LIFE Magazine will celebrate its 85th birthday on November 23, 2021. To mark the occasion, we’ve teamed up with our friends at TCG Toys for a month-long anniversary party and giveaway! Join us on Facebook and Instagram for beautiful photos, fun LIFE Trivia questions and for your chance to win a limited-edition LIFE anniversary puzzle.
The LIFE anniversary puzzle is now available for pre-order on Amazon. LIFE fans will love this puzzle featuring photos from the LIFE Picture Collection; each photograph celebrates a different issue from the first year of publication in 1936.
“We loved creating this commemorative puzzle and we’re so excited and honored to collaborate with our friends at LIFE on this project. It’s not every day you get to work with photography of this caliber,” said TCG Toys manager Thea Bourne. “To design this limited edition puzzle, we wanted to go back and explore the beginnings of both the magazine and the photography collection, selecting each image with love and care with the fans specially in mind.
“LIFE revolutionized the publishing industry right from its first edition with their astonishing photography,” Bourne continued, “and we felt it was important that we celebrate that, being sure to include the first cover image of Fort Peck Dam taken by Margaret Bourke-White in 1936. Each of the twelve images is a featured cover from the first year of publication, an homage to LIFE’s first year and a way for both LIFE and puzzle enthusiasts to bring these iconic images into their homes in a totally new way–much like how LIFE brought photography into the home in a totally new way back in 1936.”
Please see instructions below for how to win your very own LIFE Magazine limited edition puzzle!
Enter on Facebook or Instagram for your chance to win this puzzle!
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The full giveaway series starts on October 20th, 2021 and ends on November 27, 2021. LIFE Anniversary Puzzles will be available for Pre-Order in November 2021 on Amazon.
1. Answer the Trivia Question by posting your answer in the comments on the post* 2. Like this Post 3. Tag a Friend 4. Follow Life.com, TCG Toys, & SureLox Puzzles
*To participate please respond to the original post on TCG Toys Facebook or Instagram. Please see the weekly posts on social media for the end and drawing of winners for each giveaway. Also please read all rules for the giveaway series below.
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GOOD LUCK! Winners are picked at random & announced each Saturday!
This collection of LIFE photos of comedy legends proves one thing definitively: There’s a lot of ways to be funny.
Many take the broad approach, of course. The Three Stooges, for example, appear in their photos with eyes popping, arms akimbo and so forth. The masters of slapstick rode that shtick into the hearts of comedy-loving children for generations.
But there are other ways to get a laugh. Look at Bob Hope for example. His expressions in this photos capture his signature style: he is smart, aware, amused by it all. He was funny in large part because of how he reacted to what was going on about him.
You could say the same for Jacques Tati, the adored French comedian who came to New York in 1958 for a movie premiere and brought a LIFE photographer along to for a day of his distinct version of clowning as he moved about the city, in a befuddled battle with the modern world (including modern art, when he stops by MoMA).
Phil Silvers is the impish trickster, always working a hustle, and he did in his most beloved character, Sergeant Bilko.
Phyllis Diller, it becomes clear in her pictures, was really ahead of her time, and not just because of she was a pioneering figure for female stand-up comedians. In the photos of her with a giant mink and with her preposterous collections, she looks like she was parodying the Kardashians a half-century before their show came on the air.
Another lesson to take from this collection is that while comedy can be heavily verbal, so much of a performer’s particular style and wit can come through in a still photograph. Consider the picture of photos of Ernie Kovacs, the inventive and influential satirist who was the subject of a 1957 LIFE cover story. The photos include a staged shot of Kovacs eating dinner with his family, with everyone, and especially his wife Edie, looking quite distant and miserable. In another photo Kovacs and Edie are in bed together, watching separate televisions, in another subversion of expectation. No canned versions of domestic bliss here, although the caption for that photo did quote Kovacs as saying, “Edie’s never said `Get that cigar out of here before I tear your arm off,'” and for that I am grateful….I love her for that.”
And in a postscript note: the search for photos of comedy legends showed a surprising number of photos in which they were dancing: Bob Hope, Jackie Gleason, Jerry Lewis—even Johnny Carson tries out some steps on stage with soul legend James Brown. Jack Benny’s body language shows a physical grace as he entertains the troops. Perhaps it’s a throwback to when the comedy world’s proving grounds were vaudeville rather than standup or Saturday Night Live. Whatever a case, some of these the old-time funny people knew how to move.
Bob Hope during the rehearsals for the 1958 Academy Awards.
Leonard McCombe The LIFE Picture Collection/Shutterstock
Bob Hope, 1962.
Allan Grant The LIFE Picture Collection/Shutterstock
Bob Hope on the set of the 1958 television movie version of Roberta.
Francis Miller The LIFE Picture Collection/Shutterstock
Comedian Bob Hope (left) with Soupy Sales (second from right) and Shirley MacLaine, their faces covered with remnants of cream pies, 1962.
Allan Grant The LIFE Picture Collection/Shutterstock
A Milton Berle joke slayed Tony Curtis, Dean Martin, and publicist Warran Cowan. “Show Miltie a curtain, he takes a bow,'” said Dean.
Allan Grant The LIFE Picture Collection/Shutterstock
Dean Martin and Jerry Lewis at the Copacabana, 1949.
Ralph Morse/Life Pictures/Shutterstock
Dean Martin and Jerry Lewis at the Copacabana, 1949.
Ralph Morse/Life Pictures/Shutterstock
Bob Hope with Dean Martin and Jerry Lewis in 1950
Howard Sochurek The LIFE Picture Collection/Shutterstock
The Three Stooges performed a skit, 1959.
Michael Rougier The LIFE Picture Collection/Shutterstock
The Three Stooges performed a skit, 1959.
Michael Rougier The LIFE Picture Collection/Shutterstock
The Pickle Queen posed with the Three Stooges during National Pickle Week, 1949.
Francis Miller The LIFE Picture Collection/Shutterstock
Comedian Phil Silvers, in the character of Sgt. Bilko, shuffling cards on his television show.
Yale Joel/Life Pictures/Shutterstock
Gracie Allen and George Burns, 1958. On the wall behind them is a photo of the pair, in a similar pose, from their days as vaudeville performers.
Allan Grant/Life Pictures/Shutterstock
Actor George Burns (R) and actor Jack Benny (L) rehearsed a scene on the George Burns Show, 1958.
Allan Grant/Life Pictures/Shutterstock
Entertainer Jack Benny performed bits for troops stationed in Korea, 1951.
Grey Villet The LIFE Picture Collection/Shutterstock
French actor Jacques Tati in New York City, 1958.
Yale Joel/Life Pictures/Shutterstock
French actor Jacques Tati looked at the high ceiling of a New York City lobby, 1958.
Yale Joel/Life Pictures/Shutterstock
Jacques Tati examined a sculpture by Max Ernst at the Museum of Modern Art, 1958.
Yale Joel/Life Pictures/Shutterstock
Mike Nichols and Elaine May doing skit on recent TV scandals during “Fabulous Fifties” TV special, 1960.
Alfred Eisenstaedt/Life Pictures/Shutterstock
Comic Ernie Kovacs having dinner at home with his wife, Edie Adams, and his two daughters by a previous marriage, 1958.
Ralph Morse/Life Pictures/Shutterstock
Actress Barbara Loden had her face made up for spoof of a cosmetics ad to appear for an Ernie Kovacs special, with a TV filter helping to complete the gag, 1958.
Ralph Morse/Life Pictures/Shutterstock
Comic Ernie Kovacs at home in bed watching twin TV sets with his wife Edie Adams, 1958. Kovacs remarked, “Edie’s never said `Get that cigar out of here before I tear your arm off,'” and for that I am grateful….I love her for that.”
Ralph Morse/Life Pictures, Shutterstock
Phyllis Diller, wearing a fox fur coat and high-heeled half boots, is picked up by a driver sent by her husband at the St. Louis airport, April 1963.
Francis Miller/Life Pictures/Shutterstock
Phyllis Diller sits amid a large collection of hat boxes in the basement of her St. Louis home, 1963.
Francis Miller/Life Pictures/Shutterstock
Phyllis Diller read the names of the well-known (including Frank Sinatra, Vic Damone and the Vagabonds) and the not so well-known on a wall after circling her own name (center), 1963.
Francis Miller/Life Pictures/Shutterstock
Entertainer Jackie Gleason (C) executing his famous How Aweet It Is dance wlhile the chorus girls are taking a bow behind him, 1953.
Lisa Larsen/Life Pictures/Shutterstock
Actors Jackie Gleason (L) and Gene Kelly (C) casually tap dancing Ed Sullivan during visit to Gleason’s studio, 1967
Arthur Schatz/Life Pictures/Shutterstock
Singer James Brown (R) teaching talk show host Johnny Carson how to dance, 1967.
Arthur Schatz/Life Pictures/Shutterstock
Johnny Carson, host of The Tonight Show, 1967.
Arthur Schatz/Life Pictures/Shutterstock
Johnny Carson in his Manhattan apartment, 1967.
Arthur Schatz/Life Pictures/Shutterstock
Johnny Carson and his Tonight Show cohost Ed McMahon, 1967.
Arthur Schatz/Life Pictures/Shutterstock
Rodney Dangerfield (left) and Joan Rivers (right) wrapped up Dick Cavett in a scene from Portnoy’s Complaint, 1969.
Arthur Schatz/Life Pictures/Shutterstock
Comedian Henry Youngman (left) in a steam cabinet in Hot Springs, Arkansas, 1960.
Francis Miller/Life Pictures/Shutterstock
Henry Youngman drying out after steam bath in Hot Springs, Arkansas, 1960.
Through its remarkable heyday, Queen—with its singular star, Freddie Mercury, and deliciously innovative guitar player, Brian May—touched folks from across the musical and pop culture spectrum. Below are ten quotes that speak to the depth and breadth of the band’s appeal. These quotes, along with spectacular photographs and a gripping narrative of the band’s rise, appears in LIFE’s new tribute issue to the band Queen: The Music. The Life. The Rhapsody, available at newsstands and online.
1) “Musically, they’re so good. The whole group stuns you, first of all because they look so interesting.” —Liza Minnelli, one of Mercury’s two favorite performers, along with Jimi Hendrix
2) “Freddie took it further than the rest . . . he took it over the edge. And of course, I always admired a man who wears tights.” —David Bowie
3) “The most important figures in rock ’n’ roll. Freddie’s a real one-off, and that time, nobody looked like him, nobody sang like him, with the harmonies and everything.” —Elton John
4) “Every band should study Queen at Live Aid. If you really feel like that barrier is gone, you become Freddie Mercury.” —Dave Grohl of Foo Fighters, on the 1985 dual-venue concert at which 70 acts performed and Queen’s bravura, 19-minute setstole the show
5) “They’ve always approached music very intelligently, probably because they have so many degrees.” —Gary Moore of Thin Lizzy, referring to the fact that all four Queen members graduated from university
6) “[Brian May] is the governor, he’s the best pop-oriented guitar player there is, really.” —Jeff Beck
7) “The name fits the band, and it fits Freddie too, it seems, because the whole thing was so majestic.” —Paul Young
8) “For a long time, I think almost all the music I played was Queen. I had a big addiction.” —Sir Jackie Stewart, three-time Formula One world champion
9) “If I didn’t have Freddie Mercury’s lyrics to hold on to as a kid, I don’t know where I would be. It taught me about all forms of music. It would open my mind. I never really had a bigger teacher in my whole life.” —Axl Rose of Guns N’ Roses
10) “Freddie Mercury was and remains my biggest influence. The combination of his sarcastic approach to writing lyrics and his ‘I don’t give a f—’ attitude really inspired my music.” —Katy Perry
Sylvester Stallone was the first to admit there was nothing new about Rocky Balboa, whose most famous monosyllable—“Yo!”—is likely as old as Cro-Magnon man. The Roman numerals appended to four Rocky sequels date to Caesar’s time, while the main storyline of the film franchise—as a television announcer shrieks in Rocky IV, just before Balboa squares off with Ivan Drago—is “a true case of David and Goliath!”
Whatever its origin, the Rocky franchise taps into something eternal, possibly even preverbal, though Stallone dates the protagonist that he created only to the dawn of cinema. “I didn’t invent this formula of the little guy who beats the system,” said the star, writer, and sometime director, himself a metaphorical little guy who beat the system. “Frank Capra did very well with it, and so did Charlie Chaplin. If Rocky proves anything, it’s that old formulas never die.” By the time Stallone wrote Rocky, Hollywood had already made roughly 100 boxing movies.
“Rocky revives something old that has always worked,” is how Burgess Meredith put it on the eve of the 1977 Oscars, when he was up for Best Supporting Actor for the role of boxing trainer Mickey Goldmill. “It allows the audience to participate. They feel that’s them up there on the screen. They have an emotional investment in the film.”
If old formulas never die, neither do old boxers. Rocky Balboa, who burst into the American consciousness 45 years ago, in 1976, has lived on through eight movies and counting. The character earned a Best Actor nomination for Stallone at the start of the Jimmy Carter administration (for Rocky) and a Best Supporting Actor nod at the end of the Barack Obama presidency (for Creed). That 39-year gap between nominations is the longest for any actor playing the same character.
In those four decades, “Yo, Adrian” has joined the very short list of very short quotes that are instantly identifiable with a classic character from a classic film. Tourists to this day run up the 72 stone steps of the Philadelphia Museum of Art—now called the Rocky Steps—as the title character did in Rocky, and venerate the statue of Rocky that Stallone commissioned, as a prop, for Rocky III. The statue has done almost as much running through Philadelphia as the character it represents. It once stood at the top of the museum steps, was moved to Philadelphia’s Spectrum arena—site of Balboa’s first fight with Apollo Creed—and now stands at the bottom of the museum’s steps, bronze arms forever raised in triumph, holding the pose for tourists with selfie sticks.
When the robe that Rocky wore into the ring to fight Apollo Creed for the first time made its way into the National Museum of American History at the Smithsonian, sharing a roof with Lincoln’s top hat and Edison’s light bulb, that museum’s then-director, Brent D. Glass, said: “The story of Rocky Balboa, an underdog from the urban working class, is a quintessential depiction of the American dream.” Can the same be said of Stallone, and the making of Rocky?
As Rock would say: “Abzalootly.”
“In one year, my life exploded for the better,” Stallone said in the 2020 documentary 40 Years of Rocky: The Birth of a Classic. “So I tell people, ‘you never know.’ You just never, never know if you’re gonna hit the lottery. You just gotta keep buying tickets.”
When we hear the term “witch”, many images pop into our head. The image that may come to mind now is more contemporary, unrestricted by any gendered roles. But, how did we come to such a modern image of the witch within Western media? This acceptance is in part due to depictions from the late 1930s to the late 1960s. Images of the witch featured in films and television series, to photo essays here in LIFE, reflected a surprisingly positive image of witches during these eras.
A witch studying in a museum, March 1964
(Photo by Terence Spencer/Popperfoto via Getty Images)
A 1960s Coven
A feature article from the November 13th, 1964 issue titled, “Real Witches At Work: English Pagans Keep an Old Cult Alive”, depicts a coven of both men and women. The below photograph from March of 1964 shows the coven dressed in everyday Sixties attire walking around a small fire with hands interlocked in the evergreen and stoney woods of Oxfordshire, England. The writer then goes into the history of the ritual and explains that rituals are an act of grounding for them to be fully immersed with nature, as stated in the quote below:
“In a thousand-year-old rite, the witches dance around a bonfire within the prehistoric Rollright stone circle that still stands in Oxfordshire. At the climax of the dance they leap over fire to stimulate the sun as the source of life.”
Witches dancing in circles around a fire, March 1964
(Photo by Terence Spencer/Popperfoto via Getty Images)
High priestess of the coven, Ray Bone, wrote a supporting article to follow the above photo-essay. Her piece, We Witches are Simple People, goes into detail about the history and misrepresentation of witches. She also expresses how her modern-day coven does magic to help people. For example, LIFE explained the photograph below as “Mrs. Bone shapes a wax effigy of a sick woman she hopes to help through curative ‘white magic’.” When she is not busy leading a coven, she is a housewife. In addition to having a successful career of her own being a manager of an elderly home. In the article, Mrs. Bone describes herself and her coven as “…just ordinary people going about our own particular jobs.”
Mrs. Ray Bone performing a healing ritual in her home.
(Photo by Terence Spencer/Popperfoto via Getty Images)
LIFE covered witches during this time in a non-menacing way. It showed them as everyday people who want to do good for themselves and others by using magic. Both these texts do this by placing the witch archetype into an image readers from the time could accept: as an everyday housewife who balanced her work and career to have a fully rounded life. The magazine also reflected the changing societal expectations for women during the era. A later article from the “The Feminine Eye” section in the February 17th, 1967 edition of LIFEshows how the image of the witch had transformed through mid-century media. The article quotes a LaVey Satanist stating that she does not want to be called a witch since the term has “…sort of the connotation of a cookie-lady now”.
By the 1960s, second-wave feminism gained popularity in the United States. Knowing that, it should be unsurprising that LIFE magazine would cover witches. From a twenty-first century perspective though, it seems like a radical act considering the many inherited biases surrounding witchcraft at the time. The articles also helped LIFE’s mass audience gain a better understanding of the religion and its practice. Throughout history the witch archetype went from something to be frightened of to being represented in a popular magazine by the likes of Ray Bone, who said: “Twentieth-century witches [are] happy in our knowledge; we are simple people with simple beliefs.”
The photos that Frank Dandridge shot for LIFE magazine paint a vivid portrait of violence and race in 1960s America. He reported on riots in Harlem, in Watts, and in Newark,. He was in Selma, Alabama when Martin Luther King marched in the days immediately after Bloody Sunday. Dandridge’s most famous photo is of Sarah Collins, a 12-year-old girl whose eyes were in bandages after the bombing of a Sunday school class at the16th Street Baptist Church in Birmingham, Alabama. That bombing killed four girls, including Collins’ sister, while wounding many others and leaving Collins blind in one eye. The image of Collins in her hospital bed made vivid for America the cruelty of this horrific bombing by four men who were members of a splinter group of the Klu Klux Klan.
Dandridge, who was fairly new to LIFE when he took that historic shot, is now 83 and lives in Los Angeles, where he settled after his second career as a television writer.
In a phone interview, the jocular Dandridge recalled the unlikely beginning to his photography career. He was a teenager in the U.S. Marines, playing in a barracks poker game at Camp Lejeune, when one of his opponents threw his Kodak Pony camera into the pot. Dandridge’s hand was a winning one indeed, especially after the soldier who had lost the camera taught Dandridge how to use it.
When Dandridge left the Marines at age 19, he returned to his home to New York City and began taking pictures, shooting model portfolios and birthday parties, and roaming the streets to add to his portfolio. As a young man who was “full of beans,” as Dandridge puts it, he wasn’t shy about asking for work, and it paid off: He wrote a letter to Jimmy Hoffa asking for access for a photo story, and ending up spending two-and-a-half weeks with him in Miami for Pageant magazine, being in the room when the labor leader was on the phone cursing out John Kennedy.
Dandridge persistently called LIFE magazine to pitch ideas, usually about a celebrity or politician coming to New York, and he was always turned down. But then one day the LIFE editor called Dandridge to see if he was available to shoot a story on racial conflict in Cambridge, Maryland in 1963; the protesters had agreed to give LIFE inside access, but only if they sent a Black photographer. Dandridge told the editor he would check to see if he was free—which he very much was. “I ran around the apartment for fifteen minutes yelling and screaming like an idiot, then called them back and told them I cleared the schedule,” he recalled, laughing.
The Cambridge assignment proved to be life-changing in two ways. One was that Dandridge did well enough that LIFE continued to give him more assignments. The other was that he developed a relationship with the protest leader, Gloria Richardson. She and Dandridge would eventually marry. “I was down there two or three times, and the center of action was Gloria’s house,’ he says. “She was a bright and courageous lady. It just happened that way.”
Later that year Dandridge took his famous photo of Sarah Collins—a shot he would never have gotten without a little bravado. Dandridge, in the company of Collins’ family, entered the Atlanta hospital where she was being treated, and on the way to her room he bluffed his way past hospital worker telling him to leave by explaining that he had the hospital administrator’s permission to take pictures (which he did not). That tactic worked until he reached Collins’ floor and a man answered Dandridge’s explanation by saying, “I’m the administrator!” Still, Dandridge got into Collins’ room. “I knocked or six or eight or ten pictures,” he says. “Then I got out before something bad happened.” He kept charging ahead that day despite resistance because, “What was I going to do, walk away from the picture?”
Another of Dandridge’s more memorable shots was a photo from the Harlem riots that ran as a spread over two pages in the July 31, 1941 issue of LIFE. The photo showed a young man who had been hit by a stray police bullet being taken to an ambulance by his friends. Dandridge recalls that he and a writer had been up in Harlem chasing the action all night when one of his legs went out. The writer propped him up against a telephone pole, and from the position he got the shot. After the photo ran, Dandridge was particularly pleased when he was at the office and legendary LIFE photographer Alfred Eisenstaedt asked him how he got the shot—which depended on Dandridge having his flash unit with him.
Dandridge is a jocular and engaging storyteller, and his eye for telling detail comes through in not just his pictures from his words. Talking about growing up poor in Harlem, he related how he and his mother for a time lived a single room, and could only use one shelf in a shared refrigerator in a common area. After his mother, who survived major bouts of tuberculosis, found steady work at the city’s Board of Health, the first thing she would do with each paycheck was to buy subway tokens to make sure she would be able to get to work. When Dandridge’s career took off, and she refused to believe that he could earn $2,500 for a week’s work when her annual salary was $5,000, he brought her a copy of his paycheck, and she kept that document until the day she died. “The thing I was happiest about with my career was how much it meant to mom,” Dandridge says.
In addition to shooting for LIFE, Dandridge worked for many other magazines, including Look, the Saturday Evening Post, and Playboy. His Playboy assignments included photographing an interview between Alex Haley and James Baldwin. That was a highlight for Dandridge, because he had worked as an assistant to James Baldwin in the days before his photography career took off (that job enabled him to upgrade to a new camera from the one he was as a Marine).
Dandridge’s photography helped pave the transition to his second career as a television writer. Dandridge had served as set photographer on a number of movies, including Jules Dassin’s Uptight and Elia Kazan’s The Arrangement. With LIFE ending its original run in 1972, and other magazine clients such as Look and The Saturday Evening Post going under, Dandridge became a fellow at the American Film Institute. His sold his first script in 1974 to the TV series Kung Fu—an episode titled Night of the Owls, Day of the Doves, about three prostitutes who inherit a hotel and try to go legit.
His television credits include episodes of The Six Million Dollar Man, The Incredible Hulk, St. Elsewhere, and he was on the writing staff of Generations, the first soap opera to feature an African-American family among its original characters.
As a man who documented so much racial struggle in the 1960s, Dandridge has found the events of recent times, with the police killings of George Floyd, Brionna Taylor and so many others, to be particularly heartbreaking. During the 1960s he had a real sense that he was witnessing the beginning of societal change in regard to race .
“It’s been sixty years and the same bullshit is still going on,” he says . “…In spite of the Obamas and the Thurgood Marshalls and the Ralph Bunches, even Malcolm X, all those people who spoke up—all of that, what has it added up to? It adds up to black people are still scared to be living in America. Sometimes I just want to cry.”
The one “pebble” of hope, he says, is the Derrick Chauvin verdict in the officer who killed George Floyd was found guilty, and the promise that cell phone cameras can help hold those who abuse their power accountable. It’s an interesting perspective from a man whose most famous photo, of Sarah Jean Collins in her hospital bed all those years ago, helped begin the accounting.
Sarah Jean Collins, 12, was blinded by dynamite explosion set off in basement of Birmingham church that killed her sister and three other girls as her Sunday school class was ending, 1963.
Photo by Frank Dandridge/The LIFE Images Collection via Shutterstock
Sarah Jean Collins, 12, in an Atlanta hospital after being blinded by dynamite explosion set off in basement of Birmingham church that killed her sister and three other girls as her Sunday school class was ending, 1963.
Photo by Frank Dandridge/The LIFE Images Collection via Shutterstock
A young man who was hit by a stray bullet fired by police to disperse crowds during the Harlem riots was carried to an ambulance by friends, 1964.
Photo by Frank Dandridge/The LIFE Images Collection via Shutterstock
Civil Rights marchers reached a police road block outside Selma, Alabama in March 1965, during a march coming two days after “Bloody Sunday.”
Frank Dandridge/]/The LIFE Images Collection via Shutterstock
Martin Luther King in Selma, Alabama in 1965, two days after the infamous “Bloody Sunday” march there.
Photo by Frank Dandridge/The LIFE Images Collection via Shutterstock
Martin Luther King and other civil rights activist began to pray as police blocked the street during a second attempt at a march in Selma, 1965.
Photo by Frank Dandridge/The LIFE Images Collection via Shutterstock
Martin Luther King and other civil rights leaders watched President Lyndon B. Johnson speak on television, 1965.
Photo by Frank Dandridge/The LIFE Images Collection via Shutterstock
The Watts riots, 1965.
Photo by Frank Dandridge/The LIFE Images Collection via Shutterstock
Soldiers subdued a rioter in Watts, 1965.
Photo by Frank Dandridge/The LIFE Images Collection via Shutterstock
Police searched a man they saw running away from a clothing store during the 1967 riots in Newark before letting him go.
Photo by Frank Dandridge/The LIFE Images Collection via Shutterstock
A scene from the Newark riots, 1965.
Photo by Frank Dandridge/The LIFE Images Collection via Shutterstock
A sniper in position during the Newark riots, 1967.
Photo by Frank Dandridge/The LIFE Images Collection via Shutterstock
A police officer took cover on Springfield Avenue in Newark while looking for a sniper, 1967.
Photo by Frank Dandridge/The LIFE Images Collection via Shutterstock
Police hunted for a sniper on Springfield Avenue during the Newark riots, 1967.
Photo by Frank Dandridge/The LIFE Images Collection via Shutterstock
A man who had been shot in the side during the 1967 Newark riots died moments after this picture was taken; twenty-six people were killed during the riots.
Photo by Frank Dandridge/The LIFE Images Collection via Shutterstock
