Clarence carter what was i supposed to do

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Delivery times may vary, especially during peak periods. Start of add to list layer. Sign in for more lists. Oct 15, PDT. Seller's other items. Related sponsored items. Showing Slide 1 of 2. Seller Similar sponsored items. Seller assumes all responsibility for this listing. They seemed to go deeper for me. I liked the design element.

I got pretty tired of all the type of painting seemed to be sort of slick, brisk type of painting. So one day I dashed off a Sargentesque portrait to prove how easy it was to do. But when I got to Italy, of course, I was just in my element. There I was surrounded by all the things that had appealed to me when I was a student, and with the encouragement of Mr. Milliken I got that much more.

Then, of course, I have gone back; I had started up at Paris and then went back. I want to say that in the following year I was in Paris; Dr. Milhiken and his mother came to London, they asked me to be their guest in London. So I met them in London, stayed there for ten days. We traveled around London and the same thing happened there, with my being introduced to the very best.

At that time I met Harold Parsons, Harold Woodbury Parsons, who was then the foreign representative of the Cleveland, the Metropolitan, and a number of the museums in America. And he started buying things also. He gave two pieces to the Kansas City Museum when that collection was developed. Then we went to Belgium and went to Ghent and Bruges and Brussels. And in that length of time I sent a group of things back to the Museum that I had done in Paris. I had a great deal of luck there and won more prizes in Cleveland.

So I left at the end of August and on the ship coming back I met Mrs. Carter, who was seasick most of the time. I met her just two days before the boat docked. It was a slow boat, a ten-day boat. And you have a girl on the ship that far! At the final costume ball I wore a costume I had bought in Tunis.

I had a little bit of the Rembrandt in me, I was intrigued by rich ornamentation and costumes and I bought a number of things. Any-way, wearing that at the costume ball I got the prize. Carter, is the prize for the most hysterical costume. She introduced me and in that time we made up for the rest of the trip.

In those two days we became real serious, and within a short time we were married and on our own. Milliken came over for the wedding. Then we went to Cleveland to live, stayed there for a length of time, with a few exceptions.

I went to Portsmouth and did a number of paintings there, she would go back to her parents in Elmira. Well then, the depression hit us; we had a baby at that time, and things looked very bleak. We hardly knew just what was going to come next. Then the Works Progress Administration asked some of the artists to do murals and various things in the City of Cleveland. We sat on what little bit of heat there was in the heaters, and painted our large murals.

Then some time elapsed and they formed the Federal Art Projects. I still was making sales at the Cleveland Museum, which was fortunate, and helped along a great deal and I was consistently winning prizes. At the time I was there I won thirteen first prizes and a number of second and third prizes, besides many mentions.

My position in the community had developed to the place that my pictures were in demand. Carl Braumo was the director, and Carl was a very able Cleveland painter. I was rather surprised when I was approached to become the general superintendent of the Federal Art Projects of Northeastern Ohio.

They said they needed me because Mr. Braumo was leaving. He said he was just about ready to go out of his mind because the unions were pressuring him that he was not able to keep his promises that he would, I think, make too freely. And I was rather interested. New things appealed to me. Well, the next step was that I had gone far enough to give my consent to Carl Braumo that I would consider. The next step was that Mildred Holzhauer, who is now Mildred Holzhauer Baker, came to Cleveland and called me and wanted to know if Mrs.

Carter and I could have dinner with her at the Hotel Cleveland. So we went down and had a very pleasant evening and discussed the possibility of my taking the directorship. Well, it seemed rather strange to me that the government would set up a project and then sponsor the unions to strike against the projects.

There was a fellow that was a great agitator. His name was Jacobs. And Carl Braumo told me a number of things that made me feel that he was not doing as much for the good of the project as he could and it was more on the basis of agitating. She agreed that at least they would see that Jacobs was laid off before I would become director. In the meantime, the project was in turmoil and going down fast. The first day I moved into the project was the day that I was shown the layoff slip for Jacobs.

I came in, I had some art magazines with me, and began looking over the project, deciding what I wanted to do, what changes I wanted to make, both in directing the men and also in projects they were going to do, and in the physical change of the whole setup; it seemed sloppy.

There was work going on all over the place. There was an area where they were doing silk screen printing when you first came in that seemed like a messy introduction to the whole thing.

So my first day in figuring out what I felt should be done, somebody liking to look through the art magazines I had on my desk, they disappeared. I sent out word that nobody was to leave the project until the magazines were left on my desk where they had been picked up.

And I went about my business, and before I left the magazines were back on my desk. It was a large room. We turned that into a gallery and some of the men on the project worked on that. Some of them were able to use hammers and nails and stretch burlap. Repainting was done. So I pressed them into use to tidy the place up, to do what painting needed to be done. I re-evaluated all the various departments and appointed heads of certain divisions where I felt the need of direct supervision.

I had an office built for myself and a business office next door. I inherited Johnny Sago from Carl Braumo, who was secretary, and he was praised to the skies to me. That had been pressed home to the extent that I felt it was either Johnny Sago or the whole thing would sink.

But after being there a while I realized that Johnny Sago was causing as much trouble as anybody else because he was always pressuring for this for one person or another, he was taking too much personal interest in individuals.

He had his friends; and he also studied the stars. One day I went out and found that they were taking the wooden sculpture that had been fastened above the entrance of the business office. I asked the men what they were doing. They said Johnny Sago said these had to come down because he had read the stars and that I was going to be hit on the head that day; everything that could have fallen on my head was being removed. So I got pretty tired of that.

He is now a lawyer and he had a national record for typing and short hand and was a very able and capable person. In his place I got a girl by the name of Mary Zampino. Mary was just the opposite of Johnny. She was not intense and she had no interest in any of the people on the project beyond what they could contribute to the project.

So she kept to her knitting and kept out of my hair. The thing that kept rancoring was this union business. For instance, I had a layoff of, I think, around seventeen or twenty-one. My quota had to be changed once in a while, so whenever they changed the quota I had to lay people off.

At that time I had to go to Columbus for a meeting. I had told Talman Kabeny who had inherited the head of the union position when Jacobs was let out. He had promised me that there would not be any strikes. So I came back from Columbus and everybody was scurrying around. I asked Edris Eckert what was going on. It was the glory of the union itself.

So I had a little talk with him. And I laid off only the people that were contributing the least to the project, not worrying about how much they had been involved in the project in the past, or anything else. It was only through my finding that certain people were not as capable as others, and it seemed only fair to me to keep on the best people, people who were really contributing the best.

So each individual was called in separately and I went over the entire case with each person. And it was quite an arduous task, because it was quite an emotional thing with some of them. There was only one change that I made. One person I was laying off had a slight deformity.

But then the layoff came. And it was not an easy thing for me either, because I knew—I had worked with some of the fellows. But every time I had to lay off I saw to it that it was somebody who was paying more attention to the union than to his work on the project. Carter, what am I going to do? You may think a lot of—too much of this is involving the union—but it was a great factor at that time. It was accused of being Communistic. Of course, things were pretty involved at that time.

And because I was not Communist in my sympathies, of course I was labeled as Fascist. But he got very mad and flushed in the face and for a moment forgot that I was his boss. Yes, that was national.

It was set up in Washington. It seemed always to me a very strange thing that it was set up purposely to take care of the people who were hired on the projects. Roosevelt was very much behind the thing also. Then there was a fellow by the name of Russell Flint who was very active in the union, a very good painter. They were able artists, and as long as they were able I could work with them.

Russell Flint found that it was a losing cause, the union was, because I forbade them to meet on the project, which they had done in the past.

At the meeting, or while they were in the city where the conference was being held, they met Charlotte Cooper, who was the State Director.

They told Charlotte the situation and Charlotte said she would call me up on Monday morning and fix it up that they would be paid. So on Monday morning Charlotte Cooper called me from Columbus and started telling me what she had done. I was also pretty much pressured by certain Congressmen and certain Senators to take on constituents—the person happened to be of the same religious faith, or political faith, or something, and so it was to their advantage that this person would be taken on.

And I was very emphatic about it, that the work was the first consideration. Well then one day I was approached that they wanted a grievance committee meeting with me, that they had formed a committee to meet with me. So I stood fast on that. So as an alternative they put Edris Eckert on the committee.

She was in full accord with my reasoning. And if my stuff ain't tight enough, You can stick it up my How does Millie Jackson put it on one of her CD's? Not For Church Folk! Dirty old men--bluesmen singing about school-girls, etc. And there is no getting around the fact that to truly love Southern Soul, you have to get a kick out of and not be offended by the "strokin'" of Clarence Carter and the "cheatin'" of Z.

Hill and the "candy-lickin'" of Marvin Sease. It's the root of the genre's charm and its claim to a specific niche of folklorish fame. The siren call of Southern Soul is in large part the promise of libertine pleasures and revelry.

What makes "Strokin'" the uncontested king of all such songs is its utter lack of guilt and its incomparable humor and openness. Those old enough to remember the remarkably-drawn Al Capp cartoons of yesteryear, "Li'l Abner," with the bulked-up long before steroids hillbilly white boy and his raggedly-dressed girlfriend Daisy Mae, her bust and thighs fairly bursting out of what little clothes she wore, have a good idea of the sexual charge of "Strokin'".

It's barnyard sex in all its glory. It's a tribute to a man's pride in his ability to get hard. Few have made it to the top. And like Mount Everest, "Slip Away" resides above the misty clouds of the Carter discography, remote and dazzling, a testament to the performer's extraordinary talent at a time when he was barely embarking on his career. You really don't listen to the lyrics to "Slip Away. You listen to Carter's lyrical, stinging guitar.

Isn't this where the Allman Brothers learned their chops? And you listen to Rick Hall's incredible Fame Studio backing band. Isn't this where David Brinston and O.

Buchana learned the powerful "muscle grooves" that made "Kick It" and "Let's Get Drunk" respectively so dazzling? Clarence Carter's voice has diminished a good deal since then. Indeed, except for "Patches" and "Strokin'," it has never been the same. On recent efforts like One More Hit , one hears sustained flickers of the greatness of old, but they tend to remind one of how much of the energy of Carter's youth has been lost to the ravages of age.

The arrangement teems with atmosphere and originality, a kind of bluesy lushness unlike anything Carter's ever done.

Supposedly recorded in the 70's, your Daddy B. Clearly, others have taken note of the stature of this obscure Carter classic. The prologue--a leisurely instrumental interlude with sparkling lead guitar flitting over sensuous keyboard work in a way that recalls the mid-sixties, pre-psychedelic band Blues Project--floats effortlessly into the words: "I'm sorry if I embarrassed you. I let my jealousy show, And that's something I said I wouldn't do.

But tell me how far Is a man supposed to go? When another man tries to steal your woman, And even lets it show? He pulled on your hair, And rubbed on your face, And even had the nerve To ask the color of your lingerie. Tell me what was I supposed to do, When he disrespected me, And he disrespected you? For if the singer of this song was blind, how could he so convincingly sing: "He bought you drinks And gave you invitations to his table. He insisted on dancing with you When I said you weren't available.

Being nice to other men, I really don't mind.