Looking Back | The Fillmore East

Amalie R. Rothschild: A huge crowd formed around the Fillmore East in May 1970 when tickets went on sale for Crosby, Stills, Nash and Young.




June 24, 2011, 4:00 pm


Looking Back
The Fillmore East
By STEPHEN REX BROWN

The push to preserve blocks of the neighborhood through a landmark district has, not surprisingly, led to a lot of conversations about the history of the area. The proposed district covers roughly six blocks, and perhaps no property within the tract has hosted more important figures in American culture than the former Fillmore East building at 105 Second Avenue.

Now, the entrance to the building is an Emigrant Savings Bank, and the 2,600-seat theater has been replaced with an apartment building. But the Fillmore’s three-year existence had a lasting impact culturally; Jimi Hendrix, Joe Cocker and Miles Davis all recorded well-regarded live albums there. The Who played their rock opera, “Tommy” in its entirety for the first time in the United States in 1969 at the Fillmore East. And the first rock concert to be broadcast on television was taped there in 1970.

But the Fillmore’s impact went beyond the performers onstage. Numerous technological innovations during the theater’s short existence were adopted at concert venues across the country.

“I was blown away by what a creative, experimental theater environment there was at the Fillmore East,” said Amalie R. Rothschild, a photographer who was among the many NYU students who landed dream jobs at the Fillmore when it opened in 1968. “It was a real place to do real things. The students had a live laboratory within which to work.”

Amalie R. Rothschild Jimi Hendrix at the Fillmore East, 1969.

The man behind that environment was Bill Graham, the rock promoter who first made a name for himself with the Fillmore Auditorium in San Francisco. After his success on the West Coast hosting some of rock’s biggest names, Graham returned to his native New York to open another venue.

He purchased the building near Sixth Street, which had previously been a music venue, a Loews cinema, and a Yiddish theater. Within the first year Graham had booked the likes of Janis Joplin, the Who, and Jimi Hendrix.

“It was the top of the heap, guys were just jazzed to be there,” said Jerry Pompili, the house manager of the Fillmore East for most of the time it was open.

With its top-notch sound system, elaborate psychedelic light shows that accompanied performances, noble, theater-like environment and first class treatment of musicians, Graham’s East Village Xanadu attempted to elevate rock music from mere spectacle to art.

“Bill had hit on it. He gave us dignity,” Pete Townshend of the Who said in “Bill Graham Presents,” an oral history of the rock promoter’s life. “We were dignified people. We were artists.”

But that atmosphere that so attracted the Allman Brothers, the Grateful Dead — and on one occassion John Lennon and Yoko Ono for an impromptu 2 a.m. performance following a show by Frank Zappa and the Mothers of Invention — proved unsustainable in the face of arena rock.

“The business began to transform from coffee houses and theater venues to Madison Square Garden and stadiums,” said Ms. Rothschild, author of “Live at the Fillmore East: A Photographic Memoir.” “Woodstock made it clear that hundreds of thousands of people would come out for this type of music.”

On June 27, 1971 the Fillmore East closed. Of course, there was a heck of a show featuring a lineup that would make the most jaded of music buffs drool: the Allman Brothers, the Beach Boys, Albert King, the J. Geils Band and others.

“The concert went until 6 a.m.,” Rothschild recalled. “Nobody wanted it to end.”

Amalie R. Rothschild The Fillmore East.


More: Slideshow and memories of the Fillmore East

ASHLEY GILBERTSON BEDROOMS OF THE FALLEN VIA MEADIASTORM

LOOK3 – Ashley Gilbertson



By Matthew McAllister
Published: June 23, 2011

One of the most powerful talks that I attended during the LOOK3 festival in Charlottesville this year was given by Ashley Gilbertson. Gilbertson presented his latest project titled, “Bedrooms of the Fallen.” The project consists of a series of pictures of the dormant bedrooms left by soldiers who died at war. Gilbertson explained that he had become frustrated by the public’s lack of response to his photographs coming out of Iraq that depicted the violence surrounding him and the soldiers assigned to protect him.

It was moving to hear him talk about the soldiers in his pictures, and in many cases, explain how they were killed. His wife suggested that he photograph their bedrooms as a way for people to relate to their lives. Since then, Gilbertson has photographed dozens of bedrooms across the US and Europe. In many cases, the rooms are arranged in the exact same way as the day the soldier left, except for the occasional folded flag to remind us of why the room is vacant.

Just as Gilbertson was describing how viewers can relate better to loss through these images, a picture of the bedroom belonging to PFC. Richard P. Langenbrunner of Fort Wayne, Indiana appeared. I immediately recognized a poster on the wall from the movie “The Matrix” and realized I have the same poster on my own wall. The room immediately became far more personal to me and I felt like I knew more about this soldier through this photograph than any description in a newspaper article could provide.

Bedrooms of the Fallen - Ashley Gilbertson

Ashley Gilbertson’s Website: http://www.ashleygilbertson.com/index.php

Via MediaStorm



HAPPY SUMMER



As we head into the first "official" summer weekend, we thought of sharing this photograph by Life magazine photographer John Dominis: "Going Fishing, Texas, 1952".

The photograph was taken on assignment for a Life magazine story about the "Mesquite problem" throughout Texas. John Dominis covered a lot of territory for this assignment, but did not indicate where he shot each picture. The story was published in LIFE on August 8, 1952, although this picture was not used in the story. The fishing pools are made from area Mesquite

Related: John Dominis: A Natural Shooter

THE SUMMER ART SEASON IN SANTA FE

It is almost July, and many of the art-cities of the world are on hiatus for the summer. Which means the season is just getting started in Santa Fe. Here are few highlights.

Start the summer season at the opening reception for "History's Big Picture" at Monroe Gallery of Photography. The reception celebrates Monroe Gallery's ten years in Santa Fe, and takes place Friday, July 1, from 5 - 7 PM. "History's Big Picture" mines the depth and breadth of Monroe Gallery's archives and is combined with new, never-before exhibited photojournalism masterpieces, from the early 1900's to the present day. Through 60 significant photographs, "History's Big Picture" highlights both the significant and the idiosyncratic and embodies how Monroe Gallery has helped shape the understanding and appreciation of photojournalism locally and worldwide.

The Santa Fe Opera starts its season July 1 with Faust, followed by a summer of great performances. The following weekend, July 8 - 10, features the The Santa Fe International Folk Art Market, now in its 8th year, and Art Santa Fe, celebrating its 11th year. The final major event of July is the 60th Traditional Spanish Market, which will be celebrated Saturday and Sunday, July 30 and 31, 2011.

Site Santa Fe has two concurrent exhibitions of note throughout the summer: Pae White: Material Mutters and Suzanne Bocanegra: I Write the Songs.


Throughout the month there are dozens of gallery openings across Santa Fe, as well as many other arts events. And August holds more!

Without Sanctuary: Lynching Photography in America

Without Sanctuary: Lynching Photography in America
Date: Tue 28 June 2011

Without Sanctuary: Lynching Photography in America, is a visual testament to lynching as a form of social violence in the United States of America from 1880 to the 1960s. The photographs, postcards and memorabilia featured in the exhibition are shown in the UK for the first time. The images collectively reveal how deeply ingrained racist ideologies had become, to the extent that by the early 1900s, lynching was transformed into a major participatory form of entertainment and through photography into a space of commercial exchange and celebration.

Taken at various lynching events, the images of Without Sanctuary were not confined to any one period, place, or race and depict, in graphic detail, victims from a variety of backgrounds and characteristics: white, black, young, old, men, women, Jews and gentiles. However, most of the Americans lynched were African Americans: as many as 4,000 black men and women.

These photographs uncover a horrific American visual legacy, one that has often been left hidden, but which collector James Allen uncovered: ‘I believe the photographer was more than a perceptive spectator at lynchings. The photographic art played as significant a role in the ritual as torture or souvenir grabbing - a sort of two-dimensional biblical swine, a receptacle for a collective sinful self. Even dead, the victims were without sanctuary.’

Without Sanctuary serves as a stark reminder that freedom comes with a solemn responsibility on all citizens to treat others with dignity, respect and fairness. The exhibition bears witness to the victims, and to those whose individual and collective efforts helped end lynching, and serves as a reminder that there are still vulnerable populations today who need sanctuary from intimidation and oppression. Lynching is a distortion of human and civil rights, and so represents an assault on civilisation itself.

The Panel Includes:

Mark Sealy is the director of Autograph ABP and joint CEO of Rivington Place. He has a special interest in photography and its relationship to social change, identity politics and human rights. In his role as director of Autograph ABP he has initiated the production of well over 40 publications, produced exhibitions worldwide and commissioned photographers globally. He is a PhD candidate at Durham University, where his research focuses on photography and cultural violence.

Candace Allen is a screenwriter and political activist. She received her BA from Harvard University before attending the New York University School of Film and Television. She became the first African-American female member of the Directors Guild of America. In addition to writing screenplays, she has worked as assistant director since the 1970s. In 2004 she published her first novel, a fictionalized biography of jazz musician Valaida Snow.

Brett St. Louis is a Senior lecturer in the Department of Sociology at Goldsmiths, University of London. His research interests crystallise around: the conceptual and practical status of race.

Event Type: Panel discussion

Event venue: Human Rights Action Centre
Time: 7pm

Contact: 020 7729 9200
Email: info@autograph-abp.co.uk

Website: http://www.autograph-abp.co.uk/
Price: £5.00
Online tickets: http://amnestypaneldiscussion.eventbrite.com/

June 21, 1964: The Murders of James Chaney, Andrew Goodman, and Michael Schwerner

August 1964: An earthen dam where bodies of Chaney, Goodman , and Schwerner were found. Federal agents can be seen collecting evidence. Photographer Bill Eppridge was not allowed access to the site so he rented a helicopter and flew overhead to get this picture. © Bill Eppridge


On June 21, 1964, three young civil rights workers—a 21-year-old black Mississippian, James Chaney, and two white New Yorkers, Andrew Goodman, 20, and Michael Schwerner, 24—were murdered near Philadelphia, in Nashoba County, Mississippi. They had been working to register black voters in Mississippi during Freedom Summer and had gone to investigate the burning of a black church. They were arrested by the police on trumped-up charges, imprisoned for several hours, and then released after dark into the hands of the Klu Klux Klan who beat and murdered them. It was later proven in court that a conspiracy existed between members of Neshoba County's law enforcement and the Ku Klux Klan to kill them.

LIFE magazine sent Bill Eppridge to Neshoba County, Mississippi immediately after the news broke. There are no pictures of the crime - just the brutal aftermath, and the devastating grief and sorrow brought upon one family.

Bill Eppridge: Mrs. Chaney and young Ben, James Chaney funeral, Meridian, Mississippi, 1964

Bill Eppridge: The Chaney family as they depart for the burial of James Chaney, Meridian, Mississippi, August 7, 1964


The FBI arrested 18 men in October 1964, but state prosecutors refused to try the case, claiming lack of evidence. The federal government then stepped in, and the FBI arrested 18 in connection with the killings. In 1967, seven men were convicted on federal conspiracy charges and given sentences of three to ten years, but none served more than six. No one was tried on the charge or murder. The contemptible words of the presiding federal judge, William Cox, give an indication of Mississippi's version of justice at the time: "They killed one ni---r, one Jew, and a white man. I gave them all what I thought they deserved." Another eight defendants were acquitted by their all-white juries, and another three ended in mistrials. One of those mistrials freed Edgar Ray "Preacher" Killen—believed to be the ringleader—after the jury in his case was deadlocked by one member who said she couldn't bear to convict a preacher.


Related: Neshoba: The Price of Freedom



Bill Eppridge's photographs of The Cheney Family and his coverage of Robert F. Kennedy's 1968 presidential campaign were included in the exhibition "History's Big Picture", Monroe Gallery, July 1 - September 26, 2011

The photographs will also be featured in the exhibition "The Long Road: From Selma to Ferguson", Monroe gallery, July 3 - September 28, 2015.

A NEW ICONIC "KISS" PHOTO?

The kiss ... Vancouver riot police surround an embracing couple. Photograph: Rich Lam/Getty Images


An Interesting article from the Guardian Newspaper:

Vancouver's kiss of life

The last thing we expected was an authentically romantic picture to emerge from this rioting city of glass

Douglas Haddow
Guardian.co.uk, Friday 17 June 2011 18.10 BST

Vancouver, "the world's most livable city", has been devastated. Not so much by the riotous violence that came soon after the Canucks lost the Stanley Cup, but by what the international media's coverage of the carnage may mean for the city's image.

City hall, the province of British Columbia, and indeed the federal government of Canada, are worried that potential tourists will no longer think of Vancouver as a city of yoga pants, sushi and skiing, but of mayhem and fire.

Despite all the sorrow and disgust expressed by Vancouverites over the PR fallout, one image, absent of violence or destruction, has come to define the riot.

We see a young couple laid out on the street, embraced in a kiss, juxtaposed between a blurry riot cop running towards the camera and a line of police charging a crowd in the background.

Once the photograph hit the internet, it became a viral phenomenon in minutes. Already the uncontested frontrunner for the photo of the year, it's being compared to other historical kisses like Robert Doisneau's 'The Kiss' and Alfred Eisenstadt's picture of a kissing couple in Times Square on VJ day.

At first glance, the photo seemed too good to be documentary fact. For many internet flâneurs, myself included, it was too romantic and poignant to be of this world. The breathless idealism of the lover's embrace was in such stark contrast to the mindless rampage occurring around them that the internet's cynical instincts kicked in.

How could such authenticity exist in Vancouver, a city of glass that has spent the last 20 years standing in as a discount soundstage for New York and Los Angeles. You'll find no romance in these streets, unless it's a bit of marketing-related artifice.

Shortly before going to bed in the very wee hours on Thursday morning, my suspicions seemed to be confirmed when I came across an alternate angle of the couple's moment, shot on a camera phone from above, that surely proved the kiss was either contrived or worse.

I immediately posted it on my Tumblr blog and woke up eight hours later to discover that I had unwittingly broken the story that the photograph was indeed not what it seemed. Thousands debated, some kept the faith, others declared that they didn't care if was real or not, and a few claimed they had lost all faith in humanity. A mystery was born. Was it real or not?

Over the following hours the story evolved.

An Australian woman contacted the media with what is apparently the inside scoop. Yes, the couple had been knocked to the ground, but they were fine – the photo taken at the very second the boyfriend gave his girlfriend a reassuring kiss amid the chaos.

When we look at the riot photos, images that are said to have permanently soiled Vancouver's reputation, we see young men acting out for the camera, revelling in the worst kind of apolitical theatre. Through the haze of this absurd and dispiriting pantomime, Richard Lam has captured an image of the rarest form. One that is as authentic as it is romantic and speaks to a present cultural context but also contains a certain timeless virtue.

What differentiates this riot from the countless other sports riots of the last decade is that Vancouver is pathologically self-aware. Its economy is dependent on the city's ability to portray itself as a quasi-utopia, and its citizens and politicians are obsessed with achieving the nebulous status of "world class".

The irony here is that Vancouver has at last produced an iconic image that rivals those of Paris and New York, but it needed to shatter its own fantasy to do so.