Photography

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This classic photograph of preacher, politician and fervent abolitionist Henry Ward Beecher was taken at some point between 1855 and 1865 by Mathew Brady’s studio. From an eyewitness account in the New York Times of a speech Ward delivered in Charleston, South Carolina, on April 17, 1865, less than three months after the 13th Amendment outlawed slavery, as countless former slaves who had been sold and sold again tried to reunite with family:

“Feeling was accumulating in the audience, and began to be heard in the low moaning and response, like the sound of the waves upon a distant shore; but when he spoke directly to the blacks before him, of their sufferings in the days gone by, and now of their release; of the loss of their children and of the return of so many, and exhorted them since God had done so much for them to wait with faith and patience for the remainder, and assured them that the morning was on the mountains and the day was at hand, they broke out all over the house in low ejaculations of praise and of thanksgiving. The day was at hand, and they saw it; and the suppressed tone was that of men who could not restrain their joy for the vision. There was no loud shouting, nothing boisterous; it was simply the overflow of deep feeling that could not be restrained. If any of you have open sins, he said, abandon them. If any harbor revenge, rid yourselves of it. I hear good things of you; do better. Mothers in Israel, I expect to hear still more worthy things of you. Fathers, I expect to hear of you counseling better things than ever before. Young men, I expect to hear that you are more virtuous and manly than those that have gone before you.

Many of you old saints will only look over into the promised land, and see it afar off, but your children will enter in. Israel is going to be free. [Cries of ‘Bless de Lord,’ ‘We believe it,’ and one voice near me broke out into a clear hearty laugh of joy.] Intelligence is coming, liberty is coming, virtue is coming.

It is not my joy that this family is down or that one, but this is my joy, that Charleston is free, and every man guiltless of crime can walk her streets unmolested. That our nation marked out for so great things is free. And brethren, consecrate yourselves to the service of Christ, live nobler lives. Bear the cross, it is not for a great white. Some of you are almost down to the river, and it is not half as deep as you think it is. They wait for you on the other shore; you that have showed kindness to the poor white prisoners; you that have borne stripes for it; your reward is waiting you on the further shore.

Sobs and ejaculations of praise swelled through the church.”

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The great Memphis photographer William Eggleston was at the vanguard of color photos as a legitimate aesthetic. An inveterate drinker who somehow functions at a very high level, he’s appropriately on display in the Cat Power video, Lived in Bars. Eggleston can be seen most clearly at the 2:14 mark when he gives the singer a kiss on the side of the head.

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"As announced in 'The Seattle Daily Times' on February 14, 1909, 'The baby incubators will be seen at The Exposition, as well as W. H. Barnes with Princess Trixie, the educated horse.'"

These classic 1909 photographs, showing a baby incubator exhibition, were taken at the Alaska Yukon Pacific Exposition. Such sideshows were common at the time. From an historical article about the exhibit:

“Baby incubator exhibits were an expected feature on exposition midways from the 1896 Berlin Exposition on. Visitors to Omaha’s Trans-Mississippi and International Exposition in 1898, Buffalo’s Pan-American Exposition in 1901, St. Louis’s Louisiana Purchase Exposition in 1904, and Portland’s Lewis and Clark Exposition in 1905 experienced a similar concession. (At most of these, including the Lewis and Clark Exposition, the Baby Incubator Exhibit was managed by Dr. Martin Couney, the foremost promoter of the baby incubator sideshows at expositions. Couney’s Baby Incubator Exhibit at Luna Park in New York’s Coney Island ran from 1903 to 1943. Although A-Y-P’s Baby Incubator Exhibit bears a strikingly similar physical resemblance to Couney’s baby incubator shows, no connection between Couney and the A-Y-P has yet been discovered.)

As announced in The Seattle Daily Times on February 14, 1909, The baby incubators will be seen at The Exposition, as well as W. H. Barnes with Princess Trixie, the educated horse.’ The display of human infants on the Pay Streak midway apparently elicited no protest from fairgoers (includingvisiting physicians), or from the local medical community.

Seattle already had a permanent (or at least seasonal) baby incubator exhibit: the Infant Electrobator concession at Luna Park in West Seattle. (An electrobator was an incubator heated by electricity.) Further details about this concession, where infants must have been rattled by the clatter of the wooden roller coaster and soothed by calliope music from the nearby carousel, appear to have vanished. It is possible that the A-Y-P exhibit and that at Luna Park were in some way connected.

French physician Alexandre Lion’s incubator, patented in 1889, was commonly used in baby incubator exhibits at expositions. These incubators varied greatly from the infant incubators utilized in modern neonatal intensive care units. The A-Y-P’s incubators regulated the temperature inside the unit and pulled in outside air for ventilation, nothing more. They would have been beneficial to well preemies needing no special care beyond steady warmth. The incubators exhibited at fairs and expositions had no ability to aid babies who could not breathe on their own, and there was at the time (and for many subsequent decades) no therapy for such children.

The A-Y-P Baby Incubator Exhibit apparently experienced no deaths, and it is unlikely that babies who lacked a very good prognosis would have been put on display for fear of negative public relations should they not survive, if for no other reason.”

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The above picture, taken by American West photographer Edward Sheriff Curtis, depicts a young woman from the Tewa tribe, wearing her hair in the style of an unmarried maiden. It was composed two years prior to the passage of the Indian Citizenship Act, legislation that gave Indigenous Peoples rights of full U.S. citizenship at a time when the popular idea among white culture was that Native Americans were a “vanishing race” and would soon completely disappear. Thankfully, that hasn’t occurred, though Curtis’ photographs are an amazing history lesson nonetheless. From a 1911 New York Times article, “Lives 22 Years With Indians To Get Their Secrets,” in which Curtis discusses becoming an Indian priest:

“‘Do you mean that you are a Pueblo priest in good order?’ asked the reporter.

‘Yes,’ said Mr. Curtis,’ and I am a priest in other nations. If I went back there to-day I could officiate as a priest in the snake-dance, that is, in the order to which I belonged.’

‘Then you were adopted into the tribe?’

‘No,’ he said. ‘That isn’t necessary. Being adopted into a tribe is nothing–nothing. The thing is to become a member of a secret order. That is the only way to learn their secrets, and to do that it is not necessary to be adopted into the tribe.

‘Every ceremonial group you get into makes it easy to get into others. Belonging to the Snake Order in that village wouldn’t necessarily let me into an order in another village, but it would give me a good ground to make an argument.

‘My belonging to the Snake Order in Arizona helped me greatly when I tried to get into a ceremonial order in Alaska.’

‘You were a priest in Alaska, too?’

‘Oh, yes,’ he said, in a matter of fact way.

‘But what could the Alaska Indians know about what was done so far off as Arizona?’

‘Oh, when they saw my photographs of the snake dance and heard the phonograph records–‘

‘Do you mean to say that you photographed and phonographed these ceremonies while you were officiating as a priest?’

‘Yes.’

‘How did you make them agree to such a thing?’

‘It was not easy,’ said Mr. Curtis, ‘but I finally convinced them of the advantages of getting in the record.'”

Edward Sheriff Curtis, self-portrait, 1889.

 

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Legendary Life photojournalist Margaret Bourke-White explained how she snapped the above picture of Joseph Stalin smiling–well, smiling  by his somber standards–in quotes that ran in her 1971 New York Times obituary, I actually don’t know if she did the world a favor by locating a softer-looking Stalin, but here’s an excerpt:

“For her meeting with Stalin in the Kremlin in 1941, which was arranged by Harry Hopkins, Miss Bourke-White employed a stratagem to catch him off guard. Recalling the incident, she wrote:

‘I made up my mind that I wouldn’t leave without getting a picture of Stalin smiling. When I met him, his face looked as though it were carved out of stone, he wouldn’t show any emotion at all. I went virtually beserk trying to make that great stone face come alive.

‘I got down on my hands and knees on the floor and tried out all kinds of crazy postures searching for a good camera angle. Stalin looke down at the way I was aquirming and writhing and for the space of a lightning flash he smiled-and I got my picture. Probably, he had never seen a girl photographer before and my weird contortions amused him.’

Miss Bourke-White maintained that ‘a woman shoudn’t trade on the fact that she is a woman.’ Nonetheless, several of her male colleagues were certain that her fetching looks–she was tall, slim, dark-haired and possessed of a beautiful face–were often employed to her advantage.

‘Generals rushed to tote her cameras,’ Mr. [Alfred] Eisenstadt recalled, ‘and even Stalin insisted on carrying her bags.'”

Margaret Bourke-White, 1964.

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Grotesque images don’t bother us unless they remind us of ourselves–then they’re appalling. Photographer Diane Arbus was the most famous cataloger of people who broke the mold: giants, dwarves, twins, transvestites, etc. She was accused of exploitation, but she was always really exploring the frailties of those viewing, not those on view. In the above classic 1966 photo, Arbus’ subjects are twin girls who are identical save expressions set in different directions.

Arbus committed suicide in July 1971. From her Village Voice obituary by A.D. Coleman: “Diane Arbus slashed her wrist and bled to death in her Westbeth apartment–sometime late Monday or early Tuesday, since her diary contained an entry dated Monday, July 25. Hers was the third suicide at Westbeth, the second by a photographer. Her body was discovered by her close friend Marvin Israel, on Wednesday, July 28. Funeral services were held at Campbell’s on Madison Avenue. She was 48 years old.

Diane Arbus studied with Lisette Model and earned her living as a commercial photographer, but her concern as an artist–I should say her concerns, as twinned as the children in one of her most famous images–were the freakishness of normalcy and the normalcy of freakishness. She called freaks ‘the quiet minorities,’ and defined her special field of interest in photography as a ‘sort of contemporary anthropology,’ much reminiscent of August Sander, with whose work her own had considerable affinity.

In a 1967 interview for Newsweek, she said about freaks, ‘There’s a quality of legend about them. They’ve passed their test in life. Most people go through life dreading they’ll have a traumatic experience. Freaks were born with their trauma. They’ve already passed it. They’re aristocrats.’

And, about herself, in a more recent statement: ‘Once I dreamed I was on a gorgeous ocean liner, all pale, gilded, cupid-encrusted, rococo as a wedding cake. There was smoke in the air, people were drinking and gambling. I knew the ship was on fire and we were sinking, slowly. They knew it too but they were very gay, dancing  and singing and kissing, a little delirious. There was no hope. I was terribly elated. I could photograph anything I wanted to.'”

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To celebrate the 176th birthday of Samuel Clemens, who was the Mark Twain of his day, here is a classic 1894 photo of the humorist messing around in the New York City laboratory of his good pal, Nikola Tesla. Twain’s wit and wisdom gained him worldwide adoration, made him  a fortune (which he lost and regained), brought him into close contact with every notable figure of his era (not just Serbian electricians) and earned him a permanent place in the American literary canon. His speaking engagements were attended by rapturous audiences full of swooning women. Reports of his death may have been exaggerated, but his fame was not.

But like funny people before and after him, Twain had a melancholy side. A brief note from the Brooklyn Daily Eagle, 1898: “Mark Twain, at one time was in the habit of lunching at a restaurant in New York, pretty far uptown and away from the madding crowd. A lady who lived in one of the flats above the restaurant, meeting him just as he was coming away from lunch, spoke to him for a few minutes. Later on, when she herself was having her lunch, the waiter asked her to tell him the name of the gentleman with whom she had been speaking. He said he wanted to know because he was the saddest looking gentleman he had ever seen. ‘It’s quite depressing to wait on him,’ he said, ‘for I’ve never once seen him smile.'”

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The Connecticut Yankee, in white suit, of course, 1909:

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This classic 1960 picture, which was taken by longtime National Parks Service photographer Jack E. Boucher, depicts the interior of L.A.’s Bradbury Building, one of the most filmed and photographed pieces of architecture in the world. The setting for numerous films and music videos, the downtown Los Angeles structure is perhaps best known for its appearance in Blade Runner. Built in 1893 by George Wyman for the visionary mining millionaire Lewis L. Bradbury, the building was completed a year after its namesake’s death. Wyman purportedly consulted a Ouija board before accepting the assignment.

A brief history about the project from the Pacific Coast Architecture Database:

Sumner P. Hunt began a five-story design for the mining magnate, Lewis Leonard Bradbury (1823-1892), in 1891; Bradbury wanted an office building that he could walk to from his house on Bunker Hill in Los Angeles; Hunt had previously designed a warehouse for Bradbury in Mazatlan, Mexico; Hunt had completed plans for the new office building by March 1893 at the latest; Bradbury died in July 1892, and there were legal disputes over his estate; in this contentious context, it is possible that the Bradbury Estate may have wanted to finish the Bradbury Building as inexpensively as possible; in 1892 or 1893, George Herbert Wyman, a draftsman in Hunt’s office, entered the picture, as a project supervisor, taking control from Hunt. According to Cecilia Rasmussen writing in the Los Angeles Times, modern research on the history of the Bradbury Block derived from a story done by the noted architectural critic and historian, Esther McCoy (1904-1989), in Arts and Architecture magazine in 1953. Rasmussen stated: “Esther McCoy interviewed Wyman’s two daughters, Louise Hammell and Carroll Wyman. McCoy’s story…reports that Wyman’s daughters told her that Bradbury found Hunt’s design uninspiring and promptly offered the job of redesigning the building to their father. They told McCoy that their father incorporated ideas for his design from Edward Bellamy’s 1887 novel, Looking Backward, which described a utopian civilization of the year 2000. Wyman, the daughters told McCoy, originally turned down the offer, judging acceptance as unethical. But that weekend, while using a Ouija board with his wife, he received a message from his 8-year-old dead brother Mark: ‘Take the Bradbury assignment. It will make you successful.'”•

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On what is Louis Daguerre’s 224th birthday, here’s a classic 1844 daguerreotype, an image of the man himself that was taken by Jean-Baptiste Sabatier-Blot. Daguerre was an artist and physicist who perfected his method of picture making in 1839, which popularized the art of the photograph. He died in 1851, seven years after this image was made, and by then modern photography had already begun to eclipse the Frenchman’s process. An outline of the rise and fall of the daguerreotype from “Sun Pictures,” published in the January 3, 1886 Brooklyn Daily Eagle:

“Daguerreotype was the name under which printing by light first became generally known, some forty-five years ago; true it is, that pictures had previously been taken by means of the sun by Niepce as far back as 1816, but the method by which these were produced was a very imprefect one, and it was not until 1839, when Daguerre published his improved process, that photography was shown to be an art capable of practical employment. We may consider, therefore, daguerreotype as the first steps in the art of photography. The process consists, as is well known, in rendering a polished silver surface sensitive to the action of light, by treating it with iodine, and thus forming iodide of silver. This compound possesses the power of absorbing, so to speak any image that is reflected upon its surface, an invisible picture being produced, which may afterward be developed or rendered visible by treatment with mercury. By means of this mode of proceeding, therefore, we are enabled to produce upon a metal plate a fixed reflection or image of any object, and pictures thus obtained are termed daguerreotypes. They are very faithful productions and possessed of much detail and delicacy of light and shade, but they possess, unfortunately, many serious disadvantages. They are not permanent, they are costly in production, and the image, being depicted upon a highly polished surface, it is difficult to examine it, excepting when the light falls upon it from a particular direction; lastly, only one picture can be obtained at each operation, and the process must be repeated for the production of every subsequent copy required. In 1851 a new era dawned upon photography.”

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This classic photo shows Harry Houdini, in the year before he died, revealing tricks used by opportunistic spiritualists to an assemblage of New York clergyman. (Notice beneath the table that the illusionist rings a bell with his toes.) The meeting took place at the Hippodrome, which seven years earlier was the site of Houdini’s famous vanishing elephant trick. What the photo doesn’t show is the magician’s young assistant, Dorothy Young, 17, who he hired that year to help with his stage act. Young lived to 103, passing away earlier this year. From her New York Times obituary:

“Born on May 3, 1907, in Otisville, N.Y., Dorothy Young was the daughter of a Methodist minister, Robert Young, and Lena Caldwell Young, a church organist. It took some convincing for her parents to allow Dorothy to sign a contract with Houdini after she won an audition in Manhattan in early 1925. She was 17.

Though she was with the Houdini tour for only a little more than a year, Miss Young gained notice. Soon after, her dancing skills were paired with those of Gilbert Kiamie, the son of a silk lingerie magnate. As Dorothy and Gilbert, they toured the country and became known for their own Latin dance, the ‘rumbalero.’ She also danced in several movies, among them the Fred Astaire musical comedy Flying Down to Rio (1933).

Miss Young’s first marriage, to Robert Perkins, ended in divorce. She married Mr. Kiamie in 1945; he died in 1992. Besides her granddaughter, she is survived by a son, Robert Jr., two other grandchildren and nine great-grandchildren. Though she took her husbands’ names in marriage, she preferred to be known professionally as Dorothy Young.

In 2003, with a considerable inheritance from Mr. Kiamie, Miss Young was able to donate more than $10 million to the creation of the Dorothy Young Center for the Arts at Drew University in Madison, N.J.

In her later years, Miss Young sometimes attended ‘séances’ organized by magicians and Houdini aficionados to celebrate and, perhaps, hear from the master. In November 2006, at a gathering in Manhattan, she sat in one of the 12 occupied chairs on the stage. The 13th chair remained empty.

Miss Young had talked with Houdini about returning from the dead, she said, while he was alive. He told me, ‘It’s humanly impossible, but I’ll be there in spirit.'”

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In this classic, uncredited 1958 Los Angeles Times photo, California’s Senator William Knowland rides an elephant at a circus in Orange County. Knowland was long a GOP power and nemesis of Richard Nixon. Sixteen years after this picture was taken, Knowland, awash in financial and personal troubles, took his own life. From the book, One Step From The White House:

“On Saturday morning, February 23, 1974, former U.S. Senator William F. Knowland was up early, and had coffee alone in his luxurious Oakland home. He left a note to his wife, saying, “Dear Ann, I will be back in a short time. Bill.” He left two cups and the instant coffee on a table in their Wayne Avenue apartment.

Knowland, publisher of the highly successful Oakland Tribune , drove slowly down Valdez Street; a few minutes later, at about 9 A.M., he guided his two-year-old Cadillac sedan into the company garage. He had a lot to think about. Two days earlier he had been at the right hand of California governor Ronald Reagan as they celebrated his family newspaper’s hundredth anniversary. He liked Reagan personally and agreed with his political views. He had told his political editor that day that Reagan would make a good president, and he would like to work toward that goal. But on this February day, he had a different mission.

He told the attendant at the Tribune garage to put only five gallons of gasoline in the gas tank. Pragmatic. Conservative. Practical. They were all adjectives that had been used often with his name over his lifetime. He didn’t need a full tank. He wasn’t coming back.

The senator eased his bulk back into the Cadillac and drove through the streets of Oakland for the last time. This was the city that he and his father before him had ruled. The Oakland Tribune . The Tower of Power. He must have thought of the days when the mayor asked him for advice before taking any action, when presidents and governors and senators and those who hoped to be presidents and governors and senators stood in line for an interview in the paneled board room on the twentieth floor of the Tribune Tower—the days when his endorsement could make or break a candidate. He must have remembered the glory days of the U.S. Senate.

But today, he traveled north from Oakland along the east shore of San Francisco Bay, across the Richmond—San Rafael Bridge to Highway 101, then north again, pointing toward the small town of Guerneville on the Russian River. Saturday morning traffic was light, and he drove quickly along the freeway.

The problems were insurmountable.

There were the women, the booze, and, yes, the gambling. That was what really finished him. The images of the tables in Las Vegas recently had filled his thoughts with the enormity of the problems he faced. His debts were huge and the payment date was near.

There was his reputation. All of his life, his reputation was the rock that had held everything in place—a political career that took him almost to the White House, his family, his newspaper, his civic life. Nothing else mattered as much as that reputation.

There was Ann, his new wife. She was part of the nightmare that was eroding that precious reputation, grinding him down, making him weak. To Knowland, lost in his thoughts, the eighty-mile trip to the family compound would have passed quickly.

As he drove westward along the Russian River, his speed increased—almost to a reckless level between Guerneville and the compound. The operator of the Northwood Lodge in the tiny hamlet of Monte Rio said he recognized Knowland in the blue Cadillac, looking “like he was on his way to a fire.”

He turned in at the familiar driveway at 19663 Redwood Drive and shut off the engine. He went into the house, then returned to the car briefly, leaving the keys in the ignition. He wouldn’t be needing them anymore.

He apparently had a last-minute thought, perhaps a change of heart. He tried to call the Oakland Tribune on his walkie-talkie radio, but the distance defeated the unit. He tossed the radio as far as he could. Tribune security did not receive any signals on the frequency of Knowland’s transceiver that morning.

He walked deliberately into his bedroom in the compound. A .32-caliber automatic was in a closet. It was lighter than the .45 automatic he had been wearing as an army major in Paris on the day in 1945 when California governor Earl Warren had appointed him to the U.S. Senate.

But it would do the job. Perhaps his memory flickered back to Paris, to his reading about the appointment in Stars and Stripes . It must have seemed so long ago.

He took the gun and went into the backyard, then strode down the steps alongside the half-submerged pier into the cold February water on the north shore of the Russian River. At the edge of the swift-running river, he checked the clip, then fired one shot into the river to assure himself that the pistol was dependable. He fired the second shot into his right temple. The immediate pain was like a hammer, but the greater pain was erased.”

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This classic NASA image chronicles the training of astronauts for 1971’s Apollo 14 mission, the third time we reached the moon. The astronauts had to practice everything, even that moment when they would plant the U.S. flag on our natural satellite. According to the Apollo 14 press kit, the astronauts spent approximately three weeks in quarantine after returning to Earth, being the final U.S. moonwalkers to be quarantined when they returned home.

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Planting the flag:

Alan Shepard makes the moon his driving range during Apollo 14:

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In this classic 1972 photograph, two unidentified NASA employees in period dresses pose in a sound-absorbing chamber next to the International Telecommunications Satellite. According to the NASA release, the Intelsat IV “was built by the Hughes Aircraft Company for an international consortium of 65 nations to meet the growing demand for channels of communication and greatly expanded the commercial communications network. Intelsat IV was placed in a synchronous orbit over the Atlantic Ocean with the capacity of about 6,000 circuits or 13 television channels.”

This classic 1971 photograph of the crescent Earth was taken by astronaut Alan Shepard, while he was aboard Apollo 14, exactly a decade after he became the first American in space. From Shepard’s 1998 New York Times obituary“On the morning of May 5, 1961, Mr. Shepard became an immediate American hero. A lean, crew-cut former Navy test pilot, then 37, he began the day lying on his back in a cramped Mercury capsule atop a seven-story Redstone rocket filled with explosive fuel. After four tense hours of weather and mechanical delays, he was shot into the sky on a 15-minute flight that grazed the fringes of space, at an altitude of 115 miles, and ended in a splashdown in the Atlantic Ocean 302 miles downrange from Cape Canaveral, Fla.

Though not much by today’s standards, the brief suborbital flight had stopped a whole country in its tracks, waiting anxiously at radios and television sets. When the message of success came through — with a phrase that would enter the idiom, ‘Everything is A-O.K.!’– everyone seemed to let out a collective sigh of relief.

Yuri Gagarin of the Soviet Union may have been first into space, 23 days before, and have flown a full orbit, but with Mr. Shepard’s flight the United States finally had reason to cheer. In fact, Mr. Shepard’s success is credited with giving President John F. Kennedy the confidence to commit the nation to the goal of landing men on the Moon within the decade.”

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This classic (and spooky) 1970 photo, taken by an unnamed Denver Post reporter and now housed at the Library of Congress, shows a worker at the Rocky Mountain Arsenal using a caged rabbit to detect leaks of Sarin gas, which that plant produced. Poor bunny. An odorless, colorless, lethal nerve gas, Sarin was used in the 1995 terrorist attacks in the Tokyo’s subway system. Rabbits weren’t the only ones exposed to the deadly gas. An excerpt from a 2002 Telegraph article, which stated that sarin was tested on British soldiers as recently as 1983:

“One former soldier who underwent a Sarin test in 1983 alleges that Government scientists assured him that there had never been problems with the nerve agent during previous experiments. He says he was not told that Ronald Maddison, an airman, died minutes after being tested with Sarin in 1953.

Ian Foulkes, 38, who was then a private in the 28th Signal Regiment, said: ‘I specifically asked them what the long-term implications of taking part in the tests were because I was not happy about it. Of course if they had mentioned what happened to Ronald Maddison I would not have taken part.'”

 

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This classic 1963 photo profiles Hangar One at Moffett Federal Airfield in Northern California. The towering hangar looks like something that arrived mysteriously from both the future and the past, a man-made colossus that seems to be the result of some higher creature. One of the world’s largest free-standing structures, Hangar One is 200-feet tall and spans eight acres. It was built during the Depression to house the U.S.S. Macon dirigible, an aircraft carrier that was the biggest airship in the world when it launched in 1933. But damage caused by a storm in 1935 buried the Macon deep in the Pacific Ocean. Today, a restored Hangar One is used by NASA. From a 2006 Spiegel article about the wreck of the Macon:

“The tragedy unfolded unusually slowly for an aviation catastrophe: The crew fought to control the USS Macon for more than an hour. US naval officers threw fuel canisters overboard in an attempt to reduce the weight of their vessel. The canisters imploded on their way to the ocean floor. Meanwhile, the Macon — the largest rigid airship ever constructed in the United States — sank inexorably downward, the safety of the Moffett Field hangar just within reach.

The Macon hit the water surface only five kilometers (three miles) off the Californian coast, along the latitude of the Point Sur lighthouse near Monterey, on Feb. 12, 1935. The zeppelin broke apart and sank into the deep water. Two of the 83 crew members died — the low number of deaths is likely due to the fact that the Macon sank in slow motion.

Neither enemy fire nor sabotage was to blame for the giant airship’s doom (and a giant it was: longer than three 747 jets parked nose to tail). A heavy storm above the picturesque stretch of Californian coast known as Big Sur tore off the Macon’s vertical tail fin. The airship’s structural framework was so badly damaged that the Macon broke apart when it hit the water.”

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Trial flight of the Macon, 1933:

Sanjhih Pod City in Nothern Tapei, with its abandoned and worn Futuro houses, is like no other place on Earth. Construction began in 1978 on what was supposed to be a vacation paradise for the wealthy. But the project was abandoned while in progress, because of financial problems and the accidental death of many workers, which convinced people the property was haunted. An excerpt from a story about the futuristic ghost town in the Taipei Times:

“One of the designers behind the UFO houses spoke exclusively to the Taipei Times. Lin, who only gave his family name, said that there were lots of rumors about the site, but most of them were false.

‘First of all, the site is definitely not haunted,’ Lin said, in reference to oft-heard rumors that many people have seen ghosts near the complex or the high number of unexplained traffic accidents on the nearby road.

There were also rumors that more than 20,000 skeletons were discovered at the site when construction work began and that it was the scene of several murders.”

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LED kite + UFO Houses, Taiwan:

This classic 1974 NASA photograph shows the Skylab Orbital Workshop in its final orbit before returning to Earth. Skylab became a sensation of sorts behind closed doors in Washington because the astronauts photographed the super-secretive Area 51 (also known as “Groom Lake”), even though they had been ordered not to. Once the mission was complete, there was a scrum among various agencies for control of the photos (which were never released). Dwayne A. Day revealed the brouhaha in 2006 for the Space Review. An excerpt:

“Far out in the Nevada desert, miles from prying eyes, is a secret Air Force facility that has been known by numerous names over the years. It has been called Paradise Ranch, Watertown Strip, Area 51, Dreamland, and Groom Lake. Groom is probably the most mythologized real location that few people have ever seen. According to people with overactive imaginations, it is where the United States government keeps dead aliens, clones them, and reverse-engineers their spacecraft. It is also where NASA filmed the faked Moon landings.

However, for humans whose feet rest on solid ground, Groom is the site of highly secret aircraft development. It is where the U-2 spyplane, the Mach 3 Blackbird, and the F-117 stealth fighter were all developed. It has also probably hosted its own fleet of captured, stolen, or clandestinely acquired Soviet and Russian aircraft. Because of this, the United States government has gone to extraordinary lengths to preserve the area’s secrecy and to prevent people from seeing it.

This secrecy was threatened in early 1974 when the astronauts on Skylab pointed their camera out the window and took pictures of a facility that did not officially exist. They returned to Earth and their photographs quickly became a headache for NASA, the CIA, and the Department of Defense.”

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“It had been a successful mission”:

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A rumbling red-white-and-blue museum on steel wheels, the American Freedom Train toured all 48 of the contiguous states in America in 1976, the year of the Bicentennial. This classic photograph, author unknown, captures the steam locomotive in May of ’76 as it makes its way to Columbus and Atlanta. The ten display cars carried a trove of hundreds of pieces of rare Americana for viewing, including George Washington’s copy of the Constitution, Dorothy’s dress from the Wizard of Oz and a moon rock. Some home-movie footage of the Wisconsin leg of the trip:

In this classic January 13, 1971 photograph, President Richard Nixon and his wife Pat rest in their San Clemente home, the “Western White House,” as it had become known, on couches with the type of garish upholstery that was inexplicably popular at that time. The seaside home, formerly known as the H.H. Cotton House and La Casa Pacifica, hosted a slew of politicos during Nixon’s abbreviated two-term presidency, including Soviet premier Leonid Brezhnev. The house was the disgraced president’s oasis after he was forced to resign from office in 1974 during the Watergate scandal. The famous Frost/Nixon interviews were planned to be held at the San Clemente abode, but radio signals from the nearby Coast Guard station interfered with the TV equipment. From a 1983 New York Times article about Nixon’s lifestyle in San Clemente:

“San Clemente was in its prime in the early 1970’s when President Nixon’s Spanish-style residence here, Casa Pacifica, served as the ‘Western White House.’ Memories of the excitement of Government helicopters whirring overhead are still fresh. Regardless of how they feel about Mr. Nixon, a lot of people here miss that.

”I find it pretty humorous that San Clemente looks at Richard Nixon as a claim to fame,’ said Harold Warman, a college instructor who said he believed ”any man who becomes President of the United States has made so many moral compromises he’s sold out long before he even got there.’

But even as one of Mr. Nixon’s few critics in San Clemente, Mr. Warman suggested that the status of being a President’s home away from home gave life here a certain style.

‘If he wanted a pizza, they’d circle Shakey’s Pizza with the Secret Service,’ he recalled. ‘One day when I was down there, they brought him in by helicopter and closed the pizza parlor off. That’s pretty impressive.'”

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Soundless footage of the Nixons receiving celebrity guests (John Wayne, Glenn Campbell, Frank Sinatra, etc.) at their San Clemente home in 1972:

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This classic undated picture captures Jack Dempsey and Harry Houdini engaged in a mock fight for a photo op. Even though its tangential to this photo, I’ve been eager for awhile to share an insane 1930 New York Times obituary of a colorful character nicknamed “John the Barber,” who was Dempsey’s first manager. An excerpt from “Jack Dempsey’s First Manager Succumbs To Infection Of His Finger”:

“‘John the Barber,’ in private life John J. Reisler, known on Broadway for many years as a barber, fight manager and friend of the street’s great and near-great, died yesterday morning in Lebanon Hospital, the Bronx, of an infection caused by an ingrown hair on his finger. He had been in the hospital for three weeks and was surrounded by his family, including his wife, Mrs. Minnie Reisler, with whom he had been reconciled recently after a long separation. He was 53 years old.

Also at the bedside was Morris Reisler, his son, whose sentence of twenty years to life in 1923 was commuted by Governor Roosevelt last March. Morris had been sent to Sing Sing for killing his aunt, Miss Bertha Katz, whose death climaxed a family feud in which Mrs. Reisler had accused Miss Katz, her younger sister, of stealing Reisler’s affections. When Morris was released his father, whom he had seen in 1927 when he was permitted to visit the elder Reisler, who lay ill in a Bronx hospital, met him at the prison gate and escorted him back to New York.

As a prizefight manager Reisler was one of Jack Dempsey’s first managers. That was in 1915 and 1916. Although the two parted and later Reisler sued Dempsey for breach of contract, he always was proud of having known and handled Demspey in the days before he was champion.

Born in Austria, he came to New York as a young boy. He became a barber, and in that capacity shaved some of the best-known chins on Broadway. He ran several athletic clubs at various times and knew many celebrities. One of his latest fighters was Vincent Serici. Recently he had handled his three boxing sons, Johnny, Georgie and Sid.

Reisler first came into prominence, however, in 1912, when Herman Rosenthal, the gambler, was murdered early on the morning of July 16 in front of the Hotel Metropole, in Forty-third Street, east of Broadway. Reisler was one of the first on the scene, and it reached the ears of District Attorney Charles S. Whitman that he had seen something. He was subpoenaed, and told Mr. Whitman that has had seen ‘Bridgey’ Webber, one of those accused of the murder, running from the scene.

Put on the stand at Coroner Feinberg’s hearing, Reisler, who had known for years Rosenthal, Webber and others involved in the affair, recanted his story. He was fearful that gunmen in the crowd would ‘put him on the spot.’ Mr. Whitman had him arrested  for perjury and after a night in a cell he decided to tell his original story. Webber, who turned informer, was freed later, as was Reisler, after his testimony. Police Lieutenant Charles A. Becker and four gunmen, ‘Gyp the Blood’ Horowitz, ‘Lefty Louie’ Rosenberg, ‘Whitey’ Lewis and ‘Dago Frank’ Cirofici, went to the electric chair for the crime.”

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Young Dempsey demolishes a washed-up Jess Willard in 1919:

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Theodore Roosevelt stumps for votes, 1912.

This classic 1912 picture of Theodore Roosevelt on the stump originally appeared in the New York Times, though the photographer is unknown. Roosevelt was trying to regain the White House, as he split from the Republicans and formed the Bull-Moose Party. His efforts, of course, failed.

With the upturned hat on the table, Roosevelt gives the impression of a magician. Some critics, however, wanted the politician and his domineering personality to disappear. Mark Twain was one such detractor, and he wrote the following text in 1908 when Roosevelt was exiting the White House:

“Astronomers assure us that the attraction of gravitation on the surface of the sun is twenty-eight times as powerful as is the force at the earth’s surface, and that the object which weights 217 pounds elsewhere would weight 6,000 pounds there.

For seven years this country has lain smothering under a burden like that, the incubus representing, in the person of President Roosevelt, the difference between 217 pounds and 6,000. Thanks be we got rid of this disastrous burden day before yesterday, at last. Forever? Probably not. Probably for only a brief breathing spell, wherein, under Mr. Taft, we may hope to get back some of our health – four years. We may expect to have Mr. Roosevelt sitting on us again, with his twenty-eight times the weight of any other Presidential burden that a hostile Providence could impose upon us for our sins.

Our people have adored this showy charlatan as perhaps no impostor of his brood has been adored since the Golden Calf, so it is to be expected that the Nation will want him back again after he is done hunting other wild animals heroically in Africa, with the safeguard and advertising equipment of a park of artillery and a brass band.”

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Silent clip of Roosevelt with some fellow Rough Riders:

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I didn’t know there were Flappers in Moscow, Idaho, in 1922, but this classic photograph is proof positive. As is often the case with fashions that shock, there was an underlying message of social rebellion woven into the fabric of the style. In this case, the risqué clothes were about women trying to establish an identity that didn’t require being housebound in a housecaot. An excerpt from a 1922 New York Times article about the Flapper craze that looks at how one young woman didn’t really care if hemlines grew longer as long as she could work:

“One of the emancipated ones, with a Knickerbocker grandmother and much family oposition behind her ‘adventures into the open,’ in telling of her struggle for freedom, said:

‘I worked during the war, of course–every one did. And I decided then that never again would I be content to sit at home and do nothing but go to parties. It was hard work at first to get my people to understand how I felt about it. But I finally succeeded. I’ve been here two years. Now I want a better job. I want more money and I think I’m worth it. Jobs are awfully hard to get, though. I do not want my friends to help me if I can manage to get a better position without their assistance.

‘Several of my friends have gone to work because they were so bored at home. One of them is a saleswoman in a smart costume shop. She’s been having lots of fun with some of the snobbish friends of her rich family connections. These snobbish ones haven’t gotten used to the ‘working girl’ idea yet.

‘No, I don’t think I shall give up working when I marry. It seems to me that you understand the ‘tired business man’ much better when you have been a ‘tired business woman.’ It’s not very easy being at a desk all day. I certainly wouldn’t expect my husband to take me to late parties every night, which seems to be what wives who have never worked seem to expect.'”

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A trip to the inventors’ convention with that flapper, Betty Boop:

This amazing classic photograph, taken in 1906 by G.K. Gilbert, shows the Point Reyes Station in Marin County, in the wake of the San Francisco earthquake. (Click on the photo to see a much larger version.) Because of the girl in the skirt staring into the heavens and the presence of the dog, it gives off a Wizard of Oz vibe. An excerpt from a 2008 San Francisco Chronicle article about the death of Irma Mae Weule, likely the final survivor of the 1906 quake:

“Mrs. Weule had vivid memories of growing up in the horse-and-buggy era and clearly recalled the 1906 earthquake, which she experienced as a child. She was one of 11 earthquake survivors who attended a centennial commemoration in 2006 and was interviewed on national television.

She was living at the time of the earthquake with her parents in a portion of the Bayview district called Butchertown, an area so far out that the family kept a cow in the backyard.

Her father, Louis Nonnenmann, ran a wholesale meatpacking business. The family home was large enough to have a social hall in the basement, and Mrs. Weule remembered that her father took in whole families of earthquake refugees.”

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Dead Letter Office, most likely in Washington D.C., 1922.

Above is a classic 1922 photograph of a dead letter office, a way-station where misaddressed missives went to get back on the right track. An excerpt from an 1878 New York Times article in which the staff of a Manhattan dead letter office was profiled:

“The deparment is in charge of Mr. John H. Hallett, a white-haired, white-bearded, bright-eyed old gentleman, 65 and upward, but still as lively and business-like as a man of 30. He has seen just half a century of service in the Post Office, and he is a perfect encylopedia of New-York history. What he does not know about misdirected, badly written, mutilated, and unmailable letters, it would be useless for anybody to try to find out. Assisting Mr. Hallett in straightening the address of badly directed letters are two experienced clerks, whose intuition into things is little less than marvelous. They handled last month 11,800 imperfectly or wrongly directed letters, and sent to their destination all except 217. They have handled an average of 500 letters a day for the last two months, and the blunderers are increasing at a steady rate.”

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