose became a model of diversity by region, ethnicity, religion, and gender. However, the Japanese considered Bose to be militarily unskilled and unrealistic, [x] and Bose’s military effort was short-lived. In late 1944 and early 1945, the British Indian Army first halted and then devastatingly reversed the Japanese attack on India. Almost half the Japanese forces and fully half the participating INA contingent were killed. [y] The INA was driven down the Malay Peninsula and surrendered with the recapture of Singapore. Bose chose not to surrender with his forces or with the Japanese. He aimed to escape to Manchuria with a view to seeking a future in the Soviet Union which he believed to be turning anti-British. En route to Manchuria, his plane crashed in Taiwan, and he died from third-degree burns. [z] Some Indians did not believe that the crash had occurred. [aa] Many among them, especially in Bengal, believed Bose would return to gain India’s independence. The Indian National Congress, the main instrument of Indian nationalism, praised Bose’s patriotism but distanced itself from his tactics and ideology, [ae] in particular his collaboration with fascism. [40] The British Raj, never seriously threatened by the INA, [af][ag] charged 300 INA officers with treason in the INA trials, but eventually backtracked in the face both of popular sentiment and of its own end. 18 August 1945: Death. Map 1: The growth of British Bengal between 1757 and 1803 is shown in shades of brown. Cuttack is approximately 225 miles (362 km) southwest of Calcutta. Subhas Chandra Bose was born to Prabhavati Bose (née Dutt) and Janakinath Bose on 23 January 1897 in Cuttack-in what is today the state of Odisha in India, but was then the Orissa Division of Bengal Province in British India. [ai][aj] Prabhavati, or familiarly Ma janani lit. ? Mother’, the anchor of family life, had her first child at age 14 and 13 children thereafter. Subhas was the ninth child and the sixth son. [46] Jankinath, a successful lawyer and government pleader, [45] was loyal to the government of British India and scrupulous about matters of language and the law. A self-made man from the rural outskirts of Calcutta, he had remained in touch with his roots, returning annually to his village during the pooja holidays. Eager to join his five school-going older brothers, Subhas entered the Baptist Mission’s Protestant European School in Cuttack in January 1902. [6] English was the medium of all instruction in the school, the majority of the students being European or Anglo-Indians of mixed British and Indian ancestry. [44] The curriculum included English-correctly written and spoken-Latin, the Bible, good manners, British geography, and British History; no Indian languages were taught. [44][6] The choice of the school was Janakinath’s, who wanted his sons to speak flawless English with flawless intonation, believing both to be important for access to the British in India. [48] The school contrasted with Subhas’s home, where only Bengali was spoken. At home, his mother worshipped the Hindu goddesses Durga and Kali, told stories from the epics Mahabharata and Ramayana, and sang Bengali religious songs. [6] From her, Subhas imbibed a nurturing spirit, looking for situations in which to help people in distress, preferring gardening around the house to joining in sports with other boys. [7] His father, who was reserved in manner and busy with professional life, was a distant presence in a large family, causing Subhas to feel he had a nondescript childhood. [49] Still, Janakinath read English literature avidly-John Milton, William Cowper, Matthew Arnold, and Shakespeare’s Hamlet being among his favourites; several of his sons were to become English literature enthusiasts like him. Janakinath Bose, Prabhavati Bose, and their family, ca. Sarat Chandra Bose (standing, centre) and Subhas Bose (aged 8, standing, extreme right). In 1909 the 12-year-old Subhas Bose followed his five brothers to the Ravenshaw Collegiate School in Cuttak. [7] Here, Bengali and Sanskrit were also taught, as were ideas from Hindu scriptures such as the Vedas and the Upanishads not usually picked up at home. [7] Although his western education continued apace, he began to wear Indian clothes and engage in religious speculation. To his mother, he wrote long letters which displayed acquaintance with the ideas of the Bengali mystic Ramakrishna Paramahamsa and his disciple Swami Vivekananda, and the novel Ananda Math by Bankim Chandra Chatterjee, popular then among young Hindu men. [51] Despite the preoccupation, Subhas was able to demonstrate an ability when needed to focus on his studies, to compete, and to succeed in exams. In 1912, he secured the second position in the matriculation examination conducted under the auspices of the University of Calcutta. Subhas Bose followed his five brothers again 1913 to Presidency College, Calcutta, the historic and traditional college for Bengal’s upper-caste Hindu men. [52][53] He chose to study philosophy, his readings including Kant, Hegel, Bergson and other Western philosophers. [54] A year earlier, he had befriended Hemanta Kumar Sarkar, a confidant and partner in religious yearnings. [55] At Presidency, their emotional ties grew stronger. [55] In the fanciful language of religious imagery, they declared their pure love for each other. [55] In the long vacations of 1914, they traveled to northern India for several months to search for a spiritual guru to guide them. [55] Subhas’s family was not told clearly about the trip, leading them to think he had run away. During the trip, in which the guru proved elusive, Subhas came down with typhoid fever. [55] His absence caused emotional distress to his parents, leading both parents to break down upon his return. [55] Heated words were exchanged between Janakinath and Subhas. It took the return of Subhas’s favorite brother, Sarat Chandra Bose, from law studies in England for the tempers to subside. In February 1916 Bose was alleged to have masterminded, [45] or participated in, an incident involving E. Oaten, Professor of History at Presidency. [8] Before the incident, it was claimed by the students, Oaten had made rude remarks about Indian culture, and collared and pushed some students; according to Oaten, the students were making an unacceptably loud noise just outside his class. [8] A few days later, on February 15, some students accosted Oaten on a stairway, surrounded him, beat him with sandals, and took to flight. [8] An inquiry committee was constituted. Although Oaten, who was unhurt, could not identify his assailants, a college servant testified to seeing Subhas Bose among those fleeing, confirming for the authorities what they had determined to be the rumor among the students. [8] Bose was expelled from the college and rusticated from University of Calcutta. [56] The incident shocked Calcutta and caused anguish to Bose’s family. [45] He was ordered back to Cuttack. His family’s connections were employed to pressure Asutosh Mukherjee, the Vice-Chancellor of Calcutta University. [56] Despite this, Subhas Bose’s expulsion remained in place until July 20, 1917, when the Syndicate of Calcutta University granted him permission to return, but to another college. [9] He joined Scottish Church College, receiving his B. In 1918 in the First Class with honours in philosophy, placing second among all philosophy students in Calcutta University. A coloured-in photograph (1851) of Presidency College, Calcutta which Subhas Bose entered in 1913, but from which he was expelled in 1916. At his father’s urging, Subhas Bose agreed to travel to England to prepare and appear for the Indian Civil Services (ICS) examination. [58] Arriving in London on 20 October 1919, Subhas readied his application for the ICS. [59] For his references he put down Lord Sinha of Raipur, Under Secretary of State for India, and Bhupendranath Basu, a wealthy Calcutta lawyer who sat on the Council of India in London. [58] Bose was eager also to gain admission to a college at the University of Cambridge. [60] It was past the deadline for admission. [60] He sought help from some Indian students and from the Non-Collegiate Students Board. The Board offered the university’s education at an economical cost without formal admission to a college. Bose entered the register of the university on 19 November 1919 and simultaneously set about preparing for the Civil Service exams. [60] He chose the Mental and Moral Sciences Tripos at Cambridge, [60] its completion requirement reduced to two years on account of his Indian B. Subhas Bose (standing, right) with friends in England, 1920. There were six vacancies in the ICS. [62] Subhas Bose took the open competitive exam for them in August 1920 and was placed fourth. [62] This was a vital first step. [62] Still remaining was a final examination in 1921 on more topics on India, including the Indian Penal Code, the Indian Evidence Act, Indian history, and an Indian language. [62] Successful candidates had also to clear a riding test. Having no fear of these subjects and being a rider, Subhas Bose felt the ICS was within easy reach. [62] Yet between August 1920 and 1921 he began to have doubts about taking the final examination. [63] Many letters were exchanged with his father and his brother Sarat Chandra Bose back in Calcutta. [64] In one letter to Sarat, Subhas wrote. But for a man of my temperament who has been feeding on ideas that might be called eccentric-the line of least resistance is not the best line to follow… The uncertainties of life are not appalling to one who has not, at heart, worldly ambitions. Moreover, it is not possible to serve one’s country in the best and fullest manner if one is chained on to the civil service. In April 1921, Subhas Bose made his decision firm not to take the final examination for the ICS and wrote to Sarat informing him of the same, apologizing for the pain he would cause to his father, his mother, and other members of his family. [65] On April 22, 1921, he wrote to the Secretary of State for India, Edwin Montagu, stating, I wish to have my name removed from the list of probationers in the Indian Civil Service. [66] The following day he wrote again to Sarat. I received a letter from mother saying that in spite of what father and others think she prefers the ideals for which Mahatma Gandhi stands. I cannot tell you how happy I have been to receive such a letter. It will be worth a treasure for me as it has removed something like a burden from my mind. For some time before Subhas Bose had been in touch with C. Das, a lawyer who had risen to the helm of politics in Bengal; Das encouraged Subhas to return to Calcutta. [68] With the ICS decision now firmly behind him, Subhas Bose took his Cambridge B. Final examinations half-heartedly, passing, but being placed in the Third Class. Bose at the inauguration of the India Society in Prague in 1926. Subhas Bose, aged 24, arrived ashore in India at Bombay on the morning of 16 July 1921 and immediately set about arranging an interview with Mahatma Gandhi. Gandhi, aged 51, was the leader of the Non-cooperation movement that had taken India by storm the previous year and in a quarter-century would evolve to secure its independence. [ak][al] Gandhi happened to be in Bombay and agreed to see Bose that afternoon. In Bose’s account of the meeting, written many years later, he pilloried Gandhi with question after question. [71] Bose thought Gandhi’s answers were vague, his goals unclear, his plan for achieving them not thought through. [71] Gandhi and Bose differed in this first meeting on the question of means-for Gandhi non-violent means to any end were non-negotiable; in Bose’s thought, all means were acceptable in the service of anti-colonial ends. [71] They differed on the question of ends-Bose was attracted to totalitarianism models of governance; these were anathematized by Gandhi. [72] According to historian Gordon, Gandhi, however, set Bose on to the leader of the Congress and Indian nationalism in Bengal, C. Das, and in him Bose found the leader whom he sought. [71] Das was more flexible than Gandhi, more sympathetic to the extremism that had attracted idealistic young men such as Bose in Bengal. [71] Das launched Bose into nationalist politics. [71] Bose would work within the ambit of the Indian National Congress politics for nearly 20 years even as he tried to change its course. He started the newspaper Swaraj and took charge of publicity for the Bengal Provincial Congress Committee. [73] His mentor was Chittaranjan Das who was a spokesman for aggressive nationalism in Bengal. In the year 1923, Bose was elected the President of All India Youth Congress and also the Secretary of Bengal State Congress. He was also the editor of the newspaper “Forward”, founded by Chittaranjan Das. [74] Bose worked as the CEO of the Calcutta Municipal Corporation for Das when the latter was elected mayor of Calcutta in 1924. [75] In a roundup of nationalists in 1925, Bose was arrested and sent to prison in Mandalay, where he contracted tuberculosis. Subhas Bose (in military uniform) with Congress president, Motilal Nehru taking the salute. Annual meeting, Indian National Congress, 29 December 1928. In 1927, after being released from prison, Bose became general secretary of the Congress party and worked with Jawaharlal Nehru for independence. In late December 1928, Bose organised the Annual Meeting of the Indian National Congress in Calcutta. [77] His most memorable role was as General officer commanding (GOC) Congress Volunteer Corps. [77] Author Nirad Chaudhuri wrote about the meeting. Bose organized a volunteer corps in uniform, its officers were even provided with steel-cut epaulettes… His uniform was made by a firm of British tailors in Calcutta, Harman’s. A telegram addressed to him as GOC was delivered to the British General in Fort William and was the subject of a good deal of malicious gossip in the (British Indian) press. Mahatma Gandhi as a sincere pacifist vowed to non-violence, did not like the strutting, clicking of boots, and saluting, and he afterward described the Calcutta session of the Congress as a Bertram Mills circus, which caused a great deal of indignation among the Bengalis. A little later, Bose was again arrested and jailed for civil disobedience; this time he emerged to become Mayor of Calcutta in 1930. (left) Bose with Emilie Schenkl, in Bad Gastein, Austria, 1936; (right) Bose, INC president-elect, center, in Bad Gastein, Austria, December 1937, with (left to right) A. During the mid-1930s Bose travelled in Europe, visiting Indian students and European politicians, including Benito Mussolini. He observed party organisation and saw communism and fascism in action. Although it was published in London in 1935, the British government banned the book in the colony out of fears that it would encourage unrest. In 1938 Bose stated his opinion that the INC should be organised on the broadest anti-imperialist front with the two-fold objective of winning political freedom and the establishment of a socialist regime. [79] By 1938 Bose had become a leader of national stature and agreed to accept nomination as Congress President. He stood for unqualified Swaraj (self-governance), including the use of force against the British. This meant a confrontation with Mohandas Gandhi, who in fact opposed Bose’s presidency, [80] splitting the Indian National Congress party. Bose, president-elect, INC, arrives in Calcutta, 24 January 1938, after two-month vacation in Austria. Bose attempted to maintain unity, but Gandhi advised Bose to form his own cabinet. The rift also divided Bose and Nehru. Bose appeared at the 1939 Congress meeting on a stretcher. He was elected president again over Gandhi’s preferred candidate Pattabhi Sitaramayya. Muthuramalingam Thevar strongly supported Bose in the intra-Congress dispute. Thevar mobilised all south India votes for Bose. [84] However, due to the manoeuvrings of the Gandhi-led clique in the Congress Working Committee, Bose found himself forced to resign from the Congress presidency. On 22 June 1939 Bose organised the All India Forward Bloc a faction within the Indian National Congress, [85] aimed at consolidating the political left, but its main strength was in his home state, Bengal. U Muthuramalingam Thevar, who was a staunch supporter of Bose from the beginning, joined the Forward Bloc. When Bose visited Madurai on 6 September, Thevar organised a massive rally as his reception. When Subhas Chandra Bose was heading to Madurai, on an invitation of Muthuramalinga Thevar to amass support for the Forward Bloc, he passed through Madras and spent three days at Gandhi Peak. His correspondence reveals that despite his clear dislike for British subjugation, he was deeply impressed by their methodical and systematic approach and their steadfastly disciplinarian outlook towards life. In England, he exchanged ideas on the future of India with British Labour Party leaders and political thinkers like Lord Halifax, George Lansbury, Clement Attlee, Arthur Greenwood, Harold Laski, J. Haldane, Ivor Jennings, G. Cole, Gilbert Murray and Sir Stafford Cripps. Bose arriving at the 1939 annual session of the Congress, where he was re-elected, but later had to resign after disagreements with Gandhi and the Congress High Command. He came to believe that an independent India needed socialist authoritarianism, on the lines of Turkey’s Kemal Atatürk, for at least two decades. For political reasons Bose was refused permission by the British authorities to meet Atatürk at Ankara. During his sojourn in England Bose tried to schedule appointments with several politicians, but only the Labour Party and Liberal politicians agreed to meet with him. Conservative Party officials refused to meet him or show him courtesy because he was a politician coming from a colony. In the 1930s leading figures in the Conservative Party had opposed even Dominion status for India. On the outbreak of war, Bose advocated a campaign of mass civil disobedience to protest against Viceroy Lord Linlithgow’s decision to declare war on India’s behalf without consulting the Congress leadership. Having failed to persuade Gandhi of the necessity of this, Bose organised mass protests in Calcutta calling for the’Holwell Monument’ commemorating the Black Hole of Calcutta, which then stood at the corner of Dalhousie Square, to be removed. [86] He was thrown in jail by the British, but was released following a seven-day hunger strike. Bose’s house in Calcutta was kept under surveillance by the CID. (left) Bose with Heinrich Himmler, head of the SS; (right) Bose meeting Adolf Hitler. The Wanderer car Bose used to escape from his Calcutta home in 1941. Bose’s arrest and subsequent release set the scene for his escape to Germany, via Afghanistan and the Soviet Union. A few days before his escape, he sought solitude and, on this pretext, avoided meeting British guards and grew a beard. Late night 16 January 1941, the night of his escape, he dressed as a Pathan (brown long coat, a black fez-type coat and broad pyjamas) to avoid being identified. Bose escaped from under British surveillance from his Elgin Road house in Calcutta on the night of 17 January 1941, accompanied by his nephew Sisir Kumar Bose, later reaching Gomoh Railway Station (now Netaji Subhas Chandra Bose Gomoh Station) in the then state of Bihar (now Jharkhand), India. [88][89][90][91]. He journeyed to Peshawar with the help of the Abwehr, where he was met by Akbar Shah, Mohammed Shah and Bhagat Ram Talwar. Bose was taken to the home of Abad Khan, a trusted friend of Akbar Shah’s. On 26 January 1941, Bose began his journey to reach Russia through British India’s North West frontier with Afghanistan. For this reason, he enlisted the help of Mian Akbar Shah, then a Forward Bloc leader in the North-West Frontier Province. Shah had been out of India en route to the Soviet Union, and suggested a novel disguise for Bose to assume. Since Bose could not speak one word of Pashto, it would make him an easy target of Pashto speakers working for the British. For this reason, Shah suggested that Bose act deaf and dumb, and let his beard grow to mimic those of the tribesmen. Bose’s guide Bhagat Ram Talwar, unknown to him, was a Soviet agent. Supporters of the Aga Khan III helped him across the border into Afghanistan where he was met by an Abwehr unit posing as a party of road construction engineers from the Organization Todt who then aided his passage across Afghanistan via Kabul to the border with Soviet Russia. From Moscow, he reached Rome, and from there he travelled to Germany. [90][91][93] Once in Russia the NKVD transported Bose to Moscow where he hoped that Russia’s traditional enmity to British rule in India would result in support for his plans for a popular rising in India. However, Bose found the Soviets’ response disappointing and was rapidly passed over to the German Ambassador in Moscow, Count von der Schulenburg. He had Bose flown on to Berlin in a special courier aircraft at the beginning of April where he was to receive a more favourable hearing from Joachim von Ribbentrop and the Foreign Ministry officials at the Wilhelmstrasse. In Germany, he was attached to the Special Bureau for India under Adam von Trott zu Solz which was responsible for broadcasting on the German-sponsored Azad Hind Radio. [95] He founded the Free India Center in Berlin, and created the Indian Legion (consisting of some 4500 soldiers) out of Indian prisoners of war who had previously fought for the British in North Africa prior to their capture by Axis forces. The Indian Legion was attached to the Wehrmacht, and later transferred to the Waffen SS. Its members swore the following allegiance to Hitler and Bose: “I swear by God this holy oath that I will obey the leader of the German race and state, Adolf Hitler, as the commander of the German armed forces in the fight for India, whose leader is Subhas Chandra Bose”. This oath clearly abrogates control of the Indian legion to the German armed forces whilst stating Bose’s overall leadership of India. He was also, however, prepared to envisage an invasion of India via the USSR by Nazi troops, spearheaded by the Azad Hind Legion; many have questioned his judgment here, as it seems unlikely that the Germans could have been easily persuaded to leave after such an invasion, which might also have resulted in an Axis victory in the War. In all, 3,000 Indian prisoners of war signed up for the Free India Legion. But instead of being delighted, Bose was worried. A left-wing admirer of Russia, he was devastated when Hitler’s tanks rolled across the Soviet border. Matters were worsened by the fact that the now-retreating German army would be in no position to offer him help in driving the British from India. When he met Hitler in May 1942, his suspicions were confirmed, and he came to believe that the Nazi leader was more interested in using his men to win propaganda victories than military ones. So, in February 1943, Bose boarded a German U-boat and left for Japan. This left the men he had recruited leaderless and demoralised in Germany. Bose lived in Berlin from 1941 until 1943. During his earlier visit to Germany in 1934, he had met Emilie Schenkl, the daughter of an Austrian veterinarian whom he married in 1937. Their daughter is Anita Bose Pfaff. [97] Bose’s party, the Forward Bloc, has contested this fact. Main articles: Indian National Army and Azad Hind. The crew of Japanese submarine I-29 after the rendezvous with German submarine U-180 300 sm southeast of Madagascar; Bose is sitting in the front row (28 April 1943). In 1943, after being disillusioned that Germany could be of any help in gaining India’s independence, Bose left for Japan. He travelled with the German submarine U-180 around the Cape of Good Hope to the southeast of Madagascar, where he was transferred to the I-29 for the rest of the journey to Imperial Japan. This was the only civilian transfer between two submarines of two different navies in World War II. The Indian National Army (INA) was the brainchild of Japanese Major (and post-war Lieutenant-General) Iwaichi Fujiwara, head of the Japanese intelligence unit Fujiwara Kikan. Fujiwara’s mission was to raise an army which would fight alongside the Japanese army. [99][100] He first met Pritam Singh Dhillon, the president of the Bangkok chapter of the Indian Independence League, and through Pritam Singh’s network recruited a captured British Indian army captain, Mohan Singh, on the western Malayan peninsula in December 1941. The First Indian National Army was formed as a result of discussion between Fujiwara and Mohan Singh in the second half of December 1941, and the name chosen jointly by them in the first week of January 1942. This was along the concept of, and with support of, what was then known as the Indian Independence League headed by expatriate nationalist leader Rash Behari Bose. The first INA was however disbanded in December 1942 after disagreements between the Hikari Kikan and Mohan Singh, who came to believe that the Japanese High Command was using the INA as a mere pawn and propaganda tool. However, the idea of an independence army was revived with the arrival of Subhas Chandra Bose in the Far East in 1943. In July, at a meeting in Singapore, Rash Behari Bose handed over control of the organisation to Subhas Chandra Bose. Bose was able to reorganise the fledgling army and organise massive support among the expatriate Indian population in south-east Asia, who lent their support by both enlisting in the Indian National Army, as well as financially in response to Bose’s calls for sacrifice for the independence cause. INA had a separate women’s unit, the Rani of Jhansi Regiment (named after Rani Lakshmi Bai) headed by Capt. Lakshmi Swaminathan, which is seen as a first of its kind in Asia. Currency issued by the Azad Hind Bank with Bose’s portrait. Even when faced with military reverses, Bose was able to maintain support for the Azad Hind movement. Spoken as a part of a motivational speech for the Indian National Army at a rally of Indians in Burma on 4 July 1944, Bose’s most famous quote was Give me blood, and I shall give you freedom! In this, he urged the people of India to join him in his fight against the British Raj. [citation needed] Spoken in Hindi, Bose’s words are highly evocative. Of those countries, five were authorities established under Axis occupation. This government participated in the so-called Greater East Asia Conference as an observer in November 1943. The INA’s first commitment was in the Japanese thrust towards Eastern Indian frontiers of Manipur. INA’s special forces, the Bahadur Group, were involved in operations behind enemy lines both during the diversionary attacks in Arakan, as well as the Japanese thrust towards Imphal and Kohima. Bose speaking in Tokyo in 1943. The Japanese also took possession of Andaman and Nicobar Islands in 1942 and a year later, the Provisional Government and the INA were established in the Andaman and Nicobar Islands with Lt Col. Loganathan appointed its Governor General. The islands were renamed Shaheed (Martyr) and Swaraj (Independence). However, the Japanese Navy remained in essential control of the island’s administration. During Bose’s only visit to the islands in early 1944, apparently in the interest of shielding Bose from attaining a full knowledge of ultimate Japanese intentions, Bose’s Japanese hosts carefully isolated him from the local population. At that time the island’s Japanese administration had been torturing the leader of the island’s Indian Independence League, Dr. Diwan Singh, who later died of his injuries in the Cellular Jail. During Bose’s visit to the islands several locals attempted to alert Bose to Dr. Singh’s plight, but apparently without success. During this time Lt. Col Loganathan became aware of his lack of any genuine administrative control and resigned in protest as Governor General, later returning to the Government’s headquarters in Rangoon. On the Indian mainland, an Indian Tricolour, modelled after that of the Indian National Congress, was raised for the first time in the town of Moirang, in Manipur, in north-eastern India. The adjacent towns of Kohima and Imphal were then encircled and placed under siege by divisions of the Japanese Army, working in conjunction with the Burmese National Army, and with Brigades of the INA, known as the Gandhi and Nehru Brigades. This attempt at conquering the Indian mainland had the Axis codename of Operation U-Go. During this operation, On 6 July 1944, in a speech broadcast by the Azad Hind Radio from Singapore, Bose addressed Mahatma Gandhi as the “Father of the Nation” and asked for his blessings and good wishes for the war he was fighting. This was the first time that Gandhi was referred to by this appellation. [107] The protracted Japanese attempts to take these two towns depleted Japanese resources, with Operation U-Go ultimately proving unsuccessful. Through several months of Japanese onslaught on these two towns, Commonwealth forces remained entrenched in the towns. Commonwealth forces then counter-attacked, inflicting serious losses on the Axis led forces, who were then forced into a retreat back into Burmese territory. After the Japanese defeat at the battles of Kohima and Imphal, Bose’s Provisional Government’s aim of establishing a base in mainland India was lost forever. Still the INA fought in key battles against the British Indian Army in Burmese territory, notable in Meiktilla, Mandalay, Pegu, Nyangyu and Mount Popa. However, with the fall of Rangoon, Bose’s government ceased to be an effective political entity. [citation needed] A large proportion of the INA troops surrendered under Lt Col Loganathan. The remaining troops retreated with Bose towards Malaya or made for Thailand. Japan’s surrender at the end of the war also led to the surrender of the remaining elements of the Indian National Army. The INA prisoners were then repatriated to India and some tried for treason. Main article: Death of Subhas Chandra Bose. (left) The last aeroplane journeys of Subhas Chandra Bose; flight paths: blue (completed), red (not completed); (right) A memorial to Subhas Chandra Bose in the Renkoji Temple, Tokyo. Bose’s ashes are stored in the temple in a golden pagoda. In the consensus of scholarly opinion, Subhas Chandra Bose’s death occurred from third-degree burns on 18 August 1945 after his overloaded Japanese plane crashed in Japanese-ruled Formosa (now Taiwan). [12][15] However, many among his supporters, especially in Bengal, refused at the time, and have refused since, to believe either the fact or the circumstances of his death. [12][36][37] Conspiracy theories appeared within hours of his death and have thereafter had a long shelf life, [12][ao] keeping alive various martial myths about Bose. [108][109] The mechanics on the tarmac saw something fall out of the plane. [110] It was the portside engine, or a part of it, and the propeller. [110][108] The plane swung wildly to the right and plummeted, crashing, breaking into two, and exploding into flames. [110][108] Inside, the chief pilot, copilot and Lieutenant-General Tsunamasa Shidei, the Vice Chief of Staff of the Japanese Kwantung Army, who was to have made the negotiations for Bose with the Soviet army in Manchuria, [111] were instantly killed. [110][112] Bose’s assistant Habibur Rahman was stunned, passing out briefly, and Bose, although conscious and not fatally hurt, was soaked in gasoline. [110] When Rahman came to, he and Bose attempted to leave by the rear door, but found it blocked by the luggage. [112] They then decided to run through the flames and exit from the front. [112] The ground staff, now approaching the plane, saw two people staggering towards them, one of whom had become a human torch. [110] The human torch turned out to be Bose, whose gasoline-soaked clothes had instantly ignited. [112] Rahman and a few others managed to smother the flames, but also noticed that Bose’s face and head appeared badly burned. [112] According to Joyce Chapman Lebra, A truck which served as ambulance rushed Bose and the other passengers to the Nanmon Military Hospital south of Taihoku. [110] The airport personnel called Dr. [112] Bose was conscious and mostly coherent when they reached the hospital, and for some time thereafter. [113] Bose was naked, except for a blanket wrapped around him, and Dr. Yoshimi immediately saw evidence of third-degree burns on many parts of the body, especially on his chest, doubting very much that he would live. Yoshimi promptly began to treat Bose and was assisted by Dr. [113] According to historian Leonard A. Gordon, who interviewed all the hospital personnel later. A disinfectant, Rivamol, was put over most of his body and then a white ointment was applied and he was bandaged over most of his body. Yoshimi gave Bose four injections of Vita Camphor and two of Digitamine for his weakened heart. These were given about every 30 minutes. Since his body had lost fluids quickly upon being burnt, he was also given Ringer solution intravenously. A third doctor, Dr. Ishii gave him a blood transfusion. An orderly, Kazuo Mitsui, an army private, was in the room and several nurses were also assisting. Bose still had a clear head which Dr. Yoshimi found remarkable for someone with such severe injuries. Soon, in spite of the treatment, Bose went into a coma. Bose’s body was cremated in the main Taihoku crematorium two days later, 20 August 1945. [115] On 23 August 1945, the Japanese news agency Do Trzei announced the death of Bose and Shidea. [110] On 7 September a Japanese officer, Lieutenant Tatsuo Hayashida, carried Bose’s ashes to Tokyo, and the following morning they were handed to the president of the Tokyo Indian Independence League, Rama Murti. [116] On 14 September a memorial service was held for Bose in Tokyo and a few days later the ashes were turned over to the priest of the Renkoji Temple of Nichiren Buddhism in Tokyo. [117][118] There they have remained ever since. Among the INA personnel, there was widespread disbelief, shock, and trauma. Most affected were the young Tamil Indians from Malaya and Singapore, both men and women, who comprised the bulk of the civilians who had enlisted in the INA. [40] The professional soldiers in the INA, most of whom were Punjabis, faced an uncertain future, with many fatalistically expecting reprisals from the British. [40] In India the Indian National Congress’s official line was succinctly expressed in a letter Mohandas Karamchand (Mahatma) Gandhi wrote to Rajkumari Amrit Kaur. [40] Said Gandhi, Subhas Bose has died well. He was undoubtedly a patriot, though misguided. [40] Many congressmen had not forgiven Bose for quarrelling with Gandhi and for collaborating with what they considered was Japanese fascism. The Indian soldiers in the British Indian army, some two and a half million of whom had fought during the Second World War, were conflicted about the INA. Some saw the INA as traitors and wanted them punished; others felt more sympathetic. The British Raj, though never seriously threatened by the INA, tried 300 INA officers for treason in the INA trials, but eventually backtracked. Subhas Chandra Bose believed that the Bhagavad Gita was a great source of inspiration for the struggle against the British. [119] Swami Vivekananda’s teachings on universalism, his nationalist thoughts and his emphasis on social service and reform had all inspired Subhas Chandra Bose from his very young days. The fresh interpretation of India’s ancient scriptures had appealed immensely to him. [120] Some scholars think that Hindu spirituality formed an essential part of his political and social thought. [121] As historian Leonard Gordon explains Inner religious explorations continued to be a part of his adult life. This set him apart from the slowly growing number of atheistic socialists and communists who dotted the Indian landscape. Bose first expressed his preference for “a synthesis of what modern Europe calls socialism and fascism” in a 1930 speech in Calcutta. [123] Bose later criticized Nehru’s 1933 statement that there is “no middle road” between communism and fascism, describing it as fundamentally wrong. ” Bose believed communism would not gain ground in India due to its rejection of nationalism and religion and suggested a “synthesis between communism and fascism could take hold instead. [124] In 1944, Bose similarly stated, Our philosophy should be a synthesis between National Socialism and communism. Bose’s correspondence (prior to 1939) reflects his disapproval of the racist practices and annulment of democratic institutions in Nazi Germany: Today I regret that I have to return to India with the conviction that the new nationalism of Germany is not only narrow and selfish but arrogant. [126] However, he expressed admiration for the authoritarian methods which he saw in Italy and Germany during the 1930s; he thought they could be used to build an independent India. Bose had clearly expressed his belief that democracy was the best option for India. [127] However, during the war (and possibly as early as the 1930s), Bose seems to have decided that no democratic system could be adequate to overcome India’s poverty and social inequalities, and he wrote that a socialist state similar to that of Soviet Russia (which he had also seen and admired) would be needed for the process of national re-building. [ap][128] Accordingly, some suggest that Bose’s alliance with the Axis during the war was based on more than just pragmatism and that Bose was a militant nationalist, though not a Nazi nor a Fascist, for he supported the empowerment of women, secularism and other liberal ideas; alternatively, others consider he might have been using populist methods of mobilisation common to many post-colonial leaders. His most famous quote was “Give me blood and I will give you freedom”. [129] Another famous quote was Dilli Chalo (On to Delhi)! This was the call he used to give the INA armies to motivate them. Jai Hind, or, Glory to India! Was another slogan used by him and later adopted by the Government of India and the Indian Armed Forces. Another slogan coined by him was “Ittehad, Etemad, Qurbani” (Urdu for “Unity, Agreement, Sacrifice”). INA also used the slogan Inquilab Zindabad, which was coined by Maulana Hasrat Mohani. Bose was featured on the stamps in India from 1964, 1993, 1997, 2001, 2016 and 2018. [131] Bose was also featured in? 2 coin in 1996 and 1997, [132]? 75 coin in 2018[133] and? 125 coin in 2021. [134] Netaji Subhas Chandra Bose International Airport at Kolkata, Netaji Subhash Chandra Bose Island, formerly Ross Island and many other institutions in India are named after him. On 23 August 2007, Japanese Prime Minister, Shinzo Abe visited the Subhas Chandra Bose memorial hall in Kolkata. [135][136] Abe said to Bose’s family The Japanese are deeply moved by Bose’s strong will to have led the Indian independence movement from British rule. Netaji is a much respected name in Japan. Bose on a 1964 stamp of India. In 2021, the Government of India declared 23 January as Parakram Divas to commemorate the birth anniversary of Netaji Subhas Chandra Bose. Political party, Trinamool Congress and the All India Forward Bloc demanded that the day should be observed as Deshprem Divas. Netaji Subhash, a feature documentary film about Bose was released in 1947, it was directed by Chhotubhai Desai. Subhas Chandra is a 1966 Indian Bengali-language biographical film, directed by Pijush Basu. Neta Ji Subhash Chandra Bose is a 1966 Indian biographical drama film about Bose by Hemen Gupta. [141] The film received critical acclaim at the BFI London Film Festival, and has garnered the National Film Award for Best Feature Film on National Integration, and the National Film Award for Best Production Design for that year. Mahanayak, 2005 published Marathi historical novel on the life of Subhash Chandra Bose, written by Marathi author Vishvas Patil. His Majesty’s Opponent, a biography of Subhash Chandra Bose, written by Sugata Bose published in 2011. Subhash Chandra Bose: The Mystery, a 2016 documentary film by Iqbal Malhotra, follows conspiracy theories regarding Bose’s death. Netaji Bose – The Lost Treasure is a 2017 television documentary film which aired on History TV18, it explores the INA treasure controversy. In 2017, ALTBalaji and BIG Synergy Media, released a 9-episode web series, Bose: Dead/Alive, created by Ekta Kapoor, a dramatised version of the book India’s Biggest Cover-up written by Anuj Dhar, which starred Bollywood actor Rajkummar Rao as Subhas Chandra Bose and Anna Ador as Emilie Schenkl. The series was praised by both audience and critics, for its plot, performance and production design. In January 2019 Zee Bangla started broadcasting the daily television series Netaji. Gumnaami is an 2019 Indian Bengali mystery film directed by Srijit Mukherji, which deals with Netaji’s death mystery, based on the Mukherjee Commission Hearings. Revolutionary movement for Indian independence. Japanese occupation of Singapore. Bombing of Rangoon in World War II. Death of Subhas Chandra Bose. Political views of Subhas Chandra Bose. Bibliography of Subhas Chandra Bose. Qadam Qadam Badhaye Ja. The Provisional Government of Azad Hind (or Free India Provisional Government, FIPG) was announced on 21 October. It was based at Singapore and consisted, in the first instance, of five ministers, eight representatives of the INA, and eight civilian advisers representing the Indians of Southeast and East Asia. Bose was head of state, prime minister and minister for war and foreign affairs. Hideki Tojo turned over all Japan’s Indian POWs to Bose’s command, and in October 1943 Bose announced the creation of a Provisional Government of Free India, of which he became head of state, prime minister, minister of war, and minister of foreign affairs. Bose was especially keen to have some Indian territory over which the provisional government might claim sovereignty. Since the Japanese had stopped east of the Chindwin River in Burma and not entered India on that front, the only Indian territories they held were the Andaman and Nicobar Islands in the Indian Ocean. The Japanese navy was unwilling to transfer administration of these strategic islands to Bose’s forces, but a face-saving agreement was worked out so that the provisional government was given a’jurisdiction’, while actual control remained throughout with the Japanese military. Bose eventually made a visit to Port Blair in the Andamans in December and a ceremonial transfer took place. Renaming them the Shahid (Martyr) and Swaraj (Self-rule) Islands, Bose raised the Indian national flag and appointed Lieutenant-Colonel Loganadhan, a medical officer, as chief commissioner. Bose continued to lobby for complete transfer, but did not succeed. His formal title after 21 October 1943 was: Head of State, Prime Minister, Minister of War, and Minister of Foreign Affairs of the Provisional Government of Free India, which was based in Japanese-occupied Singapore. [a][b] with jurisdiction, but without sovereignty of Japanese-occupied Andaman Islands. Expelled from the college and rusticated from the university, 15 February 1916;[8] reinstated in the university 20 July 1917. When another run-in between Professor Oaten and some students took place on February 15 (1916), a group of students including Subhas Bose… Decided to take the law in their own hands. Coming down the broad staircase from the second floor, Oaten was surrounded (the) students who beat him with their sandals-and fled. Although Oaten himself was not able to identify any of the attackers, a bearer said he saw Subhas Bose and Ananga Dam among those fleeing. Rumors in student circles also placed Subhas among the group. An investigation was carried out by the college authorities, and these two were expelled from the college and rusticated from the university. Bose took the Mental and Moral Sciences Tripos. If all else failed (Bose) wanted to become a prisoner of the Soviets:’They are the only ones who will resist the British. My fate is with them. But as the Japanese plane took off from Taipei airport its engines faltered and then failed. Bose was badly burned in the crash. According to several witnesses, he died on 18 August in a Japanese military hospital, talking to the very last of India’s freedom. British and Indian commissions later established convincingly that Bose had died in Taiwan. These were legendary and apocalyptic times, however. Having witnessed the first Indian leader to fight against the British since the great mutiny of 1857, many in both Southeast Asia and India refused to accept the loss of their hero. Rumours that Bose had survived and was waiting to come out of hiding and begin the final struggle for independence were rampant by the end of 1945. His romantic saga, coupled with his defiant nationalism, has made Bose a near-mythic figure, not only in his native Bengal, but across India. Bose’s heroic endeavor still fires the imagination of many of his countrymen. But like a meteor which enters the earth’s atmosphere, he burned brightly on the horizon for a brief moment only. Subhas Bose might have been a renegade leader who had challenged the authority of the Congress leadership and their principles. But in death he was a martyred patriot whose memory could be an ideal tool for political mobilization. The most troubling aspect of Bose’s presence in Nazi Germany is not military or political but rather ethical. His alliance with the most genocidal regime in history poses serious dilemmas precisely because of his popularity and his having made a lifelong career of fighting the’good cause’. How did a man who started his political career at the feet of Gandhi end up with Hitler, Mussolini, and Tojo? Even in the case of Mussolini and Tojo, the gravity of the dilemma pales in comparison to that posed by his association with Hitler and the Nazi leadership. The most disturbing issue, all too often ignored, is that in the many articles, minutes, memorandums, telegrams, letters, plans, and broadcasts Bose left behind in Germany, he did not express the slightest concern or sympathy for the millions who died in the concentration camps. Not one of his Berlin wartime associates or colleagues ever quotes him expressing any indignation. Not even when the horrors of Auschwitz and its satellite camps were exposed to the world upon being liberated by Soviet troops in early 1945, revealing publicly for the first time the genocidal nature of the Nazi regime, did Bose react. To many (Congress leaders), Bose’s programme resembled that of the Japanese fascists, who were in the process of losing their gamble to achieve Asian ascendancy through war. Nevertheless, the success of his soldiers in Burma had stirred as much patriotic sentiment among Indians as the sacrifices of imprisoned Congress leaders. Marginalized within Congress and a target for British surveillance, Bose chose to embrace the fascist powers as allies against the British and fled India, first to Hitler’s Germany, then, on a German submarine, to a Japanese-occupied Singapore. The force that he put together… Known as the Indian National Army (INA) and thus claiming to represent free India, saw action against the British in Burma but accomplished little toward the goal of a march on Delhi. Bose himself died in an aeroplane crash trying to reach Japanese-occupied territory in the last months of the war. It is this heroic, martial myth that is today remembered, rather than Bose’s wartime vision of a free India under the authoritarian rule of someone like himself. Another small, but immediate, issue for the civilians in Berlin and the soldiers in training was how to address Subhas Bose. Vyas has given his view of how the term was adopted:’one of our [soldier] boys came forward with “Hamare Neta”. We improved upon it: “Netaji”… It must be mentioned, that Subhas Bose strongly disapproved of it. He began to yield only when he saw our military group… Firmly went on calling him “Netaji”‘. (Alexander) Werth also mentioned adoption of’Netaji’ and observed accurately, that it’… Combined a sense both of affection and honour… It was not meant to echo’Fuehrer’ or’Duce’, but to give Subhas Bose a special Indian form of reverence and this term has been universally adopted by Indians everywhere in speaking about him. Younger Congressmen, including Jawaharlal Nehru… Thought that constitution-making, whether by the British with their (Simon) Commission or by moderate politicians like the elder (Motilal) Nehru, was not the way to achieve the fundamental changes in society. Nehru and Subhas Bose rallied a group within Congress… To declare for an independent republic. (They) were among those who, impatient with Gandhi’s programmes and methods, looked upon socialism as an alternative for nationalistic policies capable of meeting the country’s economic and social needs, as well as a link to potential international support p. Having arrived in Berlin a bruised politician, his broadcasts brought him-and India-world notice. While writing The Indian Struggle, Bose also hired a secretary by the name of Emilie Schenkl. They eventually fell in love and married secretly in accordance with Hindu rites. Although we must take Emilie Schenkl at her word (about her secret marriage to Bose in 1937), there are a few nagging doubts about an actual marriage ceremony because there is no document that I have seen and no testimony by any other person. Other biographers have written that Bose and Miss Schenkl were married in 1942, while Krishna Bose, implying 1941, leaves the date ambiguous. The strangest and most confusing testimony comes from A. Nambiar, who was with the couple in Badgastein briefly in 1937, and was with them in Berlin during the war as second-in-command to Bose. In an answer to my question about the marriage, he wrote to me in 1978:’I cannot state anything definite about the marriage of Bose referred to by you, since I came to know of it only a good while after the end of the last world war… I can imagine the marriage having been a very informal one… So what are we left with? We know they had a close passionate relationship and that they had a child, Anita, born 29 November 1942, in Vienna. And we have Emilie Schenkl’s testimony that they were married secretly in 1937. Whatever the precise dates, the most important thing is the relationship. Apart from the Free India Centre, Bose also had another reason to feel satisfied-even comfortable-in Berlin. After months of residing in a hotel, the Foreign Office procured a luxurious residence for him along with a butler, cook, gardener and an SS-chauffeured car. Emilie Schenkl moved in openly with him. The Germans, aware of the nature of their relationship, refrained from any involvement. The following year she gave birth to a daughter. Bose left behind three thousand Indian men in Wehrmacht uniforms whose future would be halfhearted participation in the manning of the Atlantic Wall and then a British prisoner-of-war cage-three thousand men, and a wife and child. Emilie Shenkl had begun living with him almost from the moment he reached Europe. “Tojo turned over all his Indian POWs to Bose’s command, and in October 1943 Bose announced the creation of a Provisional Government of Azad (“Free) India, of which he became head of state, prime minister, minister of war, and minister of foreign affairs. Some two million Indians were living in Southeast Asia when the Japanese seized control of that region, and these emigrees were the first “citizens” of that government, founded under the “protection” of Japan and headquartered on the “liberated” Andaman Islands. Bose declared war on the United States and Great Britain the day after his government was established. In January 1944 he moved his provisional capital to Rangoon and started his Indian National Army on their march north to the battle cry of the Meerut mutineers: Chalo Delhi! At the same time that the Japanese appreciated the firmness with which Bose’s forces continued to fight, they were endlessly exasperated with him. A number of Japanese officers, even those like Fujiwara, who were devoted to the Indian cause, saw Bose as a military incompetent as well as an unrealistic and stubborn man who saw only his own needs and problems and could not see the larger picture of the war as the Japanese had to. Gracey consoled himself that Bose’s Indian National Army had also been in action against his Indians and Gurkhas but had been roughly treated and almost annihilated; when the survivors tried to surrender, they tended to fall foul of the Gurkhas’ dreaded kukri. “The good news Wavell reported was that the RAF had just recently flown enough of its planes into Manipur’s capital of Imphal to smash Netaji (“Leader) Subhas Chandra Bose’s Indian National Army (INA) that had advanced to its outskirts before the monsoon began. Bose’s INA consisted of about 20,000 of the British Indian soldiers captured by the Japanese in Singapore, who had volunteered to serve under Netaji Bose when he offered them “Freedom” if they were willing to risk their “Blood” to gain Indian independence a year earlier. The British considered Bose and his “army of traitors” no better than their Japanese sponsors, but to most of Bengal’s 50 million Indians, Bose was a great national hero and potential Liberator. The INA was stopped before entering Bengal, first by monsoon rains and then by the RAF, and forced to retreat, back through Burma and down its coast to the Malay peninsula. In May 1945, Bose would fly out of Saigon on an overloaded Japanese plane, headed for Taiwan, which crash-landed and burned. Bose suffered third-degree burns and died in the hospital on Formosa. The retreat was even more devastating, finally ending the dream of gaining Indian independence through military campaign. But Bose still remained optimistic, thought of regrouping after the Japanese surrender, contemplated seeking help from Soviet Russia. The Japanese agreed to provide him transport up to Manchuria from where he could travel to Russia. But on his way, on 18 August 1945 at Taihoku airport in Taiwan, he died in an air crash, which many Indians still believe never happened. There are still some in India today who believe that Bose remained alive and in Soviet custody, a once and future king of Indian independence. The legend of’Netaii’ Bose’s survival helped bind together the defeated INA. In Bengal it became an assurance of the province’s supreme importance in the liberation of the motherland. It sustained the morale of many across India and Southeast Asia who deplored the return of British power or felt alienated from the political settlement finally achieved by Gandhi and Nehru. On 21 March 1944, Subhas Bose and advanced units of the INA crossed the borders of India, entering Manipur, and by May they had advanced to the outskirts of that state’s capital, Imphal. That was the closest Bose came to Bengal, where millions of his devoted followers awaited his army’s liberation. The British garrison at Imphal and its air arm withstood Bose’s much larger force long enough for the monsoon rains to defer all possibility of warfare in that jungle region for the three months the British so desperately needed to strengthen their eastern wing. Bose escaped on the last Japanese plane to leave Saigon, but he died in Formosa after a crash landing there in August. By that time, however, his death had been falsely reported so many times that a myth soon emerged in Bengal that Netaji Subhas Chandra was alive-raising another army in China or Tibet or the Soviet Union-and would return with it to “liberate” India. Subhas Bose was dead, killed in 1945 in a plane crash in the Far East, even though many of his devotees waited-as Barbarossa’s disciples had done in another time and in another country-for their hero’s second coming. The thrust of Sarkar’s thought, like that of Chittaranjan Das and Subhas Bose, was to challenge the idea that’the average Indian is indifferent to life’, as R. India once possessed an energised, Machiavellian political culture. All it needed was a hero (rather than a Gandhi-style saint) to revive the culture and steer India to life and freedom through violent contentions of world forces (vishwa shakti) represented in imperialism, fascism and socialism. The (Japanese) Fifteenth Army, commanded by… General Mutuguchi Renya consisted of three experienced infantry divisions – 15th, 31st and 33rd – totalling 100,000 combat troops, with the 7,000 strong 1st Indian National Army (INA) Division in support. It was hoped the latter would subvert the Indian Army’s loyalty and precipitate a popular rising in British India, but in reality the campaign revealed that it was largely a paper tiger. The real fault, however, must attach to the Japanese commander-in-chief Kawabe. Prostrated with amoebic dysentery, he periodically reasoned that he must cancel Operation U-Go in its entirety, but every time he summoned the courage to do so, a cable would arrive from Tokyo stressing the paramount necessity of victory in Burma, to compensate for the disasters in the Pacific. Even more incredibly, he still hoped for great things from Bose and the INA, despite all the evidence that both were busted flushes. The claim is even made that without the Japanese-influenced’Indian National Army’ under Subhas Chandra Bose, India would not have achieved independence in 1947; though those who make claim seem unaware of the mood of the British people in 1945 and of the attitude of the newly-elected Labour government to the Indian question. On 23 January 1897 at Cuttack, Orissa, was born Subhas Chandra Bose, ninth child of Janakinath and Prabhavati Bose. Janakinath was a lawyer of a Kayastha family, and was wealthy enough to educate all his children well. By Indian standards this family of Bengali origin was well-to-do. Bose was born into a prominent Bengali family on 23 January 1897 in Cuttack in the present-day state of Orissa. His father was a government pleader who was appointed to the Bengal Legislative Council in 1912. Despite any whimsy in implementation, the clarity of Gandhi’s political vision and the skill with which he carried the reforms in 1920 provided the foundation for what was to follow: twenty-five years of stewardship over the freedom movement. He knew the hazards to be negotiated. The British must be brought to a point where they would abdicate their rule without terrible destruction, thus assuring that freedom was not an empty achievement. To accomplish this he had to devise means of a moral sort, able to inspire the disciplined participation of millions of Indians, and equal to compelling the British to grant freedom, if not willingly, at least with resignation. Gandhi found his means in non-violent satyagraha. He insisted that it was not a cowardly form of resistance; rather, it required the most determined kind of courage. Attlee, Prime Minister of Great Britain. Broadcast from London after the assassination of Mahatma Gandhi, 30 January 1948: For a quarter of a century, this one man has been the major factor in every consideration of the Indian problem. On 4 November 1937, Subhas sent a letter to Emilie in German, saying that he would probably travel to Europe in the middle of November. On 16 November, he sent a cable: Starting aeroplane arriving Badgastein twenty second arrange lodging and meet me. He spent a month and a half-from 22 November 1937, to 8 January 1938-with Emilie at his favourite resort of Badgastein. On 26 December 1937, Subhas Chandra Bose secretly married Emilie Schenkl. Despite the obvious anguish, they chose to keep their relationship and marriage a closely guarded secret. “The Fundamental Problems of India” (An address to the Faculty and students of Tokyo University, November 1944): You cannot have a so-called democratic system, if that system has to put through economic reforms on a socialistic basis. Therefore we must have a political system – a State – of an authoritarian character. We have had some experience of democratic institutions in India and we have also studied the working of democratic institutions in countries like France, England, and the United States of America. And we have come to the conclusion that with a democratic system we cannot solve the problems of Free India. Therefore, modern progressive thought in India is in favour of a State of an authoritarian character[128]. This item is in the category “Collectibles\Photographic Images\Photographs”. The seller is “memorabilia111″ and is located in this country: US. This item can be shipped to United States, Canada, United Kingdom, Denmark, Romania, Slovakia, Bulgaria, Czech Republic, Finland, Hungary, Latvia, Lithuania, Malta, Estonia, Australia, Greece, Portugal, Cyprus, Slovenia, Japan, China, Sweden, South Korea, Indonesia, Taiwan, South Africa, Belgium, France, Hong Kong, Ireland, Netherlands, Poland, Spain, Italy, Germany, Austria, Bahamas, Israel, Mexico, New Zealand, Singapore, Switzerland, Norway, Saudi Arabia, United Arab Emirates, Qatar, Kuwait, Bahrain, Republic of Croatia, Malaysia, Chile, Colombia, Costa Rica, Panama, Trinidad and Tobago, Guatemala, Honduras, Jamaica, Barbados, Bangladesh, Bermuda, Brunei Darussalam, Bolivia, Egypt, French Guiana, Guernsey, Gibraltar, Guadeloupe, Iceland, Jersey, Jordan, Cambodia, Cayman Islands, Liechtenstein, Sri Lanka, Luxembourg, Monaco, Macau, Martinique, Maldives, Nicaragua, Oman, Pakistan, Paraguay, Reunion.
  • Type: Photograph
  • Year of Production: 1938
  • Original/Licensed Reprint: Original
  • Country/Region of Manufacture: United States

1938 Original India Leader Rare Photo Subhas Chandra Bose Indian Vintage

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Original Vintage Buick & Ford Extremely Rare Copper Porcelain Enamel Sign Board

Original Vintage Buick & Ford Extremely Rare Copper Porcelain Enamel Sign Board
Collection Of Lost Arts. Original Old Vintage Buick & Ford Extremely Rare Copper Porcelain Enamel Sign Board. Original Old Vintage Buick & Ford Extremely Rare Copper Porcelain Enamel Sign. Rare Miniature Men Shape Office Enamel Sign. Expert Car Repairing A Specialty He RKIMER N. Extremely Rare Copper Porcelain Enamel Original Vintage Miniature Men Shape Sign. Super Excellent Piece For Collection & Decoration. See Photos For Actual Condition & More Details. Size: 14 x 5 cms. (5.5 x 2 inches) Approx. Weight: 68 Grams Approx. Please Do Not Hesitate To Sent A Offer. If You Have Any Question Please Do Not Shrink To Sent A Message. Whole-Sellers Are Most Welcome. ” Your Feedback Is Very Important To Us “. We Are New Here And In Case Your Are Not Satisfied With Our Product. Have A Nice Day.. This item is in the category “Collectibles\Advertising\Merchandise & Memorabilia\Signs\Original\1930-69″. The seller is “collection_of_lost_arts” and is located in this country: IN. This item can be shipped worldwide.
  • Original/Reproduction: Original
  • Type of Advertising: Sign
  • Featured Refinements: Enamel Sign
  • Specification: Porcelain Enamel On Copper Miniature Men Shape
  • Modified Item: No
  • Country/Region of Manufacture: United States
  • Weight: 68 Grams Approx.
  • Date of Creation: 1939-69
  • Color: Multi-color
  • Brand: Buick & Ford
  • Size: 14 x 5 cms. ( 5.5 x 2 inches) Approx.

Original Vintage Buick & Ford Extremely Rare Copper Porcelain Enamel Sign Board

Original Vintage 2000 Porcupine Tree Lightbulb Sun XL T Shirt Gray Rare Concert

Original Vintage 2000 Porcupine Tree Lightbulb Sun XL T Shirt Gray Rare Concert
Original Vintage 2000 Porcupine Tree Lightbulb Sun XL T Shirt Gray Rare Concert

Original Vintage 2000 Porcupine Tree Lightbulb Sun XL T Shirt Gray Rare Concert
This is a rare concert T Shirt of Porcupine Tree. This is distressed and has wear but it is very rare. It has no holes or stains. Measurements are 26 from the collar to the bottom and 19 across. This item is in the category “Clothing, Shoes & Accessories\Men\Men’s Clothing\Shirts\T-Shirts”. The seller is “nwcelebrityhunter” and is located in this country: US. This item can be shipped to United States, New Zealand, Fiji, Papua New Guinea, Wallis and Futuna, Gambia, Malaysia, Taiwan, Poland, Oman, Suriname, United Arab Emirates, Kenya, Argentina, Guinea-Bissau, Armenia, Uzbekistan, Bhutan, Senegal, Togo, Ireland, Qatar, Burundi, Netherlands, Iraq, Slovakia, Slovenia, Equatorial Guinea, Thailand, Aruba, Sweden, Iceland, Macedonia, Belgium, Israel, Kuwait, Liechtenstein, Benin, Algeria, Antigua and Barbuda, Italy, Swaziland, Tanzania, Pakistan, Burkina Faso, Panama, Singapore, Kyrgyzstan, Switzerland, Djibouti, Chile, China, Mali, Botswana, Republic of Croatia, Cambodia, Indonesia, Portugal, Malta, Tajikistan, Vietnam, Cayman Islands, Paraguay, Saint Helena, Cyprus, Seychelles, Rwanda, Bangladesh, Australia, Austria, Sri Lanka, Gabon Republic, Zimbabwe, Bulgaria, Czech Republic, Norway, Côte d’Ivoire (Ivory Coast), Kiribati, Turkmenistan, Grenada, Greece, Haiti, Greenland, Yemen, Afghanistan, Montenegro, Mongolia, Nepal, Bahamas, Bahrain, United Kingdom, Bosnia and Herzegovina, Hungary, Angola, Western Samoa, France, Mozambique, Namibia, Peru, Denmark, Guatemala, Solomon Islands, Vatican City State, Sierra Leone, Nauru, Anguilla, El Salvador, Dominican Republic, Cameroon, Guyana, Azerbaijan Republic, Macau, Georgia, Tonga, San Marino, Eritrea, Saint Kitts-Nevis, Morocco, Saint Vincent and the Grenadines, Mauritania, Belize, Philippines, Democratic Republic of the Congo, Republic of the Congo, Western Sahara, Colombia, Spain, Estonia, Bermuda, Montserrat, Zambia, South Korea, Vanuatu, Ecuador, Albania, Ethiopia, Monaco, Niger, Laos, Ghana, Cape Verde Islands, Moldova, Madagascar, Saint Pierre and Miquelon, Lebanon, Liberia, Bolivia, Maldives, Gibraltar, Hong Kong, Central African Republic, Lesotho, Nigeria, Mauritius, Saint Lucia, Jordan, Guinea, British Virgin Islands, Canada, Turks and Caicos Islands, Chad, Andorra, Romania, Costa Rica, India, Mexico, Serbia, Kazakhstan, Saudi Arabia, Japan, Lithuania, Trinidad and Tobago, Malawi, Nicaragua, Finland, Tunisia, Luxembourg, Uganda, Brazil, Turkey, Tuvalu, Germany, Egypt, Latvia, Jamaica, Niue, South Africa, Brunei Darussalam, Honduras.
  • Pattern: Solid
  • Sleeve Length: Short Sleeve
  • Character: band
  • Neckline: Crew Neck
  • Size: XL
  • Color: Gray
  • Material: Cotton
  • Accents: Logo
  • Vintage: Yes
  • Brand: Unbranded
  • Fit: Regular
  • Size Type: Regular
  • Type: T-Shirt
  • Department: Men
  • Theme: Band
  • Features: All Seasons
  • Country/Region of Manufacture: Unknown
  • Character Family: Porcupine Tree

Original Vintage 2000 Porcupine Tree Lightbulb Sun XL T Shirt Gray Rare Concert

Original Excessively Rare Blues Autographs Butterbeans Susie Vintage Vaudeville

Original Excessively Rare Blues Autographs Butterbeans Susie Vintage Vaudeville
Original Excessively Rare Blues Autographs Butterbeans Susie Vintage Vaudeville

Original Excessively Rare Blues Autographs Butterbeans Susie Vintage Vaudeville
BUTTER BEANS AND SUSIE AFRICAN AMERICAN BLUES LEGENDS VINTAGE ORIGINAL AUTOGRAPH IN PENCIL ON A SHEET OF PAPER MEAUSRING APPROXIMATELY 4 1/4 X 7 INCHES. I HAVE NEVER SEEN THEIR AUTOGRAPHS ANYWHERE. Butterbeans and Susie were a husband and wife double-act who took their vaudeville revue around the Southern circuit and the big cities for many decades. With Susie as the overbearing but frustrated wife and Butterbeans as the inadequate but wise-cracking husband, they combined the hilarity of their skits on domestic life with Blues songs laced with sexual innuendo. Too raunchy to get much exposure with white audiences, they were a household name in the African-American community. They made dozens of records back in the 20s, when steamy’hokum’ Blues had a period of popularity, and they cut their final sessions in 1960. Jody’Butterbeans’ Edwards and Susie Hawthorn were both successful solo performers who got married on-stage in 1916 and began developing their double-act. They became well established on the TOBA circuit which booked black acts into theatres in both big cities and small towns across the South. They recorded the earthy’He Likes It Slow’ with Louis Armstrong in 1926, and their most famous numbers were’I Want a Hot-Dog for My Roll’ and’Elevator Papa, Switchboard Mama’, both drenched in sexual innuendo. Elevator Papa, Switchboard Mama’. Butterbeans and Susie Discography. This CD has the 1960 sessions and many interviews about their long-running stage act, and how it mirrored the African American community. This is pretty non-PC material, with its references to sexual practices and domestic violence, but some of it is very funny too! When the economic Depression of the 30s destroyed record sales, Butterbeans and Susie continued playing the clubs and theatres. The same basic stage act saw them through the 40s and 50s, with songs updated to appeal to new audiences, playing the industrial cities of the North and remaining popular all over the South. In 1960, they recorded an album of their favourite numbers but, sadly, Susie passed away in 1963 and’Butterbeans’ followed her four years later. Butterbeans and Susie: A Vaudeville Cabaret. Butterbeans and Susie, Photo courtesy sundayblues. Org. They were a couple of teenage chorus dancers in a T. O. B. It started out as a joke for Jodie Edwards and Susie Hawthorne, but they stayed together for life. As “Butterbeans and Susie” they battled and bickered their way to stardom with earthy, racy humor. They were masters of the’hokum blues,’ sparring with each other on numbers like “My Daddy’s Got the Mojo, But I Got the Say So” and I Wanna Hot Dog for My Roll. Speaking of their influence, the black comedian Godfrey Cambridge said, Butterbeans and Susie originated the routine. That later was translated into George Burns and Gracie Allen. Butterbeans and Susie spent decades performing on the circuit known as T. O. B. Or the Theater Owners’ Booking Association. In a deeply segregated era, it was the top booking agency for black performers. A contract with the “Toby” circuit meant steady work. But, performers called it “doing Tobytime” because living conditions were so rough, and complained that T. O. B. Stood for Tough on Black Asses. In a career that spanned 40 yrs, Butterbeans and Susie were still performing in the 1960s, appearing at the Apollo Theater in Harlem with rhythm and blues bands and Motown recording artists. In true vaudeville tradition Butterbeans died, October 28, 1967, as he walked on stage in Chicago. Vernel Bagneris, Photo courtesy of Riverwalk Jazz. Topsy Chapman, Photo courtesy of Riverwalk Jazz. This week, on Riverwalk Jazz the comic interplay between Butterbeans and Susie is brought to life by Broadway’s Vernel Bagneris and acclaimed jazz vocalist Topsy Chapman. The Jim Cullum Jazz Band provides a musical backdrop steeped in jazz and blues of black vaudeville of the 1920s. From 1917 until Susie’s death in 1963, they toured regularly. Their act featured double entendre songs, ludicrous costuming, domestic comedy sketches, and Butterbeans’ famous “Heebie Jeebie” dance. Racial segregation shaped their career in important ways-their recordings were marketed as “Race” records, and at their peak they played primarily in segregated venues. Their broad humor exploited racial stereotypes in a manner reminiscent of minstrel shows. Yet within the world of African American show business such strategies were common, and clearly Butterbeans and Susie’s antics delighted African American audiences. Butterbeans and Susie achieved success by working with dominant racial images within the discriminatory racial structures of America. These days we are used to artists taking a few years between albums – although some were surprised Blue Nile took seven years between Hats and Peace at Last. But for the Vaudeville comedy/song-and-dance duo of Butterbeans and Susie it was a full 30 years between their last songs for Okeh in 1930 (You Dirty Mean Mistreater among them) until their return to the studio in 1960. And even when they had their second life as recording artists it was just to re-visit some of their more popular (and less salacious) songs along with a few Vaudeville standards. Within a few years of those sessions Susie Edwards died and her husband Jody (Butterbeans) followed her four years later (dying as he walked on stage by most accounts). Their deaths coincided with a rapidly changing world (the rise of Martin Luther King to the more radical Black Panther movement) when acts like theirs were being widely disparaged as presenting black stereotypes: the bickering couple, slapstick and silly costumes, apolitical jokes and sexual innuendo, Butterbeans’ bug-eyed heebie-jeebies dance routine. That they were part of a long tradition didn’t seem to matter. They just looked dated and lines which said “if your wife is unruly give her a mouth full of fist” on A Married Man’s a Fool — where he reads from the “Good Book” about infidelity — are uncomfortable at best. By the time of those 10 songs in’60 they were an act from the grandparents’ past when the humour was broad and jazz-blues was the dominant idiom. JpegBut theirs is a story worth telling because despite being away from recording for three decades they still always had a live following and in the year of that final recording they appeared at the Apollo Theatre on a bill which included emerging Motown acts. He was 15 and she was 14. The following year saw the death of the popular pianist/singer and comedian Budd LeMay – known as Stringbean (not this Stringbean) – who they’d opened for. Stringbean performed with his wife Sweetie May (Sweetie Matthews) but when she went solo and he died in strange circumstances the promoters saw an opportunity: and so Butterbeans and Susie took over from Stringbean and Sweetie. They were immediately popular because of the faux-bickering between the married couple, her somewhat haughty and superior demeanor as opposed to his clownish appearance and rages, her sexy blues songs (I Want a Hot Dog for My Roll was typical of the “dirty blues” of the time, not revisited in the’60 sessions) and his dance moves. Maxresdefault_13And when they recorded they were accompanied on three early tunes by King Oliver, a few with Louis Armstrong’s Hot Five (He Likes It Slow in’26) and longtime pianist/composer Clarence Williams who had accompanied Bessie Smith and others. Williams was the A&R man at Okeh Records and the couple were brought to his attention by the singer Sarah Martin. Butterbeans and Susie recorded more than 60 sides for the label between’24 and’30. (These were collected across two CDs by Document Records out of Austria in’97). It may be that when Williams moved more into a production role at Okeh that the couple lost their connection there – the Depression didn’t help either because sales of records plummeted — but they continued to be a very successful live act on the Theatre Owners’ Booking Association (TOBA) circuit. (Also know as Tough on Black Asses by the performers). 7f93e8af24e71ecf82574c9b4dc1eaffPut aside the dirty blues from their first Okeh incarnation if you feel you need to (some of which is very funny in its innuendos) and accepting that at this distance we can’t see their act, there are plenty of reasons for listening to their original and final recordings. Susie was a highly accomplished and sensitive blues-ballad singer (I’ve Got the Blues For Home Sweet Home on their’60 recording), Butterbeans obviously learned thing or two from Armstrong’s singing style, and on the’60 recording – which can be found online but not on Spotify – the band is excellent, although not as raw as on the original sessions. A few of their earliest Okeh songs appear on various compilations, on Spotify you can find the innuendo-heavy Elevator Papa Switchboard Mama on Risque Blues Vol 4. And Papa Ain’t No Santa Claus (Mama Ain’t No Christmas Tree) on Screening the Blues here. Tain’t None o’ Your Business which is a talking piece appears on The Roots of Rap, but it’s a stretch to hear them in that lineage. So they are out there for those willing to search. Butterbeans and Susie were a Vaudeville comedy, song’n’dance and hokum blues (dirty blues) act which by definition means they are far removed from us almost a century later. It was a different world back then. And one in which they were very popular on the black touring circuit. And that’s why we should remember – and need to talk about – them. In 1960, when the music on this CD was originally recorded and released on vinyl, Jodie and Susie Hawthorne Edwards — Butterbeans and Susie — were on the tail end of a phenomenal, fifty-year-long career as a husband-and-wife comedy team. Because husband-and-wife comedy teams were so perfectly suited for blues singing, vernacular dancing and confrontational humor, they fairly saturated the early African American vaudeville stage. During the mid-to-late 1920s, when vaudeville was at its height, and the TOBA circuit was in its glory, Butterbeans and Susie ruled the whole rowdy world of husband-and-wife comedy. According to one report, Jodie Edwards was born in Marietta, Georgia, July 19, 1898; and Susie Hawthorne was born in Pensacola, Florida, December 30, 1899. Conflicting birth dates appear in various sources. Jodie recalled having launched his performing career as a child, on a neighborhood street corner: Get out there, dance barefooted, pass the hat. ` By the time he was nine or ten, Jodie was tagging along with a local string band, serenading the rich white folks of Marietta. For her part, Susie is known to have appeared in southern vaudeville as early as 1911, when she was billed as a coon shouter` at the Budweiser Theater in Macon, GA. Jodie and Susie met in 1915, as teenaged members of the singing and dancing chorus of Tolliver`s Smart Set, a tented minstrel variety show that was billed like a circus. Their relationship began as a publicity stunt, when they were married on stage with the show, but they did not immediately team up on stage. In addition to their chorus work, Jodie appeared as an eccentric dancer, teamed with one-legged dancing sensation Eddie Peg` Lightfoot; while Susie performed in singing and dancing sister teams` with two of the era`s most promising female blues singers, Gertrude”Ma” Rainey and Evelyn White. They made their debut as a stage team in 1916, when the Smart Set loaned them to the Douglass Theater in Macon, to fill in for a vaudeville act that failed to show. Borrowing one of the Smart Set chorus routines, they went on as breakneck dancers. After their first turn, veteran performer Rosetta Brannon advised them to intersperse their dancing with a bit of patter. As Jodie recalled, The first joke she give us: How much wood would a woodchuck chuck if a woodchuck would chuck wood? ` And I said, Just as much dew as a dew drop drop if a dew drop do drop dew. ` Humble beginnings for the masters of argumentation who would bark, battle and bawl their way through 1920s race recordings like “Get Yourself a Monkey Man, ” “Switchboard Mama, Elevator Papa, ” and A to Z Blues. Jodie and Susie left Tolliver`s Smart Set in 1917, to try their luck in vaudeville. Almost immediately, the famous blues singer, piano player and vernacular comedian Butler “Stringbeans” May pulled them into his vaudeville act. Over the past several years, Stringbeans and his wife Sweetie May had set the bar for husband-and-wife comedy. Unfortunately, the great blues comedian was killed in a secret society “hazing” incident, just a few months after Jodie and Susie had joined up with him. In the wake of his death, Jodie undertook to adopt the Stringbeans persona. To help promote his efforts, Charles Turpin, manager of the Booker T. Washington Theater in St. Louis, came up with the”Butterbeans” moniker; and at Susie`s insistence, the billing became forever Butterbeans and Susie. By 1920, Butterbeans and Susie were known throughout the realm of black vaudeville. Insiders came to know them as Butter and Sue. Early advertising stills capture their patent stage garb, Butter with his derby hat way too small, britches way too tight, and brogans way too large; and Sue, classically gowned, winsome but defiant-looking, her fist raised statuesquely, in response to Butter`s latest bluster. They were plowing the TOBA circuit with Sara Martin in 1924, when Martin recommended them to Okeh Records. Butterbeans and Susie went on to record more than seventy sides over the next six years. According to Butter, the records “made us draw double” at the box office, and this afforded considerable bargaining power with theater managers. Unlike the rough-and-ready characters portrayed on their records and in their vaudeville skits, Butter and Sue lived out what one race journalist called. The Greatest Romance In Show Business. With the fruits of their labor, they bought a comfortable ten-room home on Calumet Avenue in Chicago, and brought their parents out of the South to live with them and share in their good fortune. Having no children of their own, they adopted a daughter, Marguerite, to round out the family circle. In 1927 Butterbeans and Susie appeared in Jimmy Cooper`s “Black and White Revue” at the mainstream Columbia Theater in New York, and, according to Butter, they went on to play some of the biggest spots that Colored acts could play in the South. At the Palace Theater in Jacksonville, We was the first Colored act ever played there, that you knew was Colored. The Gaines Brothers, years ago, played there, but they passed as Cubans. During the 1930s, with vaudeville in decline, Butter and Sue diversified, taking up residence in hotel lounges, supper clubs, and related nighteries. Also found a new generation of fans in the modern race theaters of the. 1940s and 50s, including, most notably, the Apollo Theater in Harlem. In 1951, in honor of their thirty-fifth anniversary, they were feted at the Sugar Hill Cafe on Broadway, where they were currently headlining. According to an Associated Negro Press report, the popular duo broke down and wept when called upon to say a few words to a packed ringside audience that included Noble Sissle, Billy Eckstine and Ethel Waters. ” By this time, they had reportedly “traveled more than a million miles andplayed every theatre and niteclub that means anything from coast to coast. On their 1920s recordings, Butter and Sue were coupled with some of the best jazz musicians in the business, including King Oliver, Clarence Williams, Lovie Austin and, on one memorable occasion in 1926, Louis Armstrong and His Hot Five. Pianist Eddie Heywood Sr. Who had come up playing in the pit of the 81 Theater in Atlanta, played on most of their sessions, and he went on to accompany them on the road. It must have only seemed fitting to tap Eddie Heywood Jr. For the 1960 recording at hand. Also called in for the session were Leonard Gaskin, bass, and Jimmy Crawford, drums. The horn section on “Ballin` the Jack, ” “There`ll Be Some Changes Made, ” “A Married Man`s a Fool, ” “Until the Real Thing Comes Along, ” is Dick Vance, trumpet; Earl Warren, sax; and Dickie Wells, trombone. ” Get Yourself a Monkey Man, ” “Construction Gang” and “When My Man Shimmies” feature Gene Cedric, clarinet; Benny Morton, trombone; and Joe Thomas, trumpet. The lone trumpet player on “Street Piano” and “I`ve Got the Blues for Home Sweet Home” is Sidney DeParis. The original producer of the music reissued on this CD, Atlantic Records representative Herb Abramson, was initially attracted by the fact that the classic lowbrow humor preserved on Butter and Sue`s 1920s recordings was still tickling funny bones. Abramson worked closely with the couple in selecting appropriate material for the session. The signal dance-craze number, “Ballin` the Jack, ” was a shoe-in. When it first hit the streets in 1914, Jodie and Susie were just coming to the brink of their long, eventful career together. By 1960, they could have balled the jack in their sleep. Parody was an essential ingredient of husband-and-wife comedy, and Butter and Sue sharpened their tongues accordingly on “There`ll Be Some Changes Made”. And “Until the Real Thing Comes Along”. “Changes” was written in 1923 by blackface comedian Billy Higgins and pioneer jazz pianist W. Butter and Sue`s parody takes the form of an “answer song, ” about how there`ll be no changes made. Butter and Sue`s take on “Until the Real Thing Comes Along” may have been inspired by their old friend Fats Waller, whose 1936 recording of it is rife with parody. Taking it one step further, Butter expresses his willingness to. Fight a whale in the Atlantic Ocean and kiss a rattlesnake for you, If that ain`t enough, it`ll have to do, Until another liar comes along. The record`s most poignant moment has to be Sue`s heartfelt rendition of I`ve Got the Blues for Home Sweet Home. ` Butter categorized this 1916 composition as a”story blues, ” employed by Sue in the early days to compete with “straight out” blues singers like Bessie Smith. As Butter recalled, We was on the bill with at least two of them blues singers every week. So, I had to get some kind of song, something that she could sing that was different from their type, something of a story blues, you know. I Got the Blues for Home Sweet Home. Now, she used to go behind them singing that, and she would go bigger than they would go. ” Interestingly enough, “straight out` blues singer Ma Rainey, who teamed with Sue on stage with the Smart Set in 1916, reportedly made a hit singing “I`ve Got the Blues for Home Sweet Home” in southern vaudeville in 1917. Butter and Sue credited “Street Piano” to their mentor, Butler May, the one and only Stringbeans. The remaining five titles are classic selections from Butter and Sue`s original 1920s recorded repertoire. In “Get Yourself a Monkey Man, ” Susie hurls the ultimate insult: You look like something the buzzard had. ” “Construction Gang relates Butter and Sue`s different expectations for a partner. Butter`s demands are clear. Now will you get up every morning at half past three, Ease out to your job without disturbing me, When you come back you must have plenty of jack, Cause any shirt outside of silk will hurt your papa`s back. “When My Man Shimmies” speaks to the suggestive power of vernacular dance, with Butter exclaiming. I got a shape like a tadpole, eyes like a frog, When I start to shimmying, she`ll holler, Hot dog! “A Married Man`s A Fool” and “Deal Yourself Another Hand” are enumerative recitations in the street-corner tradition of A to Z Blues. ” In “A Married Man`s A Fool, ” Butterpreaches from consecutive pages of the “good book. Now it says in the good book on page twenty-one, Every married woman`s gonna have a little fun. I`m closing up my sermon on page twenty-nine, It says a woman gets tired of one man all the time. And in “Deal Yourself Another Hand” he coolly “reads the deck” to Sue. Don`t you take me for no clown cause they call me Butterbeans, I`m gonna tell you what every card in the deck really means. Now the ace means for the first time that I met you, The deuce means there was nobody else there but us two, Now the trey, that`s the third party, and Charlie was his name, The four spot means the fourth time you tried that same old game, The five spot means five years you played me for a clown, The six spot means six feet of earth when the deal goes down, Now I`m holding the seven for each day in the week, And the eight spot means eight hours that you shivered with your sheets, The nine spot means nine hours that I work hard every day, The ten spot means the tenth of every month I brought you home my pay, The Jack, that`s three-card Charlie, trying to use me for a goat, The Queen, that`s you, sweet mama, also trying to cut my throat, The King stands for Papa Butterbeans, and Im going to wear the crown, So be careful you all ain`t broke when the deal goes down. In the later years of their career, Butter and Sue reportedly toured with Silas Green from New Orleans; spent a season in the trenches with the James Brown Revue; and appeared three times on the Ed Sullivan Show. Sue died on December 5, 1963. After her death, Butter recruited their adopted daughter Marguerite to help him carry the act to its final conclusion. On October 28, 1967, Jodie Edwards died of an apparent heart attack, during a performance at the Dorchester Inn, in the Chicago suburb of Dolton. According to an obituary in the New York Times, he was seventy years old. Butterbeans and Susie were an American comedy duo comprising Jodie Edwards (July 19, 1893 – October 28, 1967)[1] and Susie Edwards (née Hawthorne; December 1894 – December 5, 1963). [2][3] They married in 1917, and performed together until the early 1960s. Their act, a combination of marital quarrels, comic dances, and racy singing, proved popular on the Theatre Owners Booking Association (TOBA) tour. They later moved to vaudeville and appeared for a time with the blackface minstrel troupe the Rabbit’s Foot Company. Early career and marriage. Edwards began his career in 1910 as a singer and dancer. Hawthorne performed in African-American theater. The two met in 1916, when Hawthorne was in the chorus of the show Smart Set. They married onstage the next year. The two began performing as a comic team. They had been touring with the Theatre Owners Booking Association (TOBA) with an African-American husband-and-wife comedy team, Stringbeans and Sweetie May. Upon the death of Stringbeans (Butler May) in 1917, a TOBA promoter asked Edwards to take the stage name Butterbeans and, with his wife, take over Stringbeans and Sweetie May’s act. Butterbeans and Susie appeared for the first time shortly thereafter. Butterbeans and Susie’s act played up the differences between the two. Susie wore elegant dresses and presented an air of composure and sexiness. Butterbeans, in contrast, played the fool, with his too-small pants and bowler hat, bow tie, tailcoat, and floppy shoes. He was loudly belligerent: I’d whip your head every time you breathe; rough treatment is exactly what you need. [5] However, his pugnaciousness was belied by a happy demeanor and an inability to resist Susie’s charms. Whereas Stringbeans and Sweetie May stressed song and dance, Butterbeans and Susie emphasized comedy with content that was frowned on by moralists. [6] The typical act featured a duet, a blues song by Susie, a cakewalk dance, and a comedy sketch. Short bouts of bickering peppered the act. The humor often concerned marriage or occasionally black life in general. One of their more popular numbers was “A Married Man’s a Fool If He Thinks His Wife Don’t Love Nobody but Him”. The act was risqué at times. One of their more popular comic songs was Susie’s saucy “I Want a Hot Dog for My Roll”, full of racy double entendres. Well I want a dog without bread you see. Because I carries [sic] my bread with me. Give me a big one, that’s what I say. I want it so it will fit my bread. The song was accompanied by Susie’s provocative dancing and Buttberbeans’s call-and-response one-liners: My dog’s never cold! ” “Here’s a dog that’s long and lean. “[7] “I Want a Hot Dog for My Roll was one of the few songs that Okeh refused to release. During this dance, Butterbeans thrust his hands in his pockets and began to scratch himself in time with the music. As the tempo increased, he pulled the hands back out and scratched the rest of his body. According to Stearns, this was the moment when the audience “flipped”. Butterbeans and Susie made several recordings of blues songs interspersed with comic banter for Okeh Records between 1924 and 1930. In 1926, they made a recording with Louis Armstrong’s Hot Five, a mildly salacious blues number called “He Likes It Slow”. In 1960, they issued an album on King Records’ Festival label (FRC-7000). 78 RPM Singles – Okeh Records. GET YOURSELF A MONKEY MAN. WHEN MY MAN SHIMMIES. A TO Z BLUES. I CANT USE YOU. A MARRIED MAN’S A FOOL. I GOT YOUR BATH WATER ON. HOW DO YOU EXPECT ME TO GET MY LOVIN’? SUE I DON’T WANT YOU NO MORE. I HAD A LONESOME JOURNEY BLUES. IF YOU CAN’T BRING IT YOU’VE GOT TO SEND IT. I’LL PUT YOU UNDER THE JAIL. DON’T START NOTHIN’ HERE TONIGHT. YOU AIN’T TALKIN’ TO ME. YOU’RE FOLKS WILL START WEARING BLACK. LET THE DOORKNOB HIT YOU IN THE BACK. NOT UNTIL THEN PT. MAMA STAYED OUT THE WHOLE NIGHT LONG. TAIN’T WHAT YOU USED TO HAVE. LOVE ME AND THE WHOLE WORLD IS MINE. DEACON BITE’EM IN THE BACK. NOT TODAY, SWEET MAMA. YOU KNOW WHY YOUR MAMA HAS THE BLUES. I CAN’T DO THAT. HE LIKES IT SLOW. MY DADDY’S GOT THE MOJO. PAPA DON’T HOLD BACK ON ME. YES I’VE BEEN CHEATIN. YOU’RE A NO COUNT TRIFLIN’ MAN. DEAL YOURSELF ANOTHER HAND. TAINT NONE OF YOUR BUSINES. GONNA MAKE YOU SORRY. THERE’S BEEN SOME CHANGES MADE. I AINT SCARED OF YOU. THAT’S MORE THAN I CAN STAND. I WANT A GOOD MAN. GET AWAY FROM MY WINDOW. PUT YOUR MIND RIGHT ON IT. GONNA START LOOKING FOR A MAN TO TREAT ME RIGHT. I AIN’T GONNA DO THAT NO MORE. BETTER STOP KNOCKIN’ ME AROUND. PAPA AIN’T NO SANTA CLAUS. WHAT IT TAKES TO BRING YOU BACK. Susie Edwards died December 5, 1963. Jody (Butterbeans) Edwards died October 28, 1967. Butterbeans and Susie used their fame and influence to help younger black comedians. After seeing Moms Mabley in Dallas, for example, they helped her gain acceptance at better venues. Even after leaving show business, they remained friends with many black entertainers and put up down-on-their-luck comedians in their Chicago home. Stepin Fetchit stayed with them at some point in the 1950s or 1960s. Blues is a music genre[3] and musical form which was originated in the Deep South of the United States around the 1870s by African-Americans from roots in African musical traditions, African-American work songs, and spirituals. Blues incorporated spirituals, work songs, field hollers, shouts, chants, and rhymed simple narrative ballads. [2] The blues form, ubiquitous in jazz, rhythm and blues and rock and roll, is characterized by the call-and-response pattern, the blues scale and specific chord progressions, of which the twelve-bar blues is the most common. Blue notes (or “worried notes”), usually thirds, fifths or sevenths flattened in pitch are also an essential part of the sound. Blues shuffles or walking bass reinforce the trance-like rhythm and form a repetitive effect known as the groove. Blues as a genre is also characterized by its lyrics, bass lines, and instrumentation. Early traditional blues verses consisted of a single line repeated four times. It was only in the first decades of the 20th century that the most common current structure became standard: the AAB pattern, consisting of a line sung over the four first bars, its repetition over the next four, and then a longer concluding line over the last bars. Early blues frequently took the form of a loose narrative, often relating the racial discrimination and other challenges experienced by African-Americans. Many elements, such as the call-and-response format and the use of blue notes, can be traced back to the music of Africa. The origins of the blues are also closely related to the religious music of the Afro-American community, the spirituals. The first appearance of the blues is often dated to after the ending of slavery and, later, the development of juke joints. It is associated with the newly acquired freedom of the former slaves. Chroniclers began to report about blues music at the dawn of the 20th century. The first publication of blues sheet music was in 1908. Blues has since evolved from unaccompanied vocal music and oral traditions of slaves into a wide variety of styles and subgenres. Blues subgenres include country blues, such as Delta blues and Piedmont blues, as well as urban blues styles such as Chicago blues and West Coast blues. World War II marked the transition from acoustic to electric blues and the progressive opening of blues music to a wider audience, especially white listeners. In the 1960s and 1970s, a hybrid form called blues rock developed, which blended blues styles with rock music. 1980s to the present. The term Blues may have come from “blue devils”, meaning melancholy and sadness; an early use of the term in this sense is in George Colman’s one-act farce Blue Devils (1798). [4] The phrase blue devils may also have been derived from Britain in the 1600s, when the term referred to the “intense visual hallucinations that can accompany severe alcohol withdrawal”. [5] As time went on, the phrase lost the reference to devils, and it came to mean a state of agitation or depression. By the 1800s in the United States, the term blues was associated with drinking alcohol, a meaning which survives in the phrase blue law, which prohibits the sale of alcohol on Sunday. [5] Though the use of the phrase in African-American music may be older, it has been attested to in print since 1912, when Hart Wand’s “Dallas Blues” became the first copyrighted blues composition. In lyrics the phrase is often used to describe a depressed mood. [8] It is in this sense of a sad state of mind that one of the earliest recorded references to “the blues” was written by Charlotte Forten, then aged 25, in her diary on December 14, 1862. She was a free-born black from Pennsylvania who was working as a schoolteacher in South Carolina, instructing both slaves and freedmen, and wrote that she “came home with the blues” because she felt lonesome and pitied herself. She overcame her depression and later noted a number of songs, such as Poor Rosy, that were popular among the slaves. Although she admitted being unable to describe the manner of singing she heard, Forten wrote that the songs “can’t be sung without a full heart and a troubled spirit”, conditions that have inspired countless blues songs. The lyrics of early traditional blues verses probably often consisted of a single line repeated four times. It was only in the first decades of the 20th century that the most common current structure became standard: the so-called “AAB” pattern, consisting of a line sung over the four first bars, its repetition over the next four, and then a longer concluding line over the last bars. [10] Two of the first published blues songs, “Dallas Blues” (1912) and “Saint Louis Blues” (1914), were 12-bar blues with the AAB lyric structure. Handy wrote that he adopted this convention to avoid the monotony of lines repeated three times. [11] The lines are often sung following a pattern closer to rhythmic talk than to a melody. Early blues frequently took the form of a loose narrative. African-American singers voiced his or her “personal woes in a world of harsh reality: a lost love, the cruelty of police officers, oppression at the hands of white folk, [and] hard times”. [12] This melancholy has led to the suggestion of an Igbo origin for blues because of the reputation the Igbo had throughout plantations in the Americas for their melancholic music and outlook on life when they were enslaved. The lyrics often relate troubles experienced within African American society. For instance Blind Lemon Jefferson’s “Rising High Water Blues” (1927) tells of the Great Mississippi Flood of 1927. Backwater rising, Southern peoples can’t make no time. I said, backwater rising, Southern peoples can’t make no time. And I can’t get no hearing from that Memphis girl of mine. Although the blues gained an association with misery and oppression, the lyrics could also be humorous and raunchy:[15]. Rebecca, Rebecca, get your big legs off of me. It may be sending you baby, but it’s worrying the hell out of me. From Big Joe Turner’s “Rebecca”, a compilation of traditional blues lyrics. Hokum blues celebrated both comedic lyrical content and a boisterous, farcical performance style. [16] Tampa Red’s classic “Tight Like That” (1928) is a sly wordplay with the double meaning of being “tight” with someone coupled with a more salacious physical familiarity. Blues songs with sexually explicit lyrics were known as dirty blues. The lyrical content became slightly simpler in postwar blues, which tended to focus on relationship woes or sexual worries. Lyrical themes that frequently appeared in prewar blues, such as economic depression, farming, devils, gambling, magic, floods and drought, were less common in postwar blues. The writer Ed Morales claimed that Yoruba mythology played a part in early blues, citing Robert Johnson’s “Cross Road Blues” as a “thinly veiled reference to Eleggua, the orisha in charge of the crossroads”. [18] However, the Christian influence was far more obvious. [19] The repertoires of many seminal blues artists, such as Charley Patton and Skip James, included religious songs or spirituals. [20] Reverend Gary Davis[21] and Blind Willie Johnson[22] are examples of artists often categorized as blues musicians for their music, although their lyrics clearly belong to spirituals. The blues form is a cyclic musical form in which a repeating progression of chords mirrors the call and response scheme commonly found in African and African-American music. During the first decades of the 20th century blues music was not clearly defined in terms of a particular chord progression. [23] With the popularity of early performers, such as Bessie Smith, use of the twelve-bar blues spread across the music industry during the 1920s and 30s. [24] Other chord progressions, such as 8-bar forms, are still considered blues; examples include “How Long Blues”, “Trouble in Mind”, and Big Bill Broonzy’s “Key to the Highway”. There are also 16-bar blues, such as Ray Charles’s instrumental “Sweet 16 Bars” and Herbie Hancock’s “Watermelon Man”. Idiosyncratic numbers of bars are occasionally used, such as the 9-bar progression in “Sitting on Top of the World”, by Walter Vinson. Chords played over a 12-bar scheme. Chords for a blues in C. The basic 12-bar lyric framework of a blues composition is reflected by a standard harmonic progression of 12 bars in a 4/4 time signature. The blues chords associated to a twelve-bar blues are typically a set of three different chords played over a 12-bar scheme. They are labeled by Roman numbers referring to the degrees of the progression. For instance, for a blues in the key of C, C is the tonic chord (I) and F is the subdominant (IV). The last chord is the dominant (V) turnaround, marking the transition to the beginning of the next progression. The lyrics generally end on the last beat of the tenth bar or the first beat of the 11th bar, and the final two bars are given to the instrumentalist as a break; the harmony of this two-bar break, the turnaround, can be extremely complex, sometimes consisting of single notes that defy analysis in terms of chords. Much of the time, some or all of these chords are played in the harmonic seventh (7th) form. The use of the harmonic seventh interval is characteristic of blues and is popularly called the “blues seven”. [25] Blues seven chords add to the harmonic chord a note with a frequency in a 7:4 ratio to the fundamental note. At a 7:4 ratio, it is not close to any interval on the conventional Western diatonic scale. [26] For convenience or by necessity it is often approximated by a minor seventh interval or a dominant seventh chord. A minor pentatonic scale; About this soundplay (help·info). In melody, blues is distinguished by the use of the flattened third, fifth and seventh of the associated major scale. Example of Detroit blues rock shuffle. Example of Chicago blues shuffle. Problems playing these files? Blues shuffles or walking bass reinforce the trance-like rhythm and call-and-response, and they form a repetitive effect called a groove. Characteristic of the blues since its Afro-American origins, the shuffles played a central role in swing music. [28] The simplest shuffles, which were the clearest signature of the R&B wave that started in the mid-1940s, [29] were a three-note riff on the bass strings of the guitar. When this riff was played over the bass and the drums, the groove “feel” was created. Shuffle rhythm is often vocalized as “dow, da dow, da dow, da” or “dump, da dump, da dump, da”:[30] it consists of uneven, or “swung”, eighth notes. On a guitar this may be played as a simple steady bass or it may add to that stepwise quarter note motion from the fifth to the sixth of the chord and back. Blues shuffle or boogie in E major About this soundPlay (help·info). Guitar tablature for a blues shuffle in E major[31]. The Memphis Blues, composed by W. Handy in 1912 and recorded by the Victor Military Band, the first known commercial recording of Handy’s first commercially successful blues composition. The first commercial recording of vocal blues by an African-American singer: Mamie Smith’s performance of Perry Bradford’s “Crazy Blues” in 1920. Keep your lamp trimmed and burning. Traditional spiritual performed by Texas gospel singer Blind Willie Johnson (vocal and guitar) and Willie B. Harris (vocal) in 1927, an example of the close relationship between gospel and blues music. Piedmont blues, performed in 1930 by Blind Willie Walker. Bluegrass, performed in 1930 by Charlie Poole, a bluesman of Irish descent. Good Liquor Gonna Carry Me Down. Chicago blues of the late prewar era, the so-called Bluebird sound, recorded by Big Bill Broonzy. Rockabilly version of a traditional blues recorded by Jerry Lee Lewis in 1956 or 1957. Main article: Origins of the blues. The first publication of blues sheet music may have been “I Got the Blues”, published by New Orleans musician Antonio Maggio in 1908 and described as the earliest published composition known to link the condition of having the blues to the musical form that would become popularly known as’the blues. “[32] Hart Wand’s “Dallas Blues was published in 1912; W. Handy’s “The Memphis Blues” followed in the same year. The first recording by an African American singer was Mamie Smith’s 1920 rendition of Perry Bradford’s “Crazy Blues”. But the origins of the blues were some decades earlier, probably around 1890. [33] This music is poorly documented, partly because of racial discrimination in U. Society, including academic circles, [34] and partly because of the low rate of literacy among rural African Americans at the time. Reports of blues music in southern Texas and the Deep South were written at the dawn of the 20th century. These observations coincide more or less with the recollections of Jelly Roll Morton, who said he first heard blues music in New Orleans in 1902; Ma Rainey, who remembered first hearing the blues in the same year in Missouri; and W. Handy, who first heard the blues in Tutwiler, Mississippi, in 1903. The first extensive research in the field was performed by Howard W. Odum, who published an anthology of folk songs from Lafayette County, Mississippi, and Newton County, Georgia, between 1905 and 1908. [36] The first noncommercial recordings of blues music, termed proto-blues by Paul Oliver, were made by Odum for research purposes at the very beginning of the 20th century. They are now lost. Other recordings that are still available were made in 1924 by Lawrence Gellert. Later, several recordings were made by Robert W. Gordon, who became head of the Archive of American Folk Songs of the Library of Congress. Gordon’s successor at the library was John Lomax. In the 1930s, Lomax and his son Alan made a large number of non-commercial blues recordings that testify to the huge variety of proto-blues styles, such as field hollers and ring shouts. [38] A record of blues music as it existed before 1920 can also be found in the recordings of artists such as Lead Belly[39] and Henry Thomas. [40] All these sources show the existence of many different structures distinct from twelve-, eight-, or sixteen-bar. John Lomax (left) shaking hands with musician “Uncle” Rich Brown in Sumterville, Alabama. The social and economic reasons for the appearance of the blues are not fully known. [43] The first appearance of the blues is usually dated after the Emancipation Act of 1863, [34] between 1870 and 1900, a period that coincides with post-emancipation and later, the establishment of juke joints as places where blacks went to listen to music, dance, or gamble after a hard day’s work. [44] This period corresponds to the transition from slavery to sharecropping, small-scale agricultural production, and the expansion of railroads in the southern United States. Several scholars characterize the development of blues music in the early 1900s as a move from group performance to individualized performance. They argue that the development of the blues is associated with the newly acquired freedom of the enslaved people. According to Lawrence Levine, there was a direct relationship between the national ideological emphasis upon the individual, the popularity of Booker T. Washington’s teachings, and the rise of the blues. ” Levine stated that “psychologically, socially, and economically, African-Americans were being acculturated in a way that would have been impossible during slavery, and it is hardly surprising that their secular music reflected this as much as their religious music did. There are few characteristics common to all blues music, because the genre took its shape from the idiosyncrasies of individual performers. [46] However, there are some characteristics that were present long before the creation of the modern blues. Call-and-response shouts were an early form of blues-like music; they were a functional expression… Style without accompaniment or harmony and unbounded by the formality of any particular musical structure. [47] A form of this pre-blues was heard in slave ring shouts and field hollers, expanded into “simple solo songs laden with emotional content”. Blues has evolved from the unaccompanied vocal music and oral traditions of slaves imported from West Africa and rural blacks into a wide variety of styles and subgenres, with regional variations across the United States. Although blues (as it is now known) can be seen as a musical style based on both European harmonic structure and the African call-and-response tradition that transformed into an interplay of voice and guitar, [49][50] the blues form itself bears no resemblance to the melodic styles of the West African griots. [51][52] Additionally, there are theories that the four-beats-per-measure structure of the blues might have its origins in the Native American tradition of pow wow drumming. No specific African musical form can be identified as the single direct ancestor of the blues. [54] However the call-and-response format can be traced back to the music of Africa. That blue notes predate their use in blues and have an African origin is attested to by “A Negro Love Song”, by the English composer Samuel Coleridge-Taylor, from his African Suite for Piano, written in 1898, which contains blue third and seventh notes. The Diddley bow (a homemade one-stringed instrument found in parts of the American South in the early twentieth century) and the banjo are African-derived instruments that may have helped in the transfer of African performance techniques into the early blues instrumental vocabulary. [56] The banjo seems to be directly imported from West African music. It is similar to the musical instrument that griots and other Africans such as the Igbo[57] played (called halam or akonting by African peoples such as the Wolof, Fula and Mandinka). [58] However, in the 1920s, when country blues began to be recorded, the use of the banjo in blues music was quite marginal and limited to individuals such as Papa Charlie Jackson and later Gus Cannon. Blues music also adopted elements from the “Ethiopian airs”, minstrel shows and Negro spirituals, including instrumental and harmonic accompaniment. [60] The style also was closely related to ragtime, which developed at about the same time, though the blues better preserved “the original melodic patterns of African music”. The musical forms and styles that are now considered the blues as well as modern country music arose in the same regions of the southern United States during the 19th century. Recorded blues and country music can be found as far back as the 1920s, when the record industry created the marketing categories “race music” and “hillbilly music” to sell music by blacks for blacks and by whites for whites, respectively. At the time, there was no clear musical division between “blues” and “country”, except for the ethnicity of the performer, and even that was sometimes documented incorrectly by record companies. Though musicologists can now attempt to define the blues narrowly in terms of certain chord structures and lyric forms thought to have originated in West Africa, audiences originally heard the music in a far more general way: it was simply the music of the rural south, notably the Mississippi Delta. Black and white musicians shared the same repertoire and thought of themselves as “songsters” rather than blues musicians. The notion of blues as a separate genre arose during the black migration from the countryside to urban areas in the 1920s and the simultaneous development of the recording industry. Blues became a code word for a record designed to sell to black listeners. The origins of the blues are closely related to the religious music of Afro-American community, the spirituals. The origins of spirituals go back much further than the blues, usually dating back to the middle of the 18th century, when the slaves were Christianized and began to sing and play Christian hymns, in particular those of Isaac Watts, which were very popular. [65] Before the blues gained its formal definition in terms of chord progressions, it was defined as the secular counterpart of spirituals. It was the low-down music played by rural blacks. Depending on the religious community a musician belonged to, it was more or less considered a sin to play this low-down music: blues was the devil’s music. Musicians were therefore segregated into two categories: gospel singers and blues singers, guitar preachers and songsters. However, when rural black music began to be recorded in the 1920s, both categories of musicians used similar techniques: call-and-response patterns, blue notes, and slide guitars. Gospel music was nevertheless using musical forms that were compatible with Christian hymns and therefore less marked by the blues form than its secular counterpart. The American sheet music publishing industry produced a great deal of ragtime music. By 1912, the sheet music industry had published three popular blues-like compositions, precipitating the Tin Pan Alley adoption of blues elements: “Baby Seals’ Blues”, by “Baby” Franklin Seals (arranged by Artie Matthews); “Dallas Blues”, by Hart Wand; and “The Memphis Blues”, by W. Sheet music from “Saint Louis Blues” (1914). Handy was a formally trained musician, composer and arranger who helped to popularize the blues by transcribing and orchestrating blues in an almost symphonic style, with bands and singers. He became a popular and prolific composer, and billed himself as the “Father of the Blues”; however, his compositions can be described as a fusion of blues with ragtime and jazz, a merger facilitated using the Cuban habanera rhythm that had long been a part of ragtime;[18][67] Handy’s signature work was the “Saint Louis Blues”. In the 1920s, the blues became a major element of African American and American popular music, reaching white audiences via Handy’s arrangements and the classic female blues performers. The blues evolved from informal performances in bars to entertainment in theaters. Blues performances were organized by the Theater Owners Bookers Association in nightclubs such as the Cotton Club and juke joints such as the bars along Beale Street in Memphis. Several record companies, such as the American Record Corporation, Okeh Records, and Paramount Records, began to record African-American music. As the recording industry grew, country blues performers like Bo Carter, Jimmie Rodgers (country singer), Blind Lemon Jefferson, Lonnie Johnson, Tampa Red and Blind Blake became more popular in the African American community. Kentucky-born Sylvester Weaver was in 1923 the first to record the slide guitar style, in which a guitar is fretted with a knife blade or the sawed-off neck of a bottle. [68] The slide guitar became an important part of the Delta blues. [69] The first blues recordings from the 1920s are categorized as a traditional, rural country blues and a more polished city or urban blues. Country blues performers often improvised, either without accompaniment or with only a banjo or guitar. Regional styles of country blues varied widely in the early 20th century. The (Mississippi) Delta blues was a rootsy sparse style with passionate vocals accompanied by slide guitar. The little-recorded Robert Johnson[70] combined elements of urban and rural blues. In addition to Robert Johnson, influential performers of this style included his predecessors Charley Patton and Son House. Singers such as Blind Willie McTell and Blind Boy Fuller performed in the southeastern “delicate and lyrical” Piedmont blues tradition, which used an elaborate ragtime-based fingerpicking guitar technique. Georgia also had an early slide tradition, [71] with Curley Weaver, Tampa Red, “Barbecue Bob” Hicks and James “Kokomo” Arnold as representatives of this style. The lively Memphis blues style, which developed in the 1920s and 1930s near Memphis, Tennessee, was influenced by jug bands such as the Memphis Jug Band or the Gus Cannon’s Jug Stompers. Performers such as Frank Stokes, Sleepy John Estes, Robert Wilkins, Joe McCoy, Casey Bill Weldon and Memphis Minnie used a variety of unusual instruments such as washboard, fiddle, kazoo or mandolin. Memphis Minnie was famous for her virtuoso guitar style. Pianist Memphis Slim began his career in Memphis, but his distinct style was smoother and had some swing elements. Many blues musicians based in Memphis moved to Chicago in the late 1930s or early 1940s and became part of the urban blues movement. Bessie Smith, an early blues singer, known for her powerful voice. City or urban blues styles were more codified and elaborate, as a performer was no longer within their local, immediate community, and had to adapt to a larger, more varied audience’s aesthetic. [75] Classic female urban and vaudeville blues singers were popular in the 1920s, among them “the big three”-Gertrude “Ma” Rainey, Bessie Smith, and Lucille Bogan-and Victoria Spivey. [76] Ma Rainey, the “Mother of Blues”, and Bessie Smith each “[sang] around center tones, perhaps in order to project her voice more easily to the back of a room”. Smith would “sing a song in an unusual key, and her artistry in bending and stretching notes with her beautiful, powerful contralto to accommodate her own interpretation was unsurpassed”. In 1920 the vaudeville singer Lucille Hegamin became the second black woman to record blues when she recorded “The Jazz Me Blues”. [79] These blueswomen’s contributions to the genre included increased improvisation on melodic lines, unusual phrasing which altered the emphasis and impact of the lyrics, and vocal dramatics using shouts, groans, moans, and wails. The blues women thus effected changes in other types of popular singing that had spin-offs in jazz, Broadway musicals, torch songs of the 1930s and 1940s, gospel, rhythm and blues, and eventually rock and roll. Urban male performers included popular black musicians of the era, such as Tampa Red, Big Bill Broonzy and Leroy Carr. An important label of this era was the Chicago-based Bluebird Records. Before World War II, Tampa Red was sometimes referred to as “the Guitar Wizard”. Carr accompanied himself on the piano with Scrapper Blackwell on guitar, a format that continued well into the 1950s with artists such as Charles Brown and even Nat “King” Cole. A typical boogie-woogie bass line About this soundPlay (help·info). Boogie-woogie was another important style of 1930s and early 1940s urban blues. While the style is often associated with solo piano, boogie-woogie was also used to accompany singers and, as a solo part, in bands and small combos. Boogie-Woogie style was characterized by a regular bass figure, an ostinato or riff and shifts of level in the left hand, elaborating each chord and trills and decorations in the right hand. Boogie-woogie was pioneered by the Chicago-based Jimmy Yancey and the Boogie-Woogie Trio (Albert Ammons, Pete Johnson and Meade Lux Lewis). [81] Chicago boogie-woogie performers included Clarence “Pine Top” Smith and Earl Hines, who “linked the propulsive left-hand rhythms of the ragtime pianists with melodic figures similar to those of Armstrong’s trumpet in the right hand”. [75] The smooth Louisiana style of Professor Longhair and, more recently, Dr. John blends classic rhythm and blues with blues styles. Another development in this period was big band blues. The “territory bands” operating out of Kansas City, the Bennie Moten orchestra, Jay McShann, and the Count Basie Orchestra were also concentrating on the blues, with 12-bar blues instrumentals such as Basie’s “One O’Clock Jump” and “Jumpin’ at the Woodside” and boisterous “blues shouting” by Jimmy Rushing on songs such as “Going to Chicago” and “Sent for You Yesterday”. A well-known big band blues tune is Glenn Miller’s “In the Mood”. In the 1940s, the jump blues style developed. Jump blues grew up from the boogie woogie wave and was strongly influenced by big band music. It uses saxophone or other brass instruments and the guitar in the rhythm section to create a jazzy, up-tempo sound with declamatory vocals. Jump blues tunes by Louis Jordan and Big Joe Turner, based in Kansas City, Missouri, influenced the development of later styles such as rock and roll and rhythm and blues. [82] Dallas-born T-Bone Walker, who is often associated with the California blues style, [83] performed a successful transition from the early urban blues à la Lonnie Johnson and Leroy Carr to the jump blues style and dominated the blues-jazz scene at Los Angeles during the 1940s. The transition from country blues to urban blues that began in the 1920s was driven by the successive waves of economic crisis and booms which led many rural blacks to move to urban areas, in a movement known as the Great Migration. The long boom following World War II induced another massive migration of the African-American population, the Second Great Migration, which was accompanied by a significant increase of the real income of the urban blacks. The new migrants constituted a new market for the music industry. The term race record, initially used by the music industry for African-American music, was replaced by the term rhythm and blues. This rapidly evolving market was mirrored by Billboard magazine’s Rhythm and Blues chart. This marketing strategy reinforced trends in urban blues music such as the use of electric instruments and amplification and the generalization of the blues beat, the blues shuffle, which became ubiquitous in R&B. This commercial stream had important consequences for blues music, which, together with jazz and gospel music, became a component of R&B. Otis Rush, an originator of the “West Side sound”. After World War II, new styles of electric blues became popular in cities such as Chicago, [86] Memphis, [87] Detroit[88][89] and St. Electric blues used electric guitars, double bass (gradually replaced by bass guitar), drums, and harmonica (or “blues harp”) played through a microphone and a PA system or an overdriven guitar amplifier. Chicago became a center for electric blues from 1948 on, when Muddy Waters recorded his first success, “I Can’t Be Satisfied”. [90] Chicago blues is influenced to a large extent by Delta blues, because many performers had migrated from the Mississippi region. Howlin’ Wolf, Muddy Waters, Willie Dixon and Jimmy Reed were all born in Mississippi and moved to Chicago during the Great Migration. Their style is characterized by the use of electric guitar, sometimes slide guitar, harmonica, and a rhythm section of bass and drums. [91] The saxophonist J. Brown played in bands led by Elmore James and by J. Lenoir, but the saxophone was used as a backing instrument for rhythmic support more than as a lead instrument. Little Walter, Sonny Boy Williamson (Rice Miller) and Sonny Terry are well known harmonica (called “harp” by blues musicians) players of the early Chicago blues scene. Other harp players such as Big Walter Horton were also influential. Muddy Waters and Elmore James were known for their innovative use of slide electric guitar. Howlin’ Wolf and Muddy Waters were known for their deep, “gravelly” voices. The bassist and prolific songwriter and composer Willie Dixon played a major role on the Chicago blues scene. He composed and wrote many standard blues songs of the period, such as “Hoochie Coochie Man”, “I Just Want to Make Love to You” (both penned for Muddy Waters) and, “Wang Dang Doodle” and “Back Door Man” for Howlin’ Wolf. Most artists of the Chicago blues style recorded for the Chicago-based Chess Records and Checker Records labels. Smaller blues labels of this era included Vee-Jay Records and J. O. B. During the early 1950s, the dominating Chicago labels were challenged by Sam Phillips’ Sun Records company in Memphis, which recorded B. King and Howlin’ Wolf before he moved to Chicago in 1960. [92] After Phillips discovered Elvis Presley in 1954, the Sun label turned to the rapidly expanding white audience and started recording mostly rock’n’ roll. In the 1950s, blues had a huge influence on mainstream American popular music. While popular musicians like Bo Diddley[88] and Chuck Berry, [94] both recording for Chess, were influenced by the Chicago blues, their enthusiastic playing styles departed from the melancholy aspects of blues. Chicago blues also influenced Louisiana’s zydeco music, [95] with Clifton Chenier[96] using blues accents. Zydeco musicians used electric solo guitar and cajun arrangements of blues standards. In England, electric blues took root there during a much acclaimed Muddy Waters tour. Waters, unsuspecting of his audience’s tendency towards skiffle, an acoustic, softer brand of blues, turned up his amp and started to play his Chicago brand of electric blues. Although the audience was largely jolted by the performance, the performance influenced local musicians such as Alexis Korner and Cyril Davies to emulate this louder style, inspiring the British invasion of the Rolling Stones and the Yardbirds. In the late 1950s, a new blues style emerged on Chicago’s West Side pioneered by Magic Sam, Buddy Guy and Otis Rush on Cobra Records. [98] The “West Side sound” had strong rhythmic support from a rhythm guitar, bass guitar and drums and as perfected by Guy, Freddie King, Magic Slim and Luther Allison was dominated by amplified electric lead guitar. [99][100] Expressive guitar solos were a key feature of this music. Other blues artists, such as John Lee Hooker had influences not directly related to the Chicago style. John Lee Hooker’s blues is more “personal”, based on Hooker’s deep rough voice accompanied by a single electric guitar. Though not directly influenced by boogie woogie, his “groovy” style is sometimes called “guitar boogie”. His first hit, “Boogie Chillen”, reached number 1 on the R&B charts in 1949. By the late 1950s, the swamp blues genre developed near Baton Rouge, with performers such as Lightnin’ Slim, [102] Slim Harpo, [103] Sam Myers and Jerry McCain around the producer J. “Jay” Miller and the Excello label. Strongly influenced by Jimmy Reed, Swamp blues has a slower pace and a simpler use of the harmonica than the Chicago blues style performers such as Little Walter or Muddy Waters. Songs from this genre include “Scratch my Back”, “She’s Tough” and “I’m a King Bee”. Alan Lomax’s recordings of Mississippi Fred McDowell would eventually bring him wider attention on both the blues and folk circuit, with McDowell’s droning style influencing North Mississippi hill country blues musicians. King with his guitar, “Lucille”. By the beginning of the 1960s, genres influenced by African American music such as rock and roll and soul were part of mainstream popular music. White performers such as the Beatles had brought African-American music to new audiences, both within the U. However, the blues wave that brought artists such as Muddy Waters to the foreground had stopped. Bluesmen such as Big Bill Broonzy and Willie Dixon started looking for new markets in Europe. Dick Waterman and the blues festivals he organized in Europe played a major role in propagating blues music abroad. In the UK, bands emulated U. Blues legends, and UK blues rock-based bands had an influential role throughout the 1960s. Blues performers such as John Lee Hooker and Muddy Waters continued to perform to enthusiastic audiences, inspiring new artists steeped in traditional blues, such as New York-born Taj Mahal. John Lee Hooker blended his blues style with rock elements and playing with younger white musicians, creating a musical style that can be heard on the 1971 album Endless Boogie. King’s singing and virtuoso guitar technique earned him the eponymous title “king of the blues”. King introduced a sophisticated style of guitar soloing based on fluid string bending and shimmering vibrato that influenced many later electric blues guitarists. [106] In contrast to the Chicago style, King’s band used strong brass support from a saxophone, trumpet, and trombone, instead of using slide guitar or harp. Tennessee-born Bobby “Blue” Bland, like B. King, also straddled the blues and R&B genres. During this period, Freddie King and Albert King often played with rock and soul musicians (Eric Clapton and Booker T & the MGs) and had a major influence on those styles of music. Eric Clapton performing at Hyde Park, London, in June 2008. The music of the civil rights movement[107] and Free Speech Movement in the U. Prompted a resurgence of interest in American roots music and early African American music. As well festivals such as the Newport Folk Festival[108] brought traditional blues to a new audience, which helped to revive interest in prewar acoustic blues and performers such as Son House, Mississippi John Hurt, Skip James, and Reverend Gary Davis. [107] Many compilations of classic prewar blues were republished by the Yazoo Records. Lenoir from the Chicago blues movement in the 1950s recorded several LPs using acoustic guitar, sometimes accompanied by Willie Dixon on the acoustic bass or drums. His songs, originally distributed only in Europe, [109] commented on political issues such as racism or Vietnam War issues, which was unusual for this period. His album Alabama Blues contained a song with the following lyric. I never will go back to Alabama, that is not the place for me (2x). You know they killed my sister and my brother. And the whole world let them peoples go down there free. Texas blues guitarist Stevie Ray Vaughan. White audiences’ interest in the blues during the 1960s increased due to the Chicago-based Paul Butterfield Blues Band featuring guitarist Michael Bloomfield, and the British blues movement. The style of British blues developed in the UK, when bands such as the Animals, Fleetwood Mac, John Mayall & the Bluesbreakers, the Rolling Stones, the Yardbirds, the supergroup Cream and the Irish musician Rory Gallagher performed classic blues songs from the Delta or Chicago blues traditions. In 1963, LeRoi Jones, later known as Amiri Baraka, was the first to write a book on the social history of the blues in Blues People: The Negro Music in White America. The Argentine power trio Manal in 1970, the first blues group to perform in Spanish. In 1970 the trio Manal established in Argentina the basics of blues sung in Castilian. Influenced poetically by the tango and generate Beatnik, [111] and musically by the blues, rock, jazz and African music of River Plate, the trio composed of Alejandro Medina, Javier Martinez and Claudio Gabis created a music that fused the roots of a genre born in the Mississippi Delta with elements of idiosyncrasy and local geography Porteña. [111] The lyrics of Manal emphasize existentialism, the industrial city and the railroads, is notable in one of his most well-known songs, “Avellaneda Blues”. Vía muerta, calle con asfalto siempre destrozado. Tren de carga, el humo y el hollín, están por todos lados. Sur y aceite, barriles en el barro, galpón abandonado. Charco sucio, el agua va pudriendo, un zapato olvidado. Dead rail, street with asphalt always shattered. South and oil, barrels in the mud, abandoned shed. Dirty puddle, the water is rotting, a forgotten shoe. “Avellaneda Blues” by Manal (1970). The British and blues musicians of the early 1960s inspired a number of American blues rock fusion performers, including the Doors, Canned Heat, the early Jefferson Airplane, Janis Joplin, Johnny Winter, The J. Geils Band, Ry Cooder, and the Allman Brothers Band. One blues rock performer, Jimi Hendrix, was a rarity in his field at the time: a black man who played psychedelic rock. Hendrix was a skilled guitarist, and a pioneer in the innovative use of distortion and audio feedback in his music. [113] Through these artists and others, blues music influenced the development of rock music. Santana, which was originally called the Carlos Santana Blues Band, also experimented with Latin-influenced blues and blues rock music around this time. At the end of the 1950s appeared the bluesy Tulsa Sound merging rock’n’roll, jazz and country influences. This particular music style was popularized in the 1970s by J. Cale and the cover versions performed by Eric Clapton of “After Midnight” and “Cocaine”. In the early 1970s, The Texas rock-blues style emerged, which used guitars in both solo and rhythm roles. In contrast with the West Side blues, the Texas style is strongly influenced by the British rock-blues movement. Major artists of the Texas style are Johnny Winter, Stevie Ray Vaughan, the Fabulous Thunderbirds (led by harmonica player and singer-songwriter Kim Wilson), and ZZ Top. These artists all began their musical careers in the 1970s but they did not achieve international success until the next decade. Italian singer Zucchero is credited as the “Father of Italian Blues”, and is among the few European blues artists who still enjoy international success[116]. Since the 1980s there has been a resurgence of interest in the blues among a certain part of the African-American population, particularly around Jackson, Mississippi and other deep South regions. Often termed “soul blues” or “Southern soul”, the music at the heart of this movement was given new life by the unexpected success of two particular recordings on the Jackson-based Malaco label:[117] Z. Hill’s Down Home Blues (1982) and Little Milton’s The Blues is Alright (1984). Contemporary African-American performers who work in this style of the blues include Bobby Rush, Denise LaSalle, Sir Charles Jones, Bettye LaVette, Marvin Sease, Peggy Scott-Adams, Mel Waiters, Clarence Carter, Dr. Jody, Shirley Brown, and dozens of others. During the 1980s blues also continued in both traditional and new forms. In 1986 the album Strong Persuader announced Robert Cray as a major blues artist. The first Stevie Ray Vaughan recording Texas Flood was released in 1983, and the Texas-based guitarist exploded onto the international stage. John Lee Hooker’s popularity was revived with the album The Healer in 1989. Eric Clapton, known for his performances with the Blues Breakers and Cream, made a comeback in the 1990s with his album Unplugged, in which he played some standard blues numbers on acoustic guitar. However, beginning in the 1990s, digital multitrack recording and other technological advances and new marketing strategies including video clip production increased costs, challenging the spontaneity and improvisation that are an important component of blues music. In the 1980s and 1990s, blues publications such as Living Blues and Blues Revue were launched, major cities began forming blues societies, outdoor blues festivals became more common, and[119] more nightclubs and venues for blues emerged. In the 1990s, the largely ignored hill country blues gained minor recognition in both blues and alternative rock music circles with northern Mississippi artists R. Burnside and Junior Kimbrough. [104] Blues performers explored a range of musical genres, as can be seen, for example, from the broad array of nominees of the yearly Blues Music Awards, previously named W. Handy Awards[121] or of the Grammy Awards for Best Contemporary and Traditional Blues Album. The Billboard Blues Album chart provides an overview of current blues hits. Contemporary blues music is nurtured by several blues labels such as: Alligator Records, Ruf Records, Severn Records, Chess Records (MCA), Delmark Records, NorthernBlues Music, Fat Possum Records and Vanguard Records (Artemis Records). Some labels are famous for rediscovering and remastering blues rarities, including Arhoolie Records, Smithsonian Folkways Recordings (heir of Folkways Records), and Yazoo Records (Shanachie Records). From the late 2000s to the present day, blues rock has gained a cultural following, especially after the rise of the Internet, when artists started creating YouTube channels, forums, and Facebook pages. Notable blues rock musicians of this period include Joe Bonamassa, Gary Clark Jr. John Mayer, Shemekia Copeland, Eric Gales, Kenny Wayne Shepherd, Walter Trout, Beth Hart, Warren Haynes, Jason Ricci, Susan Tedeschi, Derek Trucks, Ben Harper (in collaboration with Charlie Musselwhite) and Orianthi. Alternative rock artists still combine strong elements of blues in their music, especially ZZ Ward, Cage the Elephant, Jack White, and the Black Keys. Blues musical styles, forms (12-bar blues), melodies, and the blues scale have influenced many other genres of music, such as rock and roll, jazz, and popular music. [123] Prominent jazz, folk or rock performers, such as Louis Armstrong, Duke Ellington, Miles Davis, and Bob Dylan have performed significant blues recordings. The blues scale is often used in popular songs like Harold Arlen’s “Blues in the Night”, blues ballads like “Since I Fell for You” and “Please Send Me Someone to Love”, and even in orchestral works such as George Gershwin’s “Rhapsody in Blue” and “Concerto in F”. Gershwin’s second “Prelude” for solo piano is an interesting example of a classical blues, maintaining the form with academic strictness. The blues scale is ubiquitous in modern popular music and informs many modal frames, especially the ladder of thirds used in rock music (for example, in “A Hard Day’s Night”). Blues forms are used in the theme to the televised Batman, teen idol Fabian Forte’s hit, “Turn Me Loose”, country music star Jimmie Rodgers’ music, and guitarist/vocalist Tracy Chapman’s hit “Give Me One Reason”. Blues singing is about emotion. Its influence on popular singing has been so widespread that, at least among males, singing and emoting have become almost identical-it is a matter of projection rather than hitting the notes. Early country bluesmen such as Skip James, Charley Patton, Georgia Tom Dorsey played country and urban blues and had influences from spiritual singing. Dorsey helped to popularize Gospel music. [125] Gospel music developed in the 1930s, with the Golden Gate Quartet. In the 1950s, soul music by Sam Cooke, Ray Charles and James Brown used gospel and blues music elements. In the 1960s and 1970s, gospel and blues were merged in soul blues music. Funk music of the 1970s was influenced by soul; funk can be seen as an antecedent of hip-hop and contemporary R&B. R&B music can be traced back to spirituals and blues. Musically, spirituals were a descendant of New England choral traditions, and in particular of Isaac Watts’s hymns, mixed with African rhythms and call-and-response forms. Spirituals or religious chants in the African-American community are much better documented than the “low-down” blues. Spiritual singing developed because African-American communities could gather for mass or worship gatherings, which were called camp meetings. Comentale has noted how the blues was often used as a medium for art or self-expression, stating: As heard from Delta shacks to Chicago tenements to Harlem cabarets, the blues proved-despite its pained origins-a remarkably flexible medium and a new arena for the shaping of identity and community. Duke Ellington straddled the big band and bebop genres. Ellington extensively used the blues form. Before World War II, the boundaries between blues and jazz were less clear. Usually jazz had harmonic structures stemming from brass bands, whereas blues had blues forms such as the 12-bar blues. However, the jump blues of the 1940s mixed both styles. After WWII, blues had a substantial influence on jazz. Bebop classics, such as Charlie Parker’s “Now’s the Time”, used the blues form with the pentatonic scale and blue notes. Bebop marked a major shift in the role of jazz, from a popular style of music for dancing, to a “high-art”, less-accessible, cerebral “musician’s music”. The audience for both blues and jazz split, and the border between blues and jazz became more defined. The blues’ 12-bar structure and the blues scale was a major influence on rock and roll music. Rock and roll has been called “blues with a backbeat”; Carl Perkins called rockabilly “blues with a country beat”. Rockabillies were also said to be 12-bar blues played with a bluegrass beat. “Hound Dog”, with its unmodified 12-bar structure (in both harmony and lyrics) and a melody centered on flatted third of the tonic (and flatted seventh of the subdominant), is a blues song transformed into a rock and roll song. Jerry Lee Lewis’s style of rock and roll was heavily influenced by the blues and its derivative boogie woogie. His style of music was not exactly rockabilly but it has been often called real rock and roll (this is a label he shares with several African American rock and roll performers). Many early rock and roll songs are based on blues: “That’s All Right Mama”, Johnny B. Goode”, “Blue Suede Shoes”, “Whole Lotta Shakin’ Goin On”, “Shake, Rattle, and Roll”, and “Long Tall Sally. The early African American rock musicians retained the sexual themes and innuendos of blues music: “Got a gal named Sue, knows just what to do” (“Tutti Frutti”, Little Richard) or “See the girl with the red dress on, She can do the Birdland all night long” (“What’d I Say”, Ray Charles). The 12-bar blues structure can be found even in novelty pop songs, such as Bob Dylan’s “Obviously Five Believers” and Esther and Abi Ofarim’s “Cinderella Rockefella”. Early country music was infused with the blues. [131] Jimmie Rodgers, Moon Mullican, Bob Wills, Bill Monroe and Hank Williams have all described themselves as blues singers and their music has a blues feel that is different, at first glance at least, from the later country pop of artists like Eddy Arnold. Yet, if one looks back further, Arnold also started out singing bluesy songs like’I’ll Hold You in My Heart’. A lot of the 1970s-era “outlaw” country music by Willie Nelson and Waylon Jennings also borrowed from the blues. The music of Taj Mahal for the 1972 movie Sounder marked a revival of interest in acoustic blues. Like jazz, rock and roll, heavy metal music, hip hop music, reggae, rap, country music, and pop music, blues has been accused of being the “devil’s music” and of inciting violence and other poor behavior. [132] In the early 20th century, the blues was considered disreputable, especially as white audiences began listening to the blues during the 1920s. [67] In the early twentieth century, W. Handy was the first to popularize blues-influenced music among non-black Americans. During the blues revival of the 1960s and’70s, acoustic blues artist Taj Mahal and legendary Texas bluesman Lightnin’ Hopkins wrote and performed music that figured prominently in the popularly and critically acclaimed film Sounder (1972). The film earned Mahal a Grammy nomination for Best Original Score Written for a Motion Picture and a BAFTA nomination. [133] Almost 30 years later, Mahal wrote blues for, and performed a banjo composition, claw-hammer style, in the 2001 movie release Songcatcher, which focused on the story of the preservation of the roots music of Appalachia. Perhaps the most visible example of the blues style of music in the late 20th century came in 1980, when Dan Aykroyd and John Belushi released the film The Blues Brothers. The film drew many of the biggest living influencers of the rhythm and blues genre together, such as Ray Charles, James Brown, Cab Calloway, Aretha Franklin, and John Lee Hooker. The band formed also began a successful tour under the Blues Brothers marquee. 1998 brought a sequel, Blues Brothers 2000 that, while not holding as great a critical and financial success, featured a much larger number of blues artists, such as B. King, Bo Diddley, Erykah Badu, Eric Clapton, Steve Winwood, Charlie Musselwhite, Blues Traveler, Jimmie Vaughan, and Jeff Baxter. In 2003, Martin Scorsese made significant efforts to promote the blues to a larger audience. He asked several famous directors such as Clint Eastwood and Wim Wenders to participate in a series of documentary films for PBS called The Blues. [134] He also participated in the rendition of compilations of major blues artists in a series of high-quality CDs. Blues guitarist and vocalist Keb’ Mo’ performed his blues rendition of “America, the Beautiful” in 2006 to close out the final season of the television series The West Wing. The blues was highlighted in Season 2012, Episode 1 of “In Performance at The White House”, entitled “Red, White and Blues”. Hosted by President Obama and Mrs. Obama, the show featured performances by B. King, Buddy Guy, Gary Clark Jr. Jeff Beck, Derek Trucks, Keb Mo, and others. This item is in the category “Collectibles\Autographs\Music”. The seller is “memorabilia111″ and is located in this country: US. This item can be shipped to United States, Canada, United Kingdom, Denmark, Romania, Slovakia, Bulgaria, Czech Republic, Finland, Hungary, Latvia, Lithuania, Malta, Estonia, Australia, Greece, Portugal, Cyprus, Slovenia, Japan, China, Sweden, South Korea, Indonesia, Taiwan, South Africa, Belgium, France, Hong Kong, Ireland, Netherlands, Poland, Spain, Italy, Germany, Austria, Bahamas, Israel, Mexico, New Zealand, Singapore, Switzerland, Norway, Saudi Arabia, United Arab Emirates, Qatar, Kuwait, Bahrain, Republic of Croatia, Malaysia, Chile, Colombia, Panama, Jamaica, Barbados, Bangladesh, Bermuda, Brunei Darussalam, Bolivia, Egypt, French Guiana, Guernsey, Gibraltar, Guadeloupe, Iceland, Jersey, Jordan, Cambodia, Cayman Islands, Liechtenstein, Sri Lanka, Luxembourg, Monaco, Macau, Martinique, Maldives, Nicaragua, Oman, Pakistan, Paraguay, Reunion.
  • Industry: Music
  • Original/Reproduction: Original
  • Signed: Yes

Original Excessively Rare Blues Autographs Butterbeans Susie Vintage Vaudeville

Original 1996 Pocket Monster Cards, vintage rare cards, original Pokemon

Original 1996 Pocket Monster Cards, vintage rare cards, original Pokemon
Original 1996 Pocket Monster Cards, vintage rare cards, original Pokemon
Original 1996 Pocket Monster Cards, vintage rare cards, original Pokemon
Original 1996 Pocket Monster Cards, vintage rare cards, original Pokemon
Original 1996 Pocket Monster Cards, vintage rare cards, original Pokemon
Original 1996 Pocket Monster Cards, vintage rare cards, original Pokemon
Original 1996 Pocket Monster Cards, vintage rare cards, original Pokemon
Original 1996 Pocket Monster Cards, vintage rare cards, original Pokemon

Original 1996 Pocket Monster Cards, vintage rare cards, original Pokemon
Original 1996 Pocket Monster Cards, vintage rare cards, original Pokemon. Cards are the original Pocket Monster emote it was rebounded to pokemon for the North America and Europe market. Cards sre in excellent condition and would be a great and desirable addition to any pokemon collection. This item is in the category “Collectables\Collectable Card Games\CCG Individual Cards”. The seller is “cheoby-17″ and is located in this country: GB. This item can be shipped worldwide.
  • Graded: No
  • Rarity: Holo Rare
  • Game: Pokémon TCG
  • Year Manufactured: 1996
  • Card Type: Pokémon

Original 1996 Pocket Monster Cards, vintage rare cards, original Pokemon

Original 1987 BROOKS CHARIOT KW Running Shoes Men 11.5 Grey Leather RARE VINTAGE

Original 1987 BROOKS CHARIOT KW Running Shoes Men 11.5 Grey Leather RARE VINTAGE
Original 1987 BROOKS CHARIOT KW Running Shoes Men 11.5 Grey Leather RARE VINTAGE
Original 1987 BROOKS CHARIOT KW Running Shoes Men 11.5 Grey Leather RARE VINTAGE
Original 1987 BROOKS CHARIOT KW Running Shoes Men 11.5 Grey Leather RARE VINTAGE
Original 1987 BROOKS CHARIOT KW Running Shoes Men 11.5 Grey Leather RARE VINTAGE
Original 1987 BROOKS CHARIOT KW Running Shoes Men 11.5 Grey Leather RARE VINTAGE
Original 1987 BROOKS CHARIOT KW Running Shoes Men 11.5 Grey Leather RARE VINTAGE
Original 1987 BROOKS CHARIOT KW Running Shoes Men 11.5 Grey Leather RARE VINTAGE
Original 1987 BROOKS CHARIOT KW Running Shoes Men 11.5 Grey Leather RARE VINTAGE
Original 1987 BROOKS CHARIOT KW Running Shoes Men 11.5 Grey Leather RARE VINTAGE
Original 1987 BROOKS CHARIOT KW Running Shoes Men 11.5 Grey Leather RARE VINTAGE
Original 1987 BROOKS CHARIOT KW Running Shoes Men 11.5 Grey Leather RARE VINTAGE
Original 1987 BROOKS CHARIOT KW Running Shoes Men 11.5 Grey Leather RARE VINTAGE
Original 1987 BROOKS CHARIOT KW Running Shoes Men 11.5 Grey Leather RARE VINTAGE
Original 1987 BROOKS CHARIOT KW Running Shoes Men 11.5 Grey Leather RARE VINTAGE
Original 1987 BROOKS CHARIOT KW Running Shoes Men 11.5 Grey Leather RARE VINTAGE
Original 1987 BROOKS CHARIOT KW Running Shoes Men 11.5 Grey Leather RARE VINTAGE
Original 1987 BROOKS CHARIOT KW Running Shoes Men 11.5 Grey Leather RARE VINTAGE
Original 1987 BROOKS CHARIOT KW Running Shoes Men 11.5 Grey Leather RARE VINTAGE
Original 1987 BROOKS CHARIOT KW Running Shoes Men 11.5 Grey Leather RARE VINTAGE
Original 1987 BROOKS CHARIOT KW Running Shoes Men 11.5 Grey Leather RARE VINTAGE

Original 1987 BROOKS CHARIOT KW Running Shoes Men 11.5 Grey Leather RARE VINTAGE
1987 BROOKS CHARIOT KW Shoes. Men’s Size 11.5. Grey, White & Black. True vintage Brooks Chariot KW shoes! No rips, holes, major stains, or smells. (Hardly worn at all over the years). Super vintage size markings on the inside tongue! Suede & mesh uppers. (General signs of wear, light fading, & superficial dirt, mostly on mesh toeboxes). Midsoles are still white but do have signs of wear, and light superficial dirt. Treads literally still look like-NEW. They have very little wear at all, with tons of life left!! (Superficial dirt on the bottoms). These are the same home in the AD from 1987!! (See picture of advertisement from 1987). These are still intact, and actually wearable! Still have vivid color! These are SUPER RARE and impossible to find these days!! (Especially in this size and condition). NOTE: due to age, the glue on the midsoles has turned brown, and is more visible now (see the last few pictures). Please ask me any questions you have! (Message me for details). CHECK OUT MY OTHER LISTINGS FOR MORE CLOTHES, SHOES, etc… This item is in the category “Clothing, Shoes & Accessories\Men\Men’s Shoes\Athletic Shoes”. The seller is “thelandbeforevintage” and is located in this country: CA. This item can be shipped to Canada, United States.
  • Brand: Brooks
  • US Shoe Size: 11.5
  • Style: Sneaker
  • Color: Gray
  • Department: Men
  • Type: Athletic
  • Customized: No
  • Model: Brooks Chariot KW
  • Release Year: 1987

Original 1987 BROOKS CHARIOT KW Running Shoes Men 11.5 Grey Leather RARE VINTAGE