miércoles, 29 de septiembre de 2021

OPERA RARA CLASSICS. DONIZETTI IN THE 1830S. ERMONELA JAHO. ANIMA RARA

 



Opera Rara’s 50th anniversary celebrations culminate on 24 September with the release of a limited-edition boxset of three Donizetti operas composed at the height of his popularity in Italy: Il diluvio universale (The Great Flood, ORC31) of 1830; Ugo conte di Parigi (Hugo, Count of Paris, ORC1) of 1832; and L’assedio di Calais (The siege of Calais, ORC9) of 1836.

RELEASE DATE: FRIDAY 24 SEPTEMBER 2021 (ORB01)

Remastered to the highest audio quality and accompanied by a newly commissioned essay by Donizetti specialist and Opera Rara’s Artistic Dramaturg, Roger Parker, this 7-CD boxset includes performances from early stars of the company Della Jones, Janet Price and Yvonne Kenny. The three recordings which remain collector’s items for lovers of bel-canto were released in 1978 (Ugo conte di Parigi), 1989 (L’assedio di Calais) and 2006 (Il diluvio universale) and have been out of the catalogue for more than 10 years.

When Patric Schmid and Don White conceived Opera Rara in 1970, their dream was to establish a Donizetti collection that would document all his operas through recordings. With nearly 70 operas to his name, this was no small ambition, particularly as only a handful were widely known at the time. 50 years on, Opera Rara continues to build on its acclaimed and extensive catalogue of rediscovered works by this prolific composer. In 2019, Opera Rara released the world première recording of L’Ange de Nisida (ORC58) taken from concert performances of the world première at the Royal Opera House, Covent Garden in July 2018; and, in January 2021, the company released its 26th complete opera by Donizetti, Il Paria (ORC60).

This December, Carlo Rizzi will conduct his first full opera with Opera Rara since becoming Artistic Director. The performance of Leoncavallo’s Zingari with the Royal Philharmonic Orchestra at Cadogan Hall boasts an international cast led by Carlos Álvarez and Krassimura Stoyanova. Zingari, which was first heard at London’s Hippodrome Theatre in 1912, is the company’s fourth verismo project, an area of repertoire - together with French grand opéra and operetta - which the company began to explore under Rizzi’s predecessor, Sir Mark Elder.

Opera Rara’s 50th anniversary celebrations began in autumn 2020 with the release of Ermonela Jaho’s first solo disc, Anima Rara. Earlier in the year, Opera Rara presented Jaho in her Wigmore Hall debut where she performed many of the works featured on the album. Anima Rara proceeded to win a 2021 International Classical Music Award and has been nominated for awards in the 2021 Opus Klassik and Gramophone Awards. 

martes, 28 de septiembre de 2021

VIÑETA DE FLAVITA BANANA DEL 28 DE SEPTIEMBRE DE 2021

 


MASSIMO OSANNA, L'ARCHEOLOGO CHE HA CAMBIATO POMPEI, È IL NUOVO DIRETTORE DEI MUSEI ITALIANI

Massimo Osanna, il direttore del Parco Archeologico di Pompei, l’uomo che ha rivoluzionato il sito archeologico più famoso d’Italia, è il nuovo direttore dei Musei italiani. Succede ad Antonio Lampis: la conferma è arrivata oggi dal ministro dei beni culturali Dario Franceschini.

“Un incarico prestigioso con una forte proiezione internazionale”, ha dichiarato Franceschini ringraziando l’uscente Antonio Lampis, "per l’impegno e la professionalità dimostrata in questi anni. Massimo Osanna ha cambiato il volto di Pompei che, grazie al suo lavoro, è diventato un modello gestionale e un punto di riferimento internazionale: una storia di riscatto che ci rende orgogliosi. L’esperienza e la professionalità di Osanna serviranno adesso a rinnovare l’intero sistema museale nazionale e a traghettarlo nel futuro”.

Massimo Osanna, l'archeologo che ha cambiato Pompei, è il nuovo direttore dei Musei Italiani

Massimo Osanna, archeologo, è nato a Venosa (Potenza) nel 1963, si è laureato in lettere classiche nel 1985 e nel 1992 ha ottenuto il dottorato in Archeologia greca e romana all’Università di Perugia. Dal 2002 al 2007 ha diretto la Scuola di Specializzazione di Archeologia dell’Università della Basilicata, e dal 2009 al 2014 presso lo stesso ateneo ha diretto la Scuola di specializzazione in Beni Archeologici. Dal 2014 al 2015 è stato soprintendente speciale di Pompei e dal 2016 è direttore del Parco Archeologico. È inoltre professore ordinario di archeologia classica alla Università Federico II di Napoli, prenderà servizio alla Direzione generale Musei del Mibact il primo di settembre 2020. Rimarrà direttore ad interim del parco fino alla nomina del nuovo direttore.

“Il nuovo direttore del Parco archeologico di Pompei “, ha poi annunciato il ministro, ”verrà scelto con la procedura internazionale di selezione che dal 2014 ha consentito di scegliere i migliori, esclusivamente in base al curriculum, in Italia e nel mondo, per le direzioni dei più grandi musei e parchi archeologici italiani".

https://www.finestresullarte.info/attualita/massimo-osanna-nuovo-direttore-generale-musei-italiani

CACHITA. LA ESCLAVITUD BORRADA, DE ÁLVARO BEGINES (CLIP)

 FCATarifa

Dirección: Álvaro Begines

Género: Documental - Ficción

País: España

Año: 2020

Características: 70’ | Color | Español 

Título: Cachita. La esclavitud borrada | Hidden Slavery | L’esclavage caché


SINOPSIS

Desde el comienzo de la humanidad existe la esclavitud. En todas las civilizaciones, unos seres humanos han tomado a otros seres humanos para ser sus dueños. El documental narra, con una exhaustiva investigación y los testimonios de los mejores especialistas, la época de esplendor y decadencia de la industria de la esclavitud africana en Europa.

SYNOPSIS

Slavery has existed since the dawn of humanity. In every civilisation, human beings have taken others to be their slaves. Drawing on thorough research and accounts from prominent experts in the field, the film narrates the peak and decline of the African slavery industry in Europe.

SYNOPSIS

L’esclavage existe depuis les débuts de l’humanité. Dans toutes les civilisations, des êtres humains se sont imposés comme les maîtres d’autres humains. Le documentaire retrace, au travers d’une enquête exhaustive et de témoignages des meilleurs spécialistes, la période de splendeur et de décadence de l’industrie esclavagiste africaine en Europe. 

Ficha técnica.

Producción: La Mirada Oblicua, Ranna Films

Guion: Álvaro Begines, Carlota Begines

Fotografía: Rubén Martín

Sonido: Coco Goyonnet, Jorge Marín, Sara Marín

Montaje: Marcos Medina

Música: Salvador Romero

Intérpretes: Emilio Buale, Salva Reina, Kenia Mestre

Festival y premios

Goya 2021 (nominada)


lunes, 27 de septiembre de 2021

À MONTE-CARLO, UNE SOIRÉE SOUS LE SIGNE DU GLAMOUR AUTOUR DU PRINCE ALBERT

 À l'invitation de la Fondation Prince Albert II de Monaco, les stars se sont donné rendez-vous ce jeudi 23 septembre 2021 à Monte-Carlo. Un événement pour la bonne cause après des semaines tumultueuses...

En l'absence de la princesse Charlène, Albert II prend la pose aux côtés de l'actrice Sharon Stone et de sa sœur la princesse Caroline de Hanovre. Ce jeudi 23 septembre 2021, le temps d'une soirée, les rumeurs se sont tues. Monaco renoue avec le glamour qui fait sa réputation.

Caroline de Hanovre, Albert II de Monaco et Sharon Stone. © Stephane Cardinale/Corbis via Getty Images

Organisé sous l'égide de la Fondation Prince Albert II de Monaco, le Monte-Carlo Gala for Planetary Health se déroulait pour la première fois dans l'enceinte du palais princier. Cette 5e édition était suivie d'une vente aux enchères destinée à récolter des fonds pour la sauvegarde de l'environnement mais aussi la protection de l'enfance.

Parmi les invités, l'acteur Orlando Bloom – venu sans sa fiancée Katy Perry –, la comédienne et réalisatrice Mélanie Laurent ou encore Gaspard Ulliel.

La Fondation Prince Albert II de Monaco a été créée en 2006. À ce jour, elle a soutenu plus de 600 projets et accordé 84 millions d'euros de subvention.

Mais la soirée a surtout été l'occasion pour le clan Grimaldi d'afficher un front uni. Outre Caroline de Hanovre, Andrea Casiraghi, Pauline Ducruet et son compagnon Maxime Giaccardi étaient aux côtés de leur oncle... tout comme le propre frère de Charlène, Gareth Wittstock, et son épouse.

Les Grimaldi, un clan uni malgré la crise ? © Stephane Cardinale/Corbis via Getty Images

Albert II de Monaco  Monaco  Albert de Monaco  Monte-Carlo  Gala  Soirées

https://www.pointdevue.fr/familles-royales/monaco/en-images-monte-carlo-une-soiree-sous-le-signe-du-glamour-autour-du-prince?xtor=EPR-1-[]-[20210924]&utm_source=nlpdv&utm_medium=email&utm_campaign=20210924

WITH POUSSIN AND THE DANCE. NATIONAL GALLERY, LONDON

9 October 2021 – 2 January 2022

Ground Floor Galleries

Tambourines shake, wine spills, and half-naked figures whirl across the canvas in these paintings of revelry, dance and drama that are brought together in this first exhibition dedicated to Poussin and dance.

Poussin’s paintings of dance are unique. He brings to life the classical world of gods and mortals with wild and riotous movement but, the chaos on the canvas does not reflect the meticulous and inventive process that allowed him to capture bodies in motion.

In this exhibition, Poussin’s paintings and drawings of dance will be shown alongside the antique sculpture he studied, inviting you to trace the evolution of his ideas from marble to paper to paint.

Poussin’s working methods will be fully revealed with a reconstruction of his wax figurines, which the artist manipulated into different compositions, underscoring his role not only as painter of dance, but as choreographer in his own right.

Exhibition organised by the National Gallery, London and the Getty Museum, Los Angeles.

Image above: Detail from Nicolas Poussin, 'A Dance to the Music of Time', about 1634. By kind permission of the Trustees of the Wallace Collection, London (P108) © The Trustees of the Wallace Collection

https://www.nationalgallery.org.uk/exhibitions/poussin-and-the-dance

AUTOMANIA EXHIBITION | MOMA. ON VIEW THROUGH OCTOBER 11. MUSÉE CHAGALL, DE NICE, EXPOSITIONS

 Since the first automobiles hit the road over a century ago, cars have left a lasting imprint on the design of our built environment. For both better and worse, they have fundamentally reshaped the ways in which we live, work, and enjoy ourselves. Cars have altered our ideas about mobility, connecting us across great distances at ever greater speeds. Automania takes an in-depth look at an object that has inspired countless examples of innovation, social transformation, and critical debate among designers and artists working in varied media.


This exhibition addresses the conflicted feelings—compulsion, fixation, desire, and rage—that developed in response to cars and car culture in the 20th century. Examining automobiles as both modern industrial products and style icons, it also explores their adverse impact on roads and streets, public health, and the planet’s ecosystems.

Automania brings together cars and car parts, architectural models, films, photographs, posters, paintings, and sculptures, ranging from Lily Reich’s 1930s designs for a tubular steel car seat to Andy Warhol’s Orange Car Crash Fourteen Times. Nine cars, including a recently restored Volkswagen Type 1 sedan (better known as the Beetle), will invite visitors to take an up-close view of the machines that architect Le Corbusier compared to ancient Greek temples and critic Roland Barthes likened to “the great Gothic cathedrals…the supreme creation of an era.”

Organized by Juliet Kinchin, former Curator, Paul Galloway, Collection Specialist, and Andrew Gardner, Curatorial Assistant, Department of Architecture and Design.

https://www.moma.org/calendar/exhibitions/5210

MUSEE NATIONAL MARC CHAGALL 
avenue Dr Ménard _ 06 000 Nice 
________________________________________________________

Marc Chagall 
Le passeur de lumière 
 
18 septembre 2021 – 10 janvier 2022
 
 
Exposition organisée par les musées nationaux du XXe siècle des Alpes-Maritimes, en partenariat avec le Centre Pompidou-Metz
 
« Pour moi, un vitrail représente la cloison transparente entre mon cœur et le cœur du monde.
Le vitrail est exaltant, il lui faut de la gravité, de la passion. Il doit vivre à travers la lumière perçue. »
Marc Chagall
 

Madame, Monsieur,

Nous avons le plaisir de vous joindre ici le dossier de presse de l'exposition Marc Chagall, le passeur de lumière qui se tient actuellement au musée national Marc Chagall.

L’exposition explore l’importance de la lumière et du vitrail dans l’oeuvre de l’artiste. Au terme de près de 30 ans de création de vitraux, ces mots de Chagall condensent le rôle que l’artiste assignait à l’art du vitrail : porter à l’humanité un message de spiritualité et de lumière intérieure. Aujourd’hui 15 édifices, disséminés en France (Reims, Metz, Voutezac, Sarrebourg, Assy, etc.) et à travers le monde (Allemagne, Grande-Bretagne, Suisse, Israël, États-Unis), portent fièrement en leur sein, les réalisations de l’artiste. Par ses créations, Marc Chagall entendait proposer à ses contemporains et aux générations futures des images de paix et de transcendance. Celles-ci, riches d’une iconographie foisonnante, sont admirablement soutenues par la force émotionnelle de ses couleurs et par les reflets changeants de la luminosité extérieure.


AL TEATRO REGIO DI PARMA. YOU DO NOT NEED TO BE EDUCATED TO BE TOUCHED, TO BE MOVED AND EXCITED BY OPERA.

 

Il XXI Festival Verdi è dedicato a Graham Vick, il regista scomparso lo scorso luglio, dallo sguardo acuto, dalla straordinaria sensibilità, dall’attenzione ai giovani talenti, dalla capacità di portare alla luce le ipocrisie e le incoerenze del nostro vivere sulle note di partiture scritte secoli fa, dalla capacità di far scoprire l’opera e farla amare alle comunità più vaste e lontane dal mondo della cultura, mettendone in luce i valori, i sentimenti, i temi che la legano così strettamente alla nostra contemporaneità, alla nostra quotidianità.

Per ricordarne e testimoniarne la forza poetica, un incontro con la partecipazione di artisti, sovrintendenti, direttori artistici, critici musicali, che hanno prodotto e testimoniato le sue creazioni divenute già pietra miliare nella storia dell’Opera.

Data

Sala di scenografia del Teatro Regio di Parma

sabato 25 settembre 2021, ore 10.30

Ingresso libero con prenotazione

L’incontro sarà trasmesso in live streaming sul portale di Rai Cultura e sui profili social (Facebook e Youtube) del Teatro Regio di Parma.

Programma

Coordina e modera Carla Moreni

L’incontro vedrà innanzitutto la testimonianza dei compagni di viaggio di Graham Vick, partendo da Ron Howell, coreografo, compagno di vita e in scena, Richard Willacy, direttore della British Opera Company fondata da Vick a Birmingham, Nicholas Payne, direttore di Opera Europa, Jonathan Groves, suo storico agente, Jacopo Spirei, regista e allievo, a cui questo Ballo in maschera è stato consegnato, . Il secondo atto del convegno vede invece il cerchio allargarsi a direttori artistici e sovrintendenti italiani, alla guida di teatri che nel tempo hanno accolto le regie di Vick: Francesco Giambrone con le esperienze di Firenze e Palermo, Alessio Vlad per Genova, Ancona e Roma, Paolo Pinamonti a Venezia (e non solo, anche le straordinarie avventure di Madrid e Lisbona), Luigi Ferrari e Gianfranco Mariotti per gli approdi al Festival Rossini di Pesaro, e Barbara Minghetti per le due sfide di un Mozart partecipato e in italiano, col Flauto magico dello Sferisterio di Macerata e Zaïde a Como. La parte conclusiva del viaggio “con Graham Vick”, strettamente intrecciata con le precedenti, vede i critici musicali Alberto Mattioli e Angelo Foletto che ripercorrono per tappe esemplari le produzioni più discusse del passato, e Roberto Abbado e Anna Maria Meo.


“Graham Vick a Parma è ancora vivo. Raccontarlo l’indomani dell’andata in scena del suo ultimo lavoro, Un ballo in maschera, vuol dire parlare di lui sentendone ancora intatta la voce. La sua idea di teatro, inclusivo e non dogmatico – parimenti aperto sia al pubblico, sia al pensiero dei compositori – ci ha accompagnato in Italia dall’estate del 1978. Graham non aveva ancora compiuto 25 anni e non poteva immaginare che nel nostro Paese avrebbe lavorato così tanto, attraversandolo da nord a sud, isole comprese, e sperimentando un repertorio che spaziava dagli albori al contemporaneo, da Monteverdi a tanto Novecento, fino a Berio. Il convegno che gli dedichiamo riunisce gli amici e i collaboratori, i critici e il pubblico. Ha come obiettivo la ricostruzione di un ritratto a più mani, attraverso il quale leggere un pensiero. Da tramandare, perché i grandi artisti non muoiono mai”. – Carla Moreni

https://www.teatroregioparma.it/spettacolo/la-parola-al-regista-2/

sábado, 25 de septiembre de 2021

ENCUENTRO LIVE CON EL MAESTRO JOAQUÍN DÍAZ: EL MICRÓFONO DE ALICIA PERRIS

 

Poder encontrarse con el maestro Joaquín Díaz no es un asunto baladí. Suele dedicarse a sus trabajos de investigación, a la revista Folklore, a sus simposios bianuales y otras actividades relacionadas con la Academia de Bellas Artes de San Fernando, en Madrid, de la que es miembro y con otras instituciones culturales. Tres días de actividades esta semana en la SGAE hicieron posible a El Micrófono de Alicia Perris reunirse con él, una deliciosa mañana de finales de verano en la capital.

Según nos informa él mismo en el material facilitado ad hoc, “Joaquín Díaz nació en Zamora en mayo de 1947 y en 1951 se traslada a Valladolid donde, a partir de ese momento, realiza sus estudios medios y superiores. A mediados de la década de los años sesenta, y como fruto de su interés por la cultura tradicional, comenzó a dedicarse por completo al estudio y divulgación de la misma, ofreciendo conciertos y conferencias en casi todas las Universidades españolas y otras muchas de Portugal, Francia, Italia, Alemania, Holanda y Estados Unidos. Del mismo modo, dio a conocer la música tradicional en programas de radio y televisión de Europa, Asia y América. En 1976 abandonó las actuaciones en público para dedicarse a la investigación de la cultura popular, especialmente de la Comunidad de Castilla y León”.

AUDIO: https://www.radiosefarad.com/wp-content/uploads/2021/09/210925microfono.mp3

Hablamos largamente del cancionero, de la música sefardí y el legado judío en una España multicultural hasta 1492, de la Historia con mayúsculas y con minúsculas de ambos aspectos, encontrando algunas coincidencias que abrieron un diálogo fluido y rico, que podría continuarse tal vez en Urueña – donde se encuentra la Fundación Joaquín Díaz – el próximo otoño. A ver si puede ser. Que disfruten de nuestro encuentro, porque todo lo que se dijo pareció verdad y fue muy sentido. Cuídense y excelente año 5782. Shaná Tová y Shalom!

Alicia Perris

https://www.radiosefarad.com/joaquin-diaz-cantante-y-recopilador-del-patrimonio-folklorico-castellano-y-pionero-del-sefardi-en-espana/

viernes, 24 de septiembre de 2021

JOSEP BARTOLÍ. EXPOSITION LES COULEURS DE L'EXIL À RIVESALTES, FRANCE

 Exposition exceptionnelle consacrée à l’œuvre de l’artiste et combattant antifranquiste, Josep Bartolí.


DU 24 SEPTEMBRE 2021 AU 19 SEPTEMBRE 2022

UN CRÉATEUR EN EXIL

À travers une sélection de plus de 150 œuvres, l’exposition « Josep Bartolí. Les couleurs de l’exil » met en perspective des réalisations majeures de l’artiste, toujours inspirées par l’exil, son engagement et ses combats.

Dans une première partie, sont présentés les dessins la guerre et les camps, réalisés au crayon, sans une once de couleur. Ces croquis sont d’une puissance singulière : illustrations politiques riches de détails et de sens, critique du pouvoir, de l’État, de la religion… Pour Bartolí, dessiner est une nécessité, c’est son « œuvre de résistance ». Ces dessins sont également l’apparition d’un genre tout à fait nouveau : le reportage graphique.

La seconde partie de l'exposition fait dialoguer dessin et peinture, qui fait son apparition dans l’œuvre de Bartolí à partir de 1952. Traitant divers thèmes (la société, l’individu, la culture de masses…) il exploitera tout au long de son parcours les ressources de la couleur, qui prendra parfois totalement le pas sur le trait. Toutefois, chacune de ses œuvres témoigne du dialogue constant que Bartolí entretient volontairement entre abstraction et figuration.


LAST CALL, THE RISE AND FALL OF PROHIBITION, BY DANIEL OKRENT. NOW TRANSLATED INTO SPANISH


How did Americans, a freedom-loving people, decide to give up a private right that had been freely exercised by millions upon millions since the first European colonists arrived in the New World: the right to drink alcoholic beverages?

Daniel Okrent asks and answers that question in his new book, "Last Call: The Rise and Fall of Prohibition." Americans couldn't legally drink from 1920 to 1933, after the 18th Amendment was added to the Constitution. Okrent's book also reveals how Prohibition affected American politics, the suffrage movement, organized crime, taxes and the social relationship between men and women.

Daniel Okrent was the first public editor of the New York Times and is former editor-at-large at Time. Daniel Okrent, welcome back to FRESH AIR. I'm always interested in connections between the past and the present. So, before we really get into the history of Prohibition, can you see a style of activism or a moralistic streak in American politics today that you think is descended from the leaders of temperance?

Mr. DANIEL OKRENT (Author, "Last Call: The Rise and Fall of Prohibition"): Well, I certainly think that styles of activism and political agitation come directly from what happened in the years leading up to Prohibition.

The issue wasn't entirely Prohibition. That was a stand-in issue for a whole set of issues, just the same way today I think we could say that same-sex marriage is a stand-in issue. If you tell me what you think about same-sex marriage, I can probably tell you what you think about 10 other things. And Prohibition became the same sort of political football that people on either side would use trying to struggle to get it toward their goal, which was control of the country.

GROSS: So if you believed in Prohibition, what are some of the other things you were likely to believe in?

Mr. OKRENT: Well, there was a mix. I shouldn't oversimplify, but it largely had to do with a xenophobic, anti-immigrant feeling that arose in the American Middle West among white, native-born Protestants. It also had a strong racist element to it. Prohibition was a tool that the white South could use to keep down the black population. In fact, they used Prohibition really to keep liquor away from black people but not from white people.

So you could find a number of ways that people could come in to whatever issue they wished to use and use Prohibition as their tool. The clearest one, probably, was women's suffrage. Oddly, the suffrage movement and the Prohibition movement were almost one and the same, and you found organizations like the Ku Klux Klan supporting women's suffrage because they believed women would vote on behalf of Prohibition.

GROSS: Now, let's look at how a fear of immigrants in the early 20th century fed the Prohibition movement. I mean, we're talking about the period coming out of World War I.

Mr. OKRENT: Well, also coming into World War I. The cities are filling up with people from Ireland and from southern and eastern Europe and central Europe, from - really for the whole second half of the 19th century. They're gaining enormous political clout, particularly in the big cities, where the saloon owners were the political bosses.

As the immigrant populations elected their own representatives to Congress and to the Senate, the middle of the country, the white Protestant, native-born part of the country, was seeing themselves losing political power.

GROSS: Yeah, I want to quote something that you quote in the book by a politician named John Strange, who supported Prohibition. This was in 1918, as the 18th Amendment, the Prohibition amendment, was going through the state legislators. He told the Milwaukee Journal that he was worried about Germans in this country, and he said: The worst of all our German enemies, the most treacherous, the most menacing, are Pabst, Schlitz, Blatz and Miller. And of course, those are all the names of beers at the time. Some of those beers no longer exist.

So there was this link between, like, not only Germans in America who drank beer but companies that had German names that made beer.

Mr. OKRENT: Well, this was the final thing that put Prohibition across. It enabled the ratification of the Prohibition amendment. You needed 36 states to approve it, and this was happening just as the U.S. was entering World War I. And the great enemy was Germany, and the brewers were seen by the prohibitionists as tools of the kaiser.

If they weren't actually seen as them, they were used for that purpose to make their political point. So as you have a rising tide of strong anti-German feeling sweeping across the country, the brewers got swept away with it.

GROSS: Now you mentioned earlier that Prohibition was also tied to fear of African-Americans. And you say, like, the worst nightmare for some people was the idea of a drunk black man with a ballot in his hands.

Mr. OKRENT: A ballot in one hand and a bottle in the other, and that was very clearly used throughout the South, and it comes up very openly in debate.

This is a time that the Jim Crow laws are first being carved into the statute books in many Southern states. And the effort to keep the black man away from the poll was very much tied to the effort to keep the black man away from the bottle because of the fear of, you know, the other, which swept across the South throughout that period.

GROSS: And the Ku Klux Klan became pretty active during the movement leading up to Prohibition.

Mr. OKRENT: That's an interesting thing. The Klan, that version of the Klan which rises in the late 1910s, is really more of an anti-immigrant, anti-Catholic, anti-Jewish movement. One of the realities is that in addition to the brewers who were largely German, the distillers were very heavily Jewish, and they were seen as the enemy.

The Catholics in the cities, the Irish and the Italians, they were the ones who were doing the drinking, as the Ku Klux Klan saw it. And they were the ones who were electing their members to Congress and really creating a terrible fear in the minds of those who wanted to keep the country white, Protestant and Anglo-Saxon.

GROSS: You write in your book that for some populists, Prohibition was a good way to justify the institution of an income tax. What was the connection between Prohibition and an income tax?

Mr. OKRENT: Well, going back as far as the Whiskey Rebellion of the 1790s and then the beer tax that was brought in during the Civil War to finance the Civil War, the federal government had been dependent upon the excise tax on alcohol to operate.

In some years, domestic revenue, as much as 50 percent of it came from excise taxes. So the Prohibitionists realized that they couldn't get rid of liquor so long as the federal government was dependent upon liquor to get its revenue and to operate. So they supported the income tax movement, and in exchange, many of the populists who were behind the income tax movement supported Prohibition.

In 1913, the 16th Amendment is passed. The income tax comes in. The federal government has another means of supporting itself. And at that point, the Prohibitionists who had been operating state by state by state decided we can now have an amendment to the federal Constitution because the government is no longer dependent. There's another source of revenue.

GROSS: So the income tax made it possible for Prohibition.

Mr. OKRENT: Yeah, you couldn't have Prohibition without the women's suffrage movement, you couldn't have it without the income tax, and you couldn't have it without World War I. In other words, three things that really had nothing to do with liquor but everything to do with political power.

GROSS: Now, you said that the temperance movement, Prohibition wouldn't have been possible without the women's suffrage movement. I've always been interested and kind of confused about that connection. So can you describe why that connection existed?

Mr. OKRENT: It largely had to do with the fact that women in the 19th century had almost no political rights or property rights. So as the saloon culture began to grow up, and we would see men going off to the saloon, getting drunk and drinking away their money and coming home and beating their wives and mistreating their children, bringing home from the bordellos that were attached to the saloons something called syphilis of the innocent. They would pick up a venereal disease and bring it home, and the wife would be infected.

So there were all sorts of reasons why women hated alcohol and hated the tavern. Susan B. Anthony, in the late 1840s, makes her first effort to give a speech in public life at a temperance convention. This was before she connected to the suffrage movement.

She rose to speak at a meeting of the Sons of Temperance in New York, and they said: You can't speak. You don't have the rights. Women aren't allowed to speak here. And that's what pushed her into the suffrage movement. So in fact, you could say that the birth of the suffrage movement comes with the wish to get rid of alcohol......................

https://www.npr.org/transcripts/126613316?t=1632482670353