“Never give in. Never give in. Never, never, never, never—in nothing, great or small, large or petty—never give in, except to convictions of honour and good sense. Never yield to force. Never yield to the apparently overwhelming might of the enemy.”
— Winston Churchill
When I go to the cinema lately, I’ll admit, it does feel nostalgic, almost as if I’m doing something like they did “in the old days”– and my local cinema isn’t even a charming independent one. Should we blame it on Netflix? From our smartphones to internet-abled TV, today we have more entertainment options at our fingertips all the time, than ever before. Netflix has over 85 million members and operates in more than 190 countries worldwide. You’d like to think that cinemas will never disappear, but are you sure they really won’t?
If it did happen, at least German-born photographer Stephan Zaubitzer will have documented most of what we lost. In an ongoing archive of photographs, Stephan has been taking pictures of cinemas in city centers around the world, endlessly fascinated by their dark interiors and outlandish architecture that always stands out from their urban surroundings.
It all started in Morocco in 2003 when his flight was delayed in Burkina Faso and so he went out into the city to explore and began photographing the city’s movie theatres. The rest is history– and a lot of its fascinating old cinemas….(read more)
During the recording of A Love Supreme in 1964, Chuck Stewart caught the jazz legend in his element.
Nelson George writes: On December 9, 1964, saxophonist John Coltrane led a quartet that featured pianist McCoy Tyner, drummer Elvin Jones and bassist Jimmy Garrison into Rudy Van Gelder’s studio in Englewood Cliffs, New Jersey, where countless jazz recording sessions were held in the 1950s and ’60s. For photographer Chuck Stewart, Van Gelder’s was a short drive from his home in Teaneck.
That day nearly 50 years ago the band recorded a Coltrane composition titled A Love Supreme, a profound expression of his spiritual awakening divided into four movements—“Acknowledgement,” “Resolution,” “Pursuance,” “Psalm.” For its soaring ambition, flawless execution and raw power, it was hailed as a groundbreaking piece of music when it was released in February 1965, and it has endured as a seminal part of the jazz canon. The work and its composer will be highlighted anew this April during Jazz Appreciation Month, an annual event launched in 2001 by the National Museum of American History, whose collection includes Coltrane’s original manuscript for A Love Supreme.
“I couldn’t shoot during the take because the recording equipment would pick up the clicks. So what I did was meander around the studio. When I saw a picture I thought worked, I’d take it.”
— Photographer Chuck Stewart
For Stewart, whose photographs have graced thousands of album covers, from Ellington to Davis, from Basie to Armstrong, that session with Coltrane—a friend of his since 1949—was no different from countless others. “When I did a session I would go in and shoot the rehearsal before they did any takes,” the 86-year-old photographer recalls, sitting in his cozy, picture-filled living room in Teaneck. “I couldn’t shoot during the take because the recording equipment would pick up the clicks. So what I did was meander around the studio. When I saw a picture I thought worked, I’d take it.”
Stewart still has the Rolleiflex camera he used at the session, and the contact sheets as well. Many of the images he shot have been seen on CDs, as well as in numerous books and magazine articles. But 72 photographs from six rolls of film never made it beyond the contact-sheet stage, and so haven’t been published. Stewart’s son David recently rediscovered those images in his father’s collection, and now Stewart is scheduled to include some of them in a donation to the museum this month. Read the rest of this entry »
Built 1847 – photo: kunicornshop fb page @ 27 oct 2016