Robert Shields

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A Smithsonian blog post by Rose Eveleth suggests a list of the ten oddest Wikipedia entries. The hands-down winner is the one about Robert Shields, who wrote in his diary every five minutes for decades, detailing, in Seinfeld-ian terms, the most excruciating minutiae imaginable. He essentially live-blogged his life before there were blogs. An excerpt from his Wiki page:

“Believing that discontinuing his diary would be like ‘turning off my life,’  he spent four hours a day in the office on his back porch, in his underwear, recording his body temperature, blood pressure, medications, describing his urination and bowel movements, and slept for only two hours at a time so he could describe his dreams. It is believed that Shields suffered from hypergraphia, an overwhelming urge to write. He once said ‘Maybe by looking into someone’s life at that depth, every minute of every day, they will find out something about all people.’ He also left behind samples of his nose hair for future study.

Shields’s self-described ‘uninhibited,’ ‘spontaneous’ work was astonishing in its mundaneness, and now fills 94 cartons in the collections of Washington State University, to whom he donated the work in 1999. In a May 2000 interview he said ‘I’ve written 1200 poems and at least five of ’em are good.’ He also claimed to have written the story base for Elvis Presley’s film Love Me Tender based on the Reno Gang of Seymour, Indiana where Robert William Shields was born. Copies of the manuscript are at the Kansas State Historical Society, E P Lamborn collection. Shields based his manuscript on John Reno’s 1879 autobiography.

Excerpts:

Under the terms of the donation of his diary to Washington State University, the diary may not be read or subjected to an exact word count for 50 years from his death. However, many excerpts have appeared, including the following:

July 25, 1993:

7 am: I cleaned out the tub and scraped my feet with my fingernails to remove layers of dead skin.

7.05 am: Passed a large, firm stool, and a pint of urine. Used five sheets of paper.

April 18, 1994:

6:30-6:35: I put in the oven two Stouffer’s macaroni and cheese at 350°.

6:35-6:50: I was at the keyboard of the IBM Wheelwriter making entries for the diary.

6.50-7.30: I ate the Stouffer’s macaroni and cheese and Cornelia ate the other one. Grace decided she didn’t want one.

7.30-7.35: We changed the light over the back stoop since the bulb had burnt out.

August 13, 1995:

8.45 am: I shaved twice with the Gillette Sensor blade [and] shaved my neck behind both ears, and crossways of my cheeks, too.”

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Lorene Yarnell was living in Norway with her fourth husband when she died.

Michael Jackson evolved many moves he borrowed from James Brown, but as unlikely as it seems, he may have cribbed just as many Off the Wall and Thriller gyrations from mime duo Robert Shields and Lorene Yarnell. For a brief, shining moment in the late ’70s (while Jackson was in his formative years), the mime couple, billed as Shields and Yarnell, became a television staple, dazzling audiences with a skill that is usually more of a punchline than a showstopper. Their body control was stunning, and it’s not surprising that Shields had studied with Marcel Marceau and Yarnell was a trained dancer.

Shields and Yarnell were married and then they weren’t, but they remained wedded professionally until Yarnell passed away this year at 66 from a cerebral aneurysm. The Times Magazine has a really well-written remembrance of her (and the Shields and Yarnell tandem) by Elizabeth McCracken in its annual “The Lives They Lived” issue. An excerpt:

Shields and Yarnell practiced hours of nostril and eyebrow exercises in order to be believably mechanical. As the Clinkers, they are virtuosic and upsetting, human beings who can pass as robots, playing robots who wish to pass as human. It’s a parody marriage. The Clinkers know they’re supposed to embrace, but they can’t figure out how; they just carom off each other.

The robots, being robots, endure. Michael Jackson was a fan; he apparently modeled not only dance moves but also some of his many-buttoned military costumes on Robert Shields. Hip-hop dancers studied the Clinkers’ automatonics, setting them to music, and the Robot became one of the most lasting of all break-dancing moves. On city corners across the world, you can see street performers, spray-painted white and silver and brass, who for a quarter will ’bot for you, each a monument to Shields and Yarnell.”

Below is a clip, replete with a horrifyingly inauthentic laugh track, of Shields and Yarnell as the Clinkers.

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