Missing Videos: Following the recent backstab by our video streaming provider ProChan, who deleted over 4,000 of our videos, we decided to set up our own video server so we can be in full control of our media. The 46-year-old hip-hop head and seasoned actor has branched into directing since his 2011 documentary Beats, Rhymes & Life about legendary hip-hop group A Tribe Called Quest. The title is taken from Lewis’s 2009 debut album Terra Incognita, and the documentary of the same name features her work with The Licks, which broke up in 2009 after six years of work together. Digital Trends: Hard Lovin’ Woman follows actress Juliette Lewis as she pursues her love of music.
The music industry and the film industry have paralleled each other in their struggles to adapt to streaming. The documentary will premier at the Tribeca Film Festival on April 15 and will launch globally on Red Bull TV on April 23.
On Twitter you recently posted a picture of yourself with legendary rappers Black Thought from The Roots and Talib Kweli, and suggested the two do a collaboration. News broke last week that you would be joining the cast of Woody Allen’s upcoming TV series for Amazon. It came about pretty easy and I’ve been fortunate to work with him twice for Mighty Aphrodite and Small Time Crooks. T-Enami.org - A Welcome, all who like old Photos of Japan !YOU ARE ONE OF OVER 100,000 VISITORS TO THIS SITE. This April he steps behind the camera again to capture Academy Award winning actress Juliette Lewis’s pursuit of her music career after years of acting success in the upcoming documentary Hard Lovin’ Woman. But the first time I saw that you were venturing into directing was for the 2011 documentary Beats, Rhymes & Life about A Tribe Called Quest. I first joined it as a platform to help promote the Tribe Called Quest film, Beats, Rhymes & Life. What are some technologies that exist now, like Instagram, that you wish were around during that time?
I wish I took more pictures when I was here or there, when I saw this person or that person. The documentary will premiere at this year’s Tribeca Film Festival on April 15 with a global release through streaming service Red Bull TV on April 23.


I was a fan of hers before I was a friend, and I’ve always admired her as an actress. Red Bull has been real supportive and they’re branching out in expanding what they do with Red Bull TV.
It’s an exciting time and a little concerning to the people who make money off of it.
These opportunities to tell these stories with these musicians is always going to be something that has an audience, and I think, for me, it was a pleasure working with them.
I think, unfortunately, a lot of musicians are going to be touring for the rest of their lives to pay bills.
With Tribe, I learned a lot from that experience as a filmmaker, as a producer, and I think I’ve grown. OTHERWISE, BEGIN SCROLLING DOWN FOR A TREASURE-TROVE OF RARE AND BEAUTIFUL PHOTOS OF OLD JAPAN. ENAMI WEARING SAMURAI ARMOR, TAKING A REST BETWEEN POSES IN HIS YOKOHAMA STUDIO, CA.1898-1900. ENAMI, OTHER WELL-KNOWN JAPANESE PHOTOGRAPHERS WHO OPERATED DURING THE MEIJI-ERA (1868-1912) ARE MENTIONED THROUGHOUT THE COMMENTS.I HOPE YOU FIND THE STORY AND DATA BOTH INTERESTING AND HELPFUL. FOR THOSE WHO ARE HERE PRIMARILY TO LOOK AT THE IMAGES, I HOPE THAT YOU EXPERIENCE SOME ENJOYMENT IN GAZING AT A FEW OF ENAMI'S"LOST PICTURES" OF OLD JAPAN.
THOSE THAT LIVE FOR DISCOVERING NEW DATA AND CONNECTING THE DOTS WILL NO DOUBT FIND SOME EYE-OPENING REVELATIONS HERE.A OF COURSE, WE ALL LOVE KIMBEI KUSAKABE AND THE REST OF THOSE ILLUSTRIOUS JAPANESE PIONEERS OF PHOTOGRAPHY WHO GOT THEIR START LONG BEFORE ENAMI OPENED HIS OWN MEIJI-ERA STUDIO.
THEIR BEST WORK IS ENOUGH TO TAKE YOUR BREATH AWAY.HOWEVER, ENAMI ALSO HAD HIS FANS AND FRIENDS, BOTH AS A PERSON AND AS A PHOTOGRAPHER.
AS YOU SCROLL DOWN THESE PAGES, FOR A FEW MOMENTS YOU MAY STEP INTO ENAMI'S SHOES, AND TAKE A PEAK THROUGH HIS LENS.A LIKE SO MANY OTHERS --- SOME NOW FAMOUS, BUT MOST BEING FORGOTTEN --- ENAMI DEDICATED HIS LIFE TO CAPTURING, AS BOTH ART AND DOCUMENT,A WORLD THAT WAS QUICKLY VANISHING BEFORE HIS EYES. AS THIS SITE IS A PERSONAL HOMAGE TO ENAMI, YOU WILL FIND SOME AMATEUR ELEMENTS, AND THE OCCASIONAL PITFALL. AT ALL TIMES, PLEASE "EAT THE MEAT, AND SPIT OUT THE BONES" WHILE DIGGING FOR VISUAL TREASURE.DISCOVERING THE OCCASIONAL GEM OF A PICTURE, OR ODD BIT OF INFORMATION, WILL HOPEFULLY MAKE THE SCROLLING WELL WORTH IT.
The general wording seen above was fairly common to all photographic self-promotion during the Meiji-era, and actually contains less specifics than some of his studio ads which he placed in various guide books of the time.


OGAWA, who was actually a year younger than Enami, was still his "elder" in terms of experience. It was photographed by Enami's friendly competitor and neighbor Kozaburo Tamamura, whose studio was located at No.2 Benten Street. It would be built in 1894 just down the street on the right hand side, and appear in endless views and postcards as the most recognizable landmark of Benten Street. Other images of Enami's studio -- both interior and exterior views -- are shown farther down on this page.A  While offering many of the same services and productions as his contemporaries, he also engaged in other activities that made him unique. Further, while no photographer did "everything", Enami worked and published in more processes and formats than any other Japanese photographer of his time.
A He was one of only a few photographers born during Japan's old Edo-Bakumatsu period, who went on to photograph right through to the Showa period of Emperor Hirohito.Enami was also one of the few to experience, and then successfully outgrow his roots as a traditional maker of the classic, large-format "Yokohama Shashin" albums.
While successfully embracing the smaller stereoview and lantern slide formats, he added to that a portfolio of Taisho-era "street photography" that maintained his own unique and artistic content. Enami and Kimbei Kusakabe are now the only two Japanese photographers known to have a surviving list of their commercial 2-D images.
While Enami's 2-D portfolio contained a sprinkling of older, public domain images, his 3-D images and slides made from them were wholly his own.A THE 3-D CATALOG "S 26. Girls Looking at Pictures" A Maiko and two Geisha Looking at Stereoviews in Enami's Yokohama Studio. One of over 1000 cataloged 3-D images of old Japan.A THE "CATALOG OF COLORED LANTERN SLIDES AND STEREOSCOPIC VIEWS"A  Not surprisingly, Enami matched his older Catalog of Meiji-era Prints with a separately published catalog of his classic STEREOVIEWS.
In the case of the 3-D Catalog, the lantern-slides were all made directly from one half of the stereoview negatives. The Cover and two sample pages of the Stereoview Catalog are shown just below in the Enami Activity List numbers (6) and (9).
ENAMI'S ACTIVITIES and CONTRIBUTIONS TO THE WORLD OF JAPANESE PHOTOGRAPHYA A  For the moment, based on a wide range of primary sources, it is now clear that T.



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