Last Meals of Innocent Men
Campaign for Amnesty International, displaying the final meal requests of prisoners executed on Death Row, who were later found innocent.
Photographed by James Reynolds
Gaza children return to school | September 14, 2014
"If you were a US leader, or an official of the National Security State, or a beneficiary of the private military and surveillance industries, why would you possibly want the war on terror to end ? That would be the worst thing that could happen. It’s that war that generates limitless power, impenetrable secrecy, an unquestioning citizenry, and massive profit." .. (Glenn Greenwald)
Joe Sample - “Rainbow Seeker II”
Education begins at the home. You can’t blame the school for not putting into your child what you don’t put into him.
Mario Bauzá & the creation of Afro-Cuban/Latin jazz.
Born in Havana, Cuba in 1911, Mario Bauzá was a heavily gifted musician from an early age. At the tender age of 9, he was already skilled clarinetist, playing for the Havana Philharmonic Orchestra. By 14 he’d garnered himself a spot under Cuban pianist and bandleader Antonio Mariá Romeu.
In 1930 and at the age of 19, Bauzá traded Havana for New York City and switched his instrumental focus from clarinet to trumpet. For a brief period Bauzá would find his niche in the newly blossoming musical style Big band, working under American jazz bandleader Chick Webb.
Whilst working with Webb, Bauzá went to discover a then unknown Ella Fitzgerald and befriend eventual Jazz titan Dizzy Gillespie. After his stint with Webb, Bauzá worked for another Jazz legend, Cab Calloway. As a member of Calloway’s band Bauzá helped a then unknown Gillespie earn a spot in Calloway’s roster, launching the career of one of jazz’s biggest icons. Gillespie was known for fusing American jazz, which grew out of African American communities in the 1900s, with Afro-Cuban sounds.
Bauzá’s greatest attribution to music, however, was his inadvertent creation of Afro-Cuban or Latin Jazz. Forming his own band called “The Afro-Cubans”, Bauza would fuse traditional Latin Rhythms with jazz harmonies , improvisation, and clave - a rhythmic pattern with roots in Sub-Saharan African music traditions.
"Tanga" the first song officially thought of or considered to be Afro-Cuban jazz, was originally considered a descarga - or simply ‘Cuban music’- with jazz elements. Bauzá's creation eventually grew, becoming very popular and earning Latin jazz a permanent spot in the jazz landscape.
When I was growing up an issue of Ebony magazine was always on the living room table. Always. Mymom must have had a subscription to that thing for 30+ years. She still has that subscription as a matter of fact. I’d venture to guess that many black families have a similar relationship with that great magazine. So, you could imagine how truly humbling it was to be asked to shoot the cover of Ebony magazine. I’ve shot for GQ, Interview, Rolling Stone and all the rest but I knew that in my moms eyes, this was probably the job that made my college tuition worth it ( actually I got a scholarship but you understand what I mean ). Anyway, I was assigned to shoot Chadwick Boseman and the cast of “Get On Up” the James Brown biopic at the legendary Apollo theater. Lots if history there. Lots of opportunity.I love the images that were made that day and It was a great honor to do that job. Here are some of the images.