Soho Blues Is a Personal Collection of Photographs Documenting an Exciting but Bygone Era in New York City

SoHo Blues is a personal collection of photographs documenting an exciting but bygone era in New York City. While chief photographer for the SoHo Weekly News, I covered a wide variety of subjects, ranging from street performance art to disco decadence at Studio 54. In 1973, when the paper started publishing, SoHo was nothing like the boutique and chain-store mall it is today. Bounded by Houston St. on the north - which is where the acronym “SoHo” for south of Houston comes from - Broadway on the east, Canal St. on the South, and West Broadway on the west, SoHo was outwardly a quiet run-down industrial section of Manhattan. But SoHo was bursting with creative activity in its large loft spaces behind the somber cast-iron façades, and it would expand in terms of geography and cultural influence. Art galleries followed the artists who had pioneered the area with their studios, and they in turn were followed by a few neighborhood restaurants and bars. It became home base for the SoHo News, but things were happening all over New York, and not just in the art world. Economically, New York City was undergoing a severe financial crisis, and the country was emerging from the double disasters of Vietnam and Watergate. In terms of lifestyles, the cultural and political revolution of the 60s ceded to hedonism and decadence. Many trends and themes are explored in my photographs in SoHo Blues, especially in the realm of culture. In the art world, pop art gave way to 1 performance art. In music, rock ‘n’ roll succumbed to disco music, then surged back as punk rock. Hanging out in bars like Max’s Kansas City at night was very different from seeing and being seen in glamorous discos like Le Jardin. Public nudity and sex were accepted, commercialized, and even glorified. As certain places and trends were popular, so were certain people, many becoming pop icons like Andy Warhol and John Lennon. Warhol was an extremely prolific artist, working in painting, graphics, film, photography, and publishing. No wonder he called his studio “The Factory.” He collaborated with many people, creating his own constellation of “Superstars,” who in turn spun off their own hyperstylized imitators and followers. Andy was always on the scene, both as documentarian and celebrity. Lennon had settled in New York City after the breakup of The Beatles, finding it a place where he could be himself and be left alone. He too collaborated with other artists, such as downtown protest singer David Peel. Several solo albums and joint efforts with Yoko Ono were recorded in New York. Lennon withdrew almost completely from view after the birth of his son Sean. After five years of seclusion, he emerged in the summer of 1980 bursting with creative energy and enthusiasm. With his tragic assassination, New York City - and the world - lost a big part of its heart and soul. So when Warhol, Lennon, and many other creative people left the scene, a cultural vacuum ensued which has remained unfilled. Certainly the energy in New York’s art world, music scene, and nightlife has dissipated greatly 2 since this era. The photos in SoHo Blues remind me, and those I shared the time with, of the creativity and craziness of the 70’s and early 80’s, before AIDS, Reagan, and Yuppies took us over. In particular, the very intimate photographs of John Lennon and Yoko Ono, taken just before his death, deepen the meaning of the title SoHo Blues. On the Ides of March, 1982, I received a phone call to come to the newspaper office right away. I knew immediately what the call meant. I arrived to attend the last staff meeting of the SoHo Weekly News, chaired by John Leese of Associated Newspaper Group of Great Britain. ANG, owner of London’s Daily Mail, had bought SoHo a few years before, installed a clueless editor and publisher, and then run the paper into the ground. Having worked for the paper for over eight years - virtually since its inception - this change represented was a profound disappointment. All of us on the staff were passionate about our combined effort, so after Mr. Leese told us the paper would no longer publish, I gave a little speech. Standing on the desk where I was shooting the meeting, I said, “I have been here since 1973, and I think today is a damn shame. If you had listened to people who know what’s going on in New York instead of paying inflated salaries to your managers, you would have had something today you could have been proud of. If you (Leese) and ANG 3 are typical of the managerial class in England today, it’s no wonder the sun has set on the British Empire.” Leese’s already red nose turned a darker shade of beet at this, and I felt a bit better for having expressed the anger many of us were feeling. But an era was suddenly ending. A year or two after the paper ceased publication, David Bowie asked me for a set of actual SoHo papers, which I delivered on the condition that we could meet and talk face to face about the SoHo News and those times. The meeting occurred much later, but when it finally did take place, he thanked me profusely and commented that for him the papers were like an ”encyclopedia of the 70’s.” When he saw the photographs I’ve been printing, he had insightful and amusing comments on each of them. I asked him to write for the book, and he enthusiastically said that he would love to. As a photography book I believe SoHo Blues will appeal to a broad spectrum of the book-buying public, including the following: • Scene-makers and trendies, especially downtown types who were around during that era. This is a very large group and exists in many other cities besides New York. 4 • Fashion designers, advertising creative directors, and graphics designers looking for ideas and style. • People intrigued by the new interest in the 70’s, but were too young to have participated in it and can now only do so vicariously. • Music fans, especially John Lennon fans, who like music-photo books. • Photographers and photo-industry people who appreciate black and white photography. • Sophisticated New Yorkers and people who love New York City. It’s wonderful for me to watch people seeing this collection for the first time. They laugh, or shake their heads in disbelief, or give a knowing smile at a lost memory triggered by an image. The few existing books about this period focus on only single facets of New York life such as disco or performance art. SoHo Blues paints a complete and unadorned portrait of this era within a political and sociological context. These were the years of Richard Nixon, Gerald Ford, Jimmy Carter, Ronald Reagan, Abe Beame, and Ed Koch. The Arab Oil Embargo was affecting the economy, and the Vietnam War was eroding respect for government. Despite the uptown glamour and downtown attitude, there were many social ills and there was much political rebellion. The SoHo News covered these areas as well as the trendy ones. It is the irony of combining an image such as a nude performance artist with one of Ed Koch and Bess 5 Myerson backstage on election night that gives SoHo Blues credibility as a total document. It is this irony that gives the book its wry humor. The prints to be used in the book are of very high quality and for the most part they are printing-press ready. There is a current surge of interest in this era, and since this book project was begun, many events involving these photos have happened or will happen to enhance its visibility. For example: • A multimedia Internet Website at TIME Online entitled “Funkytown - New York City in the 1970’s” with SoHo Blues photos, music, and an interview with Allan Tannenbaum. • A photograph in the exhibit entitled “The Last Dance - Nightworld in Photographs” at the Serge Sorokko galleries in SoHo and San Francisco. • A nightlife issue of American Photo (July-August 1997) featuring Studio 54 photos by Allan Tannenbaum and an interview with him. • An exhibition of 50 of the photographs at the 9th Annual Visa Pour L’Image, the big photo festival in Perpignon, France in September 1997. I have asked Peter Occhiogrosso to write the text for my book and he has agreed to do so. He was the music editor at SoHo Weekly News, my 6 closest collaborator there, and of course a successful author in his own right. Among the books he has published are The Real Frank Zappa Book and Inside Spinal Tap. Besides taking a look at the culture and the style of the times, there are two other aspects that enhance the content of SoHo Blues. They are emotions rather than concepts; a sense of fun and a sense of loss. Every photo is either funny, strange, or a reminder of freer times. Seeing some of our favorite people so much younger or even just seeing them alive shows us how deep our loss really is, inviting an ineffable sadness and pang of nostalgia - the blues. What was then once new and exciting is now just a pile of yellowing and crumbling newspapers. But I want this collection of images will reawaken our sense of the recent but quickly receding past. And like good blues music, the images make us feel good. Chapter 1. SoHo – Mondo Art This section of photos represents the original raison d’etre of the SoHo Weekly News.

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