Hear with Eyes

Photography, Music and Other Diversions.

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A New Orleans Funeral By Josh Goleman (click through for more photos)

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Photograph[er]: Gordon Parks.

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To the only man I know who really has done it all.

Also, no big deal, my grandpa was friends with Louis Armstrong

[bainer]

Thelonious Monk 1957 (photo by Lee Friedlander)

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The Teenie Harris Archive 

Stumbling upon photographer Teenie Harris was a fortuitous piece of luck while reading David Maraniss’ biography of baseball great Roberto Clemente, Clemente: The Passion and Grace of Baseball’s Last Hero.

 Nicknamed “One Shot” because he rarely made a subject sit through retakes, Charles “Teenie” Harris (1908-1998) photographed Pittsburgh’s African American community at his photography studio and from 1936 until 1975 as a staffer with the Pittsburgh Courier, one of America’s oldest local black newspapers.

 In his dual capacities as commercial and news photographer, Harris photographed both celebrities (Earl Hines, Lena Horne, Harry Truman, Jackie Robinson) and local figures. Collectively, his work provides an emotively vibrant group portrait of a community’s everyday life as played out against the Jim Crow and Civil Rights eras. (According to Jonathan Gaugler at the Carnegie Museum of Art, women in the community would stop by Harris’ studio immediately after they got their hair done, sit down and turn away from the camera. They had come for portraits of their new hairdos, and Harris obliged.)

 In 2001, the Carnegie Museum of Art was entrusted with the Teenie Harris Archive of nearly 80,000 negatives. Almost 1,000 images can be viewed on the museum’s website.

 Fun fact: dozens of Harris’ images capture Negro League baseball players from the Homestead Grays and the Pittsburgh Crawfords, a team for which Harris himself played when they were the Crawford Colored Giants.

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A collection of Preservation Hall photos by Danny Clinch

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Making of .. The Queen Is Dead Album Art

From "Stephen Wright's Best Shot," The Guardian:

Wright: The Queen Is Dead celebrates its 25th anniversary this week and this image is now in the National Portrait Gallery collection – yet it was taken by someone whose darkroom was also his bedroom and whose processing chemicals were kept in old lemonade bottles. I think the cheap equipment, and the fact there was so little light, gave it a grittiness, like a 1950s picture. Morrissey sent a card saying: "A sweeter set of photos were never taken."

[jesselirola]

godmother of funk, sharon jones.

[hearwitheyes]

If there were ever a Mount Rushmore of rock’n’roll, Fats Domino would certainly be one of the faces up there, along with Chuck Berry, Little Richard and Elvis Presley. He was one of the guys that transitioned rhythm and blues into rock’n’roll.

"Keith Spera on the Music of New Orleans," Five Books

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“You’re my devil, you’re my angel, you’re my Heaven, you’re my hell, you’re my now, you’re my forever…”-KanyeWest (Taken with instagram)

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Dear tumblr,

We’re hiring for some great positions over here at Newsweek & The Daily Beast. Want to get into media? Want to work in the news biz? Want unlimited Smartfood popcorn? How about Animal Crackers?

Here’s your shot.

Let us know if you apply and we’ll flag it with HR as coming from...

[theatlantic]

Hey, you: @TheAtlantic is looking for a social-media / multimedia intern for 2012-13! Have you handled Twitter, Tumblr, or Facebook for an organization before? Do you love Vimeo? Do you have killer email skills? Please send us your resume and a cover note at [email protected]. We’d also love...

[hearwitheyes]

Making of .. A Rush of Blood to the Head Cover

From "Solve Sundsbo's Best Shot," The Guardian:

Sundsbo: I did this for the fashion magazine Dazed and Confused in the late 1990s. They wanted something with a technological feel, something all white. As a photographer, you try to do stuff that hasn't been done before, which is virtually impossible, so I suggested taking a shot with a three-dimensional scanning machine.

[..] The model, named Mim, had to wear all-white makeup, because you get the best results that way, but in this image she was also wearing a cape with a coloured twill. The computer couldn't read the colours, so it replaced them with spikes. I decided to keep them. The machine only scanned in 30cm segments too, so it chopped her head in half. [..] Then Chris Martin saw the magazine. He approached me and said he wanted the image for the cover of Coldplay's latest LP, A Rush of Blood to the Head.

[hearwitheyes]

Jazz Journalists Jazz Awards 2012 Photo of the Year Submissions

Above: "Chick Corea" by Pavel Korbut.

View the entire set on flickr.

[hearwitheyes]

Holiday, for one, lost her cabaret card after serving time for narcotics in 1947, [..] In one storied incident from the late ’50s, Holiday went to the Five Spot to lend support for her pianist, Mal Waldron, who was backing the poet Kenneth Koch. The club’s owner, Joe Termini, was hanging at the bar with an off-duty cop who recognized Lady Day. Asked to sing by Termini, she demurred, citing the police presence in the room, only to be informed that the police were behind the request. This reminder of the cruelly casual arbitration of the law would have a curious afterlife: It was apparently the same night Frank O’Hara describes in his poem “The Day Lady Died.”

Nate Chinen, "The Cabaret Card and Jazz: Nefarious Nuisance or Blessing in Disguise?" Jazz Times

[hearwitheyes]

Making of ... the Pin Ups Album Cover

From Sarah Phillips, "Justin Villeneuve's Best Photograph: David Bowie and Twiggy" in The Guardian:

Villeneuve: Bowie was working on Pin Ups in Paris, so we flew there to do the shoot. When Twigs and Bowie were together and lit up, I looked through the viewfinder and realised that David was pure white, whereas Twiggy was tanned from a holiday in Bermuda. There was a moment of panic because I knew it would look bizarre; but the makeup artist suggested drawing masks on them, and this worked out even better.

I remember distinctly that I'd got it with the first shot. It was too good to be true. When I showed Bowie the test Polaroids, he asked if he could use it for the Pin Ups record sleeve. I said: "I don't think so, since this is for Vogue. How many albums do you think you will sell?" "A million," he replied. "This is your next album cover!" I said. When I got back to London and told Vogue, they never spoke to me again.