Friday, September 24, 2010

NEW YORK 1942

 



Old New York in Colour - Part III - Lower East Side



From the Charles W. Cushman collection of colour photographs - This set taken in 1942
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New York City Lower East Side Flat bldgs. Clinton St.
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Residents of lower Clinton St near East river Saturday afternoon
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Lower East Side Corner Broome St. Baruch Pl. Saturday afternoon
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Stores near corner of Broome St. and Baruch Place, Lower East Side. New York City
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On New York's lower East Side.
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Tower of Brooklyn Bridge from South St. Manhattan
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Looking up Fulton St. from South St. New York City.
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Above river side drive just north of George. Washington Bridge
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Lower Manhattan
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Doorway - Lower East Side. Manhattan Sunday morning
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Old lady reads Sunday paper. Lower East Side N.Y.C.
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Poverty, young and old, black and white.
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Crowd gathers during Salvage collection in lower East Side.
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Collecting the salvage on lower East Side.
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Sunday sees airing of bed rooms.
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West Canal St.
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A corner on west Canal St.
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New York Street Scene, Lower East Side
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These two live in a big new housing project. Big brother near the East River.
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Corner of Broome St. & Baruch Pl. Sunday
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N.W. corner DeLancey & Lewis Sts.
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Lewis St. North of Delancey
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These boys live here. Block north of Wmsbgh Bridg
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Hot sweet potatoes.
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A block between Avenues A and B.
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Lower First Avenue is spruce looking
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N.E. corner 1st St. and the Bowery
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S. E. corner 1st St. and the Bowery
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Italian bake shop Mid-Manhattan Below Canal St. 58 Mulberry St. New York
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Municipal towers in early morning
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Municipal Bldg. From Park Row
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Corner of Pearl St.
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Municipal Bldg. Tower thru 3rd Ave. L.
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View up Moss Ave.
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Street in New York's Chinatown
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In N.Y.'s Chinatown
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Chinese store windows New York
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East 7th St between 3rd & 2nd
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East 7th St. between 3rd and 2nd Ave.
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Up 4th Ave from Astor Place Cooper Union at right.

Thursday, September 16, 2010

NEW YORKER MAGAZINE COVERS


  • Visualizing answers to artistic questions is a full-time job. I enjoy solving problems that challenge my powers of creativity. Most of my strongest images spring from dreams which have haunted me over the years. The Big City has been a recurring dream all my life, and fittingly, is the subject of much of my art. Being born and raised in Manhattan must have had something to do with it. Many of the New Yorker covers I've created were painted from vivid memories and urban epiphanies

Tuesday, September 14, 2010

AMERICAN VISTA THREE


American Cities
1
Chattanooga, Tenn. in time of war. Soldiers' tents and supply wagons beside the city building. 1864. Mathew Brady collection. (Courtesy of the National Archives)
American Cities
2
Nashville, Tenn., from the statehouse, 1864. Photograph by George N. Barnard. Mathew Brady collection. The statehouse portico guarded by artillery in the foreground. (Courtesy of the National Archives)
American Cities
3
The ruins of Mills House and nearby buildings, Charleston, S.C. A shell-damaged carriage and the remains of a brick chimney in the foreground. 1865. Photograph by George N. Barnard. (Courtesy of the National Archives)
American Cities
4
Shells of the buildings of Richmond, Va., silhouetted against a dark sky after the destruction by Confederates, 1865. Mathew Brady collection. (Courtesy of the National Archives)
American Cities
5
Store-lined street, Salt Lake City, Utah, 1869. Photograph by William H. Jackson. (Courtesy of the National Archives)
American Cities
6
Panorama of Helena, Mont., in 1870. Photograph by William H. Jackson. (Courtesy of the National Archives)
American Cities
7
The weatherbeaten wharves between Piety and Desire Streets, New Orleans, La., August 1881. A group of men seated on the wharves, store-lined street in the background. (Courtesy of the National Archives)
American Cities
8
Bearded Irish clam diggers and a matronly companion on a wharf in Boston, 1882. (Courtesy of the National Archives)
American Cities
9
Oyster fleet in Baltimore Harbor, Md., ca. 1885. Ships' masts dominate the foreground; buildings, horse-drawn wagons, and carts visible through them. (Courtesy of the National Archives)

AMERICAN VISTA TWO


American Cities
10
Smartly dressed couple seated on an 1886-model bicycle for two. The South Portico of the White House, Washington, D.C., in the background. (Courtesy of the National Archives)
American Cities
11
A military parade down the main street of Phoenix, Ariz., ca. 1888. (Courtesy of the National Archives)
American Cities
12
Panorama of Portland, Oreg., in 1890. Mount Hood in the background. (Courtesy of the National Archives)
American Cities
13
Man with a derby hat stands atop a mound of oyster shells outside the C. H. Pearson & Company oyster cannery, Baltimore. Workers bring wheel- barrows of shells from the factory to the heap. ca. 1890. (Courtesy of the National Archives)
American Cities
14
Boston's fisherman's wharf jammed with merchants and dock workers, ca. 1890. (Courtesy of the National Archives)
American Cities
15
"Terminal," by Alfred Steiglitz, 1892. Original lantern slide in the International Museum of Photography, New York. (Courtesy of the National Archives)
American Cities
16
Horse-drawn wagons and carriages, an electric trolley car, and pedestrians congest a cobblestone Philadelphia street in 1897. (Courtesy of the National Archives)
American Cities
17
Two officials of the New York City Tenement House Department inspect a cluttered basement living room, ca. 1900. (Courtesy of the National Archives)
American Cities
18
Easter morning, 1900. New York City's Fifth Avenue bustling with horse-drawn traffic and two motor cars. (Courtesy of the National Archives)
American Cities
19
Residents in front of a dilapidated frame house in Kansas City, ca. 1900. (Courtesy of the National Archives)

FEMME FATALE

imgTag

RAY CHARLES: LOOKING BACK

As his 80th birthday approaches, a look at the life and legacy of the late Ray Charles.


"I just do what I do." That's what Ray Charles told Billboard in June 2002 when asked to assess his role in music history. Of course, Charles' self-effacing response belies a groundbreaking career and a legacy that endures today, as fans look toward celebrating what would have been the legendary artist's 80th birthday Sept. 23. Looking back at Charles' storied career, what comes to mind is the phrase "musical genius." In Charles' case, that's no hype.


Rare & Unseen Ray Charles Photos | Charles on the Charts

80th Birthday Year Events | Charles Charity


In 1954, the artist's melding of gospel and blues yielded the pioneering hit "I've Got a Woman"-and forged an indelible imprint on R&B, rock and pop. His earthy, soulful voice graced a steady stream of classics after "Woman," including "Drown in My Own Tears," "What'd I Say," "Hit the Road Jack," "Unchain My Heart," "I Can't Stop Loving You" and "Georgia on My Mind."

Video below: Ray Charles performs "Hit The Road Jack" in São Paulo, Brazil on September 22, 1963.


Video below: Ray Charles performs "Then I'll Be Home" in Montreux, Switzerland on July 19, 1997.


Just as at home on the Hammond B-3 organ as he was on the piano, he also landed at the top of Billboard's R&B, pop, country and jazz charts-and even the dance chart, collaborating with childhood friend Quincy Jones and Chaka Khan on "I'll Be Good to You."

His final recording, 2004's "Genius Loves Company," made history when it won eight Grammy Awards, including album and record of the year for his pairing with Norah Jones on "Here We Go Again."

But what many may not know is that the inimitable Charles was also a genius when it came to the business side of music. In the early '60s he negotiated a rare feat after leaving Atlantic Records to sign with ABC-Paramount: ownership of his own master recordings. He also established his own labels. Tangerine (his favorite fruit) came first, which later evolved into CrossOver Records.

A songwriter who penned nearly 200 songs, Charles also operated his own publishing companies, Tangerine Music and Racer Music. For these entities, Charles and longtime manager Joe Adams designed and built the RPM International office and studios on Washington Boulevard in Los Angeles. The Ray Charles Memorial Library will open in the building this fall.

Charles also found time to manage the careers of other acts, including Billy Preston and '70s R&B group the Friends of Distinction. And way before it was de rigueur for artists to do, Charles set up what became a foundation to help needy children with hearing disabilities and later on support education.


He was an amazing human being," says Jones, 77, who became friends with Charles when both were scrappy teenagers in Seattle. "A true innovator who revolutionized music and the business of music," he adds. "Growing up, we only had the radio; no Michael Jackson, Diddy or Oprah. So it was hard to imagine today's entrepreneurial world. But that didn't stop us. We spent a lot of time talking and dreaming about things that brothers had never done before."

"He really was a genius," says singer Solomon Burke, a former Atlantic labelmate. "He did things the way he wanted."

Charles was born Ray Charles Robinson Sept. 23, 1930, in Albany, Ga. As many learned through actor Jamie Foxx's Academy Award-winning portrayal in the 2004 film "Ray," Charles became blind by age 7 and orphaned at 15 while growing up in northwest Florida.

In eight years at a state school for the blind, the young Charles learned how to read and write music. Leaving Florida in 1947, he headed for Seattle ("Choosing the farthest place he could find from Florida," Jones says), where he notched his first hit two years later as a member of the Maxin Trio, "Confession Blues."

Even then, Charles was an enterprising individual. "He had his own apartment, record player, two pairs of pimp shoes, and here I am still living at home," Jones recalls with a laugh. "His mother trained him not to be blind: no cane, no dogs, no cup. His scuffed-up shoes... that was his guide and driving force. He was the most independent dude I ever saw in my life. Ray would get blind only when pretty girls came around."

Signing with Atlantic Records in 1952, Charles as a West Coast jazz and blues man recorded such songs as "It Should've Been Me" and label co-founder Ahmet Ertegun's composition, "Mess Around."

Then he connected in 1954 with "I've Got a Woman," which set off a chain reaction of more hits capitalizing on his bold gospel/blues fusion. But Charles was just getting started. In 1958, he performed at the Newport Jazz Festival, accompanied by a band that featured such jazz cats as saxophonists David "Fathead" Newman and Hank Crawford. Further bucking convention, he recorded "The Genius of Ray Charles," a 1959 release offering standards on one side (including "Come Rain or Come Shine") and big band numbers on the other, featuring members of Count Basie's orchestra and several arrangements by Jones.


Video below: Charles' 1966 Coke commercial, "So Tired."



Leaving Atlantic for ABC-Paramount, a fearless Charles recorded the seminal "Genius + Soul = Jazz" album in 1961. A year later, his earlier dabbling in country music grew serious with the release of the million-selling "Modern Sounds in Country and Western Music."

Complemented by lush strings and a harmony-rich choir, he scored with covers of Don Gibson's "I Can't Stop Loving You" and Ted Daffan's "Born to Lose"-and spent 14 weeks at No. 1 on the Billboard 200.




For a black man to do this in 1962 was unheard of," says Tony Gumina, president of the Ray Charles Marketing Group, which handles the late artist's licensing affairs. "He was trying to sell records to people who didn't want to drink from the same water fountain as him. But this was one of his greatest creative and business moves: to not be categorized musically and cross over. Though he never worried about it, he was resigned to the fact that he might lose some core fans. But he thought he'd gain far more in the process."

Gumina was operating his own promotion company working with state lotteries when he met Charles in 1999. The two teamed up on a series of commercials for various state lotteries and also introduced a line of Ray Charles slot machines also accessible to the blind.

"Everything he did had a business acumen to it," says Gumina, who cites Charles' liaison with manager Adams as a pivotal turning point. Originally hired to be Charles' stage announcer, former radio DJ Adams segued into overseeing production of the singer's shows, lighting and wardrobe.

Together the pair designed and built Charles' L.A. business base, RPM International (Recording, Publishing and Management) studio. When he began recording there in 1965, the label rented the studio from him, so he made money on his recordings before they were even released.

To save money on travel expenses, Charles purchased an airplane to ferry his band around to gigs. A smaller plane was also acquired so that Charles could wing in to, say, New York to record a couple of songs before flying back out in time for a show.

"He understood the entertainment business enough to know that you may not be popular forever," Gumina says, "and you need to maximize your product. At the same time, he had as much fun as any rock star but without the sad money stories. There was a time to work and a time to play, and he knew the difference. He didn't have a bunch of homes or a large entourage. That's why he was able to save $50 million before he died."

Calling Charles an "incredibly smart man," Concord president John Burk says he learned a lot from the ailing singer while he was recording his final studio album, "Genius Loves Company."

Video below: Ray Charles performs "It Ain't Easy Being Green" in Trentnton, NJ on Nov. 7, 2002.


Going through "some sticky deal points, he was amazing," Burk recalls. "He had the whole agreement in his head. Without referencing any material, he knew all the terms we proposed and had the deal done for the album in two discussions."

Creatively, Burk says Charles was an artist dedicated to delivering "a true performance from the heart. Part of his creative legacy was his approach to singing. He opened the door to vocal improvisations, changing how people perceived you could sing a song. Many singers today are influenced by him and they don't even know it."


Rare & Unseen Ray Charles Photos | Charles on the Charts

80th Birthday Year Events | Charles Charity

WHACKO JACKO - AN ODYSSEY

Digital art selected for the Daily Inspiration #528

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I HATE CRACKHEAD VAMPIRE MOMMIES THAT FORGET TO LEAVE JUNIOR SOME BLOOD IN THE FRIDGE FOR BREAKFAST.
NOW I GOTSTA GO AND SUCK SOME BLOOD OUT OF MISS TANDY THE MATH TEACHER 
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