Terry smith york autobiography sample

The following is an extended version of an essay published in University of Melbourne Collections, no.10, June 2012, pp.15-23

There are both duties and obligations upon those of a civilized people who, for their own or their country’s advantage, enter a strange and almost empty land … Once a man is housed against weather, has food in the larder and can keep in touch with his neighbours, he has won to a position where he can begin to study his surroundings and satisfy the inborn curiosity that is the prime cause of man’s accumulated knowledge. The thoughtful man in a new country like this then, becomes aware of his obligations to his successors … No country has been so violently disturbed in its age old rest, and consequently in no country does the responsibility of preserving a knowledge of the past rest quite so heavily upon its people.

Sir Russell Grimwade[i]

Obligation is a common theme in the writings of Sir Russell Grimwade. It gained particular force in his later years, when the question of his own mortality caused him to linger upon the many privileges his life had accorded him. It is a central theme of the above-quoted preface, penned in 1954 to celebrate the centenary of the National Museum of Victoria, and it is equally evident in a lengthy, heartfelt letter of two years earlier, in which he declared his intention to bequeath his estate to the University of Melbourne:

I have been one of the privileged and fortunate ones who has had a long and happy life. The fact that we have not been blessed with children makes such a scheme possible, and it is an endeavour to express my gratitude to the country that has done me so well and made me so happy. I believe firmly in the principle succinctly expressed by Noblesse oblige.[ii]

The Sir Ru

Table of contents :
Contents
Preface
Foreword
Introduction
1. Big Dreams
2. First Instruments
3. Kicked Out
4. The Vashon High Swingsters
5. First Road Gig
6. Nigga
7. Ida Cox
8. Stranded
9. Lincoln Inn
10. On the Road Again
11. Tennis Shoe Pimp
12. Jailed
13. Len Bowden
14. Navy Days
15. Gray Clouds
16. The Big Apple
17. George Hudson
18. The Club Plantation
19. Galloping Dominoes
20. Tempting Offers
21. Lionel Hampton
22. Road Lessons
23. Pauline
24. Charlie Barnet
25. Count Basie
26. Big Debt
27. Duke Ellington
28. Leaving Basie
29. The University of Ellingtonia
30. Working with Duke
31. Duke’s Team
32. Duke’s Management Arts
33. Miles and Bird
34. Billy Strayhorn
35. Endurances
36. Flugelhorn
37. Europe
38. Norman Granz
39. Norman’s Battles
40. Q
41. NBC
42. Jim and Andy’s
43. Johnny and Ed
44. Mumbles
45. First House
46. Big Bad Band
47. Carnegie Hall
48. Etoile
49. Jazz Education Arena
50. Those NBC Years
51. Storms
52. Black Clouds
53. Keep on Keepin’ On
54. New Love
55. Whirlwinds
56. Through the Storm
57. Second Chance
58. The Biggest Surprise
Acknowledgments
Honors and Awards
Original Compositions
Selected Discography
Index

Citation preview

Clark

Clark The Autobiography of Clark Terry

With Gwen Terry Preface by Quincy Jones Foreword by Bill Cosby Introduction by David Demsey

University of California Press Berkeley   Los Angeles   London

University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2011 by Clark Terry and Gwen Terry Preface

The Provincialism Problem: Terry Smith and Centre-Periphery Art History Heather Barker and Charles Green By the early 1970s, art history’s older models of professional competence, based on connoisseurship, the unpicking of iconography, the careful study of older European art and a hesitant introduction to the modern had been forever altered. This had been the basis of teaching in the Fine Arts Department at the University of Melbourne. Under inaugural Herald Professor Joseph Burke, the Fine Art Department’s cosmopolitan perspective on art history emphasized the long art history of Europe, interpreting it through the twin tools of connoisseurship and Warburg’s iconology and arriving at modern art only after considerable (and compulsory) preparation in art of much earlier periods. But under the impact of the newer but irreconcilable poles of formalism and Marxism, which were exerting considerable influence upon younger art historians, art critics and artists alike, the discipline of art history as well as the practice of art was changing. Until his appointment as professor at Sydney University’s newly-established Power Institute, Bernard Smith had worked at the University of Melbourne. By the time he arrived in Sydney, Bernard Smith's latehumanist battle against what he had seen as American cultural imperialism had been well and truly lost. Terry Smith had been taught by Bernard Smith (no family relation) while he studied Fine Arts at the University of Melbourne. He was to retain a complex intellectual and work connection with Bernard Smith for many years. In 1968, Terry Smith became a tutor in the Department of Art History at Sydney University, where Bernard Smith had shortly before been installed as the founding Director of the new Power Institute. As one of the most promising and busy young Australian art writers, Terry Smith was initially to follow the trajectory set in Bernard Smith&#