Vintage Stock Photos
Old School Hip-Hop Flyers
Bad (good) Record Covers
How To Look Punk
Forgotten Glamour at Mermaid City
Girls would come from as far as Tokyo to audition for the chance to be a Weeki Wachee mermaid in the 1960s. They performed to sold-out crowds; half a million people a year came to watch their dazzling underwater shows, including the King himself, Elvis Presley. They took etiquette and ballet lessons and they were treated like royalty wherever they went in Florida. Impossibly glamorous, even when squeezed into a sequin fish tail or eating a banana underwater, for today’s vintage muse, I’m turning our attention to the legendary mermaids of Weeki Wachee…
The underwater mermaid “stage” was (and still is) a natural ancient spring, discovered by the Seminole Indians who named it Weeki Wachee, meaning “little spring” or winding “river”. A theatre was built into the limestone around the basin in 1947, submerged six feet below the water’s surface. The spring itself however, is so deep that the bottom has never been found, and the surge of currents from the subterranean caverns are so strong they can easily knock a diver’s mask off.
Japanese Vintage Wrestling Posters
In 1855, Allan Pinkerton founded the Pinkerton National Detective Agency in Chicago and devised the first Rogues’ Gallery—a compilation of descriptions, methods of operation, hiding places, and names of criminals and their associates. The San Francisco Police Department may have started the practice about the same time. By 1858, New York City had a collection of some 450 ambrotypes (images on glass plates). From these early instances, the practice of collecting criminal mug shots spread across the nation and around the world.
The use of photographs for this a purpose in Philadelphia first occurred in 1860 when the Police Department officially established its own Rogues’ Gallery. By then, camera exposure time had been cut from minutes to seconds, thus making mug shot portraiture practical. Note also that the use of photography in crime fighting was new technology before the Civil War, and Philadelphia was the nation’s leading city for photography in that era.
Punks, sneaks, mooks and miscreants. Hookers, stooges, grifters and goons. Men and women, elderly and adolescent, rich and poor, but mostly poor. These portraits make up a small part of Mark Michaelson’s collection of over 10,000 American mugshots from the 1870s to the 1960s.
These Striking Photos of 70s queer life inspired the film 'Milk'
Harvey Milk stands outside his Castro Camera store in San Francisco. There's a smile on his face. The wind flutters his striped tie, which is swept to the side over his herringbone jacket.
This now-famous image of the late gay politician — whose LGBT activism and assassination were captured in the award-winning film Milk starring Sean Penn and James Franco — was almost lost to history. Photographer Daniel Nicoletta, Milk's friend and mentee, shot the image as part of Milk's 1977 campaign for the San Francisco Board of Supervisors. Milk had scrapped the photo because of the wind-bent tie, opting for a more traditional shot, in which it was straight, as his official campaign portrait.
Milk won the election. But in 1978, he was infamously killed alongside S.F. Mayor Moscone by Dan White, a former city supervisor. After his assassination, Nicoletta, sorting through Milk's possessions with Milk's partner Scott Smith, found the negative of the photograph sitting on top of a box filled with thousands of loose slides. It was like it had been waiting for them. Nicoletta examined the negative, and was immediately drawn in by the big smile of his late friend — and the tie.
"Something about the wind lifting the tie in the air evoked a sense of the passing of time," Nicoletta said. "And that's why that photo became the one that was meant to go out into the world."
Today, the public can see a version of this portrait on a stamp; Milk posthumously made history by becoming the first out politician to be honored with one by the U.S. Postal Service in 2014. It's also featured in its full glory in Nicoletta's book, LGBT San Francisco. The sweeping tome chronicles over 40 years of the LGBT rights movement — largely in one of its epicenters.
In the book's forward, Milk director Gus Van Sant called Nicoletta's photography "a vital resource to the formation of Milk" - he used it as a visual reference in crafting the award-winning film's story and set. Van Sant defined it as a "treasured artistic record of the people who initiated a movement from within their own neighborhood, and the work links that exuberant time to the larger history of LGBT people. This book is a very welcome addition to our enduring collective memory."
And what a memory. In LGBT San Francisco, Nicoletta captures the historic events that swirled around Milk's election, activism, and assassination, including the White Night riots, a violent LGBT uprising that occurred after Milk's killer received a lenient sentence. Afterward, LGBT history unfolds in this book like a glorious Pride march through time. There are activists like Cleve Jones, icons like Lily Tomlin and Divine, drag queens, hustlers, gay bars, club kids, the leather lovers of the Folsom Street Fair, radical fairies, and portraits of hundreds of queer individuals who embodied the spirit of a burgeoning movement.
THE SCREAMING PHANTOMS, THE DIRTY ONES & THE SATAN SOULS: CHECK OUT THIS 1974 MAP OF BROOKLYN GANGS
1979’s The Warriors became a cult classic by creating a fantastically dystopian world of lawlessness roamed by stylized gangs of the Romantic variety, but the reality of 1970’s NYC gangs was… well, actually… not that much different from their epic, fictionalized versions onscreen. In fact, the fear of gang violence at the time was so fevered, the film was actually blamed for crimes committed against people who were coincidentally coming from or going to the movie. This map from The New York Times is dated August 1, 1974, and the names of the gangs are so dramatic, it’s easy to see how fact and fiction could blur in the eyes of a terrified populace.
The folks over at The Bowery Boys blog even dug up a few details on the “activities” of some of the gangs listed, including The Young Barons (an altercation that ended in one death and the slicing off of someone’s nose, 1972), a battle between the Devils Rebels and the Screaming Phantoms (two rebels were killed, 1973), and the 1974 extortion dealings of the Outlaws, the Tomahawks, the Jolly Stompers and B’Nai Zaken. If that last one threw you for a loop, B’Nai Zaken is a phrase largely associated with Ethiopian Jews, and not (as I had hoped), a bunch of Hassidim with nunchucks.
There was a even a 1973 report that a few local gangs had been cast in an autobiographical gang film,The Education of Sonny Carson, perhaps paving the way for Walter Hill to later do the same thing with The Warriors
Vibrant photos capture spirit of 1980s NYC by Jamel Shabazz
By Alex Arbuckle on May 18, 2016
Jamel Shabazz's New York
One man's vivid record of a city's culture
Born and raised in Brooklyn, Jamel Shabazz first took up photography at the age of 15, and went on to create a peerlessly vibrant record of the city in the 1980s.Drawing inspiration from the works of socially concerned photographers such as Gordon Parks and Leonard Freed, Shabazz roamed the streets and subways of New York, making both candid and effortlessly posed images of the city’s diverse denizens, especially black and Hispanic communities.He shot his photos with one eye on the future, hoping to contribute to the recording of history and culture. While his images brim with a timeless sense of humanity, they are also full of highly specific signifiers of New York in the 1980s, from hulking boomboxes to flashy fashion and jewelry to graffiti-covered subways.In addition to a successful photographic career with dozens of international solo exhibitions, Shabazz has maintained close ties to his community, volunteering and mentoring children and advocating for youth art education.
Vintage Japanese Boomboxes from the 1980s
By Sheldon D. on May 19,
In the 1980s, portable tape players were huge, loud and a lot of fun
Junichi Matsuzaki collects Japanese boomboxes from the 1980s. At Design Underground Shibuya-Base in Shibuya Ward, Tokyo, he sells new and used cassette tapes. Matsuzaki sees cassettes as a retro fashion that produces great analog sound. Unlike downloads, you actually own the music. And you can touch the tapes. When they jam in the player, you can take them out and spend a few zen moments winding the tape back into the cassette with a pencil. You can also revisit the lost art of cassette tape design.
Although Japan copied boomboxes made in the West – starting with the first boombox invented in The Netherlands by Philips in 1969 – those produced in Japan gradually became more and more creative. as companies like Sony, Sharp, National, Sanyo, Marantz, Aiwa and Toshiba competed.
Matsuzaki values boomboxes for their high-quality parts, producing seamless sound. He explains, saying “The iPhone, for example, only lets you scroll the volume bar on its touch-screen. Vintage radio/cassette players, on the other hand, are equipped with a sound meter… and a cassette counter, which marks the passing of time.”
Boomboxes were big sounds you could take anywhere. As Don Letts of Big Audio Dynamite told The New York Times in 2010: “You could take it to the streets, and wherever you took it, you had an instant party.”
Miles Lighrwood, founder of online archive founder of Boomboxラジカセ Creators, told Collectors Weekly why boomboxes were so big:
The classic grail boomboxes of the ’70s and ’80s were designed to provide a home stereo experience on the go. That meant several large speakers (typically 2 to 3 speakers ranging from 2″ to 10″ in diameter), one or more cassette decks (side-by-side or stacked), a multi-band radio receiver (typically 2 to 5 bands, but some had more), the power supply to blast it in the street (8-10 batteries), and the transformer that allowed you to plug-in at home. In the analog era, to get the loudest sound out of big speakers required a large amplifier and other crossover electronics that occupied quite a bit of physical space within a box.
Transporting all these components safely and with style required a sturdy enclosure that satisfied both aesthetic, sonic, and functional requirements; consequently, these boomboxes were large and heavy. Practical issues aside, a bigger, louder, flashier box got you more attention on the street—boosting your reputation—and manufacturers could charge more; so win-win. Bigger is better.
The Miss American Vampire competition
The Miss American Vampire competition was conducted in 1970 as a promotional tool for House of Dark Shadows. Regional contests were held around the country, but New York City and Los Angeles generated the most interest from competitors. Almost all of the documentary evidence circulating the Internet these days comes from the New York regional contest, which took place at Palisades Amusement Park in New Jersey in September, 1970. Jonathan Frid was on hand to crown the winner.
Girls 18-25 were invited to produce the most imaginative "Vampire look" with originality, charm, poise, stage presence and videogenic qualities being highly important. The last two parts being essential since the winner was to have a week-long role on the television show.
The final competition winner was actress and activist Sacheen Littlefeather, who gained greater fame a few years later when she represented Marlon Brando at the 1973 Academy Awards to decline his Oscar for The Godfather in an act of protest over the treatment and portrayal of Native Americans. Similarly, Littlefeather did not reap the benefits of her award. It’s unclear whether she declined the trip to New York to appear on the show, or whether the producers decided not to hold up their end of the deal. Either way, Littlefeather remained in Los Angeles. The prize passed to Christine Domaniecki, the winner of the New Jersey regional, where she had been crowned by none other than
On The Streets for Philadelphia’s Bicentennial Party
Don Hudson's photographs of American's celebrating their freedom on Sunday, July 4, 1976
Don Hudson is an “experienced amateur photographer trying to understand what I photograph”. In 1976, Don was in Philadelphia for the Bicentennial. Seemingly undiluted by Vietnam, Watergate and the energy crisis, Americans went nuts for the Bicentennial. Everything from sugar packets to license plates commemorated the event, and every classroom was bedecked in red, white & blue.
“I was born in Detroit, Michigan in 1950 and have lived in the area my entire life. In 1972 I decided to act on my love of photography and enrolled in art school. During my two years there I studied the language, both the history and the history-in-making, honed my technical skills, and most importantly, began an association with like-minded souls playing the game of photography. For 40 years, through peaks and valleys of activity, my playing of the game has been about my personal relationship with how the camera describes the appearance of truth in a photograph. You will have to look at the photographs for further explanation. I consider myself a thoughtful, and proudly amateur photographer.”- Don Hudson
The Photographer Who Documented the Underbelly of Chilean Society
“I witnessed it all, and through photography I perpetuated their rebellion.” Paz Errázuriz tells Irina Baconsky about defying the Pinochet regime to capture her country’s marginalised communities
With bracing candour, vulnerability and authority, Paz Errázuriz’s imagery illuminates humanity in all its poetic, unruly beauty – yet, despite a career spanning nearly four decades, the Chile-born photographer has only recently begun to accept the label of artist. “When I started taking pictures in Chile in the 70s, photography didn’t have the status it has now,” she tells us at the opening of the Barbican Art Gallery’s Another Kind of Life: Photography on the Margins. “It wasn’t really a part of the art world, and I never used the word ‘artist’ to describe myself.”
As such, rather than being interested in the strictly aesthetic value of photography, the self-taught image-maker was drawn to the political, transgressive, documentary potential of her medium, which she continuously used as a portal to the obscure corners of society’s underbelly. Born into a conservative, catholic Santiago family, Errázuriz nurtured a profound desire for escapism and a fascination for the lifestyles and communities of people whose mere existence was a radical act of disobedience to the status quo.
“I was always interested in exploring identity, especially in the context of a homogenised society,” she explains. “Through looking at the identities of others, I began to discover my own.” Following the 1973 Chilean coup d’état which established the repressive military dictatorship of Augusto Pinochet, photography became more than a personal interest for Errázuriz, resolutely morphing into an unapologetic means of political resistance. “I started working in the street as a photojournalist, and that’s how I first got a glimpse into the underworld of alternative and marginalised communities,” she reminisces. “I did a lot of work on female prostitution, which I knew nothing about – it was an incredibly taboo area, sex was a forbidden word.”
It was the hidden realm of prostitution that led to Errázuriz’s encounter with the dangerous, intrepid and intoxicatingly genuine world of the people both closest to her heart and most influential in her work: the transgender and transvestite communities. Documenting one of the most obscure and difficult times in Chile’s recent political and sexual history under the brutal authoritarianism of the Pinochet regime, Errázuriz’s powerful series La Manzana de Adán (Adam’s Apple) is among her most memorable works to date. Shot in the 1980s over the course of four years, it centres on the lives of Pilar, Evelyn and Mercedes, members of a community of transvestite sex workers in the Santiago brothels of La Jaula and La Palmera. “Living with them for so many years was the best education I could have asked for,” asserts the photographer. “I learned so much about love, community, and I found a family that I wish had always been my own.”
Black Celebration | Old School Goth and Deathrock Gallery IV
Nostalgia for the 80’s has never begun to fade given that it was one of the most visually striking eras of music and subculture. So, once again we at Post-Punk.com present to you another gallery of Old-Goth of pictures culled from all over the world, representing attendees of The Batcave in London, Deathrockers in the states, and Sisters of Mercy fans in Leeds, and more.
Whether you are a fan of the music in Europe or the US. Young or old, nothing else quite compares to the DIY fashion of leather jackets, handmade buttons, bones, crosses, and skulls, eyeliner, and enough hairspray to destroy the ozone layer several times over.
Below is our fourth gallery of vintage photos curated to honor those who built an international Goth scene from the their confines of their bedrooms laden with vinyl, posters, and cassette tapes, to dancefloors drowned in a haze of clove cigarettes and fog machines.
If you are reading this article on December 15th, 2017, and are in the Philadelphia area, please consider going to Goth 101: A History of the Postpunk and Goth Subculture, 1978 – 1987, An Illustrated Lecture with Andi Harriman.
A Moment for Barbette
Barbette — born Vander Clyde Broadway in 1898 — was a drag pioneer, circus acrobat, toast of Paris, friend of Josephine Baker, muse (and lover, briefly) of Jean Cocteau, and frequent subject of Man Ray’s lens.
It’s been nearly a century since the Texas native first stunned audiences by performing trapeze and high-wire stunts in full drag, yanking off his wig at the end and striking a masculine pose. The guise began when he replaced a female performer who had died suddenly; it went so well that he made a career out of the illusion.
Barbette started a solo act at the Harlem Opera House in 1919, soon taking the act on the road to England and France. During an engagement at the London Palladium, scandal broke out when he was caught having sex with a man, thus barred from further working in England.
In France, however, he was hailed by Jean Cocteau, who wrote Le Numéro Barbette in 1926, an influential essay on the nature of art. During a brief dalliance between the two, Cocteau gave Barbette a cameo in his film Le Sang d’un Poète (1930). Further, the trapeze-artist murderer in Alfred Hitchcock’s Murder (1930) is inspired by Barbette, a role not to be found in the source novel.
Barbette continued to tour Europe and North America throughout the 1920s and 30s until a high-wire accident put him into the hospital for a year. He later found work as an aerial choreographer and consultant on films, most notably Some Like It Hot (1959), for which he coached Jack Lemmon and Tony Curtis on gender illusion — although a resemblance to a frothy, effervescent Marilyn Monroe is uncanny. After years of chronic pain, Barbette committed suicide at the age of 74.
20 Great Vintage Photos Of Women With Signs
Tough wrestler guys from Memphis posing for pictures and looking cutesy, corny and super coy.
The fashion faux pas range from preposterous poses, too-fabulous fringe and heartbreaking headbands. Lots of spandex, disco clothes, blow-dried hair, and a very strange vibe indeed!
Teams like the Fabulous Ones, Rock & Roll Express and the legendary Handsome Jimmy Valiant are pictured in the collection, hearkening back to a time when wrestling was just beginning.
These LPs are all from people who are handicapped, in one way or another. All are from between the 1960s and ’70s, and all are on private labels.
The prevailing maladies seem to be either blindness, dwarfism or lack of limbs. And almost all are about their relationship with Jesus. Most appear relatively happy and excited to be singing for the lord. This isn’t meant to make fun of the handicapped but to show how amazing it was a few years back when anyone could make their own album, individuals, churches, etc.
20 Mid-Century Christian Ventriloquism Albums
In the 1950s and 1960s Christian teachers turned to ventriloquism to teach kids about Jesus. They made albums:https://flashbak.com/20-mid-century-christian-ventriloquism-albums-52632/
Spanish Harlem in the 1980s – in pictures
Growing up in New York, photographer Joseph Rodriguez would take the subway from Brooklyn to east Harlem, where his uncle had a sweet shop, to spend time with the local Latino community (Rodriguez is of Puerto Rican and Venezuelan descent). He spent five years “sitting down at kitchen tables and listening to people’s stories”; the photographs he took are collected in Spanish Harlem: El Barrio in the 80s, published on 21 November by PowerHouse Books. “The only time local newspapers mentioned El Barrio was when crimes were committed,” says Rodriguez. “I knew I had to spend time to try and break these stereotypes. It’s important to show how that era was for people, to show their grit and resilience against social injustice.”
ROCK STARTS: YOUR FAVORITE ROCK STARS WHEN THEY WERE CHILDREN