Showing posts with label music photography. Show all posts
Showing posts with label music photography. Show all posts

Monday, May 20, 2024

Save the date June 8 for a Gallery Talk With Amalie R. Rothschild

 

Amalie R. Rothschild
Janis and Tina, Madison Square Garden, November 27, 1969

Gallery Talk With Amalie R. Rothschild

Award-winning photographer, filmmaker and author of “Live At The Fillmore East”



Santa Fe--Monroe Gallery of Photography, 112 Don Gaspar, is pleased to announce a gallery talk, free and open to the public, with acclaimed photographer and filmmaker Amalie R. Rothschild on Saturday, June 8. RSVP is essentialRSVP is essential, seating is limited and the talk will begin promptly at 4:30. A special selection of Rothschild’s rock photographs will be on exhibit alongside the current “1964” exhibit. current “1964” exhibit.

An award winning filmmaker and photographer, Rothschild studied with Harry Callahan at RISD and Paul Caponigro at NYU where she made her first film; it was shown at the 1970 New York Film Festival.

She is noted for her documentaries about social issues as revealed through the lives of people in the arts, and for her photographs of seminal rock events, venues and musicians from 1968 to 1974. She was a member of the Joshua Light Show at the Fillmore East Theater in New York producing special effects photography, slides, graphics, films and film loops used during performances and was considered the theater’s unofficial house photographer. She had unlimited access onstage and backstage to all the happenings at the Fillmore East, and was on staff at the 1969 Woodstock Festival.

During that period she photographed most of the major rock music events on the East Coast including the 1969 Newport Festival, Tanglewood 1969 & 1970, The Who’s U.S. premiere of their rock opera Tommy and the Rolling Stones at Madison Square Garden, Bob Dylan’s 1974 tour, and in England the 1969 Isle of Wight Festival, as well as anti-war/peace demonstrations in the U.S. during the 1960s. Her monograph “Live at the Fillmore East: A Photographic Memoir,” was published in 1999.

In this talk she will discuss how being in the right place at the right time, and the accident of her documentary impulses, led her to record the birth of rock theater and how this created a 20,000 picture archive which has sustained her professionally into her 70s.

Gallery hours are 10 to 5 Daily. Admission is free. For further information, please call: 505.992.0800; E-mail: info@monroegallery.com. Both exhibitions continue through June 23, 2024.




Saturday, February 13, 2016

“Anything was fodder for the camera with Bill Eppridge”

Beatles Press Conference. Copyright Bill Eppridge
©Bill Eppridge: Beatles Press Conference, 1964
Bill Eppridge shot 90 rolls of film while traveling with the Beatles in February 1964. Life Magazine published four photos

Ken Dixon: Gazing at history through a long lens
The Connecticut Post
February 13, 2016


Lets all get up and dance to a song that was a hit before your mother was born …”
John Lennon, Paul McCartney

This column is about “The Beatles - 6 Days That Changed the World February 1964,” photographic evidence of the late Bill Eppridge’s crazy, fun week with the Fab Four and their fans in New York and Washington, with a couple of wacky train rides to boot.

But it’s also about music, memory, history and the role of photography, the scientific process that someone with an eye, interpersonal skills and degrees of luck can use to make artful journalism.

Dozens of photos from the 90 rolls of film Eppridge shot that week are beautifully hung on the walls in the Art Gallery in the Visual & Performing Arts Center at Western Connecticut State University’s Westside Campus. The hours are Monday through Thursday, noon to 4 p.m. and weekends from 1 to 4 p.m. It’s a tour de force that runs through March 13. He’s represented by the Monroe Gallery of Photography in Santa Fe.

Grandmothers will remember being teens and tweens. Forty-somethings may contemplate the changes the Beatles wrought to music and culture. And millennials can discover a simple slice of 20th Century social phenomena without the chore of too much reading.

My favorite photo was captured outside The Plaza Hotel in New York. An amused black-clad chauffeur is trying to unload The Beatles’ baggage in a scrum of girls. One kid, with a huge smile, is hugging a guitar case as if it were Paul McCartney himself. If she was 14 then, she’s 66 now. Every time I look at the image it makes me laugh out loud.

Eppridge, a famous photographer for Life magazine and Sports Illustrated, died in Danbury about 2 1/2 years ago at 74. When President John F. Kennedy was murdered in November of 1963, Eppridge was with mountaineers in the Alps. He came off Mont Blanc, the tallest in Europe, where a local priest told him of the assassination. In just a few years, as the sassy ’60s unwound in violence and cynicism, he would get extremely close to another Kennedy murder.

On the morning the Beatles landed, Feb. 7, Eppridge got the assignment to meet them at the newly renamed JFK International Airport.

A welcome relief after the president’s murder less than three months earlier, the lads from Liverpool were met by thousands of teenagers. Eppridge called his editor and said he wanted to stay with the band for a few days.

“I liked these guys immediately,” Eppridge recalled in the 2013 book of photos about the week, published by Rizzoli. “Shortly after, Ringo Starr turned to me and said, ‘All right, Mr. Life Magazine, what can we do for you?’ ‘Nothing,’ I said, ‘not one single thing. Just be you and I’ll turn invisible. I won’t ask you to do a thing.’”

In the winter of 1964, the United States needed The Beatles and their pop harmonies. On Sunday night, Feb. 9, they took “The Ed Sullivan Show” by storm.

Monday, Feb. 10, was a nasty, cold rainy day in Stamford. It was so horrible that the runny-nosed masses at Belltown School — usually confined to the playground in all weather until school started — were allowed inside, to line up on a stairwell, dripping wet, to await the 9 o’clock bell. All the fourth-grade chatter was about The Beatles appearance the night before and who might be a kid’s favorite.

Alas, we were a “Disney” family on Sunday nights, watching wholesome entertainment on another TV network, rather than the usual cavalcade of nightclub comics and crooners that Sullivan trotted out every week for CBS.

I knew nothing about the Beatles, was drastically behind the pop curve and never really caught up. Maybe that’s why I’m a contrarian newspaper reporter.

Of course, I eventually found the Beatles and their poppy tunes and startling harmonies. You can easily catch their Ed Sullivan appearances on the Internet. Those first 13 minutes, with “All My Loving.” “Till There was You,” “She Loves You,” “I Saw Her Standing There” and “I Want to Hold Your Hand” say almost all you need to know about the innocent, early ’60s.

“Anything was fodder for the camera with Bill,” recalled Adrienne Aurichio, Eppridge’s wife and collaborator, who held a gallery talk the other night at WestConn. Among his 900 assignments were Dr. Jonas Salk, who defeated polio, actress Mia Farrow, President Lyndon Johnson, Woodstock, Barbra Streisand and Vietnam.

In a way, the Beatles were a welcome respite as the remainder of the ’60s played out. By the fall of 1964, Eppridge was practically living with a couple of heroin addicts for Life’s stark, harrowing, graphic “Needle Park” report on drug users at 72nd Street and Broadway. Maybe in 50-plus years we haven’t really evolved too much, as the latest heroin epidemic plays out.

Eppridge is most famous for the iconic image of Robert F. Kennedy dying on the floor of the Ambassador Hotel in Los Angeles, a bus boy by his side, after winning the California presidential primary in 1968. The murder occurred two months after the assassination of the Rev. Dr. Martin Luther King Jr. The ’60s were surely over.

Last week, RFK’s killer, Sirhan Sirhan, now 71, was denied parole for the 15th time.

Ken Dixon’s Capitol View appears Sundays in the Hearst Connecticut Newspapers. You may reach him in the Capitol at 860-549-4670 or at kdixon@ctpost.com. Find him at twitter.com/KenDixonCT. His Facebook address is kendixonct.hearst. Dixon’s Connecticut Blog-o-rama can be seen at blog.ctnews.com/dixon/

Tuesday, January 19, 2016

Exhibit | They Broke the Mold



Via CraveOnline
January 19, 2016
By Miss Rosen

Janis and Tina, Madison Square Garden, November 27, 1969
©Amalie R. Rothschild: Janis and Tina at Madison Square Garden, November 27, 1969.
“Wrong is right,” observed Thelonious Monk. “I say, play your own way. Don’t play what the public wants. You play what you want and let the public pick up on what you’re doing? even if it does take them fifteen, twenty years.”

Musicians of the past were not only artists—they were visionaries. Before video killed the radio star and digital replaced the analogue world, musicians like Chuck Berry, Jimi Hendrix, and David Bowie were changing the cultural landscape. “They Broke the Mold”, a collection of classic music photographs, is currently on view at the Monroe Gallery of Photography, Santa Fe, NM, through January 30, 2016.


The Supremes, Hitsville, Detroit, 1965
















©Art Shay: The Supremes, Hitsville, Detroit, 1965


Featuring photographs taken between 1931-1974, the exhibition begins with a work by Alfred Eisenstaedt, “Violinist Nathan Milstein, pianist Vladimir Horowitz & cellist Gregor Piatigorsky after a concert, Berlin, Germany.” The early formality of live performance is evident in other works, images of Louis Armstrong, Frank Sinatra, and Sammy Davis Jr. wearing tuxedos, Eartha Kitt and Judy Garland draped in evening gowns.

As time goes by, we witness a radical cultural shift, perhaps beautifully exemplified by a photograph of the Beatles taken by Bob Gomel in Miami in 1964. Lying out on sun chairs, fully or partially dressed, the Beatles look like nothing so much as British lads unfamiliar with the idea of catching a tan. With this image, we see the British invasion in its most self-conscious form.


darry 2
©Eddie Adams: Louis Armstrong, Opening Night, Las Vegas, 1970

The times turn as a new, more radical era emerges, one beautifully rendered in Steve Schapiro’s 1965 photograph of Andy Warhol, Nico and the Velvet Underground in Los Angeles. Here we enter the age of the rock star and the freedom that is unleashed as the rise of pop culture dominates the world.

As the 1960s transform into the early ‘70s, a new kind of artist arrives in the form of Tina Turner, Janis Joplin, and Freddie Mercury. The diva incarnate returns to the stage, capturing our imagination. “I won’t be a rock star. I will be a legend,” Freddie Mercury said, playing the part to the hilt. He knew his time here would be brief, and like many others in “They Broke the Mold”, he lived it to the fullest. To one interviewer, Mercury replied, “What will I be doing in twenty years’ time? I’ll be dead, darling! Are you crazy?”

Such as it is with so many of the greats who live fast, die young, and leave a beautiful corpse. But others live long and full lives, and it is here in the photographs that we can remember the very best of times.
They Broke the Mold” is currently on view at the Monroe Gallery of Photography, Santa Fe, NM, through January 30, 2016.
All photos courtesy Monroe Gallery of Photography.

Miss Rosen is a New York-based writer, curator, and brand strategist. There is nothing she adores so much as photography and books. A small part of her wishes she had a proper library, like in the game of Clue. Then she could blaze and write soliloquies to her in and out of print loves.


Sunday, January 17, 2016

Steve Schapiro remembers David Bowie, his muse

David Bowie
David Bowie in his dressing room while filming "The Man Who Fell to Earth" in 1975.
(Steve Schapiro)

The Chicago Tribune
By Rick Kogan
January 14, 2016

World-renowned photographer Steve Schapiro, who moved to Chicago with his wife, Maura, in 2007, has in his lengthy career taken millions of photos, many of them collected in stunning books.

He is in his early 80s, and the list of his subjects is almost surreal in its breadth: Marlon Brando, Robert Kennedy, Andy Warhol, Martin Luther King Jr., Chevy Chase (Schapiro and his wife are the godparents of the actor's daughter), Jerry Garcia, Barbra Streisand, Woody Allen, Orson Welles, Johnny Depp, Mae West, Satchel Paige, Ray Charles, Frank Sinatra, Ringo Starr, Ike and Tina Turner (together), Buster Keaton, Richard Pryor, Sophia Loren … It goes on.

He also shot David Bowie. One of his photos was used for the cover of 2014's "Nothing Has Changed" and, in the wake of the artist's death, Schapiro remembered:

"It was 1974 when I first photographed David. From the moment he arrived, we seemed to hit it off. He was incredibly intelligent, calm, and filled with ideas.

"He talked a lot about Aleister Crowley, whose esoteric writings he was heavily into at the time. And when he heard that I had photographed Buster Keaton, one of his heroes, we talked about him and immediately became friends.

"Our first session started at four in the afternoon. David would come out in incredible costumes, each seemingly turning him into a different person. I would raise my camera to shoot and he would say, 'Wait just a minute, I have to fix something,' and 20 minutes later he would come out in a totally different outfit.

"We decided to do a close portrait on a dark green background because we felt it would make the worst possible color for a magazine cover. We laughed about it, but eventually it did become a cover for People magazine (in September of 1976).

"That session lasted from four in the afternoon to four in the morning, and the last photograph of David was on his bike, lit by the headlights of a car.

"Over these many years I would find photos of David in my files, photos that I had totally overlooked, unexpected and pleasant surprises. Working with an amazingly talented person can be collaborative, often unspoken. The photographs I took were David's ideas, brought from his imagination into the real world. I was merely the conduit from genius into the light of day."

Copyright © 2016, Chicago Tribune

Steve Schapiro's photographs of David Bowie are included in the exhibition "The Broke The Mold", on view through February 7, 2016.

Friday, December 11, 2015

Remembering Frank Sinatra on the centennial anniversary of his birth on December 12, 1915


Frank Sinatra

 ©mptvimages


Born in Hoboken, New Jersey, on December 12, 1915, Frank Sinatra rose to fame singing big band numbers. In the '40s and '50s, he had a dazzling array of hit songs and albums and went on to appear in dozens of films, winning a supporting actor Oscar for From Here to Eternity. He left behind a massive catalog of work that includes iconic tunes like "Love and Marriage," "Strangers in the Night," "My Way" and "New York, New York." He died on May 14, 1998 in Los Angeles, California.

Photographs of Frank Sinatra are featured in the exhibition "The Broke The Mold", though January30, 2016. The new book, "Frank Sinatra: The Photographs" is also available from the gallery.


LIFE: Frank Sinatra’s Life in Photos

Frank Sinatra Official Website

Thursday, November 26, 2015

A Rock and Roll Thanksgiving, 1969



Amalie R. Rothschild: Janis and Tina, Madison Square Garden, November 27, 1969


"This is possibly my favorite picture and certainly my best known photograph. I convinced one of the security guys to help me get a good position and I used my 300mm lens. It was Thanksgiving Day and Bill Graham, as usual, gave a dinner at the Fillmore East for the whole staff and “Fillmore Family.” Janis was in NY and all alone, so she joined us. We had tickets for the Rolling Stones concert later that evening at the Garden and we all went together. Ike and Tina Turner were the opening act and at some point Tina noticed Janis at the side of the stage and invited her up to sing a number with her. I think this is the only time they sang together and I wish I could remember what the song was." -- Amalie R. Rothschild

 Join us Friday, Nov 27 from 5 – 7 for the opening reception for “They Broke The Mold”, an extensive exhibition of classic photographs of ground-breaking and important singers and entertainers.

Related: Brian Hamill writes about The Rolling Stones

Wednesday, November 25, 2015

Photojournalist Brian Hamill on The Rolling Stones


Several photographs by Brian Hamill are included in the current exhibition "They Broke The Mold". In this article for the Huffington Post, Brian recalls the 1960s and the Rolling Stones.

Via The Huffington Post
November 20, 2015
by Brian Hamill

Let It Bleed, Bro: The Rolling Stones Take the Sixties By Storm

The sixties were -- mostly -- way cool.

 Lights and darks. Highs and lows. Cheers and tears. Always, excitement.
Despite the roller-coaster extremes of what was going on, those of us who partied hard in that decade will always remember it as the best of times. And the worst of times.

This generation is sick of hearing all that. I can dig it. But those of us who lived it have it carved in stone in our collective memories. A lot of shit went down. It wasn't just our long hair. We didn't need technological devices that the "Looking-Down" (at cell phones) generation of today depend upon to function. Technology is their new drug, adding layers of distance from face to face real-life, and creating anxiety with "social media" pressure.

We looked into each other's blood-shot eyes and spoke live.
We didn't need to look at a screen to know how to act.
We believed in a form of hip chaos.
We didn't worry about ending sentences with a preposition.
"Where the party at?"

My crew was: diddy- boppin', finger-poppin', jukin', jivin', dancin', table-hoppin', joint-sharin', bar-hoppin', club goin', fun-lovin' protest-marchin' motherfuckers.

 We didn't need no stinking cellphones!!

Let the music roll now.

Sinatra, Elvis, Ray Charles, Sam Cooke, Jackie Wilson, The Isley Brothers, and lots of Doo-Wop were in my music stash as the decade began.

In the fall of 1963, Marvin Gaye released a single, "Can I get a Witness". My man Marvin was totally cool. I listened to that 45-R.P.M. several times a day during my freshman year at college. I will listen to him until the day I throw a seven.

Two months later, on November 22nd, President JFK was assassinated by a crummy stooge. The nation was shocked and saddened. We all remember where we were when it happened.

The Beatles exploded on the set too. NYC was like, WOW! The nation was like, WOW! We dug them to the hilt. In a small way they helped lessen the pain of our president's murder. On February 9, 1964 we all got to see them perform on The Ed Sullivan Show. Another WOW!

In my hood in Brooklyn, they helped turn dudes, me included, from hitters into hippies. Bob Dylan reinforced that vibe with great songs of protest like, "Blowin' in the Wind," and "The Times They Are a Changin". He was "our" poet. A definite WOW!

Another big event of 1964 was the first Muhammad Ali vs. Sonny Liston fight on February 24th in Miami. We saw Ali (then Cassius Clay) put a ti-fi ass whuppin' on the Big Ugly Bear. My crowd was jubilant. We loved him. We still do. Ali is one of the truly great Americans and the most iconic person I have had the privilege to photograph.

In July, there was a riot in Harlem a few days after a cop shot and killed a 15-year-old black kid in the east 70's during a lame incident and a questionable confrontation. It was a long, hot summer afterward.

Then came the Rolling Stones.

Also in 1964, while working a summer gig as a copy-boy at the NY Post, my co-worker Fred Waitzkin (who is now a gifted, distinguished author) pulled my coat to The Rolling Stones. I had heard them on the radio, but I was still all over The Beatles and Dylan to pay them "no-never-mind". The next day after our Stones convo Fred brought in the Rolling Stones' recently released first album, "The Rolling Stones". The cover photograph provoked my interest.

They looked bad. The old school Brooklyn in me liked that look. Fred implored me to get a copy.

To this day, I am indebted to Fred's fabulous taste in music. The Stones did awesome rockin' covers of songs from America's wonderful, under-appreciated, black blues artists. The album still rocks my soul. The Stones most definitely mined the U.S.A. for much of their creative inspiration and to honor those legends like Muddy Waters whose material they covered.

In late October 1964, I took the subway to E 14th Street to cop a pair of kicks. It was an early Saturday afternoon and in those days, E 14th between 3rd and 4th Avenues had at least ten shoe stores to explore and I was a shoe freak. I was very down with the block as well, having trained as a teenage fighter there at the storied Gramercy Gym run by the legendary boxing guru Cus D'Amato who made Floyd Patterson, Jose Torres and Mike Tyson into world champions. From 1960-1962, I was taught the boxing skills and discipline of Cus's style by the brilliant boxing trainer Joey Fariello.
The Gramercy stable-mates often watched championship fights on closed-circuit TV next door at The Academy of Music. As I started eye-tapping the parade of shoes in each store window, I gazed up at the Academy marquee: The Rolling Stones -- 2:00 and 7 PM.

In those days I lived on very short dough, barely enough to buy the European shoes I dug. I walked in my worn shoes to the box-office and confirmed that the Stones were playing an afternoon gig. As I recall, a ticket was a pricey $6.00. (Stones freaks can check the internet). I decided to score the shoes.

As I started to descend the subway steps after my shoe purchase, with less than ten dollars left to my name, I heard Mick Jagger's voice in my head singing his cover of "I Just Want to Make Love to You". Later for Brooklyn. I ran back up the subway stairs and I took my impulsive young ass, and my new kicks into the Academy of Music to see The Rolling Stones.

The joint was half-empty.

Mick Jagger moved around the stage like an epileptic chicken but the dude was dazzling. He sang like a champ. The band played an energizing, unpolished yet mesmerizing combo of blues and rock. Jagger did not have James Brown's moves, but he displayed a certain uninhibited moving, stage-mastery that made one believe the man could actually dance. Put all those elements together with heartfelt, powerful songs and I knew I had just witnessed a sensational show. I can't remember what those 14th Street/European shoes looked like, but I'll never forget the Rolling Stones at The Academy of Music. Their future was stretched out in front of them.

It was a bright one.

My Stones jones began after watching that gig and it has lasted a lifetime.

On February 21st, 1965 Malcolm X got assassinated at the Audubon Ballroom in NYC. He was only 39 years old. They arrested, tried, and convicted three people for his murder. Another sterling leader with vision was gone too soon. That following summer, I was trying on a pair of shoes in Bloom's in the Village on 6th Avenue next to the Waverly theater when a gorgeous girl with long blonde hair, and a long white dress holding a large bouquet of flowers came up to me, and handed me a beauty and said:"Flower Power", and hit me with a big, radiant smile. I smiled back, speechless. It was a serenity moment.

But it would not last for too long.

I was listening to a lot of Motown including Smokey, The Temps, Mary Wells, Marvin, Martha and the Vandellas. I was just layin' in the cut when I heard about the Watts riot in LA. It was a different kind of "Dancin' in the Streets".

During the summer of love in 1967, Hippie Hill in Prospect Park where we hung out attracted hundreds of people not only from other hoods, but from other states! It was a cool outdoor party day and night.

Lots of my friends, including me, had gotten drafted into the "green-machine" (US ARMY) in 1966. A chunk of them went to Vietnam including my kid bother Johnny and my best friend GR (George Ryan). Luckily, I didn't. I was still able to do the hippie scene traveling home from my Army base on many weekends minus my long hair. Most neighborhood 'Nam dudes came back to the world. Sadly, a few didn't. Several of those who returned had emotional guilt-ridden thoughts, vivid nightmares, and panic attacks that were later characterized as PTSD. It was disturbing to witness. Some still suffer from that serious illness. It is truly a drag. I got out of the "green-machine" in April, 1968. But a week before I was discharged, Martin Luther King was murdered by a racist creep. I remember my mother crying on the phone about Dr. King right after his murder.

Another strong, peaceful leader was gone.

Six weeks after that I was in the kitchen of the Ambassador Hotel in LA with my camera when Bobby Kennedy got assassinated on June 5th, 1968 by a young fanatic with two first names. I had just walked right past this bum before he pulled out the gun. It was the worst night of my young life. I spent the next month after that horrible night hanging out in Laguna Beach listening to music, drinking beer, smoking weed, looking at beautiful surfer girls, just trying to cool out and maintain.
On July 18th, 1969 Teddy Kennedy had an alcohol-influenced car accident but did the wrong thing right after at Chappaquiddick. A special young woman died.

On August 9th, 1969 the jailhouse punk Charles Manson manipulated some of his stupid, idolatry-prone, and acid-laced minions to go from the Spahn ranch in the desert to LA to murder "rich people" and ended up slaughtering a cluster of decent, nice people including an eight-and-a-half-month pregnant woman named Sharon Tate. That swine Manson had the nerve to use a Beatle song (Helter Skelter) to swindle the minds of his fucked-up followers. That whole deal wigged me out. The whole nation shuttered behind it.

Yeah, the sixties had its casualties. It wasn't all a cool party.

A few days later I landed in Woodstock -- the festival -- not the actual town. I needed the "peace and serenity" and, of course, the wonderful music, but equally important the four hundred thousand people who shared the fantastic, once-in-a-lifetime event with me, including GR and about twenty other people from my Brooklyn neighborhood.

We just had a ball -- that's all.

At around the same time, Richard Nixon was slithering around the White House already adding names to his "enemies list," the dirty tricks were in action, and the "Peace with Honor" jive was getting swallowed by the Silent Majority while the real "silent majority" were the dead Americans in Vietnam.

The "Summer of Love" was a fading memory.

On November 15th, 1969 I found myself in front of the White House with a group of friends and a couple of my brothers at the Moratorium March on Washington where we further protested the Vietnam War. It was like the Woodstock of protest marches among another half million people demanding that Nixon should end the war. It fell on deaf ears.

There were three New York miracles in 1969.

First, the Amazin' Mets won the World Series. Then Joe Namath's white kicks danced the Jets to a Super-Bowl triumph.

The third miracle happened forty-six years ago today. On Thanksgiving night, November 27th, 1969, The Rolling Stones held their first Madison Square Garden Concert. The Stones had moved from the half-full Academy of Music just five years earlier to a sold-out arena holding twenty thousand people. I photographed that astounding show from the lip of the stage. It was a ringside seat to history. I was in the right place at the right time. I was lucky. The Stones kicked out the jams with a wild, foot-stomping, "Jumpin' Jack Flash". The audience went crazy! The Stones were in superlative form.

Jagger bounced on stage wearing an Uncle Sam hat, and that man's hat was where he was at! He had on a black outfit with an eye-catching design on his chest (a Leo sign, an Omega sign, take your pick, freaks). The dramatic lights illuminated the silver studs up the seams of his skinny pants. He sported a studded black choker and a crimson colored scarf around his long neck. He looked as bad as he wanted to be! He was dancing' and prancin' and singing his young ass off! That night, at 27 years old, Jagger owned legitimate self-confidence, youthful soul, and the non-stop vitality of a star for the rock and roll ages. He was like a human tornado, spinning back and forth across the stage belting out that great bluesy voice that has always distinguished him from other white singers. But Jagger had big help from the magic and the music of the great rock and roll band with him -- Keith Richards, Charlie Watts, Bill Wyman, and newcomer Mick Taylor. They took rock music to another level, the same way Ali did wonders for boxing -- excuse me, they were the Rolling Stones. They were not just an appendage to Jagger's lead singer deal; the four dudes with him were all immensely talented.
Ladies and gentleman, the Rolling Stones, turned the joint out!

They owned the Garden. They opened the noses of a multitude of women in the audience. Some dudes too.

Their sound system was more sophisticated and the lighting was cooler and the set list was a combo of terrific songs from the Beggars Banquet album and new ones from the soon-to-be-released Let It Bleed album, including the opera-like "Midnight Rambler" with two fabulous Chuck Berry songs ("Carol" and "Little Queenie") and their own classic, "Satisfaction", thrown into the superb mix. But they still had that unpolished raw energy from the Academy of Music that will be forever young and fun and bad ass. Some critics have said that the political turmoil that went down during the decade motivated the new darker, Let It Bleed lyrics. They were certainly more provocative and edgy. Whatever the inspiration, the evolving Jagger/Richards writing team displayed more creative, complex, and profound songs. That night in the Garden, the Stones reached a pinnacle in Rock and Roll history with this thrilling, mind-blowing concert. Period.

They OUTWOWED all previous live performances by anyone I had ever seen before or since. They turned my head!

As a matter of fact, it was a gas.

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All Photographs ©Brian Hamill

Thursday, December 15, 2011

Mick Rock Survives the ’70s to Shoot Again


Lee Clower for The New York Times
 
Via The New York Times

By BOB MORRIS
Published: December 14, 2011


COFFEE. Mick Rock, the rock ’n’ roll photographer as famous for his hedonistic lifestyle as for his iconic images of debauchery and excess, was drinking nothing more than coffee. It was 5 p.m. on a recent Tuesday, and while hotel guests drank cocktails at the lounge of the W New York Downtown, Mr. Rock, a slim and youthful man in his 60s in tinted glasses, got his fix.       

NYT Slideshow here

“Sometimes when I really want to go wild, I’ll have two cups,” he said.

It was the night before “Rocked,” an exhibition of his photographs, was to open on Dec. 7 with a big party, featuring a performance by Phantogram and a D.J. set by Mark Ronson. On the walls in the lounge around him, Madonna, Mick Jagger and Dave Grohl of the Foo Fighters stuck out their tongues with confrontational glee. A young Iggy Pop (sweaty and shirtless, of course) worked some gold lamé pants. Lou Reed, Freddie Mercury and David Bowie leered under so much mascara they could have been raccoons.

 Outside, beyond a balcony, the 9/11 memorial-in-progress gaped.

“It’s amazing, what’s going on down here,” Mr. Rock said of all the construction in a downtown he knew more for drug deals, illegal nightclubs and transsexuals, not patriotism and real estate speculators. “But I guess you just can’t keep New York down.”

You can pretty much say the same about him.

Born as Michael in West London, Mr. Rock was a typical good-looking bad boy of his day with a very nice mum named Joan, who sometimes still asks when he’s going to get a real job.

After rocketing out of Cambridge University in 1970, infatuated with Blake, Rimbaud, Verlaine, Mallarmé and poets who consumed as much opium and absinthe as sleep, he was drawn like a well-educated moth to the flaming scene of Syd Barrett, Roxy Music, David Bowie, the Sex Pistols and all types of punks and glam rockers in London. He then moved to New York in the mid-1970s to continue his career, photographing Blondie, the Velvet Underground, the New York Dolls, Joan Jett and other punk and big-hair bands.

“I was intuitive and lucky to be around,” he said. “I also looked like them, and that made it easier to accept me.”

As much the party instigator as chronicler, he would bounce up and down like a pogo-ing punk rocker while taking pictures, giddy as a child awaiting a gift. One time Andy Warhol pointed out that he was bouncing on a stack of Mr. Warhol’s finished canvases. “I guess you could just say I’m an enthusiast,” Mr. Rock said.

He was trustworthy, too, and did not sell photographs of drug abuse and other unseemly moments that could damage careers. But then, this was before the age of tear-down tabloids and blogs. “Newspapers and magazines didn’t want pictures of musicians behaving badly back then,” Mr. Rock said with a sunny working-class lilt. “Now, because of the Internet, that’s all the media wants.”

In his heyday, as he acquired his reputation as “the man who shot the ’70s,” he partied all night in New York with the stars he shot, dating the same women and sharing the same drugs. Many he knew fell to AIDS and heroin addiction. Others survived, and many thrived. “It’s a miracle that David Bowie, Lou Reed and Iggy Pop are actually still alive today, given how hard they lived,” he said.

After bouncing, drinking, drugging and staying up till dawn for 20 years, he hit bottom in 1996, at 48, when he had a heart attack requiring a quadruple bypass. He’d had several attacks right before that, one during a shoot. His lifestyle was catching up with him.

“It was a warning that it was time to stop,” he said.

He had no health insurance. But he had powerful friends who wanted to pay to save him.

He came out of the operation with a faltering career but a newfound determination to stay sober. He was not, to quote a Blondie lyric, going to “die young and stay pretty.”
Industry friends were supportive, as were musicians and galleries who drew from his archives to create books and exhibitions of his work. By the new millennium, he was starting to rebound, and soon was busy shooting Snoop Dogg, Alicia Keys and other young stars.

“I did not want to be somebody who lived off his reputation,” he said. “I wanted to continue to be part of the modern music scene.” It seems to have worked out very nicely.

Now he’s smart enough to let others stay up late and carry on, “although these days all they have to do to shock people is light up a cigarette,” he said. Despite his legacy, he isn’t one to live in the past. He adores the young musicians he shoots — Lady Gaga, Janelle Monáe, and Theophilus London among them — and gets only a little weary when asked about the bad old days.

“Back then, to pick up the hottest women you had to wear makeup,” he said.
Today, a denim jacket and a scarf or two make up his uniform. Mr. Rock said he doesn’t preen, drink, smoke or imbibe any drugs stronger than coffee with sugar and (gasp) half-and-half. He lives in a Colonial house with a picket fence on a leafy Staten Island street with his wife, Pati, and sometimes a daughter, Nathalie, 21, who he said is unimpressed with a father who has seen it all. He gets up early and does yoga every day.

“I’ll need to get a good night’s sleep tonight,” he said in the lounge at the W as he finished his coffee, took a quick tour of his exhibition and left to go up to his room. It was massage time.

“I know it’s disappointing,” he said. “But all I am is a retired degenerate.”
Fair enough. It won’t be that long before the man who shot the ’70s will be close to 70 himself.

Tuesday, May 24, 2011

BOB DYLAN AT 70




Bill Eppridge: Bob Dylan with Pete Seeger, Newport Folk Festival, 1964


Bob Dylan and Suze Rotolo, New York, 1963
Don Hunstein: Bob Dylan and Suze Rotolo, New York, 1963



Elliot Landy: Bob Dylan, Infrared, Woodstock, 1968



Elliot Landy: Bob Dylan, Woodstock, (Nashville Skyline), 1969



Bob Dylan,  1975
Ken Regan: Bob Dylan, 1975




Bob Dylan and Bruce Springsteen Meeting For First Time, Backstage, New Haven, Ct, 1975
Ken Regan: Bob Dylan and Bruce Sprinsteen meet for the first time, backstage, New Haven, CT, 1975




Bob Dylan and Allen Ginsberg at Jack Kerouac's grave, Lowell, MA, 1975
Ken Regan: Bob Dylan and Allen Ginsberg at Jack Kerouac's grave, Lowell, MA, 1975

For 50 years, Bob Dylan has inspired musicians and songwriters, politicians and protesters, presidents and popes. Robert Allen Zimmerman was born in St. Mary's Hospital on May 24, 1941, in Duluth, Minnesota.  Explaining his change of name in a 2004 interview, Dylan remarked: "You're born, you know, the wrong names, wrong parents. I mean, that happens. You call yourself what you want to call yourself. This is the land of the free".