![]() ![]() The two 1981 Archive Series releases to date, cover photographs by Jim Marchese Embedded with the band for the majority of the landmark '81 leg, Marchese captured incredible images of this classic period in E Street history - on stage, off stage, and soundcheck - that remain visual touchstones any time we look back at the River tour. ![]() Photographer Jim Marchese meanwhile, was beginning a chance-of-a-lifetime trip, having just arrived in Europe to officially document the tour. Photography courtesy of Wild and Innocent Productions As the cherry on top, I got to meet the man himself after the show."īruce and Dan, April 14, 1981, in Frankfurt. And it wasn't just my first E Street show, but all on the same day: the chance to meet and hang out with Clarence, to witness a sparkling soundcheck, and then to finally have the rock 'n' roll baptism of a Bruce Springsteen concert, one that only left me wanting more. His Frankfurt experience, Dan tells us, was "a gift out of the blue, because the U.K. Europe '81 was only Bruce and the band's second trip to Europe, and far more extensive than the four-stop hop in 1975. But it was no less momentous a night, as Dan and so many other European fans had their first chance to see Springsteen on the concert stage. Dan had already begun publishing his Point Blank fanzine in 1980 (and would put out 12 issues in all, through 1992), so 4/14/81 couldn't be considered his conversion. to witness his first Bruce Springsteen concert. "Record Shop Window," Lucerne, April 1981 - photograph by Jim Marcheseįorty years ago tonight in Frankfurt, with the E Street Band in the early stages of their 1981 European tour, Dan French had traveled from the U.K. RIVER OVER EUROPE '81: "FREEDOM BUSTING LOOSE"Ī portolio from photographer Jim Marchese, in conversation with Point Blank's Dan French : Jim Marchese, official Europe '81 photographer: Reflections in a Glass Eye: Works from the International Center of Photography Collection, New York: Bulfinch Press in association with the International Center of Photography, 1999, p. His nonjudgmental but acutely perceptive eye and his facility with composition have made his photographs memorable documents of his era both historically and aesthetically. As such, he was a favorite among editors, not only for his quick eye, but also for his ability in making good photographs of any situation or event. Unlike many photojournalists in the postwar period, he was not associated with a particular kind of event or geographic area: he was a generalist. He was also among the earliest devotees of available-light photography. In 1988, he was honored with ICP's Infinity Master of Photography Award.Įisenstaedt was among those Europeans who pioneered the use of the 35-millimeter camera in photojournalism as they brought their knowledge to American publications after World War I. Eisenstaedt remained at LIFE for the next 40 years and was active as a photojournalist into his eighties. In 1936, Henry Luce hired him, along with Margaret Bourke-White, Peter Stackpole, and Thomas McAvoy as one of four staff photographers for the new LIFE magazine. In 1935, he came to the United States, where he freelanced for Harper's Bazaar, Vogue, Town and Country, and other publications. From 1929 to 1935 he was a full-time photojournalist for the Pacific and Atlantic Picture Agency, later part of the Associated Press, and contributed to the Berliner Illustrierte Zeitung and other picture magazines in Berlin and Paris. In 1929, he received his first assignment that would launch his professional career-the Nobel Prize ceremony in Stockholm. ![]() After the war, while employed as a button and belt salesman in Berlin, he taught himself photography and worked as a freelance photojournalist. Born in Dirschau (now Poland), Alfred Eisenstaedt studied at the University of Berlin and served in the German army during World War I. ![]()
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