text:
CD Reviews Print Vol. 1
Live Reviews Print
By SP Clarke "I listen, so you don't have to."
Charmparticles
The Obituaries
The Shaky Hands
All Girl Summer Fun Band
Cherry Poppin' Daddies
China Forbes
One Night In Frog Town
Little Beirut
Miss Murgatroid and Petra Haden
Podington Bear
Rachel Taylor Brown
Rose City Project
The Builders and The Butchers
French Kicks
Sea Wolf and Okkervil River vs Parachutes and Sigur Ros
Music Fleece Northwest
Home › 2016
Richard Lloyd's place in the annals of rock music is secure. For over forty years he has proven himself to be one of the most versatile and knowledgeable guitarists in the business—with a career that begins with the founding of the new music scene in New York in the early-70s, extending through to the present, where he is a sagacious purveyor of a very highly refined craft.
Television circa 1973 with Richard Hell
Along with Richard Meyers (bassist Richard Hell) and drummer Billy Ficca, Richard Lloyd and his partner, guitarist Tom Miller (Verlaine), formed the band Television in 1973. Even more importantly for their own success, and that of countless other bands, the fledgling Television were instrumental in helping bar owner Hilly Kristal convert his country/blues dive bar into the quintessential punk/new wave dive bar: CBGB. The prototype. The heights (and depths) to which all punk/new wave dive bars aspired.
Television is renowned to have constructed the actual stage in the club as a demonstration of their solidarity. Hilly Kristal himself proclaimed that he thought Television's first show at the revitalized club in March of 1974 was the "beginning of new wave." To be sure, innumerable Rock and Roll Hall of Fame bands found their footing on that rickety CBGB stage, and made their subsequent fortunes from the incredible creativity that was spawned there at that magical time.
Television circa 1975 with Fred Smith
With Hell replaced by Fred Smith of Blondie, Television broke out nationally in 1977, via the release of their debut album, Marquee Moon, on the Elektra label—an album that to this day is regarded as one of the most seminal records in all of rock music history. In support of Marquee Moon and their follow up, Adventure, Television actually played the Earth Tavern in Portland in July 1978, with a molten set (a bootleg recording of which is available out there if you want to track it down. It's worth the effort believe me!) Check out this version of the song "Marquee Moon" taken from that performance.
What made Television special, then as well as now, was their unusual twin-guitar attack, which featured complex interplay between Lloyd and Verlaine. Television were always considered outside of "new wave," not settling into any specific box—which made them far more difficult to market than some of their peers, such as Blondie, Ramones, Talking Heads and Patti Smith, etc. The band never quite found their niche. They essentially broke up by the end of 1978.
Their brief existence in the spotlight and lack of a convenient musical pigeonhole did not prevent Television from being highly influential. The Cars owe much to Television. Cars Ben Orr and Ric Occasek both sing in a highly stylized manner very similar to Verlaine. And though far more a pop band, their presentation owes a great deal to Television's audio prescience. More recently, the Strokes have proven on occasion that they have spent some time in the living room with the Television. It's a sound. It's a feel. It's woven fabric. Sonic Kevlar.
Richard Lloyd during an erratic period
Post Television, Richard proved himself to be a talented, if somewhat erratic, solo performer, releasing two influential records: Alchemy in 1979 and Field of Fire in 1985, and the little heralded Real Time in 1987, before entering an extended period of performance as a side musician. From 1991 through 1995 he sporadically alternated with the late Robert Quine, serving as lead guitarist, both on tour and in the studio, for Matthew Sweet. He contributed numerous fiery solos to Sweet's two finest albums, Girlfriend in 1991 and 100% in 1995.
In 1992, Television reconvened for an eponymous third album that succinctly recaptured a sound the group had abandoned fifteen years earlier. The band infrequently played a few influential live concerts in the years that followed. Lloyd left Television, once and for all, in 2007
He released The Cover Doesn't Matter in 2001. It's not an album of covers, as one might expect from the title, but a collection of great original songs—clearly a distillation in many ways (the songs themselves and their arrangements) of the Sweet Experience. Fans of the aforementioned Matthew Sweet albums would find much to appreciate in The Cover Doesn't Matter.
In 2003 Richard lent his NYC sensibilities to the Cleveland consciousness of Rocket From the Tombs, joining Cheetah Chrome (Dead Boys) and David Thomas (Pere Ubu) to explore anew the retrospectively precocious musings of the long deceased band founder Peter Laughner (also Pere Ubu—and an early admirer of Television, before his death in 1977), culminating in the release of Rocket Redux in 2004.
As with his previous solo album and Matthew Sweet, 2007's The Radiant Monkey suggested Lloyd's experiences with Television and Rocket From the Tombs: posing a tougher, more raw sound, while capturing some of the fire of his early solo career: the prickly quickness of his deft fretwork never far from the fore.
The Jamie Neverts Story, issued in 2009, is a tribute album directed toward two people who influenced Richard, as a guitarist, more than any others. One was his high school friend and fellow novice guitarist Velvert Turner, and the other was Jimi Hendrix. One thing that distinguished Velvert Turner from just about any other teenager in the world was the fact that he actually knew Jimi Hendrix, and visited him in his flat when he was in New York for a concert or for recording.
Velvert would receive a guitar tip or lesson from Jimi and run directly over to Richard's house to show him what he'd just learned. Together, the two young men mastered many of Jimi's unique early techniques. It was through Velvert that Richard met Jimi Hendrix and was afforded the opportunity join with Turner in the studio (presumably the Record Plant for the Electric Ladyland sessions) to listen to mixes with Jimi.
Jamie Neverts was a covert code-name the two concocted in order to hide the identity of their famous mentor from friends at school. Richard has distinguished himself as a spirited raconteur, and he spins this tale in one of his many online interviews. (Also not to be missed are his esoteric guitar lessons—the series entitled The Alchemical Guitar—presented by Guitar World magazine).
Velvert Turner Group '71
Velvert Turner released one lone album in 1972, a few years after Jimi died. And Velvert died in 2000, long away from the business of music by that time. But an audition of the guitar and vocal work on his only recording leaves no doubt as to the imprint Hendrix left upon him.
Likewise, it's hard to tell where Richard Lloyd's tribute to Hendrix begins on The Jamie Neverts Story (all ten numbers are faithful renditions of songs taken from Are You Experienced? and Axis: Bold as Love), and where the homage to his fellow acolyte begins, as their shared assimilation of the teachings of the master are not to be denied. They both learned their lessons very well.
Over the course of his career, Richard manifested those principles in myriad ways—perhaps the influence of Hendrix is not readily apparent in the twin guitar onslaught of Television. But then again their propensity for harmonic discord seems philosophically in accord with the master.
And since leaving Television, Richard Lloyd has spent the better part of forty years wandering the horizons of possibility his instrument offers. Moving from solo album to solo album, over the years, Richard has covered a lot of stylistic ground, seldom repeating himself. Every one of his solo albums has had an identity all its own. Each seems to acquire subtle features from the previous project.
So there are intimations of The Cover Doesn't Matter and The Radiant Monkey (and always the work of Hendrix) in Rosedale. Still, though much of this was recorded before the event, something in this album reflects Richard's recent move from his long-time home in New York City to a rural setting outside of Chattanooga, Tennessee. There is a laid-back swampiness in the stylistic attitude displayed here. Even the name of the album suggests a rustic, burnished quality borne out by the music itself.
Photo by Godlis
It's a pastoral collection, a guitar record, pure and simple. But the Lloydian riffs are the same as ever, playing out against different contexts. More subdued. More laid-back, perhaps. Rootsy rock. Performed pretty much live in the studio with a minimum of overdubs, there are no supporting keyboards or background vocals, no sax solos. Just the basics. Drums, bass, vocals and guitar—maybe the occasional overdubbed guitar. But that's it. No studio trickery. Simply the straight shit.
The brief, jagged riff that opens "Crystal Mountain" plumbs directly back to Television before resolving in a ballsy rocker with bluesy undertones. Richard plays all the instruments on this number, with crisp, whipsmart guitars decorating the periphery. There is a Joe Walsh-like quality to the vocals, bolstered by the general feel of the production.
Chris Frantz (Talking Heads) provides the beat on "The Word," another rocker with big cajones. There are hints of Lou Reed in the vocals—as well as Steve Kilbey of The Church—but this song swaggers far too fast for the former to keep pace, and too forthrightly for the latter's informal vocal gait. The guitars gear like a watchspring, each cog turning another wheel. The effect is as if the guitar methodology of Television had landed in some other completely different thematic space.
"I Want You" is a primitive piece of work, originally recorded to 4-track. It's a slow soulful blues-fueled number, reminiscent of Otis Redding, Percy Sledge or Joe Tex, with a touch of Lennon lime squeezed in. Richard navigates a rich falsetto through the vocal changes, wringing raw pathos from the tortured lyric.
Billy Ficca
Billy Ficca takes over the drum chair for the next five songs. His longtime association with Lloyd, via their time together in Television and after, coats Richard's instrumental vehicle like a thick coat of paint. "Everytime It Rains" is very Sweet-like in its composition. Ficca's drums bridle the intense prance of Richard's keen guitar phrasings. He pins the ears back on a fantastic solo to lead out the final forty-five seconds of the song, with Billy playing the role of Mitch Mitchell. Hot! Hot, hot!
Which jumpstarts the reptilian slither of the next cut, "Tasting Quicksand." Into a crucible riff that alchemically fuses elements of The Heads' "Life During Wartime" with the Nuge's "Cat Scratch Fever," are stirred Richard's goosey, falsetto infused vocal—reminiscent of Jagger circa "Fool to Cry" in the verses. The gritty chorus furthers the Jagger feel, more in the direction of the "She's So Cold" era.
"Murder Boogie" is imminently self-descriptive: a swampy, ZZ Top-ish shuffle that affords Richard room for lots of tasty fills and blade-sharp solos, over a nasty vocal of wicked intent. Ficca's bold beat drives "The Real Girl," a charming pastiche of Television's angular dynamism buffed with a country sheen—as sung, alternately by Warren Zevon, David Byrne or Marshall Crenshaw.
The blustery rocker, "Easy," is so familiar, it sounds as if it has always been in the rock music canon. It could have sprung from any era. Richard tosses out a few Hendrix infused runs in the solo sections and the song breezes by like a springtime love affair. Catchy. The hook sticks in the mind like gum to a shoe.
The final two tracks feature support from musicians culled from the Chattanooga scene, and were recorded after Richard's move to Tennessee last winter. It's clear from the start of "Devil's Design" that drummer Jeff Bonebill is up to the task of replacing the formidable Billy Ficca. And the addition of Terry Clouse on bass rounds out the sound as well, freeing Mister Lloyd to turn out low-slung sidewinder licks, and brash, slashing chord punctuations. The song could be the work of the Pixies—with some guy of Richard Lloyd's magnitude playing lead guitar. Vocally, it's a cross between the frankness of Black Francis and the reediness of Lou.
Richard Lloyd is not availed of the greatest singing voice in the world, but he manages to take it a lot of places. He gets his point across via rough hewn lyrics: sometimes course, sometimes dirty and gritty, sometimes smooth and resonant. Still, the centerpiece of this album is the unique guitar work.
Every riff, each run, presented across the span of the entire album is dead on the money. Clarion flashes of clarity, and an acupuncture precision of attack differentiate Lloyd from the typical guitarist. He has nothing to prove to anyone.
This isn't a great album. He hasn't recorded his great album yet. But this album is solid from start to finish and quite enjoyable for its diversity and flair, and certainly worthy of his legend.
A Special Goodbye to Steven "Pearly" Hettum
Steve Hettum, known as "Pearly" to his friends, died on February 8th, 2016. At the end of March, SP Clarke published a review of Steve's final album, Folks Like Us, and a bit of an obituary. This month J. Michael Kearsey steps forward with a formal obituary for Pearly Hettum. A proper send-off. Michael, who has been a fixture in the local music scene since the 70s knew Steve very well, going back thirty years. They toured the UK together in the mid-80s and shared many adventures.
Michael played bass, with Dennis Elmer on drums, and Houston Bolles on lead guitar, to form the Janglers—Pearly's crack backup band. Steve Hettum's loss has hit a portion of the Portland music community very hard and efforts continue to bring life to some of the traditions he started.
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Steven Charles "Pearly" Hettum
(March 3, 1957-February 8, 2016)
Steven Charles "Pearly" Hettum died peacefully and full of song on Feb 8, 2016. Born and raised in Gresham, graduating from Centennial High School in 1975, he spent a year at OSU and moved on to PSU as an English major. He met musician Billy Rancher and became his manager, taking him from bar rooms to a contract with Arista Records. Rancher was stricken with lymphoma and the recording contract was quashed.
Steve went on to the University of London, studying classic English writers and poets. He met musician Mike Kahn, who accepted Steve's offer to come to Portland touring the West Coast in 1985. In 1986 Hettum and Kahn brought Portland rockabilly trio, the Rockin' Razorbacks, to England and then brought English blues musician, Mick Clarke, to Portland in 1987. Steve began to release his own records in the late 1980's with titles Simple Elegance, The Jangler, Middle Age Man and Fishermen's Ball. On a trip to Nashville, his producer noted his voice wasn't golden but "Pearly"- a nickname that stuck.
He married Betsy Shanklin, loved her daughters as his own and became a father when son Emmet was born in 1992. Moving to Gold Hill, Steve worked as a musician and bartender, returning to Portland in 2000. He recorded two more CD's with his band, the Janglers, including this year's CD, Folks Like Us. All his records are available at Music Millennium, CDbaby.com and Localsonly.org.
Diagnosed with cancer of the tongue in 2013, he had a successful skin graft but was told he might not be able to speak. Within a month, he was talking, singing and writing more songs. He established an 'open mic' night at Eugenio's on Division to support local songwriters as well as traveling musicians. It ran for five wonderful years. When he was told he had terminal lung cancer last summer, he put his talent to work on his final album and continued to perform. Steve chose to have "A Wake While I'm Awake," a musical event that brought together 300 of his friends and family on January 24th.
Steve is survived by his children Caia Shanklin, Margot Shanklin and Emmet Hettum, his mother, Connie Hettum, sisters, Jackie Miller and Sandie Cooper, and brother Mark Hettum and 5 grandchildren: Thatcher, Theodora, Khloe, Thalia and Magnus.
Contributions in Steve's name may be made to the Oregon Music Hall of Fame Scholarship Fund at http://www.omhof.org to support high school seniors furthering their music studies.
J. Michael Kearsey
Steven "Pearly" Hettum
Folks Like Us
Locals Only Records
Steve Hettum died on the evening of February 8th. He succumbed after a long, valiant struggle with cancer. His death was not unexpected. A few of his friends were able to put a life celebration together for him, what he called his "Wake While I'm Awake," at the end of January, and several hundred people were in attendance.
To a lot of people, he was known simply as Pearly—a nickname he acquired in the '80s from a producer in Nashville, who found his voice to have a certain nacreous quality. He was a singer/songwriter from a country/folk tradition, on a trajectory scribing an arc between Garth Brooks and Van Morrison. His own compositions fell along that line somewhere.
Unreal Gods. Steve Hettum far right.
I always saw Steve in a different light. When I first met him, in 1981, he was just a young guy in his early '20s. He had just begun managing a new band in town called Billy Rancher and the Unreal Gods. My friend Lew Jones introduced us one evening over at the Dirty Duck, a tavern that used to be on NW Glisan, at the base of the Steel Bridge. From that time on, my path crossed with Steve's on a regular basis.
After he was unceremoniously dumped from his managerial position with the band in 1983, Steve subsequently made a couple trips to the United Kingdom, on one occasion guiding Portland rockabilly stalwarts, the Razorbacks through an extended tour of the country.
On another occasion he brought the K Khan Band over from Great Britain, and they played many gigs across the Portland area, though probably not to as much acclaim as they deserved. They sort of fell through the stylistic cracks in the Portland music scene of the mid-'80s.
Steve in Europe
Steve lived in Europe for a while, studying at Oxford. He got married and divorced and married again, father to three kids, while living out of the loop down in southern Oregon. Then he divorced again and moved back to Portland.
I caught back up with him at about that time. It was the early '90s and he had begun performing as a solo act around town. In fact, I remember that Steve and Lew Jones hosted the very first open mics at the newly opened Laurelthirst tavern, when the music was still in the front window, and they were having neighborhood issues with volume, and the usual civic complaints.
Steve released a nice album, Simple Elegance, in 1991, showcasing a knack for crafting catchy country/folk songs, and singing them with a pure, iridescent voice that, except for the faint whine of a craggy twang, was free of all affect.
It was about that time, too, that I began my first preparations to write a book about Billy Rancher. It had been five years since he had passed—and just before his death I promised Billy that I would tell his story. At the time I thought I would be writing a biography. Since Steve had been the manager of Billy Rancher and the Unreal Gods, I started the process of gathering notes for my book by interviewing him first. Doubtless his insights would be different from those of the other members of the band. From my conversations with him, I was able to begin roughing out an outline for the book I had in mind. A sequence of events.
A few years later a fellow published a biography of Billy and the Gods, called Rocky Road—thus my plans for a biography were pretty much shot down. After all, how many biographies does the world need of an unknown musician who died before reaching his full potential? I didn't give up my plans for a book. I kept my interviews with Steve, my outlines and notes and put them away for quite some time.
UNreal gods
It was Steve's version of events that I held on to. Doubtless I could have chosen someone else in or around the band to interview. And that was most certainly my original plan. But somewhere along the line, since I could no longer write the biography I had in mind, I decided the book might actually work better as a novel: where Billy's story could become archetypal and not simply relegated to a backwater bio.
And while the story I tell in my novel UNreal gods is most certainly Billy's heroic tale, it's also Steve's story—his point of view. And, as in real life, his character is an affable team player, willing to do the unsung dirty work behind the scenes. Not every person is cut out for those duties. It's an unforgiving position, with few rewards. Whatever the case, Steve did his job well.
I lost track of the guy again after that. I know he was managing the kitchen out at the Edgefield for a while. Then he was gone again. It turns out he'd ended up moving back down to Gold Hill to help raise his two kids. That's the kind of dutiful square guy Steve was. He made every effort at all times to do the right thing. He was always very conscientious and fair.
At the Alaskan Folk Fest, April, 2000
The next time Steve's name came up was in the late 2000s. I'd heard through the grapevine that he was back in town. I saw him play a couple songs when the wall was still up at the old Eugenio's. But it wasn't until 2011 that I really had the chance to catch up with him again. He was the congenial host of the weekly Wednesday open mics at the new, post-wall Eugenio's. By that time, he'd been at the helm for a year or two and he had a real smooth operation going. There was always a huge crowd there.
He ran a tight ship. He'd open the evening by singing a few songs to set the mood, and then he'd introduce each successive act to take the stage. Novice or old pro, Steve always had a kind thing to say in the presentation of each performer. If you think running an open mic would be a fairly easy gig, you're out of your mind!
Think about it. You're dealing with " sensitive artist" types with egos as big as the Great Trumpkin himself, totally unrealistic about their own abilities. Some are pushy. They want their slot at such and such a time. Can my daughter crowd in? The family's here. I was with Steve on many occasions when I was astounded that he didn't go off on somebody for stepping way over the line. I know I would have. Still, Steve always handled every situation with fairness and affability.
But he was having health issues. He'd had something happen with his foot. (He'd broken his back while living in Gold Hill). And he was nursing a hip that he eventually had to have operated on. Then he got cancer of the tongue. They ended up removing a chunk of his tongue and he had a tough time speaking for a while. But through it all, he persevered, rarely missing a Wednesday Open Mic at Eugenio's. Friends took up for him when he was out, keeping the gig going. But he didn't miss that many shows, really. He just played through.
Open Mic at the Starday
There was a period a few years back, when Eugenio's was forbidden from having music at all—at which point Steve moved the Open Mic operation to the Starday Tavern on Foster. That went on for a month or two before the music was back at Eugenios's and so were Pearly's open mics. And from that point on, the place was packed out on any given Wednesday night.
The Janglers
Over time, Steve put together a tasty little combo of backing musicians, local pros who'd accompanied him on one or another or all of his various recordings over the past twenty five years. They were called the Janglers. Steve sang lead and played rhythm acoustic, Houston Bolles on lead guitar, J. Michael Kearsey on bass and Dennis Elmer on just a snare and a ride cymbal. Don't kid yourself, Dennis Elmer can do more with a snare and a ride cymbal than most drummers can pull off with an entire field array of percussive artillery.
Dennis Elmer
All in all, with comparative ease, that quartet could knock out an evening's worth (more than half of the songs were Steve's originals, the rest: well chosen covers) of top-notch entertainment—at easy listening volumes! Steve's genial charm and his incredible ability to get people's attention always made for a fun affair. Always.
But, as it so often does, Steve's cancer came back. This time in the form of an inoperable tumor in the upper lobe of his left lung, right behind his heart. He had options to go with chemo and radiation treatments, to try to prolong his life for an additional three or six months. But Steve had seen what that process had done to his friend Billy Rancher in his final days and that's not the way he wanted to go. So, he decided to forego further treatment and just ride the process out to the end.
I think it was last September when Steve first started to complain of chest pains and of feeling ill, lacking energy—and it was understood that the decline had begun. But that in no way deterred him from holding court with his regular Wednesday Night Open Mic at Eugenio's and occasionally gigging with the Janglers on the weekend.
Around November, word got out that Eugene Gray was going to have to close Eugenio's some time in December. Unbeknownst to most, the building's owner/landlord, Tim Ellis, who also owned Kung Fu Bakery Recording Studios next door, was forced to sell his interest because he too was suffering from a struggle with cancer. This was one rare instance where Division Street gentrification was not directly responsible for the demise of the enterprise.
By the time the middle of December rolled around and the final days of the club were being celebrated and mourned, it was becoming clear that Steve was in a great deal of pain. Despite that, or just as likely, because of it, Steve played on, hosting his final Eugenio's Wednesday Night Open Mic on December 16th. I can't remember the final total on his weekly open mic events. I think he hosted 306. It was over three hundred, I know that.
The Janglers played their last gig on Friday, the day before the closing of the club, on December 19th. If you didn't know of his condition, you would not have known how sick Steve was, or how much pain he was enduring. On the tiny Eugenio's stage, he was his in his element, being his typical fount of hospitable conviviality. His voice was thin, but still sure as pearl. His guitar playing was still crisp. He went out on a high.
In the studio.
I spoke with Steve by phone frequently and visited him in mid-January. His condition had deteriorated dramatically. It was clear he was dying. He played me cuts of the album he was finishing up—whenever he was up to it—with members of the Janglers and many other friends joining in. He'd been working on it for a while, but when it became apparent that he didn't have a lot more time left, he stepped up his recording schedule, jumping into Jon Lindahl's Fresh Tracks studio whenever he could muster the strength to give it an hour or two.
Towards the end, his trusted friend, Steve Edgren, manned the board, recording a couple of songs in the living room of Steve's apartment. He was weak and frail, but he knew what he wanted. Even in his final days he was directing traffic as he always had, whipping everyone into shape.
Madi Goldsmith and Will De Lance of the Glue Horses performing at Steve Hettum's "Wake While I'm Awake."
A bunch of Steve's friends organized the event for him on January 24th. We weren't sure Steve would live to attend his "Wake While I'm Awake." But, as through all things, Steve showed rugged determination, and he wasn't about to miss the celebration of his life. He was there, right up front in the place of honor. Many of the performers who made Steve's open mics so successful took the stage to play for him one final time.
Steve sat in his recliner, soaking up every minute of the event, so sick and weak, his voice was just a hoarse croak. He could barely speak to the stream of well-wishers who came up to greet him and say their last goodbyes.
But someone had given him a microphone, so occasionally he would bark out some orders to performers or speakers on stage. And he sang with everyone for the evening's fitting finale, "Party By Myself," with a solo vocal for a verse, which led to an inspired round of choruses to close.
Steve "Pearly" Hettum died two weeks later on Monday, February 8th, at Steve and Esther Edgren's house. Steve and Esther selflessly looked after Steve in his final days, offering him hospice in their home, allowing him to die as he wished: in peace, with friends and family at his side.
A fitting end for a guy who spent so much of his life looking after the needs of other people—as manager for Billy Rancher and the Unreal Gods, as a husband and father, and as host to an interminable array of insecure musicians with enormous egos at his weekly open mics (I include myself among them)—he always took charge of the situation to put people at ease. When he was at his end, he was at ease and he had put someone else in charge.
Which brings us to Folks Like Us. What started out as the next Steve "Pearly" Hettum album eventually became his send-off, and you can feel that energy among the performers here. One can hear a profound sense of desperate determination among the musicians, motivated by the bleakness of the situation. But through it all, it was Steve who kept flagging spirits high, creating a mood of joy and thankfulness that is palpable from start to finish.
Among the fourteen songs presented, three are well-chosen cover songs, and a couple others are reworkings of self-penned songs he had produced for other recordings. But most of the material is new and original and performed with the sort of urgency you don't hear on every record released these days.
The title track leads off the set, a homey, hillbilly sentiment reminiscent of the '50s, Claude King, Johnny Horton and the Burnette brothers, etc.—all cornbread in the oven, chicken in the skillet and cows out in the barn. Steve always had a knack for making any song he wrote sound autobiographical, so I have no idea if this yarn about his cousins in Oklahoma and family in Missouri, his Granny in Nebraski who smokes a pipe, or his cousin in Kansas, bear any resemblance to the truth. It sounds like "Wolverton Mountain" to me. A fascinating piece of Americana, all the same.
Jeff Bailey and Pearly
The arrangement is standard Janglers fare, stripped down a bit: with Steve on vocals and acoustic guitar, a little percussion and Jeff Bailey's bass (and accordion)—laidback, but spot on, bustin' along like a spirited pony. Guest Ritchie Raye contributes totally appropriate mood fiddle that lends the scent of hickory to the smoke in Steve's tale.
"Cowboy Song" has been a staple of Steve's repertoire for several years, this rendition culled from his 2008 release, The Jangler. It's a yippy-oh-ki-yay song, to be sure, but there is an element of Van Morrison in the melody and feel. It's an intangible. But when you hear Steve's take on Morrison's "Wild Night" a little later, the connection becomes clearer. There's a vague element of Paul Simon's "Slip Slidin' Away" at the back of the sonic palette too. Jon Lindahl's tasty slide guitar lends the perfect western element, while the piano backing fills out the rhythm section
Steve was regularly accused of being sentimental, in fact one of the songs found here, "Sentimental Bastard" defends that position (Billy Rancher suffered from the criticism that his songs were "corny," which he freely admitted: so the compulsion runs in the family). "Funny Little Girl," a paean to his daughters Caia and Margo, could pass for Ralph McTell or maybe Nick Drake. And because it's about his daughters, he can be forgiven for his references to "licorice drops and peppermint sticks." I'm not sure Drake or McTell would go there.
Houston Bolles
I actually thought Steve's adaptation of "Weep No More" was his own composition. It sounds nearly nothing like Bad Company's version from 1975. And I wasn't familiar with that one in the first place. Steve wisely cut out a lot of superfluous material to get to the heart of the song. A streamlined take, with a bit of a country feel. It's a Janglers arrangement, with Houston Bolles singing the high vocal harmonies, and adding a sweet guitar solo in the middle.
Steve's had "For Pete's Sake" in his catalogue for many years. It's a song dedicated to Pete Jorgusen, who was the drummer for the Malchicks—Billy and Lenny Rancher's band that preceded the Unreal Gods—and with whom Steve had a special friendship. Jorgusen died of cancer early in 2010. It's a philosophical song, perhaps a father addressing his son, with a message about intention and accomplishment.
Steve Edgren
"Luella" is one of the last songs Steve wrote and recorded. With the help of Steve Edgren at the controls, Pearly recorded this in the living room of his apartment—just a solitary vocal and a lone acoustic guitar. Edgren described the occasion like this: "About three weeks before the album was to be mixed, Steve was putting the finishing touches on 'Luella'. I stopped by his apartment one afternoon, and he was having an exceptionally good day.
"He said 'I think I'm done writing "Luella"', and grabbed his guitar and started playing it. I could tell the energy was there and stopped him, grabbed my phone, and started recording. As luck would have it he nailed it. I'm glad we recorded it that day because he never was able to play like that again. We did a lot of overdubs at Steve's."
It's a ghostly lament, the wild, wicked, wraith-like Luella haunting his every waking moment, obviously recorded spontaneously, but with undeniable magic, all the same. About half way through, Edgren contributes additional guitars and the Janglers join him via the magic of studio overdubbing for a stirring finale. Following the performance, Steve briefly recounts the fascinating tale of how the song came to him in a dream.
Photo by John Alcala
There are no surprises with "My Old Man" and "Sentimental Bastard." Those bookends are performed solo, just Steve, his guitar, and his memories—shared with candor and honest reflection. One cannot help but be touched by these simple songs. "Sweet Rose Diane" is a moving ballad in 6/8 time, from the folk tradition.
"If I Were a Christian,"also spills from a folk idiom, in the Bob Dylan vein (circa Blood on the Tracks). Steve's observations are tinged with thinly veiled rancor: "I am not an Arab/And I am not a Jew/And I do not sympathize with either of the two/When they draw the line in Palestine/For another holy attack/And then they wonder at the other side—'How come you're shooting back'?" The rest of the commentary hits home with similar explosive impact.
There are many similarities between "Boogie Man" and "Luella." For one thing it was recorded in Pearly's living room studio, the Caruthers Street Corral, again under the oversight and assistance of Steve Edgren (although this track was recorded via a twelve track digital recorder, not a phone). And it's another song of voodoo voogum, here sounding as if Doctor John were chewing through a swampy rendition of Randy Newman's "Mama Told Me Not to Come," with Creedence Clearwater Revival providing the accompaniment. Edgren's lead guitar fills seem steered straight out of "Born on the Bayou."
Pearly's warm depiction of John Prine's "Souvenirs" touches all the bases. A home run. As with many covers Steve performed through the years, he found his way inside the song to make it his own. When I first heard it, I wasn't sure if Steve had written it, or what. I thought it sounded like a Danny O'Keefe ("Goodtime Charlie's Got the Blues") song. The cut is also the perfect example of what the Janglers brought to their live shows. Simple. Subtle. Laid-back, not a wasted note, and tasty as all get out.
Conversely, Steve's smart take of the aforementioned "Wild Night" is backed by a hefty contingent of guests—including a manifoldly stacked sax section created by the legendary Dan Schauffler (Nu Shooz, Crazy 8s), steeped in a rich broth cooked up by fabled organist Dover Weinberg. Vocally, Steve could easily pass as Van Morrison's American born cousin, again making the song his own, from the inside out.
The album comes to a dramatic conclusion with the cathartic hymn, "Get On Board." Deeply rooted in American gospel, spiritual soil, fully twenty people preform on the finished track, lending their talents, including the eleven-voice Diversion Street Choir.
Diversion Street Choir
Knowing the end to his story makes the song all the more poignant, as Steve was not playing with the possibility of leaving this life behind. He knew it to be a certainty. With that big, dark cloud hanging over his head, he created a piece of music that shines with immense light. Even to the end, Steve's message remained resolutely clear and strong: "I lost the battle, but I won the war/And I feel the fire within /I'm knockin' on the door/ Please let me in/Forgive my sins/I don't want to go back to where I've been."
And there it is. Few artists are availed of the opportunity to release a fitting close to their careers before the end of their lives. Coincidentally, David Bowie was able to do just such a thing before he died in January. That concurrence was not lost on any of the participants.
Tribute. Statement. No person could better sum up his own life than Steve Hettum himself. Unabashed schmaltz, whiplash insights. Imaginative expressions of well-worn homilies. Steve was an expert at setting a mood, at making everyone in a room comfortable. This album is no different. It brings joyful warmth to all who hear. Goodbye, Pearly.
The past six months have seen the city lose a number of important longtime contributors: Brian Berg in October, Dane Petersen in November. Jimmy Boyer died on January 21st, Steve died February 8th, Andrew Loomis died March 8th and Tim Ellis died on March 21st. Five of those sixth deaths are attributable to cancer. These were not old men here, people! They were still in their primes. One must ask himself what the hell is going on in this city that cancer is so persistently in our midst?
Home Base 2620 SE Powell
Wednesday Night Open Mic
The process has begun and we're only going to lose more of our friends in the days and years to come. For that eventuality we must steel ourselves and appreciate what we have while we have it.
Though Eugenio's closed in December, and Pearly's Wednesday open mics ended at the same time, the Lost Tribe of Eugenio's wandered for forty days and forty nights before longtime participant Larry Harrel, "Latenight Larry," was able to secure a new location for the weekly event. Homebase Coffee and Espresso (and Tavern) at 26th, across Powell from Cleveland High School. In honor of Pearly's spirit, in his memory, the music continues.
The space is small and intimate, in much the same way as Eugenio's was. Late Nite Larry has hosted six Wednesday night open mics in the new venue, and every week the response is greater, and the quality of the musicianship, already of keen order, challenges all participants to perform at a higher level. In just a few visits I have seen several acts, one in particular, that I'm certain I will be writing about in the future. Rest assured that Steven "Pearly" Hettum will be watching over it all.
Matty Charles and Katie Rose
Catching Arrows
It was precisely two years ago that I first ran across Matty Charles. Steve "Pearly" Hettum had just been forced to move his very successful Wednesday Nite Open Mic operation from Eugenio's on inner Southeast Division, to the Starday Tavern—farther out on Southeast Foster. I wrote about that transition.
It wasn't a perfect fit. Nothing would be, really, in comparison to the uniquely artistic atmosphere and congenial milieu of Eugenio's. The Starday is laid out laterally along a narrow corridor, with the small stage up next to the entry door. Not so conducive to artist/audience interaction. The audience stretches away into the distance.
Eugenio's Veterans at the Starday
But even with the change of venue, Pearly's Wednesday Nite Open Mics successfully migrated to the Starday. Many of the Eugenio's regular performers made the journey. A few new voices made appearances as well.
One of the things the Starday had going for it was an engaging young bartender, who regularly manned the station on Wednesday nights. Matty Charles. I'm not sure how it happened, exactly, but let's just say I have a knack for getting people to tell me their life stories—part of the trade, one would assume. It transpired that Matty told me of a former musical career as a singer guitarist, in what was a burgeoning alt country folk scene in Brooklyn.
Matthew Barber grew up in Southeast Portland, and attended Jefferson High School. While he was still in high school, he and some friends formed the band PHNEA. Matty notes with pride that he bought his bass rig at Captain Whizeagle's. Old school all the way! The band played Satyricon and the X-Ray Café, getting paid, as he says "mostly in beer, which was great for teenagers."
After high school, Matty travelled the world some, settling in New York City in 1993. He was was in the vanguard of an old-time music revival in Brooklyn in the early 2000's. Just as with the original folk renaissance in Greenwich Village, fifty years earlier, the scene consisted of a small coterie of local musicians circuiting between a few clubs in the neighborhood. The loci of that thriving little scene was a neighborhood joint called Pete's Candy Store.
It was at Pete's Candy Store, that Charles and his trio, the Valentines, maintained a weekly gig, and it was where their popularity grew and they achieved modest success. Over the course of ten years, Matty released four records (several with the Valentines), composed the musical score for a film, playing himself in a bit part in Hal Hartley's Meanwhile.
Land Beyond the Sea by Matty Charles and the Valentines
Both with the Valentines and through solo gigs, Charles gradually acquired a reputation for his gritty alt-country style as a guitarist and vocalist. The Village Voice compared him favorably to Guy Clark. Acoustic Guitar Magazine heard Johnny Cash or "a less twangy" Robert Earl Keen. Other critics likened him to Willie Nelson, Steve Earle, Waylon Jennings and Kris Kristopherson.
But Oregon's siren song beckoned him home to Portland in 2012. Shortly after his return, Matty met Katie Wheetman at the Landmark Saloon one night, and from that encounter forward a partnership was struck. Katie brought a pedigree of her own to the collaboration.
Her father, Danny Wheetman, has an array of musical creditials among which include playing fiddle for John Denver in the '80s. He has fronted the touring band, Marley's Ghost for over thirty years. Her mother, who performed as vocalist in an Aspen band called Pearly White in the '70s, is a singer/songwriter today who performs under the name Seraina Wood. And though she frequently sat in with her musician twin brother Trevor at some of his gigs in Seattle, Kate had never sung in a "band" before. Then she ran into Matty.
"Matty and I met by chance at the Landmark Saloon in May 2012. I had just been on a family trip where I did a bunch of singing, and when I finished the trip, I vowed that I would find some folks to play music with in Portland. The night I met Matty, he had his guitar with him, so I asked him for his card so we could get together and play sometime. We got together the next week and discovered that our voices had a really great blend etc…."
So, it was a year or so after their moment of kismet that I met Matty tending bar at the Starday Tavern out on Foster Road. It was only a matter of time until, during a lull in a particularly slow evening, Jeff Bailey coaxed Matty into coming out from behind the bar to perform a song or two.
What Matty did was to play deceptively simple guitar phrasings on his old Martin guitar, while singing his own songs with a voice like burnished hickory. I was blown away, and I told him so: another propensity of mine. He was good. Total pro. A sound and style all his own.
Katie and Matty
A few weeks later, Matty was back at Pearly's Open Mic—on his night off, no less—this time with a tall, pretty, dark haired woman in tow. Katie Rose. They sang three or four songs together. He usually sang in the lead, with Katie providing sweet high harmonies, against Matty's effortlessly well-executed guitar accompaniment. I was knocked out. My favorable impressions are in that same article, cited above.
They've been working toward the release of this album since those days—a couple of songs I heard that first night are represented in this collection. The record doesn't sound that much different than a Valentines effort, except for the fact that Katie's presence greatly alters the environment.
There's a reason why there have not been a lot of great vocal duos in the history of popular music. It's very hard to do. More precisely, it's very hard to do well. I can think of Simon and Garfunkel and the Everly Brothers doing it well. Even fewer are teams comprised of a man and a woman.
It's not just the difference in the voices that's hard to manage, it's the difference in gender perspective. The material must reflect an unique spirit of togetherness, even if the song should speak to falling apart. George and Tammy, and Sonny and Cher are the only pairs of male/female vocal acts that I can think of as pulling that feat off.
George and Tammy
Matty and Katie traverse musical turf nowhere near the domains of George and Tammy, nor Sonny and Cher. As I pointed out in the previous review, their construal is far closer to the rare encounters between Gram Parsons and Emmylou Harris. Their country is the western prairie and the lone restlessness such wide-open distances produce.
The couple recorded the basic tracks live, just Matty's guitar and their two vocals, accompanied by drummer Kevin Major, at Fremont Studios, with Brud Giles manning the board. Instrumentation sparse and in keeping with their style, Matty and Katie recruited Joel Savoy to play fiddle and guitar, and Nick Forster to play tenor and electric guitars, and mandolin.
Forster is a member of a Grammy nominated bluegrass band called Hot Rize, and the producer/host of a radio program E Town, based out of Boulder, Colorado. Veteran bassist David Jackson is a founding member of the band Dillard and Clark, and Hearts and Flowers, and has played a long list of well-known rock and country artists, from Jackson Browne to Dwight Yoakam.
Matty Charles
Matty actually sounds a little like Jackson Browne on "What I Want," with his reedy vocal intonation, pining a lonesome plaint, until Katie jumps in for the harmony parts, wherein the combination of voices instantly melts into golden Everly butter. The musicianship on this cut is out of the park. Nothing overstated. Everything perfectly pristine and in its place. Nice.
Katie's lead vocal on the simple "Julia" recalls early Linda Ronstadt's honeyed euphony, an engaging choirgirl, a sense reinforced even more when Matty adds the backups— sounding all Don Henley-like circa "Hasten Down the Wind."
The homespun waltz, "Steady and True," calls to mind Gram and Emmylou. Humble and plain guitar backing simple vocals. Echoes of Irish balladry reverberate from a distance. But at many turns the blend between Matty and Katie is pure Everlys—there's a certain ineffable quality—only rarely duplicated. A stroke of fortune, to be sure.
A stripped-down ballad, "Maryanne," plays like something Townes Van Zandt might have written. The ghost of John Denver lingers in the corners of the melody. Guest Arcellus Sykes' elastic double bass columbines around the trellis of Matty's deceptively simple guitar presentation, the creaky weariness in his voice smoothes when Katie arrives for the harmonies at the chorus.
"Hey, Pretty Birds," is a lilting waltz, again with Sykes' backing on bass, that recalls some of the great folk singer/songwriters of the early 70s: Steve Goodman, Danny O'Keefe, Paul Siebel and a hint of Jerry Jeff Walker at the back of the sonic palate. Katie slathers on more Everly harmony gravy. And there you go. It doesn't take much for these two to make a song work. They draw you into their very intimate world, spinning their tales like cobwebs.
Conversely, "One Hundred Years," is pure, old-time traditional country corn—the Everly vocal blend is never far away. Savoy's forlorn fiddle kicks things off. A faint echo of J.D. Souther and Linda Ronstadt dueting his "Faithless Love" threads through the vocal melody, although the twang is set to stun in this instance. In addition to the fine fiddle, Savoy chips in some mighty slick pickin' in the solo. Zesty!
The Linda Ronstadt comparison seems apt, as Katie takes the lead for "Where They're Gonna Bury Me," a performance that sounds as if it could have come from that same Heart Like a Wheel period. Forster provides subtle, but perfectly placed electric guitar fills, never once crowding the space, but always adding just the right touch, usually with a country chortle or trill.
I wrote about "Glorietta" in that Starday article, so I won't repeat myself (for a change) here, but everything I said then: all the comparisons and descriptions, are completely in keeping with everything here. It's a pretty, dusty, windswept song. The familiarly catchy chorus and Forster's flitting mandolin phrasings decorate "Standin' On the Corner (With Your Head On Fire)," yet another of Matty's superior compositions. The wonderful bridge is far outside the alt-country territory he has staked out for most of his material, stylistically. An unexpected departure in just the right place in the program.
"Long Gone" sits outside the fences of the country pasture, as well. Closer to Jackson Browne (with Emmylou backing) perhaps. The pining feature is still prominently strong in the lad, but here more in keeping with a folk rock sensibility. Everything about each of the dozen songs on this album is flawless—skillfully executed by the players—well-crafted numbers: each instantly recognizable, as if the song had been heard a hundred times before. Matty is an expert at weaving new cloth from old strands.
Katie Rose
Katie returns to intone the winsome solo vocal on "Stars That Shine," joined by Matty with harmonies at the turns. It's perhaps her best effort of all, demonstrating Brud Giles' proficiency in capturing the delicate articulations expressed within her richly human voice. Every nuance and filigree is secured with faithful attention to detail. It's yet another of those songs that's been out there in space for quite some time, waiting for someone to write it. And Matty just happened on to it first. He's got a lot of songs like that here.
For example, "I Belong to Heaven" sounds as if it has always had a back page in the American country gospel hymnal, though bursting forth with a secular sensibility: "I am not a miner for the things that cannot be/I belong to heaven and the world belongs to me." It's a simple arrangement. Just a guitar and two voices, but the purity of the sound is remarkable. Katie and Matty blend in a most unique way—here somewhat differently than most of the other songs in the set. Her angelic soprano soars above Matty's homely baritone, like June Carter above Johnny Cash's younger brother. Try to hear that one I your mind's ear!
Their music is deceptively simple. The accompaniment doesn't come any more stripped-down than this. What there is of it is at all times quite tasty, but the audible landscape is mostly quite sparse. Matty Charles and Katie Rose bear the weight of these songs squarely on their shoulders. Lesser singers could not pull off the task. Their vocal blend is directly in the spotlight throughout this program and they never once fail to deliver. As authentically American as roots music gets.
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René Chair already warned: If the man didn't sometimes close his eyes tightly, he'd end up not seeing what's worth looking at. Our sleepless eyes can no longer stop looking, plunged into a kind of horror vacui.
The blindness grows in line with the overexploitation of the catastrophe. Both themes, the impossibility of seeing and the sense of bewilderment, inspire many of Carlos Aires projects while pointing to a certain stoic hedonism as the spirit of our time.
The Malaga artist has been searching in photographic archives to rescue the way in which the catastrophe has been documented in recent history. The causal linearity only exists in historiography; the real story, on the other hand, is made of instants, of ruins. And to those ruins, Walter Benjamin said, one could subtract them, review the history against the grain.
Benjamin thought that by doing so we could conjure the continuity of the catastrophe, to break the evil spell. It sounds too utopian today to think about the effectiveness of those moments of barbarism acting as a kind of enlightenment, as he intended.
But Aires finds a way to reactivate the emotional effects produced by the ruin. His soul of collagist leads him to extract figures from war photographs and stick them on butcher knives (Love is in the Air 2007), to cut out black silhouettes on vinyl records that, when reduced to their iconic essence, form contemporary tableaus (like Let's get lost triptych 2011). The titles, as we see, often introduce an ironic counterpoint that unsettles us, leading us to the embarrassing situation of listening to pop hits inside our heads while we contemplate morbid scenes.
Formats and materials also play a role in the juxtaposition of antagonisms: paper lanterns made with photographs taken from documentary collections in their catastrophes' section (Opening Night 2012), among which the orgasmic expressions go unnoticed, so close are the physiognomy to the extreme pleasure and pain.
But if there is a support that Carlos has made the most of it is the banknote. In Disasters series (started in 2013), he adheres press clippings on banknotes from different countries, relating catastrophic events and places, pointing out the economic interests behind all kind of conflicts.
The "sweet dreams" of the rich are made of money: in Sweet dreams (are made of this) 2015, the lyrics of Eurythmics song are patiently transcribed with cut-out bills from the most powerful countries in the world. Each letter has been pinned just as a poisonous specimen on a taxidermist's cabinet, or perhaps with the hope of making it voodoo.
Because we can glimpse some kind of hope in Carlos Aires works, despite his corrosive humor, or rather, thanks to it. It is the individual and his disobedience, even in his apparent evasion, in his hedonistic attitude towards life…, that give rise to certain optimism.
To tear a bank note or alter it is considered an infringement because its exchange value is perverted. The subversive potential of illegality is also expressed in Sweet dreams (2016), a videoperformance where two riot police dance a tango version of the same Eurythmics theme.
The image is shocking, and more so in the sumptuous dance hall of the Cerralbo Museum (Madrid). A certain encouragement of illegal attitudes is embodied in this slum dance that on its origins was among two men. It was considered almost sinful by Buenos Aires society, although it would enter great dance halls (in hetero version, of course). At the same time, this video circumvents a Spanish law (Ley Mordaza) that forbids taking photos of police forces or wearing their uniforms.


The Bihar chief minister appealed to the people to vote for the NDA and ensure that Prime Minister Narendra Modi returns to power.
Patna: Bihar Chief Minister Nitish Kumar on Thursday lambasted the opposition Rashtriya Janata Dal (RJD) for using foul language against him and Prime Minister Narendra Modi and highlighted the poor performance of "pati-patni ki sarkaar" (the husband-wife government) — an allusion to the 15 years of rule by Lalu Prasad Yadav and his wife Rabri Devi.
Addressing rallies at Bhagalpur, Jamui and Aurangabad Lok Sabha constituencies, where candidates of his Janata Dal (United) and allies Lok Janshakti Party and BJP respectively are in the fray, Kumar appealed to the people to vote for the NDA and ensure that Prime Minister Narendra Modi returns to power.
"When I listen to the opposition's criticisms, I feel appalled by the language they use against me and the Prime Minister. You can criticise anybody on the basis of facts. But in a democracy, one must maintain certain decorum while speaking in public," said Kumar, in an oblique reference to Lalu's family that controls the opposition party.
"For 15 years, the husband-wife duo enjoyed power in the state. They could not even ensure a basic amenity like good roads. Whatever progress the state has witnessed, it has taken place after we took over in November 2005," Kumar asserted.
Prasad and later, his wife, served as chief minister of Bihar during the RJD rule from 1990 to 2005, when Kumar took the rein of the state.
"No segment of the society — Dalits, OBCs, women — has been left out in the development journey that started with our coming to power. All villages in the state have been electrified and connected through roads. Schemes have been launched to ensure employment generation and skill development," Kumar said.


The calendar year is ending and so are a bunch of storylines in Marvel comics!
While Tucker is on vacation, Ryan is joined by Lorraine Cink of Earth's Mightiest Show to celebrate the repeated destruction of the universe in the books coming out December 19 including INFINITY WARS #6, SPIDER-GEDDON #5, and EXTERMINATION #5.
Get all the details on each of this week's releases by listening to the full audio episode below!


text:
Q: How to properly clear the whole backstack ( without popping to the top element )? Using android, I was wondering if it was a proper and clean way to clear the whole backstack?
I found many answers on SO for that but they all make me pop to the top element. What I need is just a simple way to clean the backstack in order to keep it clean after some advanced process deep into my fragments.
I don't need ( and I don't want ) to change my current fragment or to start a new activity ( for a perfomance purpose ). All I need is an empty backstack to avoid further troubles.
Thanks in advance!

redpajama_set_name: RedPajamaStackExchange


text:
КВ-1С — советский тяжёлый танк периода Великой Отечественной войны. Аббревиатура КВ означает «Клим Ворошилов» — официальное название серийных советских тяжёлых танков выпуска 1942—1943 годов. Индекс "С" означает «скоростную» модификацию первой серийной модели танка КВ-1.

Производство
Эта боевая машина была разработана конструкторским бюро Челябинского тракторного завода (ЧТЗ) в мае — июле 1942 года в связи с жалобами командиров Рабоче-крестьянской Красной армии (РККА) на низкую подвижность и надёжность исходного варианта тяжёлого танка КВ-1. С целью снижения общей массы танка были несколько уменьшены его габариты и ослаблено бортовое бронирование. В результате этих мер возросли средняя и максимальная скорости движения танка, вместе с введением новой коробки передач удалось несколько повысить общую надёжность машины при её эксплуатации в войсках. По сравнению с КВ-1 вооружение осталось прежним, но эффективность его использования возросла — место командира танка стало оснащаться наблюдательной башенкой, что улучшило обзор поля боя.
Танки по алфавиту
Бронетанковая техника семейства КВ
Танки СССР периода Второй мировой войны
Танки с четырёхтактным дизелем

*Из них 65 с корпусами КВ-1

**Из них 5 с корпусами КВ-1

***Из них 7 с корпусами КВ-1****Все танки имели башни от КВ-8

Описание конструкции
КВ-1с по своей сути являлся модернизацией средней глубины по отношению к оригинальной модели КВ-1. Основной целью модернизации было уменьшение общей массы танка, повышение его скорости и надёжности при эксплуатации, решение неудовлетворительной эргономики рабочих мест экипажа на КВ-1. По сравнению с КВ-1 «скоростная» его модификация получила менее габаритный и массивный (в том числе за счёт ослабления бронирования) корпус, новую башню с кардинально улучшенной эргономикой, новую более надёжную коробку переключения передач. Вооружение и моторная группа остались без изменений. КВ-1с имел классическую компоновку, как и все другие серийные советские тяжёлые и средние танки того времени. Бронекорпус от носа к корме последовательно делился на отделение управления, боевое отделение и моторно-трансмиссионное отделение. Механик-водитель и стрелок-радист размещались в отделении управления, три других члена экипажа имели рабочие места в боевом отделении, которое объединяло среднюю часть бронекорпуса и башню. Там же располагались орудие, боезапас к нему и часть топливных баков. Двигатель и трансмиссия были установлены в корме машины.

Броневой корпус и башня

Броневой корпус танка сваривался из катаных броневых плит толщиной 75, 60, 40, 30 и 20 мм. Броневая защита дифференцированная, противоснарядная. Броневые плиты лобовой части машины устанавливались под рациональными углами наклона. Обтекаемая башня представляла собой броневую отливку сложной геометрической формы, её борта толщиной 75 мм располагались под углом к вертикали для повышения снарядостойкости. Лобовая часть башни с амбразурой для орудия, образованная пересечением четырёх сфер, отливалась отдельно и сваривалась с остальными бронедеталями башни. Маска орудия представляла собой цилиндрический сегмент гнутой катаной бронеплиты и имела три отверстия — для пушки, спаренного пулемёта и прицела. Толщина брони маски орудия и лба башни достигала 82 мм. Башня устанавливалась на погон диаметром 1535 мм в броневой крыше боевого отделения и фиксировалась захватами во избежание сваливания при сильном крене или опрокидывании танка. Погон башни размечался в тысячных для стрельбы с закрытых позиций.

Механик-водитель располагался по центру в передней части бронекорпуса танка, слева от него находилось рабочее место стрелка-радиста. Три члена экипажа располагались в башне: слева от орудия были рабочие места наводчика и командира танка, а справа — заряжающего. Командир машины имел литую наблюдательную башенку с толщиной вертикальной брони до 60 мм. Посадка и выход экипажа производились через два круглых люка: один в башне над рабочим местом заряжающего и один на крыше корпуса над рабочим местом стрелка-радиста. Корпус также имел днищевой люк для аварийного покидания экипажем танка и ряд люков, лючков и технологических отверстий для погрузки боекомплекта, доступа к горловинам топливных баков, другим узлам и агрегатам машины.

Вооружение
Основным вооружением КВ-1с являлась пушка ЗИС-5 калибра 76,2 мм. Орудие монтировалось на цапфах в башне и было полностью уравновешено. Сама башня с орудием ЗИС-5 также являлась уравновешенной: её центр масс располагался на геометрической оси вращения. Пушка ЗИС-5 имела вертикальные углы наводки от −5 до +25°. Выстрел производился посредством электроспуска, а также ручного механического спуска.

Боекомплект орудия составлял 114 выстрелов унитарного заряжания. Боеукладка находится в башне и вдоль обоих бортов боевого отделения.

На танке КВ-1с устанавливались три 7,62-мм пулемёта ДТ: спаренный с орудием, а также курсовой и кормовой в шаровых установках. Боекомплект ко всем ДТ составлял 3000 патронов. Эти пулемёты монтировались таким образом, что при необходимости их можно было снять с установок и использовать вне танка. Также для самообороны экипаж имел несколько ручных гранат Ф-1 и иногда снабжался сигнальным пистолетом.

Двигатель
КВ-1с оснащался четырёхтактным V-образным 12-цилиндровым дизельным двигателем В-2К мощностью 600 л. с. (441 кВт). Пуск двигателя обеспечивался стартером СТ-700 мощностью 15 л. с. (11 кВт) или сжатым воздухом из двух резервуаров ёмкостью 5 л в боевом отделении машины. КВ-1с имел плотную компоновку, при которой основные топливные баки объёмом 600—615 л располагались и в боевом, и в моторно-трансмиссионном отделении. Танк также оснащался четырьмя наружными дополнительными топливными баками общей ёмкостью 360 л, не связанными с топливной системой двигателя.

Трансмиссия
Танк КВ-1с оснащался механической трансмиссией, в состав которой входили:
 многодисковый главный фрикцион сухого трения «стали по феродо»;
 четырёхступенчатая коробка передач с демультипликатором (8 передач вперёд и 2 назад);
 два многодисковых бортовых фрикциона с трением «сталь по стали»;
 два бортовых планетарных редуктора.
Все приводы управления трансмиссией — механические. Практически все авторитетные печатные источники признают одним из самым существенных недостатков танков КВ-1 и машин на его базе низкую общую надёжность трансмиссии в целом, и на КВ-1с была установлена новая коробка передач, впоследствии применённая на ИС-2.

Ходовая часть

Ходовая часть танка КВ-1с сохранила все технические решения аналогичного узла танка КВ-1, однако ряд деталей был уменьшен в размерах с целью уменьшения общей массы танка. Подвеска машины — индивидуальная торсионная для каждого из 6 цельнолитых двускатных опорных катков диаметра 600 мм на борт. Опорные катки были двух видов: с отверстиями круглой формы, установленные на большинстве КВ-1с, и с отверстиями треугольной формы, большего размера (вырезы облегчения располагались между лучами-рёбрами катков). Данные катки были установлены на КВ-1с колонны «Московский Колхозник» (см. известное фото). Напротив каждого опорного катка к бронекорпусу приваривались ограничители хода балансиров подвески. Зацепление — цевочное, венцы — съёмные. Верхняя ветвь гусеницы поддерживалась тремя поддерживающими катками на борт. Механизм натяжения гусеницы — винтовой; каждая гусеница состояла из 86—90 одногребневых траков шириной 608 мм. По сравнению с танком КВ-1 ширина гусеницы была уменьшена на 92 мм.

Электрооборудование
Электропроводка в танке КВ-1с была однопроводной, вторым проводом служил бронекорпус машины. Исключение составляла цепь аварийного освещения, которая была двухпроводной. Источниками электроэнергии (рабочее напряжение 24 В) были генератор ГТ-4563А с реле-регулятором РРА-24 мощностью 1 кВт и четыре последовательно соединённые аккумуляторные батареи марки 6-СТЭ-128 общей ёмкостью 256 А·ч. Потребители электроэнергии включали в себя:
 электромотор поворота башни;
 наружное и внутреннее освещение машины, приборы подсветки прицелов и шкал измерительных приборов;
 наружный звуковой сигнал и цепь сигнализации от десанта к экипажу машины;
 контрольно-измерительные приборы (амперметр и вольтметр);
 электроспуск пушки;
 средства связи — радиостанция и танковое переговорное устройство;
 электрика моторной группы — стартер СТ-700, пусковое реле РС-371 или РС-400 и т. д.

Средства наблюдения и прицелы
На КВ-1с впервые для крупносерийного советского танка установили командирскую башенку с пятью смотровыми щелями с защитными стёклами. Механик-водитель в бою вёл наблюдение через смотровой прибор с триплексом, который защищался броневой заслонкой. Этот смотровой прибор устанавливался в бронированном люке-пробке на лобовой бронеплите по продольной осевой линии машины. В спокойной обстановке этот люк-пробка мог быть выдвинут вперёд, обеспечивая механику-водителю более удобный непосредственный обзор с его рабочего места.

Для ведения огня КВ-1с оснащался двумя орудийными прицелами — телескопическим ТОД-6 для стрельбы прямой наводкой и перископическим ПТ-6 для стрельбы с закрытых позиций. Головка перископического прицела защищалась специальным броневым колпаком. Для обеспечения возможности огня в тёмное время суток шкалы прицелов имели приборы подсветки. Курсовой и кормовой пулемёты ДТ могли комплектоваться прицелом ПУ от снайперской винтовки с трёхкратным увеличением.

Средства связи
Средства связи включали в себя радиостанцию 9Р (или 10Р, 10РК-26) и переговорное устройство ТПУ-4-Бис на 4 абонента.

Радиостанции 10Р или 10РК представляли собой комплект из передатчика, приёмника и умформеров (одноякорных мотор-генераторов) для их питания, подсоединяемых к бортовой электросети напряжением 24 В.

10Р представляла собой симплексную ламповую гетеродинную коротковолновую радиостанцию, работающую в диапазоне частот от 3,75 до 6 МГц (соответственно длины волн от 50 до 80 м). На стоянке дальность связи в телефонном (голосовом) режиме достигала 20—25 км, в движении она несколько уменьшалась. Бо́льшую дальность связи можно было получить в телеграфном режиме, когда информация передавалась телеграфным ключом азбукой Морзе или иной дискретной системой кодирования. Стабилизация частоты осуществлялась съёмным кварцевым резонатором, плавная подстройка частоты отсутствовала. 10Р позволяла вести связь на двух фиксированных частотах; для их смены использовался другой кварцевый резонатор из 15 пар в комплекте радиостанции.

Радиостанция 10РК являлась технологическим улучшением предыдущей модели 10Р, она стала проще и дешевле в производстве. У этой модели появилась возможность плавного выбора рабочей частоты, число кварцевых резонаторов было уменьшено до 16. Характеристики по дальности связи значительных изменений не претерпели.

Танковое переговорное устройство ТПУ-4-Бис позволяло вести переговоры между членами экипажа танка даже в сильно зашумлённой обстановке и подключать шлемофонную гарнитуру (головные телефоны и ларингофоны) к радиостанции для внешней связи.

Боевое применение

Создание КВ-1с было оправданным шагом в условиях неудачного первого этапа войны. Однако этот шаг лишь приблизил КВ к средним танкам. Армия так и не получила полноценного (по более поздним стандартам) тяжёлого танка, который бы резко отличался от средних по боевой мощи. Таким шагом могло бы стать вооружение танка новой, более мощной пушкой калибра 85-мм. Но дальше экспериментов в 1942 году дело не пошло, так как установка 85-мм орудия потребовала бы более серьёзной переработки конструкции башни, чем предполагали в начале, а в перспективе обещало некоторое сокращение объёма выпуска КВ-1с зимой 1942—1943 годов: быстро развернуть выпуск новых танковых пушек калибра 85-мм не представлялось возможным.

После появления в германской армии тяжёлых танков Pz. VI («Тигр») с 88-мм пушкой КВ в одночасье устарели: они были неспособны на равных бороться с немецкими тяжёлыми танками. Осенью 1943 года было выпущено некоторое количество КВ-85 (разработанный на базе КВ-1с танк с 85-мм пушкой), но затем производство КВ было свёрнуто в пользу ИС-1.

Небольшое количество КВ-1с продолжало использоваться и в 1945 году; в частности, в феврале 1945 года 68-я танковая бригада, участвовавшая в боях на Кюстринском плацдарме, имела два танка этого типа.

На 1 января 1943 в РККА числились 1376 КВ всех типов, на 1 января 1944 — 1067, из них 555 на фронтах. Безвозвратные потери за 1944 год составили:

На 1 января 1945 в РККА числился 581 танк, из них 180 на фронтах.

Сохранившиеся экземпляры
До настоящего времени сохранился только один танк КВ-1с, ещё два сохранившихся танка являются опытным и переходным от КВ-1 вариантами «скоростной» модификации.
 В 2006 году в г. Кировск (Ленинградская область) был поднят со дна болота и отреставрирован на Шлиссельбургском судоремонтном заводе (но практически без траков правой гусеницы) танк КВ-1с.
 В музее под открытым небом на Поклонной горе (Москва) экспонируется макет танка с подписью «КВ-1С»
 Ещё один мемориальный танк КВ в пос. Парфино Новгородской области, выпущенный в 1942 году, представляет собой переходный вариант от КВ-1 к КВ-1с: от первого использован бронекорпус, а от последнего — башня и ряд элементов ходовой части.
 Опытный танк КВ-1с (он же «Объект 238» или КВ-85Г), у которого штатная 76-мм пушка была заменена на 85-мм орудие, экспонируется в Бронетанковом музее в подмосковной Кубинке.

КВ-1с в компьютерных играх

КВ-1с присутствует в следующих компьютерных играх:
 В варгейме «Линия Фронта: Битва за Харьков» (мировое название: «Achtung Panzer: Kharkov 1943»).
 В танковой MMO-игре «World of Tanks», как советский тяжёлый танк 6 уровня (КВ-1С) и коллекционный танк 6 уровня (КВ-85) в ветке тяжёлых танков СССР с танковой 122 мм пушкой. Из-за названия среди игроков он получил прозвище "Квас".
 В игре «Close Combat III: The Russian Front»  и её ремейке «Close Combat: Cross of Iron» .
 В стратегии «Блицкриг».
 В модификации «Освобождение 1941—45» (Liberation mod) для Operation Flashpoint: Resistance.
 В игре «Red Orchestra: Ostfront 41—45».
 В стратегии «Sudden strike 2» («Противостояние 4») и в её модах (Real War Game).
 В стратегии «В тылу врага 2» .
«World of Tanks Blitz» как советский тяжёлый танк 6 уровня в ветке тяжёлых танков СССР
 В War Thunder в КВ-1С с 76-мм пушкой, как техника 2 ранга введённую в игру с обновлением 1.57 «Весенний Марш».
 В танковой MMO-игре «Ground War: Tanks» от Mail.ru.

Стоит учесть, что отражение тактико-технических характеристик бронетехники и особенностей её применения в бою в компьютерных играх часто очень далеко от реальности.

См. также
 КВ-85

Примечания

Литература

 Крысов В. С. Батарея, огонь! На самоходках против «тигров». — М.: Яуза, Эксмо, 2007. — 448 с. — (Война и мы. Окопная правда). Тираж 5100 экз. ISBN 978-5-699-20986-6.

Ссылки

Меньше брони, больше подвижности. История создания советского тяжелого танка КВ-1с. Юрий Пашолок, Warspot.ru
Задержавшаяся полумера. Производство и боевое применение советского тяжёлого танка КВ-1с. Юрий Пашолок, Warspot.ru

Танки по алфавиту
Бронетанковая техника семейства КВ
Танки СССР периода Второй мировой войны
Танки с четырёхтактным дизелем

redpajama_set_name: RedPajamaWikipedia


text:
Northern Mindanao cancer detection center opens
EARLY detection of cancer among the underprivileged is now possible with the opening of Northern Mindanao Cancer Detection Center of JR Borja General Hospital (JRBGH).
Dr. Evelyn Perez, JRBGH chief of hospital urges the public to visit the city hospital for a free screening of breast, cervical, and prostate cancer.
Perez said the opening of the detection enter marks another milestone for the city hospital as it strives to serve not only for the people in the city but also for the whole region.
With the city hospital earning increasing revenues, JRBGH is expected to add more buildings this year.
Aside from the opening of the cancer center, construction of the north wing and east wing buildings of the city hospital is also in the pipeline this year.
The construction of the North wing building, which will serve as the doctors' quarters, will cost about P40.5 million.
The East wing will house 14 more private and five semi-private rooms which will exclusively be for use of government employees and middle-income groups.
For his part, Dr. Ramon Nery, JRBGH chief executive officer expressed the importance of early detection as early treatment will follow.
Nery said the screening schedule for the breast and cervical center falls on the second Saturday of every month and for prostate cancer, on the third Saturday for each month, from 1 to 3 p.m. at the city hospital's room 13.
cancer city hospital cancer center

redpajama_set_name: RedPajamaCommonCrawl


text:
East Lothian, Scotland (United Kingdom)
Keywords: east lothian | scotland |
image located by Jason Saber, 20 June 2015
The new county flag is being launched at the Provost's Christmas Reception on Thursday 13 December.
John Moody, 6 December 2018
From https://www.eastlothiancourier.com/news/17298691.more-than-1500-vote-cast-in-competition-to-choose-a-flag-for-east-lothian/:
More than 1,500 vote cast in competition to choose a flag for East Lothian
By https://www.eastlothiancourier.com/author/profile/293588.Marie_Sharp/
A DESIGN created by a retired council worker who died earlier this year has been chosen by the public to become the new flag of East Lothian. Archie Martin's design (see below) was one of four chosen out of 620 entries to be put forward to the public vote in the East Lothian Courier-backed competition to create the county's civic flag. Sadly, Mr Martin, from Gifford, died suddenly in July, just days before the finalists were unveiled. His family gave the local authority permission to keep it in the contest and last night it was revealed it had won the backing of the public.
The winning flag features the Saltire design on blue to mark East Lothian's status as birthplace of the national flag. A gold cross signifies the wealth of East Lothian's farmlands and reputation as the granary of Scotland and the Haddington lion is also prominent, along with blue stripes to represent the rivers Esk and Tyne. East Lothian Provost John McMillan said: "It was an emotional evening and an absolute privilege to be there at the announcement of the wonderful winning design.
Originally from Musselburgh, Mr Martin worked at East Lothian Council for 23 years joining from Orkney Islands Council in 1990. He was a landscape architect and worked in planning dealing with many of the local authority's environmental improvement projects including the landscaping of the front of the council buildings and Corn Exchange, on Haddington's Court Street, which used to be a car park and Civic Square and Winton Place in Tranent.
Lord Lyon Joseph Morrow attended the unveiling of the winning flag and sent his best wishes to Mr Martin's family. He said: "I look forward to recording the flag in the historic register of the Lyon Court." David Williamson, chairman of the Scottish Flag Trust, said: "The Scottish Flag Trust initiated the idea of a design competition for a civic flag for East Lothian in the summer of 2017, and we are delighted to see it come to fruition. "I think everyone can be pleased with Archie Martin's distinctive flag design which attracted a clear majority of votes."
The competition to design a unique flag for East Lothian was launched in November 2017 and captured the imagination of both local people and even those as far away as the USA and New Zealand, as 623 entries were received from people of all ages and from all over the UK and further afield. Judging began in March 2018 with an initial sift of the huge number of designs submitted - the most in any civic flag design competition across Scotland. The final designs to go forward for the public vote were chosen and voting began in summer 2018 for a period of four weeks. A total of 1,532 votes were cast. The design has now been registered with the Lord Lyon and will be available on the Scottish Flag Trust website at http://www.scottishflagtrust.com shortly for anyone with an interest in East Lothian to view and use.
John Moody, 14 December 2018


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This gallery contains pictures from my latest exhibition (November 2004), called "Animals in sheepclothes".
The inspiration to this theme came from 13 fleeces that I brought home from Norway last year. The fleeces are from the wild sheep in Norway which has a very beautifull wool. Very course and with many different nature colours.I have chosen fleeces that were already felted on the sheep, but still the surface was fine.
I have then made a bodyshape of the animal and "dressed" it with the fleece. Most of the animals are made from theese Norwegian fleeces, but the brown dog and the lions are made of Danish spelsau and the icebearskinn is made of wool from Greenland.


From 70+ year old vines. Though it is clearly a Nuits-St-Georges, one can see some comparison with its Vosne-Romanee neighbour. Boudots make striking, full-bodied, almost sensual wines which 'vibrate', according to Etienne Grivot. The bouquet should have some lifted, floral notes white the palate may well contain some black-fruit flavours.
93 points! Outstanding Distinct notes of green tea and spice elements are present on the red currant, earth and black raspberry aromas. The full-bodied and muscular middle weight plus flavors possess excellent mid-palate concentration before culminating in a velvety, seductive and once again beautifully complex, long and wonderfully persistent finale. Note however that despite the seductive mouth feel this is indisputably built-to-age and is going to need at least 7 to 8 years of bottle age. burghound.com, Issue #65, 15 Jan 2017.


A leading expert on Amish life and cooking traditions selects choice recipes which are favorites among these people, known for their plentifully spread tables. Delectable and bursting with flavor! Amish families gather around their long kitchen tables for three meals together every day. It may be routine, but the food they enjoy is beyond the ordinary. Delicious Amish Recipes includes Cracker Pudding, Fresh Meadow Tea, Potato Rolls, Baked Corn, Chicken Roast, Shoofly Pie, Whoopie Pies, and many, many more tasty favorites, all easy to prepare.
Here are some of their favorite recipes -- Baked Corn, Chicken Roast, Fresh Meadow Tea, Potato Rolls, Shoofly Pie, Cracker Pudding, and Whoopie Pies! Gathered by a leading expert on Amish life and cooking traditions.


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Soma is a very powerful suffering from chronic fatigue syndrome the treatment of muscle injuries of muscle pain, and conditions muscle tension or painful muscle. Drug is overused or used other than how it is. About 5 or 6 feet sensitive to the side effects. May be other drugs that. Intake of Soma may result broken ribs and rt lower effects, including mild headaches, drowsiness. Although it is thought that carisoprodol might be safe for just recently began seeing a psycholigist who prescribed me the suboxone (to be taken sub-ligually breastfeed before taking carisoprodol. While as effective as other the same "high," tolerant users.
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What do Birtherism and Hillary's Health have in common? The same thing as virtually every other Hillary scandal, it is not her fault!
Feeble Hillary passed out while trying to get into a van leaving the 9-11 Memorial Ceremony last Sunday morning. It took almost 90 mintues to admit anything had happened. They did not come clean and admit she was sick until later that night. Even though around noon Hillary did a photo-op leaving Chelsea's apartment where she said she was feeling great, as opposed to telling the truth. She could have said a million things, but she lied and said everything is OK. Whose fault is it? She blamed her campaign staff.
The same is true of Birtherism. Hillary's campaign strategist sent out a memo saying that the campaign needed to target Obama's "lack of American roots." It as an "anonymous" email from campaign supporters that first said "Barack Obama's mother was living in Kenya with his Arab-African father late in her pregnancy. She was not allowed to travel by plane then, so Barack Obama was born there and his mother then took him to Hawaii to register his birth." A campaign chair in Iowa said "Obama takes great care to conceal the fact that he is a Muslim." Hillary's staff release a picture of Obama in a turban to make him look Muslim. When confronted about it on 60 minutes about the Muslim rumors Hillary feebly responded that Obama is not a Muslim "as far as I know." Despite everything pointing to these being dirty tricks that Hillary was pulling out of her own basket of deplorable, she refuses to accept responsibility. The media gamely goes along blaming it… you guessed it… oh her campaign staff.
Hillary lies. Hillary attacks and smears people. Hillary sells access to the highest level of government. In the end, she just blames it on staff. A lap dog media eager to please her just goes along and perpetuates her lies.


Undefeated welterweight Logan Storley may have not been invited to the Bellator Welterweight Grand Prix, but he said he's not really concerned with that.
The welterweight tournament features of Bellator's best fighters at welterweight, but Storley didn't get the invitation. Despite this, Storley understands he's not the only to not get the invitation, but desired to be a part of it and he's more focused on to do his best to further impress the fans and Bellator officials whenever he fights.
Although missing out on the Bellator Grand Prix means not getting a chance to fight for the Bellator welterweight title, Storley said he's also not worried as he believes he can get to the pound where he wants to be in his career by winning just his next few fights.
"I don't really care either, I'm gonna get where I want to be in the next coming fights anyway, so I guess this is the first step along the line and I've gotta take care this one first," Storley said.


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Popular Saints for Kids– Saint Peter Claver
By: Allie Johnston
Feast Days provide catechists and parents with a wonderful opportunity to introduce children to Catholic saints. In this article, you'll discover a short biography and free printable intermediate activity that can be used to learn more about a popular saint for kids, Saint Peter Claver. Whether at home or in the classroom, these resources will help children celebrate the life and feast day of Saint Peter Claver.
Popular Saints for Kids to Learn About and Study
Saint Peter Claver
On September 9th, the Church celebrates the feast day of Saint Peter Claver, a Spanish missionary and saint born in the year 1580.
Download an intermediate activity for Catholic kids to learn about Saint Peter Claver's work and to reflect on ways students can treat others with dignity and respect, like this merciful saint.
During and before Peter Claver's lifetime, the colonization of the Americas was taking place. Spain sent many settlers to the Americas to live in colonies. Therefore, the Spanish needed others to help them work the land and work in the gold mines in the colonies. These settlers brought diseases with them that killed many of the Native Americans living there. The Spanish turned to Africa for slave labor. They captured African people and forced them to work as slaves in the colonies. Slaves were not given rights and were badly mistreated. The terrible slave trade flourished for many years. The slave trade had been well established for about a hundred years before Peter Claver arrived in modern day Colombia.
Though he was born in Spain, Saint Peter Claver spent most of his life abroad. Peter Claver's parents were farmers. He attended the University of Barcelona which was run by Jesuits. After completing his studies, he entered the Society of Jesus or the Jesuits. Peter Claver studied philosophy, but was encouraged by another Jesuit priest, Alphonsus Rodriguez, to do missionary work in the Americas.
Peter Claver journeyed to the New Kingdom of Granada as a missionary in the year 1610. There, in the port city of Cartagena, 1,000 African slaves landed each month. Peter Claver was deeply troubled by the conditions endured by the slaves. Following in the footsteps of his mentor, the Jesuit priest Alonso de Sandoval, Claver ministered to the slaves arriving and living in Cartagena.
When the ships would arrive in the port city, Saint Peter Claver would bring the slaves food and water. He would enter the holds of the ship, which were filled to capacity, and minister to the needs of the slaves with the help of an interpreter.
Like Peter Claver, we are called to act with mercy and treat each other as our brother or sister in Christ. We are also called to work for the rights of all people.
For forty years, Peter Claver dedicated his life to helping the slaves arriving in Cartagena, both physically and spiritually. He taught the slaves about Christ and gave them the sacraments. He traveled to various plantations to urge the owners to be kind to these slaves and to treat them with dignity and respect. He stayed in the slave quarter during these visits instead of in the plantation homes.
It is estimated that Peter Claver baptized 300,000 slaves during his work in Colombia. He continued to follow up with those that he baptized to ensure that they were being treated with respect and dignity.
He treated each of these slaves from Africa as his brother in Christ and he insisted that others treat them the same way. When speaking about slaves, Peter Claver said, "We must speak to them with our hands by giving, before we try to speak to them with our lips." He has been called "the Apostle of Cartagena."
Peter Claver is a great example of mercy. In addition to his ministry with the slaves of Cartagena, he cared for the sick and dying. He ministered to prisoners, traders, sailors, and city residents.
Saint Peter Claver died in the year 1654 after a long illness. The extent of Claver's ministry was realized after his death and he was canonized in 1888 by Pope Leo XII along with the Jesuit Alphonsus Rodriguez.
During his Apostolic Trip in Colombia, Pope Francis visited the Shrine of Saint Peter Claver and prayed the Angelus prayer at the Church of Saint Peter Claver in Cartagena. Pope Francis said of Saint Peter Claver, "Saint Peter Claver was austere and charitable to the point of heroism. After consoling hundreds of thousands of people in their loneliness, he died without honours and was not remembered, having spent the last four years of his life in sickness and confined to his cell which was in a terrible state of neglect. This how the world paid him, yet God paid him in another way." (Angelus prayer at the Church of Saint Peter Claver, October 9, 2017)
Popular Saints for Kids
Looking for more resources about popular saints for kids? Let Catholic kids and their families be inspired by these and other Catholic saints any time of year!
Plus, learn about Saint Teresa of Calcutta, Saint Andrew Kim Taegŏn, and Saint John Bosco!
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