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Life Magazine - October 18, 1937
Vicks Va-Tro-Nol
Back in the good-old days, teachers used to openly dispense drugs to the kids - and just look how happy everyone is!
The History Center at Sunken Gardens, St. Pete, included this LIFE Magazine cover of October 15, 1971. The opening of Disney World in Orlando was one of the most significant events in Florida’s history. Prior to that date, Orlando was a sleepy town in Central Florida, its local economy based mainly on citrus cultivation. Now the world beats a path to its door.
by Andy Warhol
Acrylic paint and screenprint on canvas
In this painting Warhol used three photographs of a police dog attacking an African American man. The images were taken by Charles Moore and first published in Life magazine on 17 May 1963. They documented the non-violent direct action by civil rights demonstrators seeking to remove racial segregation in Birmingham Alabama. While the term 'race riot' was commonly used at the time, it is more accurate to refer to it as a race protest. The painting presents the oppression of African American citizens and police brutality, but it brings up questions about Warhol's decision as a white artist to depict Black suffering. Was the image of violence being used to shock or to promote social commentary, attempting to bring news imagery into the rarefied space of the gallery? Some have suggested that Warhol's desire to call his 1964 exhibition in Paris 'Death in America', in which this work was exhibited, was a comment on a United States that appeared to be falling apart.
[Tate Modern]
Andy Warhol
(March – November 2020)
A new look at the extraordinary life and work of the pop art superstar
Andy Warhol was the son of immigrants who became an American icon. A shy gay man who became the hub of New York’s social scene. An artist who embraced consumerism, celebrity and the counter culture – and changed modern art in the process.
He was born in 1928 as Andrew Warhola to working-class parents from present day Slovakia. In 1949 he moved from Pittsburgh to New York. Initially working as a commercial illustrator, his skill at transforming the imagery of American culture soon found its realisation in his ground-breaking pop art.
This major retrospective is the first Warhol exhibition at Tate Modern for almost 20 years. As well as his iconic pop images of Marilyn Monroe, Coca-Cola and Campbell’s soup cans, it includes works never seen before in the UK. Twenty-five works from his Ladies and Gentlemen series – portraits of black and Latinx drag queens and trans women – are shown for the first time in 30 years.
Popularly radical and radically popular, Warhol was an artist who reimagined what art could be in an age of immense social, political and technological change.
[Tate Modern]
"Straight to the HOLE" By Artist *T.M.NOEL of ANGRYHOUZE. Illustration of D-WADE doing what D-Wade does best... (peace)... *T.M.NOEL/ ANGRYHOUZE, inc.
“The stout party who rocks and twists on the arm of your best chair.” [Image caption]
Gibson’s series “People We Can Get Along Without” features 24 illustrations published in “Life” in the early 1920s. His intention was to vent his frustrations humorously, but there was also a deeper layer to it. He used satire to comment on societal norms and behaviors that he found irritating or nonsensical. It was his way of critiquing certain aspects of society while entertaining his audience.
Satire can be a powerful tool to highlight societal issues and provoke thought, but it’s most effective when it balances humor with respect and fairness. Overly cruel or exaggerated satire can sometimes lose its impact and alienate the audience. Gibson often walked this fine line.
[Sources: Wikipedia and Gutenberg.org]
[Note: "Wisdom loves solitude; that is why the majority of men are gregarious." Sorry guys. I read it in Life, so it must be true.]
Vintage January 3, 1938 issue of Life Magazine with a risqué ice skating cover. Considering when this magazine was printed this cover was considered daring for its time. I would think it is safe to say that the publisher’s of Life magazine were skating on thin ice. It’s always a thrill when it’s from Vinnie DeVille!
Photograph by Stan Wayman, my uncle. Yep, this one ran in Life magazine. Yep, he sure could take a nice picture. The longer I look at this more in awe I am. Its like one of Rembrant's pictures of big cheeses ("The Night Watch") crossed with the clean luminosity of the Italian renaissance.
For my money, these two guys were planning how to make the ideals of the United States just bit more real. Its the Man talking to The man, so to speak. Its also the beginning of Nixon's southern strategy. Johnson was as flawed as any, more than some, and made some terrible decisions. But he seized the opportunity, the shock and outrage at President Kennedy's assassination, and muscled that into passage of the Voting RIghts Act of 1964. The work of two Southerners in 'memory' of a fairly conservative Senator and President from Mass. who came to the Civil Rights cause only after Dr. King began marching to Washington D.C.
The largest commercially available cathode ray tube (CRT) television screens reached sizes of 45 inches. However, Mitsubishi experimented with even larger CRT models, producing a few 61-inch TVs, but these were not widely sold due to technological instability and safety concerns. CRT technology had limitations in size due to the bulkiness and weight of the picture tubes required.
CRT televisions were significantly heavier than modern LCD screens for the same screen size. For example, a 32-inch CRT TV could weigh around 150-200 pounds, while a 32-inch LCD screen typically weighs 20-30 pounds. This means the weight-to-size ratio for CRTs was much higher, making them bulkier and harder to handle. The difference arises from the technology: CRTs required large, heavy glass tubes and electron guns, while LCDs use lightweight panels and backlighting systems.
The leap in resolution is also remarkable. Commercial CRT monitors achieved resolutions as high as 2560x1920. In contrast, modern LCD monitors have reached resolutions of 7680x4320 (8K). These displays offer incredible clarity and are widely used for professional tasks like video editing and graphic design. It’s a testament to how far display technology has advanced.
[Source: Bing Copilot]
Repository: Duke University Archives. Durham, North Carolina, USA. library.duke.edu/uarchives
Trying to locate this photo at the Duke University Archives? You’ll find it in the University Archives Photographic Negative Collection, box 14.
by Andy Warhol
Acrylic paint and screenprint on canvas
In this painting Warhol used three photographs of a police dog attacking an African American man. The images were taken by Charles Moore and first published in Life magazine on 17 May 1963. They documented the non-violent direct action by civil rights demonstrators seeking to remove racial segregation in Birmingham Alabama. While the term 'race riot' was commonly used at the time, it is more accurate to refer to it as a race protest. The painting presents the oppression of African American citizens and police brutality, but it brings up questions about Warhol's decision as a white artist to depict Black suffering. Was the image of violence being used to shock or to promote social commentary, attempting to bring news imagery into the rarefied space of the gallery? Some have suggested that Warhol's desire to call his 1964 exhibition in Paris 'Death in America', in which this work was exhibited, was a comment on a United States that appeared to be falling apart.
[Tate Modern]
Andy Warhol
(March – November 2020)
A new look at the extraordinary life and work of the pop art superstar
Andy Warhol was the son of immigrants who became an American icon. A shy gay man who became the hub of New York’s social scene. An artist who embraced consumerism, celebrity and the counter culture – and changed modern art in the process.
He was born in 1928 as Andrew Warhola to working-class parents from present day Slovakia. In 1949 he moved from Pittsburgh to New York. Initially working as a commercial illustrator, his skill at transforming the imagery of American culture soon found its realisation in his ground-breaking pop art.
This major retrospective is the first Warhol exhibition at Tate Modern for almost 20 years. As well as his iconic pop images of Marilyn Monroe, Coca-Cola and Campbell’s soup cans, it includes works never seen before in the UK. Twenty-five works from his Ladies and Gentlemen series – portraits of black and Latinx drag queens and trans women – are shown for the first time in 30 years.
Popularly radical and radically popular, Warhol was an artist who reimagined what art could be in an age of immense social, political and technological change.
[Tate Modern]
I love cheddar too, pal. But ya might want to re-think your pick-up line. A lot of my favorites in that spread. Olives, radishes, yellow mustard. Big block of cheddar. Check out the “10-pounder” in the corner. LIFE Magazine, April 11, 1949.
"God created Adam master and lord of living creatures, but Eve spoilt all, when she persuaded him to set himself above God's will. 'Tis you women, with your tricks and artifices, that lead men into error." ~Martin Luther
An oldie from featuring Beth, a tribute to the fighter pilots of WW2 and LIFE Magazine. LIFE covered the entire war, along with other publications like TIME, YANK, etc. LIFE, however, captured some of the most quintessential iconic photos of the war courtesy of photographers such as Robert Capa and Alfred Eisenstaedt. LIFE magazines are pretty easy to find today from WW2 at local antique stores and flea markets. Worth the purchase just for the advertisements alone!
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Model: Beth
Photographer: Britt Dietz
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“A Double Wedding, at which he makes his Greatest Sacrifice.” [Image caption]
Mr. Pipp is a diminutive, somewhat overwhelmed figure who becomes the centerpiece of a social comedy. He was an original character created by the renowned American illustrator Charles Dana Gibson. In "The Education of Mr. Pipp," the story unfolds as Mr. Pipp takes his wife and two glamorous daughters—classic "Gibson Girls"—on a Grand Tour of Europe. As a small, unassuming figure, Mr. Pipp was the perfect foil to the glamorous "Gibson Girls,” who represented the idealized beauty and confidence of the era. Much of the humor and charm came from Mr. Pipp's hapless demeanor and struggles to navigate high society while his daughters effortlessly dazzled everyone around them.
His daughters symbolized the new modern woman, while Mr. Pipp reflected the older generation, often bewildered by their sophistication. This dynamic resonated with audiences, making Gibson’s illustrations both entertaining and culturally relevant.
Gibson's work was so popular that "The Education of Mr. Pipp" was later adapted into a Broadway play in 1905 and even a film in 1914. It's a fascinating example of how Gibson's illustrations captured and satirized the social dynamics of his time.
Charles Dana Gibson's work, particularly his creation of the "Gibson Girl," had a profound impact on American culture during the late 19th and early 20th centuries. The "Gibson Girl" became an iconic representation of the idealized modern American woman—confident, stylish, athletic, and independent. This figure not only influenced fashion trends but also reflected and shaped societal attitudes toward femininity and women's roles.
Audrey Hepburn wearing a Givenchy hat for a photo series which appeared in the April 20, 1962 issue of LIFE Magazine.
The photograph is by Howell Conant.
This statue by J. Seward Johnson is a recreation of the famous Life magazine photo by Alfred Eisenstaedt from the end of WWII. It's near the U.S.S. Midway museum in San Diego, CA. The name of the statue is "Unconditional Surrender."
time.com/26789/w-eugene-smith-life-magazine-1951-photo-es...
Original caption: Nurse midwife Maude Callen, South Carolina, 1951.
W. Eugene Smith/Life Pictures/Shutterstock
W. Eugene Smith’s Landmark Photo Essay, ‘Nurse Midwife’
“In December 1951, LIFE published one of the most extraordinary photo essays ever to appear in the magazine. Across a dozen pages and featuring more than 20 of the great W. Eugene Smith’ pictures, the story of a tireless South Carolina nurse and midwife named Maude Callen opened a window on a world that, surely, countless LIFE readers had never seen — and, perhaps, had never even imagined. Working in the rural South in the 1950s, in “an area of some 400 square miles veined with muddy roads,” as LIFE put it, Callen served as “doctor, dietician, psychologist, bail-goer and friend” to thousands of poor (most of them desperately poor) patients — only two percent of whom were white.”
“Nurse Midwife” as it appeared in the Dec. 3, 1951, issue of LIFE magazine.
archive.org/details/Life-1951-12-03-Vol-31-No-23/page/134...
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The Kaiser-Frazer Corporation produced the Henry J Corsair from 1950 to 1954. Initially, it achieved notable sales figures, thanks to its affordability and the post-war demand for new cars. To keep costs low, early models did not have rear trunk lids, and the car was only available as a two-door sedan with fixed rear windows. Power came from a 134.2 cu in (2.2 L) four-cylinder engine or a 161 cu in (2.6 L) six-cylinder engine, like those used in Jeeps. The base model retailed for $1,300, which is equivalent to $16,463 in 2023 dollars.
However, the Corsair’s success was short-lived. It faced stiff competition from other manufacturers who offered more features and better designs at competitive prices. Customer preferences also shifted over time and the minimalist approach of the Corsair became less appealing. By the mid-1950s, sales continued to decline, and despite price reductions and model improvements, the Henry J Corsair couldn’t sustain its initial success. Tough business!
[Source: Wikipedia]