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Posts from the “Bronx” Category

Joe Conzo: The Elements

Posted on September 8, 2021

Sal & Mickey Abbatiello, The Fever: 365 Nights of Hip Hop

“Never in my wildest dreams as a kid from the South Bronx did I think that photography would bring me around the world,” says photographer, author, and activist Joe Conzo. 

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Coming of age in 1970s New York, Conzo’s worldview was shaped by his grandmother, Dr. Evelina Antonetty, who was fondly known as “The Hell Lady of the Bronx” for the work she did on behalf of the Puerto Rican community; his mother, community Lorraine Montenegro; and his father, Joe Conzo Sr., legendary bandleader Tito Puente’s personal manager and confidante.

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Conzo witnessed the city’s infrastructure collapse under the weight of “benign neglect”, which denied basic government services to Black and brown communities across the United States, while landlord-sponsored arson reduced city blocks to rubble. He quickly learned the best way to create change was through collective action.

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Read the Full Story a Huck

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Biggie Rolling Dice by Manuel Acevedo, 1994
Japanese Print by Manuel Acevedo, 1986
Categories: 1970s, 1980s, 1990s, Art, Bronx, Brooklyn, Huck, Manhattan, Music, Photography

Cey Adams: Smithsonian Anthology of Hip-­Hop and Rap

Posted on August 20, 2021

Photograph by Jamel Shabazz. Four young men posing. This image was made on the Lower East Side of Manhattan at the famous Delancey Street & Orchard Street in 1980, a major shopping hub.

“Like a kid that’s always dreaming about going to the NBA and then you get the call, I was dreaming of this project even before I knew I was going to work on it,” says artist Cey Adams, the founding creative director of Def Jam. Adams art directed the Smithsonian Anthology of Hip-­Hop and Rap, which is released on Smithsonian Folkways Recordings today (20 August 2021).

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Tracing hip hop’s evolution from 1979 to 2013, the anthology brings together nine CDs with 129 tracks and a 300-page illustrated book published to celebrate the fifth anniversary of Smithsonian’s National Museum of African American History and Culture (NMAAHC). Featuring photographs by Janette Beckman, Charlie Ahearn, Anthony Barboza, Adrian Boot, Jamel Shabazz, and Glen E. Friedman, it offers a panoramic history of a culture born on the streets of the Bronx, that has since become a multi-billion dollar global phenomenon. 

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The anthology’s creators eschew the notion of a canon and instead envision the project as a foundation upon which to build. “I was on a call with LL Cool J and Chuck D, and we talked about not only making this book, but our journey as a people,” says Adams, who got his start as a graffiti writer in the 1970s.

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Read the Full Story at Huck

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MC Sha-Rock, The Valley, NYC, June 1980, photo by Charlie Ahearn
Female Rappers, Class of ’88, 1988, photo by Janette Beckman
Categories: 1970s, 1980s, 1990s, Art, Bronx, Brooklyn, Graffiti, Huck, Music, Photography

The Fourth Annual Latin American Foto Festival

Posted on August 1, 2021

Alfred Flores, 5, holds a bunch of quenettes in Patanemo, Venezuela, on July 17, 2020 © Andrea Hernández Briceño

Strength, resistance, endurance, and adaptability are vital necessities for survival in a brutal world, one that continues to perpetrate the horrors of colonialism upon indigenous communities who have been rooted in the land for thousands of years. When looking at contemporary Latin America, we bear witness to an extraordinary blend of cultures in 33 nations on two continents fighting for survival in the wake of cataclysmic waves of warfare, ethnic cleansing, and environmental destruction.

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With the Bronx Documentary Center’s (BDC) Fourth Annual Latin American Foto Festival(LAFF), which opened July 15, we see the stories of the people told by those who have lived it. Featuring a series of exhibitions, virtual and in-person workshops, tours, and panel discussions online and within the Bronx, the LAFF presents a series of powerful and poignant stories offering new paradigms that speak truth to power. 

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Curated by BDC Directors Michael Kamber and Cynthia Rivera, the LAFF features work by artists Andrea Hernández Briceño, Carlos Saavedra, Cristóbal Olivares, Florence Goupi, Luis Antonio Rojas, Pablo E. Piovano, Rodrigo Abd, Victor Peña, and Victoria Razo. On view until Sunday in installations at the BDC galleries, as well as on sidewalks, school exteriors, and in community gardens, the LAFF brings the story of Latin America to the Bronx, home to more than half a million Latinos. 

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Read the Full Story at Blind

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A working horse bites its tail during a break from carrying cocoa beans in a farm in Patanemo, Venezuela, on July 16, 2020 ​​​​© Andrea Hernández Briceño
Categories: Art, Bronx, Exhibitions, Latin America, Photography

T. Eric Monroe: Rare & Unseen Moments of 90s Hip Hop

Posted on July 13, 2021

T. Eric Monroe. Erykah Badu, Power, 1997, NJ.

Throughout the 1980s, corporate media called Hip Hop a “fad,” trying to dismiss a culture that made its way up from the streets and required no formal musical education — just beats, rhymes, and life. It wasn’t until 1989 that the Grammys introduced a rap category, but after a decade of snubs, artists had had enough. DJ Jazzy Jeff and the Fresh Prince, who had won the first-ever Best Rap Performance for “Parents Just Don’t Understand,” boycotted the show along with Salt-N-Pepa, LL Cool J, Slick Rick, and Public Enemy.

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By the time the 1990s rolled around, Hip Hop was a distinctly underground phenomenon that made headlines as the subject of FBI attention and Senate hearings organized by Second Lady Tipper Gore. Although it would be years before white audiences transformed Black and Brown street culture into a billion-dollar global industry, Hip Hop was in its Golden Age.

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Throughout the ‘90s, skater turned photographer T. Eric Monroe was on the scene, creating a massive archive of Hip Hop icons including Biggie Smalls, Tupac Shakur, Wu-Tang Clan, Nas, Lil’ Kim, the Fugees, and The Roots. Featured in the 90’s Hip­Hop Art Tour on New York’s Lower East Side and the three-volume set Rare & Unseen Moments of 90s Hip Hop, Monroe retraces his journey documenting the scene for record labels and magazines including The Source, XXL, Thrasher, and Transworld Skateboarding.

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Read the Full Story at Blind

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T. Eric Monroe. Ol’ Dirty Bastard, Barbershop Chair Stare, 1995, Harlem, NY.
T. Eric Monroe. Biggie Smalls, Hoodshock, 1996, Harlem, NY
Categories: 1990s, Art, Blind, Books, Bronx, Brooklyn, Manhattan, Music, Photography

Janette Beckman: New York, New Music 1980-1986

Posted on June 24, 2021

JANETTE BECKMAN LL COOL J 1985

By 1980, New York City was a shell of its former self, reduced to miles of rubble in Black and Latino communities across the Bronx, Brooklyn, Queens and Manhattan. Landlords laid their properties to waste, sometimes hiring arsonists to torch their buildings to collect insurance payouts. With the government support systemically denied under the Nixon White House policy of “benign neglect“, infrastructure crumbled, and crime rose. Yet within this bleak and barren landscape, a new generation came of age embodying the dictum, “Necessity is the mother of invention.”

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While white flight drove a mass exodus of the middle class to the hermetic safety of suburbia, rents plummeted, making it possible for anyone to afford to work, live and play in New York. Without the threat of over-policing or the stultification of gentrification, kids ran the streets, the clubs and the bars, creating their own styles of art and music — hip-hop, punk, disco, salsa, jazz, and No Wave — that would set the blueprint for decades to come. It was a golden era, the likes of which are being celebrated in the new exhibition New York, New Music: 1980-1986 at the Museum of the City of New York, which brings together art, fashion, music videos, vinyl records and photography for a kaleidoscopic look at the city’s highly innovative music scene.

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“Everything was authentic — it came from the streets and people’s hearts,” says British photographer Janette Beckman, who came to visit New York during Christmas 1982 and never left. “Hip-hop was the boiling point. The economy was bad, and people just decided they were going to do things their way. Kids would steal out of their parents’ house at midnight, go to a train yard to paint, then come home again before going to school. Other kids wrote poetry in their bedrooms, practiced on the streets, and got tapped to rap on stage, getting props from their community. The creativity was coming from the artists, rather than someone telling them what to do.”

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Read the Full Story at i-D

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CHARLIE AHEARN, DEBBIE HARRY, FAB 5 FREDDY, GRANDMASTER FLASH, TRACY WORMWORTH, AND CHRIS STEIN, 1981
JOE CONZO COLD CRUSH BROTHERS 1981
Categories: 1980s, Art, Bronx, Brooklyn, Exhibitions, i-D, Manhattan, Music, Photography

Emily Sujay Sanchez: Stories of Trauma, Survival and Healing

Posted on May 31, 2021

Emily Sujay Sanchez

“My story is no different from women who look like me,” says Emily Sujay Sanchez, a Bronx-based photographer of Dominican heritage, who recounts a story of trauma, survival, and healing that first took root when she picked up the camera at the age of 23.

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“I had just moved back to Providence, Rhode Island, after having my son. It was a really rough time,” Sanchez says. “ I had this baby and separated from my son’s father, right away. I was suffering from postpartum depression, though at the time I didn’t know what it was. I couldn’t find work, and then when I did it was an overnight job one hour away from home, working in the coat checkroom at a casino. I was going through it.”

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But providence, as it were, intervened and Sanchez enrolled in a photography course being taught at a local school. “I took into to film and darkroom and I will never forget the feeling because I was able to quiet everything that was going on at the time,” Sanchez says, then stills herself, holding back the tears.

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“I still remember the first photographs I took. My instructor sent me out and said, ‘Take pictures of what attracts you and look at the lines’ — whatever the hell that meant!” Sanchez laughs. “The city is deserted, there’s nothing really going on. I was walking around this area and there was a diner. I saw a waitress outside smoking a cigarette on her break. Her eyes were glazed and she was completely in her own world. I asked if I could take her picture and she said, ‘Sure.’”

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Read the Full Story at Blind

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Emily Sujay Sanchez
Emily Sujay Sanchez
Categories: Art, Blind, Bronx, Latin America, Photography, Women

Jamil GS: The ’90s

Posted on March 11, 2021

Jamil GS. Mary J. Blige.

As the son of jazz saxophonist Sahib Shihab, who played with no less than John Coltrane, Quincy Jones, and Thelonious Monk, the connection between visual art and music was imprinted upon photographer Jamil GS as a child, while playing his father’s records and studying album covers in his hometown of Copenhagen.

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“I believe input determines output,” he says. “I grew up in a very creative environment. My mother was talented at drawing and her mother was a famous illustrator working for fashion magazines and catalogues. There was a big American expat community in Copenhagen, and I was surrounded by musicians, artists, painters, poets, journalists, writers, directors, both American and Danish.”

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Jamil GS got into hip hop in the 1980s at the age of 13 when he was a certified B-Boy, dancing in the clubs and bombing trains as a graffiti writer. “My dad started teaching me to play the saxophone,” he remembers. “He told me, ‘If you really want to do this and become good at it you have to practice six hours a day.’ As a teenager, I was out running the streets so I was like, I don’t know about that. I really wanted to be a professional graffiti artist, to be the next LEE or FUTURA.’”

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After members of his crew got busted Jamil GS changed course, channeling his creative energy into photography, using the camera his father had given him at the age of 16. “For me, the connection with visuals and music is very close. When I hear the music, I see pictures,” he says. “I felt like photography hadn’t been explored that much by my generation. When something would come out in magazines or album art, there was a disconnect for me. I was like, this is not the experience I am having listening to this music. The music was so advanced and sophisticated: the production, compositions, poetry, slang. I wanted to make visuals that represented that.”

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Read the Full Story at Dazed

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Jamil GS. Showbiz & AG.
Categories: 1990s, Art, Bronx, Dazed, Manhattan, Music, Photography

Joe Conzo: Born in the Bronx

Posted on March 5, 2021

Joe Conzo
Joe Conzo

“Never give up! That’s my call to everything in life,” says Nuyorican artist, activist, and author Joe Conzo. The former FDNY EMT – who was buried under 9/11 rubble – is a survivor in every sense of the word. After recently battling and beating cancer of the pancreas and liver brought on by conditions at Ground Zero, Conzo made the front page of the January 26 Daily News after taking on Glacier Equities, a real estate firm that in November 2020 purchased the Bronx building where Conzo has lived since 1991.

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Two days before Christmas, Conzo and dozens of residents across the Bronx and Inwood received a letter informing them they were being evicted during a pandemic, and given just 90 days to find a new place to live as of January 31. “Getting the letter was like being told again, ‘We found cancer in your body,’” Conzo says.

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But Glacier Equities had met its match; Conzo is Bronx royalty. His grandmother, Dr. Evelina López Antonetty (1922-1984), was an activist affectionately known as “The Hell Lady of the Bronx” who let politicians know: “I don’t work for you. You work for me. You do for us first and then we will do for you.” An educator unafraid to take on the establishment, Dr. Antonetty founded United Bronx Parents (UBP) in 1965 to fight for equal opportunities for the poor, the fruits of her labour resulting in bilingual education nationwide and school meal programs for impoverished children.

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“My grandmother died fighting. Same thing with my mother,” Conzo says of Lorraine Montenegro who took the helm of UBP after her mother’s death and passed in 2017 as a result of the lack of government support in the wake of Hurricane Maria. Today, two adjacent Bronx street corners bear their respective names, honouring the work they did to help the people of the community.

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“I’m still fighting – and it’s not by choice,” Conzo says with a laugh. “It’s like that line in The Godfather III, ‘Just when I thought I was out, they pull me backed in!’ It’s about education and standing up for your rights. If you do your due diligence, you’ll come out on top. I don’t care how big Goliath is.”

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Read the Full Story at Dazed

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Joe Conzo
Joe Conzo
Categories: 1970s, Art, Books, Bronx, Dazed, Music, Photography

The Second Latin American Foto Festival

Posted on August 16, 2019

Fred Ramos. A Honduran child plays near train tracks in Arriaga, Chiapas, in southern Mexico, October 2018.

Johis Alarcón. Nicole Carcelén, 19, plays with a cotton plant in her hair. The black slaves who first came to Ecuador were forced to work in cotton fields, cane fields and coal mines. For Nicole, cotton plants represent the strength of her ancestors and the strength of their blood. La Loma, 2018

With the second edition of the Bronx Documentary Center’s Latin American Foto Festival, curators Michael Kamber and Cynthia Rivera provide a space for photographers living and working in Latin America to tell their stories on their terms. The Festival, held in nine venues throughout the Melrose neighborhood of the Bronx, gave some 50,000 residents — many of whom are Latinx immigrants — the opportunity to engage with stories from their homelands through exhibitions, workshops, tours, and panel discussions.

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The history of colonized lands is rarely told by those who have suffered the fate of centuries of imperialism that have systemically decimated the people and the lands of every continent outside Europe. Over the past 200 years, the people of Latin America have fought for independence and sovereignty, and against puppet regimes installed by the United States that first began in 1823 under the Monroe Doctrine.

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As ICE raids systemically target Black and Latinx communities, the Foto Festival provides a pertinent moment to pause and reflect on the impact of white supremacy in its many forms, and the ways in which those it aims to exploit, oppress, and erase fight back in a struggle for life or death.

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Read the Full Story at Feature Shoot

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Chris Gregory. Ruta del Progreso

Yael Martinez. Family heart .photos on the wall of Perla Granda’s (my sister-in-law) bedroom of her missing brothers. She is 14 years old, she is in high school. She lives with her mother and Her sister Sandra at Taxco Guerrero Mexico On September 10,2013.

Categories: Art, Bronx, Exhibitions, Feature Shoot, Latin America, Photography

Saul Leiter: Early Color

Posted on August 21, 2018

Harlem 1960. © 2018 Saul Leiter. Book published by Steidl 2018 (8. Edition)

Color is the provenance of the painter, who must select the palette before setting brush to canvas. Color is sensation that shapes mood, as the light waves in color stimulate different emotional centers in the brain. Color is an affect that evokes a response, most alluringly an innate attraction and insatiable curiosity, an ability to be still, even spellbound, held in a gaze, enraptured by the sheer pleasure of hue and shade.

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American photographer Saul Leiter was a master of color, a debt owed in great part to his training as a painter. Born in Pittsburgh in 1923 to Wolf Leiter, the internationally renowned Talmudic scholar, young Saul was intended for the Rabbinate – until his father opposed it. In 1946, he left Cleveland Theological College in 1946 and moved to New York to work as an artist.

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Soon after his arrival, Leiter began to exhibit his paintings in Lower East Side galleries like Tanager Gallery, where they hung alongside those of Philip Guston, Philip Pearlstein and Willem de Kooning. Despite appealing to influential critics, Leiter was not a commercial success, and turned to photography after being introduced to it by abstract expressionist artist Richard Pousette-Dart.

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Read the Full Story at Feature Shoot

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Phone Call 1957. © 2018 Saul Leiter. Book published by Steidl 2018 (8. Edition)

Categories: Art, Bronx, Photography

The 35 Anniversary Wild Style Reunion Concert

Posted on August 8, 2018

Kase 2, Busy Bee, Fab 5 Freddy, and friends at the cheeba spot, 1980. Photo © Charlie Ahearn.

Back in 1978, artist Charlie Ahearn saw a couple of vibrant murals in the handball courts of the Smith Projects in New York’s Lower East Side. The word “LEE” appeared across them in big bold letters. Ahearn was intrigued, and quickly realised it was the work of Lee Quinones, one of graffiti’s greatest writers.

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A year later, Ahearn met Lee and Fab 5 Freddy during the historic Times Square Show. The trio immediately started collaborating. At the time, the words “wild style” were on everybody’s lips – it was the name for the colorful, hyper-stylised letterforms dominating graffiti that most people could not read.

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Simultaneously, hip hop music was sizzling in the clubs and parks, as the first generation of DJs spun breakbeats while MCs tore up the mic and b-boys rocked the floor. As all of this was happening on his doorstep in New York, Ahearn decided to turn it into Wild Style – the first ever hip hop feature film.

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Read the Full Story at Huck Online

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Animation drawing by Zephyr, 1982. Courtesy of Charlie Ahearn.

Categories: 1980s, Art, Bronx, Graffiti, Huck, Manhattan, Music

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