Posts Tagged ‘Elvis’

From One Extreme to another

Working at TNR Communications, on the photography side of things, often requires a bit of ‘research’ to encourage creativity and even provide material for our blog. So the other day I went to the Nat Finkelstein exhibition From One Extreme to the Other, at Idea Generation  – a PR company based in east London that also doubles as a gallery.

Nat Finkelstein – who passed away towards the end of last year – became a regular face at the Factory, Andy Warhol’s studio in New York, during the mid to late 1960s.  He wasn’t one of the drug influenced artists who decorated the Factory in tin foil, or one of the boys hanging around hoping to be a superstar in the next Warhol production – film or otherwise, but a photojournalist interested in capturing the zeitgeist.

The Factory was a magnet for the weird and wonderful.  Stars of film and music would drop by to observe and perhaps even participate in the decadent, uninhibited scenes that the studio was famous for.  One of the stars that regularly dropped by during this period was Bob Dylan. Warhol already had the cooler than cool Lou Reed in his stable, so he probably wasn’t interested in enticing Dylan to join the resident kooks. However, he liked him enough to give him one of his Double Elvis paintings:

Andy Warhol and Bob Dylan at The Factory 1966

Andy Warhol and Bob Dylan at The Factory 1966

The resulting photo is one of my favourites from the collection, for many reasons. Firstly, because Finkelstein had intuitively captured three icons whose longevity, status and relevance in the future had yet to be decided. I also like the way that the painting is captured between Warhol and Dylan illustrating the transaction, and the way that they are standing gives the shot a kind of symmetry.  Black and white photography always adds an element of drama and intrigue, so this shot might not have been as iconic or as striking had it been in colour.  This shot is just a moment in time, and as Finkelstein said himself “When all is said and done, when everything is gone, the photograph is what’s going to remain. The photographer is the producer of history.”

As the story goes, although Dylan professed to being inspired by Elvis, he later exchanged the painting with his manager Albert Grossman for a sofa, of all things.  Clearly Dylan isn’t the visionary Warhol and Finkelstein were.  I wonder if there is a shot of that transaction…

Post by Nicola Charalambous (Production Manager for TNR Communications)

Share

From Rags to Riches…

In conjunction with the 32nd anniversary of Elvis Presley’s death on 16thAugust, I have decided to write about the photographer Alfred Wertheimer, who in 1956 was hired by RCA, Elvis’ record label, to get some official publicity shots of their new star.

After Elvis’ first successful television performance on the Dorsey Brothers’ Stage Show at the CBS studio in New York on 28thJanuary 1956, Alfred Wertheimer, a freelance photographer on the photographers rota at RCA’s press office, was commissioned to photograph Elvis’ next Stage Show performance in March.  Being a big music fan, Wertheimer jumped at the chance and got his brief: to photograph Elvis Presley (‘Elvis who?’ he proclaimed), and his shot list: head shots; Elvis on stage with microphone; Elvis with fans; Elvis mingling with celebrities, etc. 

During and after the initial one-day assignment, Wetheimer photographed Elvis in what became the last period of his anonymity.  Wertheimer captured the small group of fans that waited outside the theatre for the soon-to-be-named ’King of Rock’n’Roll’ – a group of fans that within weeks would multiply into hundreds of screaming girls; candid shots of Elvis combing his hair, shopping for new shirts, listening to the first play-back of newly recorded songs that would have an unimagined affect on the direction of music for decades to come, and waiting for his cue to go on stage.

My favourite shots are of his performances.  The sheer energy and charisma that radiates from the shots make me wish that I was there to witness the moves that would later be imitated by Michael Jackson, and to hear the voice that inspired so many future singers and performers.  Imagining what songs that he could be singing in them make these shots come alive.

The ironic thing about this period and the photographic documentation of it is that in 1956, Elvis was 21 years old – half the age he was when he died. They capture the rawness of a young man who was accused of being possessed by the devil and too sexual because of the unique way he moved when singing – quite an insult given the fact that he grew up singing gospel music in church ‘praising the Lord’.

…from Riches to Ruin 

After these pictures were taken, Elvis’ career spiraled out of his control.  His image was toned down considerably to appeal to a wider audience.  And before being conscripted for a 2-year stint in the US army in 1958, he made 4 good films that could have led to a career as a serious actor.  Instead, on his return he made a further 29 films that he was contractually obliged to make – same plot, different location – which he grew to hate. A come-back concert in 1968, his first performance in front of a live audience in 10 years, gave him the bug to go on tour, which only led him to be tied in to another grueling contract where, as the years passed, he gradually became the sorry and sad figure that countless ‘impersonators’ make their living from.

I have enjoyed looking through these pictures as they capture and document a period of his life and career that not many people are aware of.

There doesn’t appear to be a site dedicated to Albert Wertheimer, but “Elvis At 21: From New York To Memphis” is a great book with a wide selection of photographs showcasing Elvis’ performances, and time at his home, Graceland in Memphis with his friends and family. 

 

Post by Nicola Charalambous (Picture Editor of PA Photocall)

Share