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Antoin Sevruguin (late 1830s–1933) was a photographer in İran during the Qajar Dynasty (1785–1925).
Born into a mixed Armenian-Georgian family in the Russian embassy of Tahran, Persia: Antoin Sevruguin was one of the many children of Vassil de Sevruguin and a Georgian Achin Khanoum. Vassil de Sevruguin was a diplomat to Tehran. Achin had raised her children in Tbilisi, Georgia, because she was denied her husband’s pension. After Vassil died in a horse riding accident Antoin gave up the art form of painting, and took up photography to support his family. His brothers Kolia and Emanuel helped him set up a studio in Tehran on Ala al-dawla Street (today Ferdowsi St.).
Many of Antoin’s photographs were taken from 1870-1930. Because Sevruguin spoke Persian as well as other languages, he was capable of communicating to different social strata and tribes from his country Iran. His photos of the royal court, harems, and mosques and other religious monuments were compared to the other Western photographers in Persia. The reigning Shah, Nasir ed-Din (reigned from 1846-1896) took a special interest in photography and many royal buildings and events were portrayed by Sevruguin.
Because Sevruguin travelled Persia and took pictures of the country, his travels record the Iran as it was in his time. Sevruguins pictures show Teheran as a small city. They show monuments, bridges and landscapes which have changed since then.
Some of Sevruguin's portraiture fed preexisting stereotypes of Easterners but nevertheless had a commercial value and today prove to be historical records of regional dress. Photographic studio's in the ninetheenth century advertised a type of picture known in French as "types". These were portraits of typical ethnic groups and their occupation. They informed the European viewer, unfamiliar with Persian culture, about the looks of regional dress, handcraft, religion and professions. Photographing regional costums a was an accepted method of ethnological research in the nineteenth century. Many European ethnological museums bought Sevruguins portraiture to complement their scientific collection. Museums collected pictures of merchants in the bazaar, members of a zurkhana (a wrestlingschool), dervishes, gatherings of crowds to see the taziyeh theatre, people engaged in shiite rituals and more. Sevruguins portraits were also spread as postcards with the text: 'Types persans'. Sevruguin was a photographer who had no boundaries in portraying people of all sorts of social classes and ethnic backgrounds. He portrayed members of the Persian royal family as well as beggars, fellow countrymen of Iran or Westerners, farmers working fields, womenweavers at work, army officers, religious officials, Zoroastrians, Armenians, Lurs, Kurds, Shasavan, Chaldeans, Gilak, Afghans.
Many Westerners who lived in Persia and travellers who visited the country brought back pictures from Sevruguin, mentioning him in travelogues of the time. Sevruguins photographic studio was located on the Avenue Al-Dawla and was not the only photographing studio in this street. Local people could have their picture taken in this studio as well. They could pose in front of a painted backdrop. Most pictures were taken as a glassnegative and printed out as an albumineprint. Often a logo with Sevruguins name was printed on one side of the picture. Many 19th Century tourist misspelled his Sevruguins name, finding it difficult to spell it in Western scripture: Sevraguine, Sevrugin, Sevriogin, Segruvian, and Serunian for example. His name was phonetically spelled Sevr-joe-gien.
In 1908 the world was denied the rich collection of Sevruguin’s images when Cossacks of Muhammad Ali Shah (reigned from 1907-1909) inadvertently bombed his store in suppression of Zahiru’d-Dawla, the constitutionalist Governor of Rasht. His house, along with the whole street was burned. Up to that point Antoin had seven thousand plus photographs. Only two thousand were salvaged. In an attempt to modernize Persia Reza Pahlavi Shah (reigned from 1925-1941) confiscated the remaining traditional images.
After his death from a kidney infection Antoin’s images resurfaced. He was survived by seven children from his marriage to Louise Gourgenian. His daughter Mary reclaimed a portion of the photos through a friendship with Muhammad Reza Pahlavi Shah (reigned from 1941-1979.) 696 of Antoin’s negatives survive today.
Scott McKenzie (born Philip Blondheim, January 10, 1939,[1] Jacksonville, Florida) is an American singer, best known for his 1967 hit single and generational anthem, "San Francisco (Be Sure To Wear Flowers In Your Hair)".[2]
McKenzie grew up in North Carolina ve Virginia, where he became friends with the son of one of his mother's friends, John Phillips. In the mid 1950s, he sang briefly with Tim Rose in a high school group called The Singing Strings, and later with Phillips, Mike Boran and Bill Cleary formed a doo wop band, The Abstracts. In New York, The Abstracts became The Smoothies and recorded two singles with Decca Records, produced by Milt Gabler. In 1961 Phillips and McKenzie met Dick Weissman and formed The Journeymen, which recorded three albums for Capitol Records. After disbanding The Journeymen in 1964, they discussed forming a group called The Mamas & the Papas. McKenzie wanted to perform on his own, so Phillips formed the group with Denny Doherty, Cass Elliot ve Michelle Phillips, his second wife. The group soon moved to Kaliforniya. Two years later, McKenzie followed from New York and signed with Lou Adler's Ode Records.
Phillips wrote and produced "San Francisco (Be Sure To Wear Flowers In Your Hair)", which was released in 1967, for McKenzie. John Phillips played guitar on the recording and Michelle Phillips played bells. The bass line of the song was supplied by session musician Joe Osborn. It became a Top 10 hit in the Amerika Birleşik Devletleri and a number one in the UK and several other countries. It sold over seven million copies globally, and was awarded a gold disc.[3]
McKenzie followed the song with "Like An Old Time Movie", also written and produced by Phillips, which was a minor hit. His first album, The Voice of Scott McKenzie was followed with an album called Stained Glass Morning. He stopped recording in the early 1970s and lived in Joshua Tree, Kaliforniya ve Virginia Beach.
In 1986, he started singing with a new version of The Mamas and the Papas. With Terry Melcher, Mike Love ve John Phillips, he co-wrote the number 1 single for the Beach Boys, "Kokomo" (1988).
By 1998, he had retired from the road version of The Mamas and Papas, and currently resides in Los Angeles, California. He appeared at the Los Angeles tribute concert for John Phillips in 2001, amongst other 1960s contemporary acts.
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