#credits to michael ochs

[machinefetishist]

Phil Ochs performs at a benefit concert in the Gainesville Sun newspaper parking lot on August 25, 1973 in Gainesville, Florida.

[thequietabsolute]

Leonard Cohen

photographer & graphics unknown but often, probably erroneously, credited to Michael Ochs whose wonderful archives can be found in the link

[thislovintime]

At the Los Angeles premiere of Head (1968), November 19, 1968. Photo credits (as known): International Magazine Services, and Michael Ochs Archives.

“The L.A: premieres of the B4’s ‘Yellow Sub’ and the M4’s ‘Head’ lured the beautiful people from their hilltop lairs, beach abodes and love communes. […] Peter Tork, hiding his handsome face behind a thick bramble bush (even thicker than Mike Love’s luxuriant facial foliage), decorated his frame with red satin, brown cord, thonged leather and mismated sox.” - Teen Magazine, February 1969

“‘I don't remember much about that night [the premiere of Head in Los Angeles, November 1968],’ Tork tells EW.com, ‘except that we were there. But I do know this: the audience for the movie [screening and Q&A] on Wednesday is going to be bigger than the crowd we got in 1968.’” - EW dot com, November 12, 2008

[punkrockhistory]

#knowyourroots

49 years ago

Patti Smith and Iggy Pop and James Williamson of The Stooges in November 1974 backstage at the Whisky a Go Go in Los Angeles, California.

Credit: Michael Ochs Archives

#punk #punks #punkrock #protopunk #iggypop #pattismith #history #punkrockhistory

[bandpicfolder]

Tom Petty by Michael Ochs. Credit the photographer if reposting.

[kirkybabygo]

Rockstar bf ⭐️🎸🖤

Credits: @bestofkhammett on ig

📸: Michael Ochs

[whileiamdying]

Seven Black Performers Who Changed The World Of Burlesque

SARA COUGHLIN FEBRUARY 21, 2017, 10:30 AM

Josephine Baker

PHOTO: GENERAL PHOTOGRAPHIC AGENCY/GETTY IMAGES.

At the height of their popularity in the early and mid-20th century, burlesque halls were overwhelmingly segregated spaces. Although women of color performed as shake dancers in nightclubs, they rarely shared the stage with white dancers. It was up to them to make a name for themselves in an industry in which their identities were easily obscured, exoticized, and even forgotten. 

Here, we're celebrating some of the Black women who broke into the world of mainstream burlesque, and in turn forged pathways for future generations of Black performers and challenged standards of beauty.

Some of these women, Eartha Kitt and Josephine Baker among them, enjoyed illustrious careers and maintain their fame today. Then there are others, like Lady Ernestine, who are known only for their stage names and little else. What all of these women have in common is the drive to prove their talent to a society that expected little of them. They changed what it meant to be a sex symbol, proudly owning their Blackness and their bodies in a way that the American public certainly didn't see every day.

Click through to get to know some of the most prominent Black burlesque performers.

Jean Idelle

A true trailblazer, Idelle was the first Black woman to perform alongside white women and is credited with breaking the color barrier in burlesque. She performed throughout the 1950s in the U.S. and Canada, often with her signature ostrich feather dance.

Although she retired in 1960, Idelle performed for the Burlesque Hall of Fame in 2012, at the age of 82 — and naturally stole the show.

PHOTO: JET MAGAZINE.

A true trailblazer, Idelle was the first Black woman to perform alongside white women and is credited with breaking the color barrier in burlesque. She performed throughout the 1950s in the U.S. and Canada, often with her signature ostrich feather dance.

Although she retired in 1960, Idelle performed for the Burlesque Hall of Fame in 2012, at the age of 82 — and naturally stole the show.

Toni Elling

PHOTO: BRIAN CAHN/ZUMAPRESS

Born Rosita Sims, Elling began her burlesque career in 1960, when she was 32. Though she was considered a little old for a dancer-cum-stripper, Elling's sheer talent proved her doubters wrong. She took her act around the country and even overseas (as far as Japan).

Although Elling retired from performing in 1974, she has continued to work as a teacher and role model for younger generations of dancers. To this day, her overriding message is to keep burlesque artful — not overt.

Lady Ernestine

PHOTO: JET MAGAZINE.

Lady Ernestine, also known as The Exotic Queen, was a prominent performer in the '50s and '60s, but unfortunately, little else is known about her today.

Marie Bryant

PHOTO: WATFORD/MIRRORPIX/GETTY IMAGES.

Bryant made her debut as a jazz club dancer when she was 15 in 1934. Only a year later, she had made a reputation for herself as an actor, singer, and dancer — a total triple threat. Bryant's career took off in several directions at once, as she performed around the country, recorded songs, and even broke into the film industry.

Although Bryant appeared in front of the camera several times, she made history as one of the first Black people to work on the technical side of a film. It was behind the scenes of a Gene Kelly picture that she started working as a dance instructor and choreographer.

Bryant continued to work with high-profile students, including Cyd Charisse, Ava Gardner, and Lucille Ball, and even opened her own studio before her death in 1978.

Eartha Kitt

PHOTO: MICHAEL OCHS ARCHIVES/GETTY IMAGES.

Before Kitt was known for "Santa Baby" or for her role as Catwoman, she lived in poverty and faced discrimination for her mixed-race heritage. Kitt joined the Katherine Dunham Dance Company, the first ever African American modern dance company, when she was a teenager. She toured with the company as a featured singer and dancer until she was offered the chance to perform solo in European nightclubs.

She soon returned to the States and took Broadway by storm. Her performances stood out from the rest, thanks to her knowing sex appeal — one critic wrote that she "can make a song burst into flame."

Ada Overton

PHOTO: DONALDSON COLLECTION/MICHAEL OCHS ARCHIVES/GETTY IMAGES.

Overton rose to fame in the early 1900s, making a name for herself as a gifted performer who made dances like the cakewalk and buck-and-wing her own. As a dancer, she was said to be as strong as she was graceful, flaunting her modern interpretations of indigenous African dances onstage for royalty and the white elite. 

As Overton's career blossomed, she changed her first name to Aida, in honor of the Haitian spirit of fertility, and viewed her work as social activism for Black women and actresses. Overton performed until her death in 1914, at the age of 34. She's remembered as one of the first African American women to find success as a performer and she served as a role model for future generations of Black entertainers.

[ubu507]

Parliament-Funkadelic in 1971.

Credit...Michael Ochs Archives/Getty Images

[missrayon]

I hate when photos are credited to michael ochs maybe I should just be thankful for his unbelievable collected archive but it makes me mad. like okay I know he didn't take that

[mumbojumbo84317]

In loving memory for Amanda Blake on her birthday in Heaven.

Photo Credits:

1. CBS via Getty Images

2. CBS via Getty Images

3. CBS via Getty Images

4. Michael Ochs Archives/Getty Images

5. Don Cravens/Getty Images

6. CBS via Getty Images

7. CBS via Getty Images

8. CBS Photo Archive/Getty Images

9. CBS via Getty Images

10. CBS via Getty Images

[drraptjr]

#Repost @okayplayer ・・・ Ever since hip-hop first blossomed out of the South Bronx, there has been a desire by filmmakers to capture visual evidence of the culture in motion. Early documentaries, like Tony Silver’s classic Style Wars and Charlie Ahearn’s partially dramatized almost-documentary Wildstyle, represent some of the earliest feature-length film representations of hip-hop culture. In the decades since, countless films have been produced shining light on nearly every single nook-and-cranny of the culture and its history. Here is a list of some of the best but lesser-known hip-hop documentaries that you can stream today. Hit LINK IN BIO for full list. ( 📸 Credit: Michael Ochs Archives/Getty Images | #HipHop #HipHop50 ) https://www.instagram.com/p/CosdO27vDjb/?igshid=NGJjMDIxMWI=

[musicrunsthroughmysoul]

Odetta, circa 1970; photo credited to Michael Ochs Archives

[thislovintime]

In the studio during the Headquarters sessions, 1967. Photos: Michael Ochs Archives.

“I remember when Micky first showed me that song [‘Randy Scouse Git’]. He played me the verse and the chorus, and then he said, ‘In the end we do them both at the same time!’ I thought that was a brilliant piece of music. I’ve always thought that Micky was far more creative than he ever gave himself credit for. He’s a vastly more talented individual than he’s aware of. I always thought that song was proof of it.” - Peter Tork, Headquarters, 1995 liner notes

“Bert [Schneider] and Bob [Rafelson] trusted us. They never came to the studio. I don’t know what RCA thought of us. We covered the control room window with poster paint so you couldn’t see out. We went back the day after the session finished and they’d already scraped it off, slavering to get every trace of us out of there. The Monkees in the studio were a garage band, our music was absolutely conventionally garage band, four guys just thrashing away. ‘Alternate Title’ was the only song released from Headquarters. Mike said some of the higher-ups [in the record company] were so annoyed at us snot-nosed kids they blocked any singles in the States. I’d love to have known what would have happened if they released ‘Randy Scouse Git’ in the States.” - Peter Tork, Uncut, July 2011

[edc-blog]

"I'm not too struck on Jimmy Page and Eric Clapton, I never saw what was in Clapton at all". In 1975, Deep Purple's Ritchie Blackmore was asked for his thoughts on his peers: he did not hold back

(Image credit: Michael Putland/Getty Images |Ebet Roberts/Redferns | Michael Ochs Archives/Getty Images) (via Classic Rock) By Paul Brannigan In March 1975, Deep Purple’s Ritchie Blackmore appeared on the cover of International Musician & Recording World magazine after conducting a rare interview with American writer/producer/guitarist Jon Tiven. Hailing Blackmore as “perhaps the world’s…

[bandpicfolder]

John Taylor and Simon le Bon by Michael Ochs. Credit the photographer if reposting.

[mybookof-you]

(Image credit: Michael Ochs Archives/Getty Images; Julien's Auctions)

(Image credit: Julien's Auctions)

Eric Clapton’s heavily modded and custom-finished ‘Fool’ Gibson SG has been sold for a cool $1.27 million, making it the most expensive of Slowhand’s guitars to have been sold at auction.

musicradar.com November 17, 2023