Dick Gautier dead at 85

'Get Smart' actor Dick Gautier dead at 85

Published January 16, 2017 

Actor Dick Gautier, who gained fame playing an Elvis-like singer in the Broadway musical "Bye Bye Birdie" and went on to play Hymie the Robot on TV's "Get Smart," has died. He was 85.
Gautier died Friday at an assisted living facility in Los Angeles County, his publicist Harlan Boll told The Associated Press.
Gautier, who started out as a standup comic, was nominated for a Tony for his stage turn as Conrad Birdie.
"He was proud to be amongst those nominated for the Tony" for the role in 1961, Boll said in a statement.
Boll said "it was when he played the character of Hymie the robot on Get Smart (a Mel Brooks and Buck Henry production) that he gained more notoriety than ever."
In addition to his popular role on "Get Smart," Gautier appeared in films including "Divorce, American Style," ''Billy Jack Goes To Washington" and "Fun With Dick And Jane."
Gautier, who was also a cartoonist, worked as a voice actor for cartoons including "Transformers" and "Smurfs."
"Throughout his life, Dick was always painting, sculpting and drawing, Boll said. "One of the things he became particularly good at was caricature."

He is survived by three children, four grandchildren and five great-grandchildren.

So sixties

Summer in the 1960s

New clues emerge in a cold-case killing possibly linked to Manson family murders

 Los Angeles police are seeking two men in connection with the slaying of a 19-year-old Canadian woman who was stabbed to death in 1969, just a few miles from the most infamous of the Manson family killings.
Sketches of the men were released Friday by the Los Angeles Police Department and are based on new information collected from a witness in Montreal.
The drawings show how the men might have looked in 1969, when the body of the then-unidentified woman — stabbed 150 times in the upper torso and neck — was discovered by a child on Mulholland Drive, not far from the Benedict Canyon home where actress Sharon Tate and four others had been stabbed to death a few months earlier, in August 1969.
The Canadian woman’s slaying has long been suspected of being tied to the Manson family murders, but as of April of this year, police still had no concrete evidence linking the killings.
Detectives began reinvestigating the killing in 2003, after a retired  LAPD cold-case investigator turned up a DNA sample, said LAPD Det. Luis Rivera. That sample, along with photographs of the victim, led investigators to her sister, and eventually, a positive ID was made.
Little was known about the young woman, Reet Jurvetson, after she traveled to Los Angeles in 1969. She came to meet a friend named “John or Jean,” Rivera said. She initially kept in sporadic touch with her family. As time passed without contact, her relatives became concerned, but they never filed a missing person’s report, he said.
Her sister, Anne, the only remaining relative in Jurvetson’s immediate family, recently created a website to help solve her sister’s killing. She posted photos of Reet as a teenager: celebrating her church confirmation, lounging on a sofa, smiling in a family portrait.
She describes the young woman as adventurous but naive, part of an Estonian refugee family who fled to Canada during World War II.
“Attempts were made to reach her, but they proved fruitless,” she wrote. “Initially, we believed that Reet was probably in search of more autonomy, and therefore we waited for her to get in touch with us.”
As years passed, Anne said, the family imagined her sister had made a new life for herself. No one suspected the young woman had been killed, she said.
When Anne found out about her sister’s slaying, it was “devastating,” she wrote.
The witness in Montreal provided new details in July about the friend named John or Jean.
The witness remembers meeting Reet Jurvetson and the man at a cafe in Montreal, police said. The witness also provided information on an associate, a shorter man with a Beatles-type haircut who might also have been named Jean.
Authorities said Friday that Anne Jurvetson had recently found a postcard  sent by her sister about two weeks before she was killed.
Dated Oct. 31, 1969, it read:
“Dear Mother and Father, The weather is nice and the people are kind. I have a nice little apartment. I go frequently to the beach. Please write to me. Hugs, Reet.”
The postcard was sent from an apartment in Hollywood. The building, on Melrose Avenue, used to be the Paramount Hotel, but it  was demolished in 1989 and replaced with a new structure.
Detectives initially suspected the Manson family of Jurvetson’s killing  because their other victims had been stabbed to death, Rivera said, and Jurvetson’s death occurred about the time of the cult killings.
Manson prosecutor Vincent Bugliosi said in his 1974 book “Helter Skelter” that he believed Jane Doe No. 59 — as Jurvetson was then known — was killed because she had witnessed another suspected Manson family slaying, the death of John Phillip Haught.
Investigators initially believed Haught died playing Russian roulette in Venice in November 1969. But Simon Wells, author of the Manson biography “Coming Down Fast,” found out that Manson family members were present when Haught died.
Manson and his followers eventually were convicted of killing nine people during a bloody rampage in the Los Angeles area in August 1969. Prosecutors said Manson and his followers were trying to incite a race war that he believed was prophesied in the Beatles song “Helter Skelter.”
Last year, LAPD investigators interviewed Manson at Corcoran State Prison, where he is incarcerated, but Manson did not provide any additional information, according to Capt. Billy Hayes, commander of the Robbery Homicide Division.
“Talking to Charlie is like talking to a wall,” Hayes said.
Prosecutors and Manson scholars have always believed the group was responsible for slayings beyond the nine for which they were convicted.
Manson is eligible for parole in 2027. Most of his followers remain jailed or have died.

60's mish mash

Woody Allen meets the Queen, 1966

Washington -- A bomb exploded in a women's restroom in the Pentagon. The radical Weathermen claimed credit  celebrate Ho Chi Min

Vintage Halifax - 1960 A telephone booth is filled with snow during a storm

View of Boston skyline, circa 1964,  Boston Redevelopment Authority photographs,

Two women riding with the Hells Angels hang out at a bar in 1965

June 7, 1965 – U.S. Navy frogmen recover astronauts Jim McDivitt and Ed White after the Gemini 4 spacecraft splashed down in the Atlantic.

The Wilson Avenue Ravenswood “L” Station was to be torn down in 1963. This picture was taken on Dec. 12, 1963

The Strip. Las Vegas, 1969. View from a room at the Sahara, looking south at Riviera, Stardust and the Frontier.

The Merry Pranksters

The Electric Circus,19-25 St. Marks Place, NYC. Mural by Louis J. Delsarte, 1967


Students riots in Paris Toppled cars are seen in Rue Gay-Lussac in Paris, France, on May 11, 1968.

John Tuohy's Year One, 1955: Jack Davis

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How I drew a pop art masterpiece for the Beatles – a snip at just £50

Fifty years on, Klaus Voormann tells the story behind Revolver’s psychedelic cover
Robin Stummer

Opening with a sharp swipe at Harold Wilson’s supertax rate for big earners, it ends half an hour later in a revolutionary mystical soundscape sculpted from LSD and dope, and drenched in technical wizardry the like of which had never been heard before. In between, a dozen of the finest pop songs ever written – including Eleanor Rigby, Good Day Sunshine and Here, There and Everywhere – all wrapped up in a piece of artwork as unexpected and intricate as the music it was created to contain.
 Half a century after the release of Revolver, the Beatles album hailed not only as the group’s creative summit but arguably pop’s greatest achievement, the artist who designed the record’s monochrome sleeve – itself acclaimed as one of the finest pop artworks – has revealed how he did it: on a kitchen table in an attic flat, for £50.
Klaus Voormann – veteran Beatles confidant, inventor of the mop-top haircut, and member of the group’s inner circle of friends since their formative years playing Hamburg bars and strip joints – has decided to tell the story of his relationship with the Fab Four not in words, but in pictures. Voormann’s graphic novel, Birth of an Icon: Revolver 50, opens with his first encounter with the group one night in 1960 in a Hamburg bar, the Kaiserkeller, and traces their metamorphosis in five years from leather-clad rockers to multimillionaire psychedelic potentates, the greatest band in the world.
Revolver, the Beatles’ seventh album, was released in the UK on 5 August 1966. England had just won the World Cup and London was swinging. “Things stay in my memory because people keep on asking me about that time,” Voormann, now 78 and based in his native Germany, told the Observer. “I remember, where I created the Revolver cover. It was on the third floor of a house, in a little attic apartment, it was in the kitchen. Parliament Hill, Hampstead. I was staying there. I went back there recently, the building is exactly the same.”
A trained artist and musician, Voormann and his girlfriend, the photographer Astrid Kirchherr, were quintessential continental beatniks when they befriended the Beatles – sporting black clothes and a moody face beneath a low fringe. The look, especially the hair, heavily influenced the band’s early image. Voormann went on to spend much of the 60s and 70s alternating stints on the pop and rock circuit, playing bass with Manfred Mann, George Harrison and John Lennon – including on Lennon’s Imagine – with his work in graphic design and fine art.
“1966 was the time when the Beatles were really, really busy,” Voormann recalls. “They were doing one album after another. They were just happy by then that they were spending more time in the studio, in the control room, messing around with sounds, than they ever did before. They had a German tour coming up, and also a Japan tour. They had just a few more weeks available to work on their new LP, the one which would be called Revolver, and then suddenly they were off on tour. I came to Abbey Road Studios to listen to the tracks for that album as they were recording them.”
The commission for the album cover design was unexpected, but, for the Beatles, characteristically spontaneous and left-field. “I got a phone call from John. He just said: ‘Got any ideas for our new album cover?’ I thought: ‘Shit! Doing a cover for the most famous band in the world!’ At moments like that you could suddenly forget that they had once been scruffy little Liverpool boys. I thought, ‘My God, I can’t do that!’”
As a freelance graphic designer in the early 60s, Voormann had created artworks for vintage jazz albums issued by Deutsche Grammophon. But to come up with ideas for a groundbreaking Beatles record, he needed to hear the new music.
“So the band all asked me to come down to Abbey Road Studios. This was when they had recorded about two-thirds of the tracks for that album. When I heard the music, I was just shocked, it was so great. So amazing. But it was frightening because the last song that they played to me was Tomorrow Never Knows.”
The album’s climax, a sonic collage heavily influenced by hallucinogens and hash, and held together with a hypnotic drum pattern, baffled many fans and disorientated critics, but fed into the thinking for a design for the album’s cover. “Tomorrow Never Knows was so far away from the early Beatles stuff that even I myself thought, well, the normal kind of Beatles fan won’t want to buy this record,” says Voormann. “But they did.”
Voormann chose to work in pen and black ink, dotted with cut-out portions of photographs of the band members and forming a “waterfall” of imagery.
He says: “When I had finished my work for the cover, [Beatles manager] Brian Epstein was really moved by my design. He said to me: ‘Klaus, what you did is what we really needed. I was scared that the band’s new material wasn’t going to be accepted by their audience, but your cover built that bridge.’”
Voormann adds: “It took me about three weeks to create the cover, but in terms of concentrated work, about a week.” Much of that time was spent with scissors, scalpel and glue, selecting and arranging fragments of photographs within line drawings of the band members.
“In choosing to work in black and white, I wanted not only to shock, but I wanted also for the work to stand out in a muddle of colour. But a psychedelic influence in the Revolver cover? Well, what is psychedelic? Look at Bruegel, or Hieronymus Bosch. Those guys were far out! I don’t know if they ate mushrooms, or whatever. But I know that whatever is inside of you doesn’t have to come out through drugs.”
Creating one of the most recognised and acclaimed covers for one of the greatest pop albums brought Voormann scant reward in the material world. “I got £50, or £40, for it. I would have done it for nothing – and I didn’t feel I was in a position to make it hard for them, by saying, ‘You have to pay me this or that much.’ They [EMI] said £50 is the absolute limit for a record sleeve. That’s what I got. Of course, I could have thought, ‘Well, Brian, if you think that cover is so good, come up [in money].’ Brian just left it to EMI, and EMI paid me £50, or £40.”
Following the success of Revolver and its cover – which won Voormann a Grammy award for artwork in 1966 – the Beatles looked to Peter Blake and Jann Haworth, leading figures of the British pop art movement, for their next cover, Sergeant Pepper’s Lonely Hearts Club Band, for which the couple were paid £200. Next, the group approached another British pop artist, Richard Hamilton, who came up with the white minimalist cover for the 1968 double album, The Beatles – each one an individual artwork thanks to its unique number embossed on the cover. But for many, Revolver stands out as not only the best Beatles cover, but also one of the great works of 20th-century graphic design.
“What was captured in the Revolver artwork was almost the first revolt against the San Francisco, west coast scene, whose look was all about super, hyper colour,” says Professor Lawrence Zeegen, dean of design at Ravensbourne College, London. “Voormann was brave … he kept things very stark. It fits the sound of the album – this very British version of what was happening with psychedelic music was important to capture visually.”

Copies of Birth of an Icon: Revolver 50 can be bought via www.voormann.com