WHEN PROTESTS ERUPTED around the world after the death of George Floyd, who died in the custody of Minneapolis police, the threat of a global pandemic calmly took a backseat as a rush of justifiable rage against ongoing racial injustice flowed through all 50 American states and several countries around the world. As protesters took to the streets, it became imperative that black photographers, specifically, capture this moment. Continue reading 3 Black Photographers on Capturing the George Floyd Protests
Regal would be the best way to describe the photograph of Mary Church Terrell. Delicately swathed in lace, satin and crystals, the charismatic civil rights activist is seen in profile. The front of her tasteful Gibson pompadour is dappled with light and her face is illuminated as if a single ray of sun had parted the clouds in the sky. It’s a highly flattering image of the D.C. activist and suffragist, and Terrell thought so herself. Continue reading For Turn-of-the-Century African-Americans, the Camera Was a Tool for Empowerment
Photographer Timothy White has been taking unforgettable portraits for decades. His subjects range from Adam Sandler to Aerosmith; Al Pacino to Andre 3000; Aretha Franklin to Axl Rose—and that’s just the A’s. If you’re ready to go down a deep rabbit hole, find the complete list (and see the photos) on his website. Continue reading A Day With Teenage JAY-Z: The Story Behind This Lost 30-Year-Old Photo
A backpack’s a great way to carry a bunch of stuff while keeping your arms free. That’s why they can be a great photography accessory. The fact that it’s always out of reach on your back is annoying, though. This is surely why Wolffepack has created a photography-focused pack you can access without having to remove it.
In the jargon of jazz, a “blue note” is one that deviates from the expected–an improvisational twist, a tickle in the ear. It is fitting that Blue Note Records, founded in New York by German expat Alfred Lion back in 1939, took its name from this artifact of genre, for throughout the latter half of the 20th century, the institution was continually surprising (and delighting) its audience.
From boogie-woogie and bebop to solo stylings and the avant-garde, Lion’s label left no tone unturned. The undisputed quality of Blue Note’s output was the direct result of its creator’s willingness to meet the artists on their level, to embrace the quirks and curveballs that make jazz music what it is. As an early Blue Note brochure put it: