Gordon Parks Photographer-composer-novelist-filmaker of some note, parks is also seen
Guy Ash's List: Assignment Research Week III ENCO 1 FSU
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Aug 25, 13
"The pioneering photographer and filmmaker inspired the world with his images of the poor and the mighty
Friends say Gordon Parks, already an award-winning photographer, was the perfect pick to direct the movie Shaft-the 1970s classic about a cool private detective who sweeps clean the mean streets of Harlem. "Gordon was channeling himself through that character," says director John Singleton, who helmed a remake of Shaft in 2000. Adds Richard Roundtree, who starred in the original: "Gordon spoke very quietly but so totally dominated every situation."
His unforgettable career as both photojournalist and filmmaker came to an end March 7, when, at age 93, Parks succumbed to complications from high blood pressure and prostate cancer. "His death is a loss," says Roundtree, "but this man led an incredible life." The youngest of 15 children of a poor Kansas farmer, Parks had left home and school at age 15 after his mother's death and was working as a waiter on a train in 1937 when he spied a photo spread in a passenger's magazine and later decided to buy a camera. In time his images conquered Hollywood, the world of fashion and the pages of LIFE magazine, where, as a staff photographer for more than 20 years, he captured subjects as varied as a sick boy in the slums of Rio, civil rights leader Malcolm X and Ingrid Bergman. "I feel I missed a lot of things in my early life," Parks once told the Los Angeles Times. "And I've got to make up for it."
Among the stories Parks was able to tell with grace and beauty was his own: In 1966 he began publishing a series of memoirs, one of which he turned into The Learning Tree, the first Hollywood movie written, directed and scored by an African-American. In addition to directing four other feature films and writing several books, he wrote poetry and composed music. "He inspired me to really take seriously that there was nothing I could not accomplish creatively," says Singleton. Parks, who married three times and had four children, continued to tell stories, writing almost until the end. According to Muhammad Ali, whom Parks photographed for the cover of LIFE in 1970, "He was the best of the best.""-
The pioneering photographer and filmmaker inspired the world with his images of the poor and the mighty
Friends say Gordon Parks, already an award-winning photographer, was the perfect pick to direct the movie Shaft-the 1970s classic about a cool private detective who sweeps clean the mean streets of Harlem. "Gordon was channeling himself through that character," says director John Singleton, who helmed a remake of Shaft in 2000. Adds Richard Roundtree, who starred in the original: "Gordon spoke very quietly but so totally dominated every situation."
His unforgettable career as both photojournalist and filmmaker came to an end March 7, when, at age 93, Parks succumbed to complications from high blood pressure and prostate cancer. "His death is a loss," says Roundtree, "but this man led an incredible life." The youngest of 15 children of a poor Kansas farmer, Parks had left home and school at age 15 after his mother's death and was working as a waiter on a train in 1937 when he spied a photo spread in a passenger's magazine and later decided to buy a camera. In time his images conquered Hollywood, the world of fashion and the pages of LIFE magazine, where, as a staff photographer for more than 20 years, he captured subjects as varied as a sick boy in the slums of Rio, civil rights leader Malcolm X and Ingrid Bergman. "I feel I missed a lot of things in my early life," Parks once told the Los Angeles Times. "And I've got to make up for it."
Among the stories Parks was able to tell with grace and beauty was his own: In 1966 he began publishing a series of memoirs, one of which he turned into The Learning Tree, the first Hollywood movie written, directed and scored by an African-American. In addition to directing four other feature films and writing several books, he wrote poetry and composed music. "He inspired me to really take seriously that there was nothing I could not accomplish creatively," says Singleton. Parks, who married three times and had four children, continued to tell stories, writing almost until the end. According to Muhammad Ali, whom Parks photographed for the cover of LIFE in 1970, "He was the best of the best."
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There are barely enough hyphens in the world to label multidisciplinary artist Gordon Parks. A photographer-composer-novelist-filmmaker of some note, Parks is also seen in this docu on his life and works reading some of his own poetry and even painting. It's probably true that the variety of his work limited the fame he achieved for any single artistic endeavor, and certainly one of the goals of this HBO feature-length docu is to educate a younger generation in the achievements of a prominent African-American whose career spanned the bulk of the 20th century. In that, it succeeds admirably.
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Aug 25, 13
The Gordon Parks Award is named for the world-renowned photographer who paved the way for black directors in Hollywood with such films as "The Learning Tree" (19693 and "Shaft" (1971). The awards show was preceded by a screening of the HBO documentary "Half Past Autumn: The Life and Works of Gordon Parks," scheduled to bow on the cable network Nov. 30 to commemorate the director's 80th birthday.
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The Gordon Parks Award is named for the world-renowned photographer who paved the way for black directors in Hollywood with such films as "The Learning Tree" (19693 and "Shaft" (1971). The awards show was preceded by a screening of the HBO documentary "Half Past Autumn: The Life and Works of Gordon Parks," schcduled to bow on the cable network Nov. 30 to commemorate thc director's 80th birthday.
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Aug 25, 13
Gordon Parks, who captured the struggles and triumphs of black America as a photographer for Life magazine and then became Hollywood's first major black director with "The Learning Tree" and "Shaft," died March 7 in New York. He was 93.
Parks also wrote fiction and was an accomplished composer.
"Nothing came easy," Parks wrote in his autobiography. "I was just born with a need to explore every tool shop of my mind, and with long searching and hard work. I became devoted to my restlessness."
He covered everything from fashion to politics to sports during his 20 years at Life, from 1948 to 1968.
But as a photographer, he was perhaps best known for his gritty photo essays on the grinding effects of poverty in the United States and abroad and on the spirit of the civil rights movement.
"Those special problems spawned by poverty and crime touched me more, and I dug into them with more enthusiasm," he said. "Working at them again revealed the superiority of the camera to explore the dilemmas they posed."
The youngest of 15 children, he was born in Fort Scott, Kansas and dropped out of high school after his mother died. His jobs included playing piano in a brothel before he became interested in photography while working as a. train porter. He then went to work for the Farm Security Administration.
In 1961, his photographs in Life of a poor, ailing Brazilian boy named Flavio da Silva brought donations that saved the boy and purchased a new home for him and his family. He also made a short documentary about the boy and went on to make other docus such as the Emmy-winning "Diary of a Harlem Family."
"The Learning Tree" was Parks' first feature, in 1969. It was based on his 1963 autobiographical novel of the same name, in which the young hero grapples with fear and racism as well as first love and schoolboy triumphs. Parks wrote the score as well directed.
In 1989, "The Learning Tree" was among the first 25 American movies to be placed on the National Film Registry of the Library of Congress.
The detective drama "Shaft," which came out in 1971 and starred Richard Roundtree, was a major hit and along with Melvin van Peebles "Sweet Sweetback's Baad Asssss Song" spawned the blaxplotation genre. Parks himself directed a sequel, "Shaft's Big Score," in 1972, and wrote the score for the sequel. His other Hollywood films included "Super-cops" and "Leadbelly," but he never felt completely accepted in the studio system, with his last credit the TV movie "Solomon Northrup's Odyssey."
He also published books of poetry and wrote musical compositions including "Martin," a ballet about the Rev. Martin Luther King Jr.
His son Gordon Parks Jr., who died in 1979, directed "Superfly." He had three other children.
PHOTO (COLOR): Gordon Parks-
Gordon Parks, who captured the struggles and triumphs of black America as a photographer for Life magazine and then became Hollywood's first major black director with "The Learning Tree" and "Shaft," died March 7 in New York. He was 93.
Parks also wrote fiction and was an accomplished composer.
"Nothing came easy," Parks wrote in his autobiography. "I was just born with a need to explore every tool shop of my mind, and with long searching and hard work. I became devoted to my restlessness."
He covered everything from fashion to politics to sports during his 20 years at Life, from 1948 to 1968.
But as a photographer, he was perhaps best known for his gritty photo essays on the grinding effects of poverty in the United States and abroad and on the spirit of the civil rights movement.
"Those special problems spawned by poverty and crime touched me more, and I dug into them with more enthusiasm," he said. "Working at them again revealed the superiority of the camera to explore the dilemmas they posed."
The youngest of 15 children, he was born in Fort Scott, Kansas and dropped out of high school after his mother died. His jobs included playing piano in a brothel before he became interested in photography while working as a. train porter. He then went to work for the Farm Security Administration.
In 1961, his photographs in Life of a poor, ailing Brazilian boy named Flavio da Silva brought donations that saved the boy and purchased a new home for him and his family. He also made a short documentary about the boy and went on to make other docus such as the Emmy-winning "Diary of a Harlem Family."
"The Learning Tree" was Parks' first feature, in 1969. It was based on his 1963 autobiographical novel of the same name, in which the young hero grapples with fear and racism as well as first love and schoolboy triumphs. Parks wrote the score as well directed.
In 1989, "The Learning Tree" was among the first 25 American movies to be placed on the National Film Registry of the Library of Congress.
The detective drama "Shaft," which came out in 1971 and starred Richard Roundtree, was a major hit and along with Melvin van Peebles "Sweet Sweetback's Baad Asssss Song" spawned the blaxplotation genre. Parks himself directed a sequel, "Shaft's Big Score," in 1972, and wrote the score for the sequel. His other Hollywood films included "Super-cops" and "Leadbelly," but he never felt completely accepted in the studio system, with his last credit the TV movie "Solomon Northrup's Odyssey."
He also published books of poetry and wrote musical compositions including "Martin," a ballet about the Rev. Martin Luther King Jr.
His son Gordon Parks Jr., who died in 1979, directed "Superfly." He had three other children.
PHOTO (COLOR): Gordon Parks
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Aug 25, 13
Gordon Parks, who captured the struggles and triumphs of black America as a photographer for Life magazine and then became Hollywood's first major black director with "The Learning Tree" and "Shaft," died March 7 in New York. He was 93.
Parks also wrote fiction and was an accomplished composer.
"Nothing came easy," Parks wrote in his autobiography. "I was just born with a need to explore every tool shop of my mind, and with long searching and hard work. I became devoted to my restlessness."
He covered everything from fashion to politics to sports during his 20 years at Life, from 1948 to 1968.
But as a photographer, he was perhaps best known for his gritty photo essays on the grinding effects of poverty in the United States and abroad and on the spirit of the civil rights movement.
"Those special problems spawned by poverty and crime touched me more, and I dug into them with more enthusiasm," he said. "Working at them again revealed the superiority of the camera to explore the dilemmas they posed."
The youngest of 15 children, he was born in Fort Scott, Kansas and dropped out of high school after his mother died. His jobs included playing piano in a brothel before he became interested in photography while working as a. train porter. He then went to work for the Farm Security Administration.
In 1961, his photographs in Life of a poor, ailing Brazilian boy named Flavio da Silva brought donations that saved the boy and purchased a new home for him and his family. He also made a short documentary about the boy and went on to make other docus such as the Emmy-winning "Diary of a Harlem Family."
"The Learning Tree" was Parks' first feature, in 1969. It was based on his 1963 autobiographical novel of the same name, in which the young hero grapples with fear and racism as well as first love and schoolboy triumphs. Parks wrote the score as well directed.
In 1989, "The Learning Tree" was among the first 25 American movies to be placed on the National Film Registry of the Library of Congress.
The detective drama "Shaft," which came out in 1971 and starred Richard Roundtree, was a major hit and along with Melvin van Peebles "Sweet Sweetback's Baad Asssss Song" spawned the blaxplotation genre. Parks himself directed a sequel, "Shaft's Big Score," in 1972, and wrote the score for the sequel. His other Hollywood films included "Super-cops" and "Leadbelly," but he never felt completely accepted in the studio system, with his last credit the TV movie "Solomon Northrup's Odyssey."
He also published books of poetry and wrote musical compositions including "Martin," a ballet about the Rev. Martin Luther King Jr.
His son Gordon Parks Jr., who died in 1979, directed "Superfly." He had three other children.
PHOTO (COLOR): Gordon Parks-
- This article analyzes Gordon Parks' film "Shaft" in 1971 and John Singleton's 2000 version of the film, in an attempt to explore the logics of race and gender and the attendant shifts in the way that African American masculinity is represented in mainstream cinema. The films reveal interesting continuities and discontinuities in American culture regarding both race and gender, and how these have helped delineate the contours of black masculinity. It considers Singleton's film within the context of blaxploitation film, as well as against the background of his previous films, in order to examine the ideological implications of contemporary constructions of black masculinity. The changes seen between the two films are attributed, in part, to the cultural shifts that have taken place in the U.S. in the intervening years as a result of various social movements.
- Author Affiliations:
- 1Richland College, Dallas, Texas
- ISSN:
- 10624783
- Accession Number:
- 13141455
- Database:
- Film & Television Literature Index with Full Text
- Full Text Database:
- Academic Search Complete
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Aug 25, 13
Gordan Parks Independent Film Awards
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Gordon Parks Independent Film Awards
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The Independent Feature Project has announced the finalists for this year's Gordon Parks Independent Film Awards.
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The Film "The Learning Tree" directed, written and produced by Gordon Parks.
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The article reviews the film "The Learning Tree," directed, written and produced by Gordon Parks.
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Aug 25, 13
How can anyone summarize any artist's life in 199 photographs?
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Aug 25, 13
A Breakfast at Noho production. Produced by Michael Solomon. Executive Producer, Kiki Goshay.
Directed, written by Joe Angio. Camera (color, DV), Solomon, Angio; editor, Jane Rizzo; music, Jeremy Parise; sound, Margaret Crimmins, Greg Smith. Reviewed at the Tribeca Cinemas, New York, April 4, 2005 (In Tribeca Film Festival -- Showcase). Running time: 85 MIN.
With: Melvin Van Peebles, Spike Lee, Elvis Mitchell, Gordon Parks, St. Clair Bourne, Mario Van Peebles, Gebe, Gil Scott-Heron, Billy "X" Jennings, Janine Euvrard, Timothy White, Emanuel Azenberg.
(English, French dialogue) Newsreel narrator: Dick Hehmeyer.
Vivid, inventive docu about eclectic multihyphenate Melvin Van Peebles proves conclusively that truth can be more fascinating and better structured than fiction. "Watermelon" makes "Baadasssss!" -- son Mario's heartfelt attempt to direct himself playing his father -- look half-assed. Lively interviews from a wide range of people, a wealth of excerpted footage stretching over decades, and a story packed with legend are served up by helmer Joe Angio with a verve mirroring the restless creativity of the film's subject.
Despite the variety of experiences covered, the emerging image of Van Peebles is as sharply defined as the full-body plaster cast, complete with jaunty cigar stub, that serves as the opening image to Angio's docu.
Pic sets the backstory with "A Brief History of Melvin Van Peebles," narrated in the '40s newsreel voiceover (hats off to Dick Hehmeyer's pitch-perfect newspiel) to trace Van Peebles early life, including stints as a bomber pilot, a cable-car driver and an astronomy student (in Holland), as well as his experimentation with short films.
Invited by Henri Langlois to exhibit his pics at the Cinematheque, Van Peebles went to Paris which, to quote French cineaste and onetime girlfriend Janine Euvrard, "fit him like a glove" as it had many contemporaneous black American expatriates.
Speaking no French upon arrival, Melvin was soon writing for the anarchist magazine "Hara Kiri." Learning that the French government gave grants to writers to convert their novels to film, he published five novels in French in order to make his debut feature, "Story of a Three Day Pass."
What follows are enough achievements to fill several lifetimes. Subsequent film, "Watermelon Man," about a racist, middle-class white man who wakes up horrified to find he turned black overnight, was Van Peebles' first (and last) studio picture. His third pic, "Sweet Sweetback's Baad Asssss Song," was hailed as a watershed in black cinema. When Hollywood saw how much money a no-budget, limited-release black actioner could reap, it was quickly imitated, and Van Peebles found himself the unlikely progenitor of blaxploitation.
Film and books weren't his only artistic endeavors. Undaunted by the fact he sounded "like a frog on crack," to quote his son, Van Peebles started composing and recording music, becoming a progenitor of rap. Soon, as attested to by still-stupefied insiders, he had two Tony-nominated musicals on Broadway simultaneously. (Always in synch with the times, in the '80s he became an options trader on the American Stock Exchange to win a bet with 'a friend.) Spike Lee somewhat ambivalently praises Van Peebles' skill at making controversy work to his advantage, treating blackness as a commodity. But Angio makes clear that Van Peebles' genius lies less in God-given talent than in his ability to rise to perceived challenges, his willingness to reinvent himself, and to sell others on his inventions.
PHOTO (BLACK & WHITE): Melvin Van Peebles' many self-reinventions are documented in "How to Eat Your Watermelon in White Company (and Enjoy It)."
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By Rony Scheib
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A Breakfast at Noho production. Produced by Michael Solomon. Executive Producer, Kiki Goshay.
Directed, written by Joe Angio. Camera (color, DV), Solomon, Angio; editor, Jane Rizzo; music, Jeremy Parise; sound, Margaret Crimmins, Greg Smith. Reviewed at the Tribeca Cinemas, New York, April 4, 2005 (In Tribeca Film Festival -- Showcase). Running time: 85 MIN.
With: Melvin Van Peebles, Spike Lee, Elvis Mitchell, Gordon Parks, St. Clair Bourne, Mario Van Peebles, Gebe, Gil Scott-Heron, Billy "X" Jennings, Janine Euvrard, Timothy White, Emanuel Azenberg.
(English, French dialogue) Newsreel narrator: Dick Hehmeyer.
Vivid, inventive docu about eclectic multihyphenate Melvin Van Peebles proves conclusively that truth can be more fascinating and better structured than fiction. "Watermelon" makes "Baadasssss!" -- son Mario's heartfelt attempt to direct himself playing his father -- look half-assed. Lively interviews from a wide range of people, a wealth of excerpted footage stretching over decades, and a story packed with legend are served up by helmer Joe Angio with a verve mirroring the restless creativity of the film's subject.
Despite the variety of experiences covered, the emerging image of Van Peebles is as sharply defined as the full-body plaster cast, complete with jaunty cigar stub, that serves as the opening image to Angio's docu.
Pic sets the backstory with "A Brief History of Melvin Van Peebles," narrated in the '40s newsreel voiceover (hats off to Dick Hehmeyer's pitch-perfect newspiel) to trace Van Peebles early life, including stints as a bomber pilot, a cable-car driver and an astronomy student (in Holland), as well as his experimentation with short films.
Invited by Henri Langlois to exhibit his pics at the Cinematheque, Van Peebles went to Paris which, to quote French cineaste and onetime girlfriend Janine Euvrard, "fit him like a glove" as it had many contemporaneous black American expatriates.
Speaking no French upon arrival, Melvin was soon writing for the anarchist magazine "Hara Kiri." Learning that the French government gave grants to writers to convert their novels to film, he published five novels in French in order to make his debut feature, "Story of a Three Day Pass."
What follows are enough achievements to fill several lifetimes. Subsequent film, "Watermelon Man," about a racist, middle-class white man who wakes up horrified to find he turned black overnight, was Van Peebles' first (and last) studio picture. His third pic, "Sweet Sweetback's Baad Asssss Song," was hailed as a watershed in black cinema. When Hollywood saw how much money a no-budget, limited-release black actioner could reap, it was quickly imitated, and Van Peebles found himself the unlikely progenitor of blaxploitation.
Film and books weren't his only artistic endeavors. Undaunted by the fact he sounded "like a frog on crack," to quote his son, Van Peebles started composing and recording music, becoming a progenitor of rap. Soon, as attested to by still-stupefied insiders, he had two Tony-nominated musicals on Broadway simultaneously. (Always in synch with the times, in the '80s he became an options trader on the American Stock Exchange to win a bet with 'a friend.) Spike Lee somewhat ambivalently praises Van Peebles' skill at making controversy work to his advantage, treating blackness as a commodity. But Angio makes clear that Van Peebles' genius lies less in God-given talent than in his ability to rise to perceived challenges, his willingness to reinvent himself, and to sell others on his inventions.
PHOTO (BLACK & WHITE): Melvin Van Peebles' many self-reinventions are documented in "How to Eat Your Watermelon in White Company (and Enjoy It)."
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By Rony Scheib
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Aug 25, 13
collaborated film with Melvin Van Peebles, and starring Samuel L. Jackson
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Aug 25, 13
The Learning Tree is a sentimental, sometimes awkward, but ultimately moving film about the growing-up of a black teenager in rural Kansas during the 1920s. It is, apparently, the first film financed by a major company to be directed by a Negro.
Film recounts, in short, episodic passages, how a talented and perceptive 15-year-old boy learns about life from a variety of characters, situations and personal encounters.
The worst moments occur when director Gordon Parks interpolates small sermonettes. Also, the film cannot quite carry the large helping of melodrama which occurs near the end. But on the whole this is an impressive, strong film. The 1963 novel of his on which it is based is purportedly semi-autobiographical.-
The Learning Tree is a sentimental, sometimes awkward, but ultimately moving film about the growing-up of a black teenager in rural Kansas during the 1920s. It is, apparently, the first film financed by a major company to be directed by a Negro.
Film recounts, in short, episodic passages, how a talented and perceptive 15-year-old boy learns about life from a variety of characters, situations and personal encounters.
The worst moments occur when director Gordon Parks interpolates small sermonettes. Also, the film cannot quite carry the large helping of melodrama which occurs near the end. But on the whole this is an impressive, strong film. The 1963 novel of his on which it is based is purportedly semi-autobiographical.
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Aug 25, 13
helped delineate the contours of black masculinity
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helped delineate the contours of black masculinity
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Apr 20, 13
The first African-American photographer at Life and a top fashion photographer at Vogue, Mr. Parks, who died in 2006, was equally attracted to grit and glamour, said the photographer Adger Cowans, 76, who worked as his assistant in the 1950s and was a lifelong friend. ''He was a storyteller trying to tell a different kind of story,'' Mr. Cowans said. Mr. Parks took most of the photographs here for the Farm Security Administration, where he worked on a fellowship in the 1940s documenting life in Washington and New York City. His Harlem photographs, especially, are so intimate because ''they're almost reflections of what he remembers of his childhood,'' said Anthony Barboza, 68, another photographer and friend. ''He's talking about himself. There is some wonderment in the pictures because Harlem was incredible at that time. Everyone was there.'' JOHN LELAND
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Wall Street Journal Abstracts
November 13, 2012 Tuesday
SANDY PUTS FOCUS ON WIRELESS BACKUP
BYLINE: SPENCER E ANTE
SECTION: B; Pg. 6
LENGTH: 43 wordsABSTRACTFCC will once again consider adequacy of backup power supplies for wireless carriers after widespread outages following Hurricane Sandy in world increasingly reliant on wireless devices; industry blocked new rules following Hurricane Katrina; photo (M)
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Sunday Age (Melbourne, Australia)
April 14, 2013 Sunday
First Edition
Making a difference, with a little help from her friends
BYLINE: Kate Uebergang
SECTION: EXTRA; Pg. 14
LENGTH: 1952 wordsOne Australian's humanitarian projects are drawing celebrity support abroad, writes Kate Uebergang.
Alison Thompson seems almost too good to be true. A "full-time volunteer", the Australian has lived and worked for months at a time in disaster zones, simultaneously making humanitarian documentaries and devising her own charitable projects - sometimes with the help of celebrity friends such as actors Sean Penn and Maria Bello.
Despite living in the US for the past 20 years, Thompson's Australian accent still slips through as she talks without drawing breath about the months she's just spent on the storm-ravaged Rockaway Peninsula in Queens, which was devastated by hurricane Sandy last October.
"I lived in the disaster zone, in an RV. Turning up, it was like Armageddon. When you see those images of Hiroshima - well, not quite as bad as that - but everything was destroyed and people were just walking around in shock," she says.
She stumbles on a word. "I'm sorry, I'm a bit tired and my brain is not working," she says. Thompson has just flown in to Manhattan from her home in Miami and despite her fatigue, she has booked a whirlwind 36 hours in the city.
There's the interview with Fairfax Media, then she was off to a photo-shoot for a book on domestic violence and, finally, a meeting with British entrepreneur-billionaire Richard Branson about another project.
This is not an unusual day for a woman largely unknown in her home country, save for an Order of Australia award for humanitarian work in 2010 and a brush with tabloid notoriety last year when she befriended disgraced actor Matthew Newton.
Asked what she does for a living, she says simply: "I'm a full-time volunteer." But it's clear this response only partly reflects what she's all about. For the past decade, Thompson has lived for months at a time in disaster zones, including post-tsunami Sri Lanka and earthquake-devastated Haiti. (She supports herself with motivational speaking gigs and donations from family and friends.)
Her passion for volunteering started when she set up one of the first civilian first-aid stations at Ground Zero in New York following the September 11 terror attacks.
She's also managed to make two documentaries while working in disaster zones, which serve as calls-to-arms for volunteerism.
She has powerful friends in the US, and was selected as one of the "faces" for a new advertisement for the top-selling painkiller Advil's "relief in action" campaign, featuring everyday people who have made impressive achievements. (She will use her fee to fund a tree-planting project she's running in Haiti.)
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Research Information Gordon Parks 082013
Updated on Aug 26, 13
Created on Aug 25, 13
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