EYEBALLING KATRINA

The most astonishing photos you're ever likely to see of New Orleans and the Gulf Coast in the wake of Hurricane Katrina were taken throughout the week by news photographers whose work has been distributed by the Associated Press. Some of them have been published in various dailies, some not. Click the links to see them. (Give them a chance to download. There are so many, it may take a while.) They show the stunning human drama, the physical destruction, and the rescue efforts that stretch from Louisiana and Mississippi across Texas, from Alabama and Arkansas all the way to Arizona and Oregon: first set, second set, and third set.

[Sept. 4: Those links are dead at the moment, possibly because the site has been overwhelmed by traffic. -- Ed. note]

[Sept. 5: Since those links remain dead, go to the photo galleries posted by the New Orleans Times-Picayune. Roughly 100 galleries so far are clickable, with more than 1,500 photos shown in reverse chronological order from Aug. 28 on. -- Ed. note]

The photos left us shaken. But we chose to display the one below, taken on Wednesday, because of what it says not about the catastrophe but about the dignity of some survivors. It seemed to us unique in its homely understatement. [The photo has been taken down for copyright reasons. -- Ed. note] You see no floodwaters, no raging fires, no wreckage, no rooftop rescues, no wounded refugees, no triage centers, no police or National Guard -- the other photos show all of that and more -- only Samuel Thompson, 34, of Charleston, S.C., playing a piece by Bach as Leonard James rolls past in a wheelchair inside the New Orleans Arena.

Thompson, who was stranded during the hurricane, also played for refugees inside the Louisiana Superdome.
-- Tireless Staff of Thousands

Postscript: We've since obtained this photo of Samuel Thompson playing in the New Orleans Convention Center.

September 3, 2005 11:03 AM |

Categories:

Me Elsewhere

'WILD SIDE' STILL ROCKS 

Nelson Algren was one of the great American authors of the 20th century, it is no exaggeration to say, and among the most neglected. Consider his underrated classic, "A Walk on the Wild Side." The title -- popularized and co-opted as an idiomatic phrase by Hollywood and Madison Avenue (institutions Algren loathed) -- is familiar to most anyone who speaks English or knows Lou Reed's lyrics. But the novel itself? Hardly.

BUSTER KEATON REVISITED 
Buster Keaton: Tempest in a Flat Hat is not a biography. "This book is merely a fan's notes," Edward McPherson writes in the introduction, although his publisher ignores the disclaimer and calls it a biography on the cover. In fact, the book is a bit of both, a difficult combination to bring off unless you're David Thomson, who set the standard with Rosebud, his penetrating rumination on the life and career of Orson Welles, which was nothing if not a distillation of every obsessive thought he ever had about the myth and the man and all his movies.
LAUREN BACALL, STILL SALTY AT 80 
When Lauren Bacall writes that her singing voice ranges "somewhere between B minus sharp and outer space," she's being candid and funny. It's not every stage star with two Tony Awards for best actress in a musical whose vocal talent offers so little promise. (OK, Harvey Fierstein excepted.) Still less would one admit it.
THE STARS ACCORDING TO BOGDANOVICH 
Peter Bogdanovich's superb collection of movie-star profiles and interviews -- a sequel to Who the Devil Made It, his interviews of top film directors -- begins with an affectionate tale about Orson Welles that reminds us just how intimate the author's connection to Hollywood's greatest has been. But contrary to what we've come to expect from dime-a-dozen celebrities and celebrity interviews not worth two cents, the tale avoids bromidic egotism and journalistic platitudes.
SAMMY'S WHITE DREAMS 
Four decades ago Lenny Bruce sentenced Sammy Davis Jr. to "30 years in Biloxi," stripping him of "his Jewish star" and "his religious statue of Elizabeth Taylor." Now we have two new biographies of Davis that spring him from ridicule, if not from doubts about his legacy, and restore a measure of dignity to a black entertainer whose huge fame and success never overcame his devout wish -- indeed his lifelong effort -- to be white.
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This page contains a single entry by Straight Up | published on September 3, 2005 11:03 AM.

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