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    There’s No People Like Show People

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    In a new book, the Broadway photographer Jenny Anderson captures the craft and camaraderie of making theater.When Jenny Anderson was 7, her mother was cast in a local production of “Annie” in Brookhaven, Miss., near their hometown; Anderson, who had auditioned to be an orphan, was not. But sitting backstage watching her mom rehearse, she discovered a kind of “magic.” Where an actor’s job is to be seen, Anderson, even at 7, loved to look — not just at the razzle-dazzle happening onstage but at the alchemy that happened beyond it, transforming 1990s suburban kids into Depression-era orphans and a Mississippi theater into the streets of New York City.Anderson eventually made her way to New York, where she built a career as a theater photographer. THE IN-BETWEEN (Applause, $45), her first book, collects 16 years of her work behind the Broadway stage. The volume is a celebration of the labor and love that go into making theater — the trial and error of the rehearsal room; the transformative process of layering on costumes, makeup and wigs; the back-alley cigarettes and stairwell quick changes; the frenzied laughter, reflective calm and tears that all pour into a performance, and that turn a bunch of strangers into a momentary family.Brian d’Arcy James and Kelli O’Hara in 2023, dressed to go on as a couple battling alcoholism in the musical “Days of Wine and Roses.”Jenny AndersonSarah Paulson warms up backstage at “Appropriate” in 2024.Jenny AndersonThough not a performer, Anderson is undeniably a member of that club called show people, and she suffuses each of her photographs with a palpable tenderness. Devotees of Broadway will find many familiar faces here; in the span of a few pages, you can trace Caissie Levy or Gavin Creel from baby-faced hippies in the 2010 “Hair” tribe to confident veterans leading the casts of “Frozen” (2019) and “Into the Woods” (2022). This is a book, in many ways, about becoming: a twisted mother, an underdog boxer, the goddess of the underworld, a bona fide Broadway star.Caissie Levy, Gavin Creel and Will Swenson rehearsing for “Hair” in 2010.Jenny AndersonLevy starring as Elsa in “Frozen” in 2019.Jenny AndersonAndy Karl prepares for his role as the titular boxer in the 2014 musical “Rocky.”Jenny AndersonThey say magicians should never reveal their secrets. But in exposing the inner workings of so many showstopping performances, Anderson pulls us all under the theater’s spell — holding our breaths as we race toward that moment when the room is hushed and everything is possible, just before the curtain goes up.Shaina Taub — the writer, composer and star of “Suffs” — at the 2024 Tony Awards, where she took home the prizes for best book and best original score.Jenny AndersonAmber Gray pauses before performing a number from “Hadestown” at the 2019 Tony Awards.Jenny AndersonCherry Jones and Celia Keenan-Bolger share a lighthearted moment backstage at “The Glass Menagerie” in 2013.Jenny AndersonLeslie Odom Jr. takes a moment for reflection before a 2023 performance of “Purlie Victorious.”Jenny Anderson More

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      Herb Greene, Who Photographed the Grateful Dead and Other 1960s Rock Acts, Dies at 82

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      Herb Greene, whose evocative portraits of the Grateful Dead, Jefferson Airplane, Janis Joplin and others helped define the rock scene that emerged in San Francisco in the mid-1960s, died on March 3 at his home in Maynard, Mass. He was 82.His wife, Ilze Greene, said the cause was pancreatic cancer.Mr. Greene pursued music portraiture in his spare time while working for about a dozen years in the 1960s and ’70s, as a fashion photographer for the Joseph Magnin department store and the men’s wear retailer Cable Car Clothiers.Instead of photographing concerts, which did not interest him, he invited bands and musicians to various studios in San Francisco, including one he had on Front Street, and to his apartment, where some of them stood in front of a dining room wall filled with hieroglyphics drawn by a roommate with knowledge of Egyptology.His pictures of the Dead, a favorite subject, include Jerry Garcia, the band’s leader, in a vest and tie, playing a banjo while seated on a stool, with a wall-sized American flag behind him; Ron McKernan, the Dead’s organist, known as Pigpen, striking a threatening pose in front of Mr. Garcia; and the band on the corner of Haight and Ashbury Streets, in the district known as a center of the hippie counterculture.Mr. Greene’s many pictures of the Grateful Dead, a favorite subject, include a well-known one of Jerry Garcia against a wall-sized American flag.Herb Greene, via Greene familyHe also photographed Ron McKernan, the Dead’s organist, known as Pigpen.Herb Greene, via Greene familyMr. Greene photographed the Grateful Dead (from left, Mr. Garcia, Mr. McKernan, Phil Lesh, Bob Weir and Bill Kreutzmann) on the corner of Haight and Ashbury Streets, in the district known as a center of the counterculture.Herb Greene, via Greene familyWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      How Do You Preserve a Vanishing Music Scene?

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      Five recent books collect photographs, memories and ephemera from the hardcore band Agnostic Front, the mysterious dance artist Aphex Twin, the rap collective Odd Future and more.Memories fade. Documentation disappears. Scenes vanish.When you’re busy creating a world, you don’t always think about how to preserve it for history. So old fliers and magazines get brittle and crumble, photos get lost, publications go out of business and websites get deleted. It falls to archivists — sometimes from a scene itself, and sometimes an avid follower — to fight that slipperiness. Each of these worthy and memorable books is the product of such work. What’s most startling is that the worlds they rescue are of the surprisingly recent past. Which means that even in this age of hyperdocumentation and rapid technological advancement, evanescence is always a threat.Roger Miret with Todd Huber, ‘Agnostic Front — With Time: The Roger Miret Archives’Roger Miret and Todd Huber; via American Made KustomThe early years of Agnostic Front, the scene-shaping New York hardcore band, were chaos incarnate: a Lower East Side life of ramshackle apartments, rumbles on the street and birthing an explosive, aggravated, pugnacious new sound. Somehow, amid all this, the frontman Roger Miret — who was picked to join the band thanks to his ferocious behavior in the pit — managed to hold on to everything. “Agnostic Front — With Time: The Roger Miret Archives” is part photo essay, and part documentation of ephemera primarily from the band’s tumultuous breakout period from 1982-86.There are oodles of fliers from bills shared with Reagan Youth, Murphy’s Law, Suicidal Tendencies, Youth of Today and more. Some were scrawled by hand and some pasted pastiche-style; some featured illustrated skinheads in suspenders, tight pants and stomper boots; and some memorably gory ones were mailed in from an Oxnard, Calif., illustrator named Chuy.Miret’s collection also includes margarine-yellow T-shirts, test presses of the band’s earliest recordings and show announcements from the Village Voice listings pages. And brief personal recollections from Miret and his bandmates capture the mayhem of the time: getting shows shut down by the police, then slapping stickers on their cars; and assembling copies of the debut Agnostic Front EP by hand, cutting covers from a large roll one by one and gluing them to order after shows.‘Liquid Sky’via Emperor Go!We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Kevin Mazur, the Ultimate Celebrity Photographer

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      When Taylor Swift opened her Eras Tour in Glendale, Ariz., in March 2023, Kevin Mazur was granted full access to photograph the show.When Beyoncé opened her Renaissance Tour in Stockholm, Sweden, two months later, Mr. Mazur captured the performance from directly in front of the stage.That fall, when Madonna opened her Celebration Tour in London, Mr. Mazur was once again in position for the best shots.At the Met Gala and Vanity Fair’s Oscar party, Mr. Mazur, 63, roams freely while photographers from major news outlets are given a short amount of time to shoot the goings-on away from the red carpet.Bob Dylan has let him into the recording studio, Barbra Streisand has had him in her home, and Kurt Cobain invited him on a Nirvana tour. He took some of the last photographs of Michael Jackson, on the night before his death.His motto — “Why wouldn’t you want to make people look good?” — helps explain how he became the John Singer Sargent of live-action digital photography, a go-to chronicler of rock gods and movie stars.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      With Stickers on Phone Cameras, Clubs Defend the Party Vibe

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      It’s standard practice in Berlin, and camera covering is catching on in London, Ibiza and New York as clubs seek to protect an anything-goes atmosphere.On a recent Sunday afternoon, the line outside Berghain, the Berlin techno club, stretched for hours. Hundreds of visitors, sweating in black outfits, lined the dusty path to the door, hoping to be allowed into the former power station, which is known worldwide for its tough door policy, starry D.J. lineups and hedonistic parties lasting nearly 36 hours.The club is also notorious because, despite its reputation as one of the world’s pre-eminent techno venues, its parties aren’t documented online. Clubgoers are warned at the door that photos and videos are banned: Any violation will result in expulsion. To ensure compliance, door staff place stickers on the front and back of patrons’ smartphones, covering their cameras.Although this may seem excessive to visitors, such camera policies have become standard practice in Berlin clubs as a crucial tool for maintaining an anything-goes atmosphere, and clubs elsewhere are increasingly following Berlin’s lead.Respected venues, including Fabric in London and Radion in Amsterdam have all brought in similar sticker rules in recent years. Pikes Ibiza, on the Spanish island famous for its nightlife, announced last month that all visitors must now cover their cameras, so that “what happens at Pikes stays at Pikes.”Téa Abashidze, a founder of Basement, a Brooklyn techno club that has been stickering visitors’ phones since 2019, said in an email that it was part of a “cultural shift” toward “genuine, distraction-free experiences.” The club rigorously enforced the rule, she said, sometimes throwing several rule-breakers out per night.On a recent Sunday night, people lining up to enter R.S.O. were uniformly in support of the club’s stickering policy.Gordon Welters for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      An Undersung and Unruly Woodstock in Pictures, 30 Years On

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      A new photography show celebrates the 30th anniversary of Woodstock 1994, middle child to the festivals of 1969 and 1999.Nestled between the instantly legendary festival in 1969 and the violence of the 1999 incarnation, Woodstock 1994 — a 25th anniversary celebration of the original — can be easy to overlook.That installment, in Saugerties, N.Y., was supposed to be a slightly more grown-up (or, depending who you ask, commercial) version. But, as in 1969, attendees saw severe traffic jams, fences that could not contain the crowd and rainy weather that turned the festival grounds into a muddy slog.Then, five years later, fires, rioting and reports of sexual assault at the 1999 festival made national headlines, and gave “Woodstock” a whole new meaning.Members of the band Green Day, at Woodstock 1994, in a photo by Danny Clinch.Danny ClinchNow, for the 30th anniversary of ’94, a photography exhibition places the middle child of the festivals at center stage. The show, at the Opus 40 gallery in Saugerties, opens on Friday and runs for three weeks. It features work from Albert Watson, Henry Diltz, Cheryl Dunn and Danny Clinch, who remember the festival as messy yet rewarding.That the show is taking place at all is thanks to Watson, who is known for black-and-white portraits of luminaries including Steve Jobs. The show was put together by Tyler Harte, a Manhattan property manager who moonlights as an organizer of concerts and skateboard events — and manages the building where Watson’s photography studio is. Harte realized that the anniversary was coming up and contacted Watson about potentially doing something with his 1994 photography.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Françoise Hardy: A Life in Photos

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      The French pop star Françoise Hardy, who died on Tuesday at the age of 80, was celebrated for her beauty and style, always striking the perfect pose whether she was doing a fashion shoot or had gotten caught in a candid picture. Hardy’s self-possession could be intimidating, but her songs created a sense of intimacy, pulling listeners close by exploring emotional depths, and she earned the love and loyalty of pop aficionados, devoted aesthetes and lonely souls.In these images we gathered, notice how she sometimes seems to be looking at us, even though we are looking at her. Notice also what is not there, besides any bad angles: no come-hither poses, no inviting décolleté, no exposed gams, and almost no teeth — Hardy’s smiles were of the closed lips, amused kind, not open-mouthed beams. In a photo captured on a motorboat, she’s the only one not wearing a bathing suit as she turns her face to the sun in what looks like serene bliss.Hardy was no prude and enjoyed fun — she was prone to fits of laughter, her close friend the singer Étienne Daho remembered in a brief eulogy — but she led her life and career while remaining true to herself, on her terms: watching the world with curiosity, artistically exacting, a little aloof and a little curmudgeonly, and always passionate.Hardy in London, where she did some of her recording, in 1963.Reporters Associes/Gamma-Rapho, via Getty ImagesHardy with Sheila, a fellow pop star, on the French Riviera, circa 1960. Hardy’s first big single was released in 1962.Reporters Associes/Gamma-Rapho, via Getty ImagesHardy and Claude François (center left) congratulate the winners of a twist dance competition in Paris, 1964.Keystone-France/Gamma-Rapho, via Getty ImagesHardy evolved into the kind of performer who unleashed emotion even as she refused to over-emote.Sam Falk/The New York TimesHardy at the Savoy Hotel in London, 1965. Jean-Marie Périer, in the background, photographed many of the yé-yé singers (as the rocking and twisting French singers of the era were known).Keystone-France/Gamma-Rapho, via Getty ImagesHardy on the set of the film “Grand Prix” in London, 1966.Keystone-France/Gamma-Rapho, via Getty ImagesHardy performing at the Savoy Hotel in London, 1967.Keystone/Hulton Archive and Getty ImagesHardy wearing a silver suit by the designer Paco Rabanne in London, 1968.Evening Standard/Hulton Archive and Getty ImagesCalle Hesslefors/ullstein bild, via Getty ImagesHardy on the streets of London in 1968.Chris Ware/Keystone Features and Getty ImagesBack in Paris, 1969.Reg Lancaster/Daily Express/Hulton Archive and Getty ImagesHardy, the actress Mireille Darc, and Liza Minnelli in the front row at Yves Saint-Laurent in Paris, 1969.Keystone-France/Gamma-Rapho, via Getty ImagesHardy rehearsing with her early singing teacher Mireille at a recording studio in Paris, 1969.Yves le Roux/Gamma-Rapho, via Getty ImagesHardy and the crooner Tino Rossi signing autographs at a campaign to support medical research in Paris, 1970.Agence France-Presse — Getty ImagesHardy at the drums in 1970. Her main instrument was the guitar.Evening Standard/Hulton Archive and Getty ImagesHardy with the French singer-songwriter Julien Clerc in Lyon, 1974.Picot/Gamma-Rapho, via Getty ImagesHardy appeared on the German TV show “Liedercircus” (“Song Circus”) in 1977. Hardy stopped giving live concerts in the late ’60s.Impress Own/United Archives, via Getty ImagesHardy on the beach at Cannes, 1974.Gilbert Giribaldi/Gamma-Rapho, via Getty ImagesEtienne Daho and Hardy at the French music awards show Victoires De La Musique, in 1986.Bertrand Rindoff Petroff/Getty ImagesHardy with Mireille again, at an event in Paris in 1996.Eric Feferberg/Agence France-Presse — Getty ImagesHardy with her son, Thomas Dutronc.Stephane Cardinale/Sygma, via Getty ImagesJacques Morell/Sygma, via Getty Images More

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      Daniel Kramer, Who Photographed Bob Dylan’s Rise, Dies at 91

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      For 366 days, he captured intimate images of the singer-songwriter as he changed the look and sound of the 1960s.Daniel Kramer, a photojournalist who captured Bob Dylan’s era-tilting transformation from acoustic guitar-strumming folky to electric prince of rock in the mid-1960s, and who shot the covers for his landmark albums “Bringing It All Back Home” and “Highway 61 Revisited,” died on April 29 in Melville, N.Y., on Long Island. He was 91.His death, in a nursing home, was confirmed by his nephew Brian Bereck.Rolling Stone magazine once described Mr. Kramer as “the photographer most closely associated with Bob Dylan.” But that designation seemed highly improbable at the outset.Although Mr. Dylan had already begun his rise to global fame — he released his third album, “The Times They Are a-Changin’,” in early 1964 — Mr. Kramer knew little about him.That changed in February 1964, when he watched the 22-year-old Mr. Dylan perform his rueful ballad “The Lonesome Death of Hattie Carroll” on “The Steve Allen Show.” The song details a real event in which a Black woman died after being struck with a cane by a wealthy white man at a white-tie Baltimore party.“I hadn’t heard or seen him,” Mr. Kramer said in a 2012 interview with Time magazine. “I didn’t know his name, but I was riveted by the power of the song’s message of social outrage and to see Dylan reporting like a journalist through his music and lyrics.”As a young Brooklynite trying to carve out a career as a freelance photographer, Mr. Kramer decided he had to arrange a photo shoot with the budding legend. He spent six months dialing the office of Mr. Dylan’s manager, Albert Grossman. “The office always said no,” Mr. Kramer said in a 2016 interview with the British newspaper The Guardian. Finally, six months later, Mr. Grossman himself took his call. “He just said, ‘O.K., come up to Woodstock next Thursday.’”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Daniel Kramer’s Year With Bob Dylan

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      For six months in 1964, the photojournalist Daniel Kramer, who died at 91 on April 29, dialed the office of Bob Dylan’s manager, Albert Grossman, to ask if he could photograph Mr. Dylan, a rising star at the time. Finally, Mr. Grossman said yes.What was meant to be a one-hour shoot turned into a five-hour shoot, which turned into a 366-day photographic odyssey in which Mr. Kramer was granted unrivaled access to Mr. Dylan. He captured rare behind-the-scenes images of the artist at home, on tour and at recording sessions.Mr. Kramer’s images were soon popping up in publications around the world. He also shot cover photos for two of Mr. Dylan’s best-known albums.Here is a look at some of those images.Mr. Kramer’s original photograph for the cover of Mr. Dylan’s 1965 album “Bringing It All Back Home.” (The woman in the photo is Sally Grossman, the wife of Mr. Dylan’s manager at the time. She died in 2021.)Daniel Kramer, via Staley-Wise Gallery, New YorkMr. Dylan was surrounded by fans after a concert in Philadelphia in October 1964.Daniel Kramer, via Kramer familyMr. Dylan at the time of the Philadelphia concert.Daniel Kramer, via Kramer familyMr. Dylan with the singer Joan Baez in Woodstock in 1964.Daniel Kramer, via Kramer familyAway from the stage, Mr. Kramer managed to capture Mr. Dylan in rare moments of downtime. Rolling Stone magazine once described him as “the photographer most closely associated with Bob Dylan.”Mr. Dylan in 1964. Although he had already begun his rise to global fame, Mr. Kramer knew little about him until he saw him perform on television that February.Daniel Kramer, via Staley-Wise Gallery, New YorkMr. Dylan during the recording of his album “Bringing It All Back Home.”Daniel Kramer, via Kramer familyMr. Dylan in performance at Forest Hills Stadium in Queens.Daniel Kramer, via Staley-Wise Gallery, New YorkAt a Greenwich Village cafe in 1965.Daniel Kramer, via Staley-Wise Gallery, New YorkBefore his photo shoot with Mr. Dylan, Mr. Kramer was a young Brooklynite trying to carve out a career as a freelance photographer. He went on to shoot portraits of luminaries, always maintaining his ability to connect with them on an intimate level.Mr. Kramer said that the historic significance of what was unfolding before his lens was not always apparent to him at the time. Daniel Kramer, via Kramer family“Bob didn’t really want to be Woody Guthrie,” Mr. Kramer said. “He wanted to be Elvis Presley.”Daniel Kramer, via Staley-Wise Gallery, New YorkOut for a stroll in Philadelphia.Daniel Kramer, via Staley-Wise Gallery, New YorkMr. Kramer took the cover image for “Highway 61 Revisited” in 1965, in front of the Manhattan building where Mr. Dylan’s manager lived.Daniel Kramer, via Staley-Wise Gallery, New York More