Archive

Tag Archives: 1945




Extra! Weegee!, pp. 300-301

“Weegee” Lends a Helping Hand
New York — Down at the Bronx Terminal Market, 151st and Exterior Sts., to cover the picketing by retail dealers, photographer “Weegee” got into the swing of things and carried a placard for the picketers. Here, he holds up the sign denouncing black marketeers, all the while puffing on his big cigar and keeping his camera handy for a good picture. The market was picketed by dealers protesting the black market and tie-in sales.
5/29/45



PM, August 20, 1940

They’d Sooner Be at the Beach But, Heat or No Heat, Jobs Are Scarce
Weegee, the wag, finished up the day by taking his own picture in the darkroom. Note camera release in his hand.


Weegee (1899-1968), Naked City, 1945, pp. 226-227 (Odds and Ends chapter)


PM, March 9, 1941, p. 18

This Time It Really Snowed in New York – 12 Inches, More to Come

A commuter from New Jersey opened her umbrella as she left the 125th St. ferry, had it turned inside out by a 35 m.p.h. wind.

Thousands of automobiles parked overnight were found like this by owners Saturday morning.
PM, March 9, 1941, p. 18


Screen shots from Stanley Kubrick’s “Killer’s Kiss” (1955).


Screen shots from “Killer’s Kiss.” Mannequin factory owner, played by Skippy Adelman, and mannequins.


PM, October 1945. Photo by Skippy Adelman.


New York Age, May 1950. Photo by Skippy Adelman.



PM, 1945. Photo by Skippy Adelman.



Weegee-esque screen shots from “Killer’s Kiss.”


PM, October 1944. Talking dog for the war effort story. Photo by Skippy Adelman.


The New York Times, July 22, 1945

To commemorate the recently republished book, Weegee’s magnum opus, “Naked City,” a timeless (and funny: “But I had the sense to quit when the talkies came in” and insightful: “his favorite subjects are dummies…” and informative: “till last May Weegee was with…” and profound: “One day you’re a hero…”) piece from the The New York Times


“Shorty, the Bowery Cherub, New Years Eve at Sammy’s Bar,” 1943
Barth, Miles, Weegee’s World, New York: Bullfinch Press, 1997, p.139


“Shorty, the Bowery cherub, welcomed the New Year…”
Weegee, Naked City, New York: Essential Books, 1945, p. 148


“Shorty, the Bowery cherub, welcomes the New Year…”
Weegee, Naked City, Cincinnati, Ohio: Zebra Picture Books, 1948

naked_city_p6

naked_city_p7
Naked City, pp. 6-7

“Foreword

Persons looking on Weegee’s incredible photographs for the first time find it hard to believe that one ordinary earth-bound human being could have been present at so many climactic moments in the city’s life.

The simplest explanation of the phenomenon is that true love endows a man [or woman] with superhuman qualities, and Weegee is truly in love with New York. Not the New York that you and I know, but the New York that he has known, first as a poor immigrant boy and later as a free-lance newspaper photographer specializing in crime and violence.

Loving the city, Weegee has been able to live with her in the utmost intimacy. When he goes to bed in his room across the street from police headquarters, the city murmurs to him from the police-approved shortwave radio beside his bed. Even in slumber he is responsive to her. He will sleep through fifteen unpromising police calls and leap out at bed at the promising sixteenth. In sickness and in health he will take his camera and ride off in search of new evidence that his city, even in her most drunken and disorderly and pathetic moments, is beautiful. Of course Weegee, being an Artist, has his own conception of what constitutes beauty, and in some cases it is hard for us to share his conception; but insofar as we can share it, we can share his love for the city.

When he cruises in his 1938 Chevrolet. his love is beside him, talking to him from another shortwave radio: and as he listens to her he is also watching her, and he will stop to photograph the drunk asleep in front at the funeral parlor as further evidence of his love’s infinite variety.

Weegee is a rather portly, cigar-smoking, irregularly shaven man who has seen and recorded a great deal of ugliness and disaster, but he remains as shy and sensitive as if he had spent his life photographing babies and bridesmaids. This, I think, is further evidence that he has been inspired not by a taste for sensationalism but by his love for the city and her children – especially the troubled and unfortunate ones, the kitten-loving ones who sleep on fire escapes in the summer.

I think that Weegee’s subjective portrait of New York must be regarded as a work of creative art, because, although all at the elements were there for anyone to use, no one has ever used them as Weegee has. This portrait lived
first in Weegee’s heart and imagination. He patiently sought and painstakingly assembled those elements in a manner that would make it possible for us to see his city and believe it, and love it — and yet want to make it better. You don’t want those kids to go on sleeping on that fire escape forever, do you?

William McCleery
New York, Editor, PM Picture News”

It’s Naked City week…

Since we are in the second day of the 70th year since the publication of Naked City

naked_city_p11

naked_city_p12
Naked City, pp. 11-12

“A Book is Born

One just doesn’t go up to strange men, women, children, elephants, or giraffes and say, “Look this way please. Laugh- cry show some emotion or go to sleep underneath a funeral canopy.” They would have called me crazy and called a cop who would have called the wagon with the guys in white and I would have wound up in the psychopathic ward at Bellevue Hospital in a strait jacket.
For the pictures in this book I was on the scene; sometimes drawn there by some power l can’t explain, and l caught the New Yorkers with their masks off. . . not afraid to Laugh, Cry, or make Love. What I felt I photographed, laughing and crying with them.
I have been told that my pictures should be in a book, that they were a great social document. As I keep to myself, belong to no group, like to be left alone with no axe to grind, I wouldn’t know. Then something happened. There was a sudden drop in Murders and Fires (my two best sellers, my bread and butter). I couldn’t understand that. With so many millions of people, it just wasn’t normal, but it did give me a chance to look over the pictures I had been accumulating. Put together, they seemed to form a pattern. I pasted the photographs up into a “dummy” book and left it with the publishers with a note “This is my brain child . . . handle care please.”
The people in these photographs are real. Some from the East Side and Harlem tenements, others are from Park Avenue. In most cases, they weren’t even aware they were being photographed and cared less. People like to be photographed and will always ask “What paper are you from, mister, and what day will they appear,” the jitterbugs and the Sinatra bobby-sock fans even want to know on what page it will appear. To me a photograph is a page from life, and that being the case, it must be real.”
Naked City, pp. 11-12

c_1945