New York City rooftop parking garage c. early 1960s  (via)

NYC Times Square advertisement for Goldfinger (1964)

Arthur Miller and Marilyn Monroe photographed in New York by Sam Shaw, 1957

Marilyn Monroe photographed by Ed Feingersh in New York, 1955

thecomicsvault:

1971 AURORA Builder Kits AD  feat. Vampirella 

Brassaï- New York, 1957 (via)

Shafts of sunlight penetrate through upper windows of the Vaulted room of Grand Central Terminal, as crowds gather near the information kiosk on the Terminal concourse, c. 1935-1941. (via)

Marilyn Monroe in New York c. 1960

Women’s liberation demonstration in New York, New York, 1970 (via)

Dave’s Diner in Downtown Manhattan c. 1970s (via)

Arthur Miller and Marilyn Monroe photographed by Sam Shaw, New York, 1957

Hats in the garment district, NY, 1930 by Margaret Bourke-White (via)

vmagazine:

Jamel Shabazz: Street Photographer

Charlie Ahearn’s Film Retraces a Moment in New York Style - Video 1 / / 3

As a teenage photographer in early 80s East Flatbush, Brooklyn, Jamel Shabazz set out to document the then nascent movement of hip-hop. Through the iconic style of his MCs, neighborhood kids and gang members, the unequivocal attitude of New York’s youth was recognized as the calling card of the city’s creative renaissance. Published in 2001, Shabazz’ first book Back In The Days was celebrated as an exhilarating snapshot of the times, and his visual flair has been brought to life in a new documentary by the legendary hip-hop historian and director, Charlie Ahearn.  “On the cover of Jamel’s book were two young men on 42nd Street. They were captured posing in such strong form as a kind of respectful bulwark against all the chaos that you see around them on ‘The Deuce,’” explains Ahearn, the notable filmmaker also responsible for the classic old-school movie, Wild Style. “I immediately knew that here was an original artist for our time.” [1]

©jamel shabazz.all rights reserved

Jean Patchett, photographed by Milton Greene, New York City, 1953 (via)

Showgirls photographed by Gordon Parks, New York, 1958 (via)