FUGUE FOR TINHORNS. From Guys and Dolls:
FUGUE FOR TINHORNS. From Guys and Dolls:
ANNETTE HANSHAW. “That’s You Baby.”
HARRY NILSSON. From Midnight Cowboy:
VANGELIS: Mail from India
GENE KELLY —try singing in the rain with this lampost:
Colombian music: “La Luna y el Pescador” by Edmundo Aria;
Dave Garufi is a Grover who loves to photograph our town. He maintains a Facebook page where he posts daily images. In the photo above he shows Ralph sitting forlornly on the wreckage of the fishing pier. There are several articles about Ralph in our Blogfinger archives. Just do a search with the tool at the upper right corner.
Thanks Dave for sharing. Here is Dave’s Facebook gallery: Dave’s OG Facebook link
SOUNDTRACK: ”Gone Fishin’” Bing Crosby and Louis Armstrong (who left his ho out in the sun)
Bonnie was driving on Mt. Hermon Way when she spotted something on a porch at Delaware Avenue. She stopped her car and looked. At first she didn’t think it was real, but then it turned its head. Bonnie whipped out her iPhone and got this shot. Great work Bonnie. — PG
By Paul Goldfinger
Those of you who follow photography on Blogfinger know that I am a big fan of black and white street photography. Some of the finest photographers in that genre were active in the 1930′s through the 1950′s in New York City and Paris. Among the best are Walker Evans, Eugene Atget, Andre Kertesz, Lee Friedlander and our guest photographer Helen Levitt, who was one of the pioneers.
Helen Levitt (1913-2009) photographed on the streets of New York City for over 70 years, both in black and white and color. She worked with Walker Evans in the 1930′s, and her work was shown at the first photo exhibit held at MOMA in 1939. She was a pioneer in the street photography genre.
A documentary film maker named Tanya Sleiman has made a film, “95 Lives,” about Helen Levitt, and we heard about it from Mina Son, the producer, in November. Mina was kind enough to send us two photographs for our blog post and also a link to a very fine short film made by Tanya. I think you will enjoy it, as she tells us about her project. It is a unique treat for our blog. Thank you Tanya and Mina. The fund raising drive mentioned was completed in December 2012.
According to Mina Son, “95 Lives seeks to change the reality that Helen Levitt is a major female artist of the 20th century, someone who innovated in photography and film, yet is virtually unknown outside of elite art circles. This is why we are making this film.
“Through Helen Levitt’s lens, we have found magic and visual poetry in our everyday lives. In helping her legacy live on, we hope her work inspires countless more generations of photographers to introduce the work and life of Helen Levitt to audiences all over.”
SOUNDTRACK: I guess the thing that has fascinated me about photography, ever since childhood, is the magic—-the freezing of a moment. It is a way to capture that moment and preserve it. Wouldn’t it have been great if photography had been invented one century sooner? We could see Washington crossing the Delaware or Napoleon at Waterloo.
Or, in our own lives, we can see how life was over 50 years ago, as in these images by Helen Levitt where ordinary street scenes back then now become extraordinary. This song matches up with these photos.
Jerry Orbach from the Fantasticks:
Chaim Kanner (1943-2000) was born in Nice. He studied in Europe and photographed in France and Italy. In 1967 he spent a year photographing in the US and Mexico. He worked as a professional photographer, first in the commercial field and then later in the fine art realm. He moved to the US in 1981.
I met him only once. It was in the 1980′s in mid-town Manhattan. He was a strange sight: an orthodox Jew in the traditional black garb and black hat, but what was strange was that he was exhibiting photographs on the steps of a brownstone, selling prints to passerbys.
I liked the image of the French girl hanging clothes out the window. It was the sort of black and white “street photography ” that I prefer — very much like the work of so many great European artists. His prints were sophisticated and beautifully done and they didn’t seem to fit with his persona, especially the part where he was selling his work on somebody’s stoop. I only now found out that he was a pro and that he died in 2000. I bought the image above from him that day. It was inexpensive, perhaps $10.00. I still treasure that image — because it is wonderful but also because of how I got it. — Paul Goldfinger (note: click left for a larger view)