The series introduced 'Beavis and Butt-Head' and set the stage for 'Office Space.'

Kiefer Sutherland, Kevin Bacon and Oliver Platt also starred in the gothic shocker, which turns 35 today.

“My mother used to say ‘Arlene – just don’t wander!’ Then I started wandering, but I got a camera because it gave it a little more meaning…a life of wandering is really what it all is.” –  Arlene Gottfried Hassidic and Jewish bodybuilder, 1980. New Yorker Arlene Gottfried (August 26, 1950 – August 8, 2017) walked around her city taking pictures of people she met. We see clubbers in Midtown, life and  survival on the Lower East Side, holidaymakers on Coney Island and nudists on Riis Beach. This is no clandestine street photography. Gottfried was making connections. Her subjects are seen looking at her. You can feel the warmth. When her father gave her an old 35 mm camera, which she took to Woodstock, she recalls, “I had no clue what I was doing”. But she knew how to communicate. “We lived in Coney Island,” she recalled, “and that was always an exposure to all kinds of people, so I never had trouble walking up to people and asking them to take their picture.”   Angel and Woman on Boardwalk, Brighton Beach, 1976 Coney Island stall by Arlene Gottfried Arlene Gottfried was born in Coney Island to Jewish parents Lillian (Zimmerman) and Max Gottfried. Live revolved around the family-run hardware store, above which Arlene lived with her mum, dad and two siblings. The family moved to Crown Heights in 1959, and in the 1970s Arlene lived alone in Alphabet City and the Lower East Side. A graduate from the city’s Fashion Institute of Technology, Arlene found work as a photographer for an advertising agency. “I did everything: printing, processing, lighting, studio work, on location, a lot of it was for comps and sometimes it was for the ad itself, for sales promotion and point of purchase,” she revealed in her book Mommie. “I didn’t always love what it was about but I always took photographs on the weekend and used their fantastic darkroom.” She went on to freelance for publications such as The New York Times Magazine, Fortune, Life and the Village Voice. She published five books of her work, including Sometimes Overwhelming (2008), a compilation of her photographs taken in 1970s and 1980s New York, some of which we can see here.   Kissing by the Highway in Queens “It was very diverse. It still is in some respects, you see a lot of different people, but it’s not the same. It’s almost impossible to describe how it was and the new New York City, how it evolved to what it is now, we’ve lost so many little businesses that gave it color. You used to know the people who ran the shops and there was a lot more grit and interesting textural backgrounds for all the different kinds of people you saw on the street.” – Arlene Gottfried   Mommie Kissing Bubbie on Delancey St “If I wanted to take a picture, I would just ask the people. I don’t do it as much now; now I just shoot and don’t ask people, but back then they were looking right at me and they were close to me so they were in agreement obviously!”   In the Men’s Room at Disco, 1978 “It was a mixture of excitement, joy, and warmth. There was this striking beauty the people had.” – Arelene Gottfried   Savage Riders at The Puerto Rican Day Parade, 1980   Riis, Nude Bay, Queens 1980 “It’s nice to be young and be able to run across the beach like wild and be able to meet people and take their picture,” she continued. “That’s what I remember about it: Having a great time, and having a job so I could pay for things, and having a darkroom where I could print everything. You couldn’t ask for anything better. It was like a little grant at a little job, you know, a moderate income but just enough.” – Arelene Gottfried   Ann Magnuson on Stairwell “The clubs were very provocative then: People putting on these shows, taking their clothes off, acting things out. There’d be a theme and they’d be doing all kinds of crazy things like giving birth to dolls, simulating sex in public. I went in with my camera, took photographs and it was great.” – Arlene Gottfried   Arlene Gottfried (American, 1950-2017) Guy With Radio, East 7th Street 1977 Doorway in Brooklyn, 1980. Arlene Gottfried (American, 1950-2017) Brothers with their Vines, Coney Island, NY 1976 KISS, Halloween Parade, West Village, 1978. Photo by Arlene Gottfried Via: Powerhouse books, Daniel Cooney The post Sometimes Overwhelming: New York City People in the 1970s and 80s by Arlene Gottfried appeared first on Flashbak.

In 1982, the Go-Go’s Rolling Stone cover marked a major moment in the band’s fast-rising career. Their debut album, Beauty and the Beat, had just topped the Billboard chart. Powered by hit singles like “We Got the Beat” and “Our Lips Are Sealed,” the album made history as the first number-one record by an all-female band that played their own instruments. So when Rolling Stone invited them to appear on the cover, the offer felt like another breakthrough. But as Parade reports, what should have been a proud moment left the band feeling uncomfortable. Their appearance, styled in white underwear and cold cream, told a very different story than they had imagined.  The Controversial Shoot Behind The Go-Go’s Rolling Stone Cover             View this post on Instagram                         A post shared by The Go-Go’s (@officialgogos)   The Go-Go’s had prepared for the cover shoot with their own chosen outfits. But when famed photographer Annie Leibovitz stepped in, she had a different idea. She asked them to change into Hanes underwear and towels. Band members later admitted they went along with it, even if it didn’t sit right. “You kind of do what you’re told sometimes,” bassist Kathy Valentine later shared. The Go-Gos, (clockwise from top left): Abby Travis, Berlinda Carlisle, Gina Schock, Jane Wiedlin, Charlotte Caffey, circa 1980s.Everett Collection According to Parade, the real blow, however, came from the magazine’s headline. Titled “Go-Go’s Put Out,” it felt like a dig. “That was unmistakably a dig,” Valentine recalled. While the photo could have played on their ‘wholesome’ image, the words painted another picture. Fans noticed too. One Instagram user wrote, “Even my 17-year-old brain caught the dig.”  How Fans Reclaimed The Go-Go’s Rolling Stone Cover Officialgogos/Instagram Despite the rocky history, fans have embraced the Go-Go’s Rolling Stone cover as part of the band’s legacy. On Instagram, many called the photo iconic. One follower wrote, “I thought these girls were so damn cool, and it made me want to be just like them.” Officialgogos/Instagram The band has also made peace with the moment. Valentine reflected that the creative intent may have come from a good place. Still, the experience opened lasting conversations about image, respect, and control.  Next up: Why Fans Haven’t Seen ‘Partridge Day’ Star Susan Dey In Decades The post The Go-Go’s Rolling Stone Cover Still Sparks Mixed Emotions After 43 Years appeared first on DoYouRemember? - The Home of Nostalgia. Author, Ruth A