Long before camera phones or Snapchat or Instagram, people have been taking "selfies." And here in Philadelphia, we’ve been doing it the longest.
In fact, we’re home to what likely is the world’s very first selfie. Taken in October 1839 by Robert Cornelius, a Philly-based metallurgist, the photo shows a scruffy Cornelius standing slightly off-center in the frame, arms folded and looking past the camera. Throw a beanie on him, and you’ve got the next great American Apparel model.
Cornelius snapped the photo, a daguerreotype, outside of his family’s lamp shop, with historians estimating that he had the hold that pose for anywhere from three to 15 minutes. Inscribed on the back is a message reading “The first light picture ever taken. 1839.”
The Daily News' own Dave Maialetti was named one of the "10 Instagram Photographers You Should Follow" by Forbes magazine. And with good reason. Not only is Maialetti an excellent photojournalist for the two papers, but he has a keen eye for street photography as well, capturing often glazed over moments in Philly life.
"Whether he is photographing the NFL’s Philadelphia Eagles on Lincoln Financial Field or anonymous citizens along unnamed urban streets, Maialetti’s lens shows great affection for the people and architecture of the City of Brotherly Love," writer Amadou Diallo wrote about Maialetti's work.
Check out Maialetti's feed at @Maialetti and follow him to see more of his work.
Today is the perfect day to check out one of the local museums you’ve always wanted to see. That’s because today, September 28, over 15 museums in the Philadelphia area are offering free admission.
In celebration of Smithsonian Magazine’s Museum Day Live!, participating museums across the country are opening their doors to share vast historical, scientific, and cultural holdings with the public. Smithsonian Museums are always free, but printing out a Smithsonian Museum Day ticket today will grant you the rare opportunity to explore one of the city’s many hidden treasures without opening your wallet. All you will need is a printed ticket downloaded from the Smithsonian website.
Participating museums in Greater Philadelphia include the Penn Museum, The Academy of Natural Sciences of Drexel University, the Rosenbach Museum and Library, The African American Museum in Philadelphia, National Museum of American Jewish History, and many more worthwhile institutions.
More than fifty years ago, a Nigerian writer penned the manuscript for a novel that would become one of the most important pieces of literature to impact the 20th century.
Internationally acclaimed author Chinua Achebe died Thursday at the age of 82. A government critic, statesman, and revolutionary writer who has sold more than 12 million copies of "Things Fall Apart," Achebe has influenced generations of Africans as well as contemporary American novelists like Junot Diaz and Ha Jin. Achebe's ability to empower and transform is chronicled through his writing. Below, we highlight seven powerful statements made by the celebrated "father of African literature."
The Philly DoGooder Awards, held tonight at the University of the Arts to fete the best in non-profit video storytelling, announced that they would be doling out awards to Philly.com's own Leah Kauffman for Innovation in Storytelling and City Representative Desiree Peterkin-Bell for Innovation in Urban Mechanics. But the third award, for Innovation in Community Building, went unannounced.
The award goes to HughE Dillon, the proprietor of PhillyChitChat.com and society photographer for Philly.com and the Philly Post, was handed the award by Mayor Michael Nutter, who said that Dillon created a new platform for sharing stories behind the community, through the lens of his camera and the words on his blog.
A time machine is under construction at the Kimmel Center, a massive, high tech sculptural, light, sound and video installation signifying . . . all kinds of stuff.
Stretching more than 100 feet through the Commonwealth Plaza, snaking from the Kimmel;s front door to the entry way to Verizon Hall, the tunnel of past, present and future imagery (and sounds) is the physical centerpiece of the Philadelphia International Festival of the Arts (March 28-April 27). And just one of many free treats that hopefully will draw visitors in on a daily basis.
While the swirling, custom steel grid work is mostly up and the time tunnel will likely be enclosed by week's end, “we’ve got a month to fine tune what goes inside,” said production designer Robert Pyzocha. His team has been brainstorming about the TM since last September and put out a heady artistic proposal which excited regional executives/funders at Dow Chemical, also major sponsors of the Franklin Institute-backed Science Festival returning in April.
Most of these photographs of Paris probably seem like they're paintings or even highly photoshopped images. However, they're not at all. They're actually real photos that were shot in the early 20th century using Autochrome Lumière technology. This technology was created in 1903 by the Lumière Brothers, who are were also apparently the earliest filmmakers in history. Pretty cool, right?
More of the photos can be found HERE.
If notes on staves were New Year’s greetings, the Philadelphia Orchestra sailed a sheaf full of good wishes out into Verizon Hall Monday night. At what he told a sold-out crowd was “the biggest party in town,” Yannick Nézet-Séguin led a program that, Janus-like, glanced back at a year of “great moments and maybe not so great moments,” but looked forward, too.
Everyone knew what he meant. Never uttered was the word “bankruptcy,” but by forming a first half of the program with Haydn’s “Farewell” Symphony and music from Strauss’ Der Rosenkavalier, the orchestra’s music director put sound to his aspirations, and, hopefully, the city’s as well. Goodbye to talk of lawsuits and weighing the orchestra as a going concern, and hello to a silvery bloom. The suite from Strauss’ opera suggests nostalgia, but, more than that, it is gilded with the possibilities of transformation.
Comedy broke out in the Haydn. The composer choreographed the piece as a way of telling his patron that the musicians needed a break, but the Philadelphians added their own gestures as each finished his or her part and exited the stage even while the music continued. Some embraced, while one – perhaps in a gentle rebuke of audience etiquette breaches over the years – pantomimed a cell phone call. Nézet-Séguin left before his last two players, which had the audience in stitches and kept the last wisps of the piece from being heard.