.: R.I.P Walter Cronkite

Sunday, July 19, 2009

R.I.P Walter Cronkite

There have been some high profile passings over the past few weeks, Ed, Farrah, Michael... all of whom entered my conscience during my earliest days of adolescence. I guess it is that time in my life where many of the things and people I grew up with are bound to move on from this mortal coil. This weekends addition has had a huge impact on me, CBS anchorman Walter Cronkite who passed away on Friday evening at the age of 92. Cronkite, personified television journalism for more than a generation as the anchor and managing editor of the "CBS Evening News.

Known for his steady and straightforward delivery, his trim mustache, and his iconic sign-off line -"That’s the way it is" - Cronkite dominated the television news industry during one of the most volatile periods of American history. He broke the news of the Kennedy assassination, reported extensively on Vietnam and Civil Rights and Watergate, and seemed to be the very embodiment of TV journalism. But, those days are gone, along with the integrity which once epitomized reporting.

If you are old enough to remember Walter's tearing up and choked voice when announcing the death of our 35th President, you know that he truly was America personified on that day. He felt and expressed the grief of a nation.

"Cronkite came to be the sort of personification of his era," veteran PBS Correspondent Robert McNeil once said. "He became kind of the media figure of his time. Very few people in history, except maybe political and military leaders, are the embodiment of their time, and Cronkite seemed to be."

At one time, his audience was so large, and his image so credible, that a 1972 poll determined he was "the most trusted man in America" - surpassing even the president, vice president, members of Congress and all other journalists. In a time of turmoil and mistrust, after Vietnam and Watergate, the title was a rare feat - and the label stuck.

"For decades, Walter Cronkite was the most trusted voice in America," said President Barack Obama in a statement. "His rich baritone reached millions of living rooms every night, and in an industry of icons, Walter set the standard by which all others have been judged."

Mr. Obama said that Cronkite calmly shared the world's news while never losing his integrity.

"But Walter was always more than just an anchor," Mr. Obama said. "He was someone we could trust to guide us through the most important issues of the day; a voice of certainty in an uncertain world. He was family. He invited us to believe in him, and he never let us down. This country has lost an icon and a dear friend, and he will be truly missed."

For myself it was Walters coverage of the manned space program of the 60s and 70's that truly drew me to him... his enthusiasm and his sense of the historical nature of the Apollo program. It was the golden age for anchormen, newscasters and Walter was someone you instinctively learned to trust... he was part of the family in our household from 1961 to 1981... I personally will miss him. God Speed Walter!

"And thats the way it is July 17th 2009"

Note: All images and text (not specified) is copyrighted by Christopher Cushman. This site does not specify or denote the sexual orientation of any model and as such please post your comments accordingly.

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The Dance Through Life Project

Photograph project dedicated to capture the Art of Dance within the parameters of everyday life. The project hopes to capture the innate relationships between dance and everyday life. Images of dance performed in non-traditional locales hopefully demystifying dance as being inaccessible and drawing the obvious metaphor that while all can not express life with such movement and physicality, we all love with our own signature grace. Therefore we all dance.

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Through New Eyes: The Photography of Christopher Cushman by Rinaldo Walcott

The Black male body remains an enigma despite its over representation in the public sphere. The dominance of hip hop culture globally, driven in part, but not exclusively by the innovative sounds of rap music have made Black men a standard by which Black men and other men judge themselves in contemporary culture. However, there is a paradox, because despite the prevalence of hip-hop’s popular global impact, Black men are also still some of the most despised men in Western culture. Stereotypes of criminality, disease and danger still abound and organize Black men’s lives, even within hip hop culture. Thus representations of Black men tend to be much more restricted, than open-ended. The struggle to bring Black men into complex open-ended representations has been an on-going historical struggle. One of the most potent forms of representation in the last one hundred and fifty years has been the photograph. Photography has offered the promise to represent the real in a manner that has both seduce its viewers and baffled them with its artifice. Black male photographic representations in the last half of the twentieth century and into the twenty-first have promised to rescue Black men from the confines of mis-representation and stereotype. One of the most difficult and complicated circumstances of Black male representations has been in the realm of representing their sexuality. Black men’s sexuality is still over-burdened by a perceived threat and danger, especially now in the hyped-up era of the downlow. Then along comes Cushman. I first hear of Christopher Cushman’s photography from my boyfriend. He told me of a guy who was taking photographs of black nudes based upon how they wanted themselves to be seen, not how he posed them as his models. When I met Cushman he confirmed that he did indeed work from the models’ suggested posed and not impose his own. The idea is a great one because it allows the models agency in choosing what they believe to be an adequate representation of who they are. While it is now true that in contemporary culture subjects have learned to play for the camera, offering us artifice on command, this artifice can be understood as exposing inner senses of self and being. Cushman’s photography captures and reveals those inner desires. Look at me, many of the models seems to say. But look at me anew, is also what they seem to project and insist on. Cushman’s eye lavishes these Black male bodies with glimmers of light revealing their nuance personalities. While most of the men are naked their individuality comes clearly through. And yet, their eyes too reveal that they belong to a community, a family and possess desires, fantasies and needs. In these photographs, as viewers we are given new eyes to see beyond our inner voyeur. Cushman channels, Robert Mapplethorpe, Rotimi Fani-Kayode and many other artists, commercial and amateur photographers who seek to rescue the Black male body from the disastrous depths of mis-representation, and who almost always fall short. The conversations that his models create between his work and others whether unconscious or not reveal the profound influence of the image in our time. However, in Cushman’s eyes the Black male body is not being rescued, instead it stands on a self-made pedestal, not arrogantly announcing its existence but coolly (its signature) singing its own praisesong as swathes of light and behind the camera love washes over it. In each moment a small but significant revelation is made. Each revelation offers us the opportunity of an Epiphany – to think a thought about a Black man that we have not thought before. Professor Rinaldo Walcott is a cultural critic and Canada Research Chair of Social Justice and Cultural Studies at the University of Toronto. He lives and writes in Toronto.

FIERCE! Being Black, Being Gay in America

"What Chris has done with this important collection of images, Fierce: Being Black, Being Gay in America, A Photographic Essay, is to seek, lift, and affirm the identity and visibility of men-who love-men and express it in many ways. His photographs display Midwest American men from the outlandish and flamboyant, to the subdued and subtle. You’d think these were “ladies who lunch;” muscular men dressed for the “Park” in lace, and floppy hats to give effect for all to see. Brothers connecting in places we know are safe, such as our nightclubs, the discos, and special events targeting our interests.

The importance of Fierce is paramount: all men are created equal, and share a space on earth. These portraits of men have to be recognized as God’s beauty and not His damnation. Time will thank those who were strong and dared enough to express themselves for all to see and appreciate in a manner that’s loving and creative. Time will also thank us for not living in a paranoid state of mind, and afraid of our own shadows. Remember, this cluster of work isn’t Robert Mappelthope’s approach to black imagery, but the approach of documenting men as they wanted to be seen: with and without sexual stimulation, for shock value."

Curtis A. Lipscomb
Executive Director Kick – The Agency for L-G-B-T African-Americans
Detroit Michigan / 2005
www.e-kick.com