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Looking Across Second Avenue
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Wired Skies #2675
Posted in my stuff, Wired Skies
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This Morning’s Red Series
- From My West Window: Sign of the Owl with Nissan
- Retro Styled 11th Generation Thunderbird
- Second Avenue Vacant Lot
- Self-Portrait in Alley
- Self-Portrait in Alley (detail)
Judy Dater, 1973 (Polaroid)
This image is based on a Polaroid print that I re-discovered this week. This Polaroid was originally made with my old 4×5 view camera at the same time, forty-six years ago, as this 35mm negative I found and scanned in 2016.
Posted in my stuff, photographers & exhibitions
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Gail aka Gandhi (circa 1962-63)
Perhaps it was because he had a name that has been applied to males in only 6.7 percent of all cases of babynaming since the 1880s. Perhaps it is because he had the reputation as a peacemaker, a conciliator, a pragmatic philosopher, that my friend was known mostly to his circle of friends as Gandhi. He drove an old 40s Chevy Fleetline nicknamed The Camel, as an obscure and rather meaningless memory.
Gail/Gandhi was probably my best friend of that particular college year. During the appropriate seasons, the two of us would often cut our afternoon classes, playing tennis until we were near exhaustion, then we would head to either Moon’s Saloon, Warren’s or the Beehive to drink beer, joining a certain class of students who gathered for merriment and discussion of literature and politics and of Sartre, Nietzsche, et. al. until dinnertime at our dormitory. Or we might occasionally skip the meal in favor of happy hour offerings. Under these circumstances, I met some unforgettable characters like Yovanovich, Preacherman, Long John Silver, the Great Hardon, the Owl, Darrelsy (I was Hath or Hather) and others who formed our group of mixed race (and this was in a Southern Border State — Missouri, to be exact, a slave state that did not secede from the Union in the Civil War era — campus), mixed sexual orientation, and mixed political view holding friends, including a couple of like-minded faculty members. Wildness ensued, of which I will refrain from disclosing more.
Here is Gail/Gandhi as we were about to enter the Beehive. (This was about the time that he was engaged in a research project with the local police department to statistically measure and report sociologic and other factors associated with the jail population and crime over time.)
UPDATE 3/25/2022: Today I learned that Gail passed in 2012, apparently a victim of cancer. And I find that he went into military service after college, played football in the Marine Corps, and raised a family. So far, I have found no evidence that he continued in his political science interests that I had known.
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George (circa 1974)
- George Himself
- George Prepares to Shoot
- George’s Partner, Frances
- George & Frances’ Studio (Paintings by Frances, George far right)
And here’s a photograph by George (with Bill and myself).
George was a brilliant avant-garde experimental filmmaker who supported himself through utterly straight, traditional, orthodox but technically flawless portraiture and wedding photography. The first time I encountered him was when I was invited to his warehouse studio where one wall and ceiling of the huge space was covered with white bedsheets upon which surrealistic and dream-like footage (think David Lynch’s “Eraserhead”) was projected as the audience mostly viewed from their backs on the floor. George was known for his unusual methods, including shooting night film of pimps and prostitutes and drug users surreptitiously from a concealed (!) Arriflex while being pushed about in a wheelchair.
Duane (1974)
Continuing my rummage through decades-old storage, I find a 1974 image of an old friend from childhood, Duane. Many tales come to mind, from skipping out on a church youth camp so we could drive across the width of the state of Iowa, to dominating a collegiate ping-pong tournament for which we were technically not eligible, to hitchhiking around the midwest during our college years, to building a Christmas tree from beer cans during his stay in my first year in Los Angeles, to visiting him on an Army base where he was assigned to be a chaplain’s assistant (and kept a bourbon bottle in his desk). R.I.P. Duane M.
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Bill at Orizaba (1977)
Orizaba Castle, that is. It was a faux castle building in Long Beach, California, owned by an eccentric raconteur who sponsored and befriended a number of local artists. My old photographic sidekick, Bill (more on him here), once lived in a room in the upstairs of the Castle, maintained a darkroom downstairs and often worked and performed in a turret of the castle. Here is a scan of a somewhat battered print from 1977, not seen in the light of day since about then until I found it under a stack of papers in a sealed box yesterday, of Bill during a gathering of artists at the Castle.
Vere in San Jose (Summer 1960)
California. My first time there.
Following my first year at a small Iowa church college, I caught a ride to California with a friend, Don, and his family that summer, destined for San Jose. I stayed to work for the season at a fruit cannery, one serviced by the many orchards and farms that dominated the agricultural economy of the pre-Silicon Valley version of that city. While standing in line with dozens and even a few hundred of workers looking for jobs at the canneries and processing plants in the area, I met one of the few white and English-speaking contenders for work, Vere (pronounced “veer”), a young guy about my age who had driven from Ohio in his olive-green circa 1950 Pontiac. We were both hired after a couple of weeks of standing in the hot sun waiting to see if our names would be called before the daily announcement that hiring had been concluded for that day. California Fruit Concentrates (responsible for processing delicacies such as Mott’s prune juice and Sunsweet products) was just one of the canneries we visited daily, but the place finally took us on. Vere and I not only became good friends, but we decided to split housing costs — my share was $30/month — as well, and took occupancy of two rooms with a hotplate in a ramshackle faded gray house near downtown San Jose.
- Vere
- The Rooming House (Vere & His Car, foreground)
- Vere at the Front Entrance of our House
- Vere at the Cannery
- Vere at the Cannery 2
- Vere at the Cannery 3
- ??? At Juanita’s House: Vere Displays His Stitches
- Looking at a Neighbor’s Corvette
- Vere and His Ohio Pontiac
We lived a life of poverty through the summer, but managed to save enough for a trip to San Francisco before I was to return to school in the midwest. We weren’t able to depart from San Jose until after nightfall, but as San Francisco was only about an hour distant, we had plenty of time to drive through the darkness in Vere’s faithful Pontiac in search of the sights and fabled haunts of the city, including a nighttime cruise across the Golden Gate Bridge. Quite memorable was the challenge of driving the many steep San Francisco streets. When we got our bearings, we headed for North Beach in search of our real priorities, places like The Hungry i and Lawrence Ferlinghetti’s City Lights bookstore. I have a distinct memory of sitting on the sidewalk near the curb at midnight, smoking cigarettes and talking about Jack Kerouac, directly across from the Hungry i’s basement entrance. What little sleep we had that night (and morning) was taken in the Pontiac before our early daylight return. Unfortunately, no photographs were made to document that high-point-of-the-summer trip (I never then imagined that with the appropriate equipment and skills, night photography could have been possible).
When I discovered these photographs of Vere a couple of days ago, I also found a hand-written list with columns for expenditures and receipts showing that I had spent $1.70 for gas to San Francisco, and had borrowed $.35 from Vere earlier in the month, but had been able to repay $.20 of the debt within a few days. Other line items from that financial account showed grocery shopping totalling little more than $1. The most expensive item on the list, excepting rent, was about $3 worth of film and film processing for my plastic (specifically, bakelite) Kodak Hawkeye Brownie camera (using 620 film with a square negative size of about 2.3 inches).
As soon as Kim saw these photographs and learned how I spent that summer — something she had never known of previously — she asked questions that led to a full afternoon, and occasional spurts in succeeding days, of tales and accounts and descriptions and impressions that I hadn’t thought about for many, many years.
File this under Brownie Hawkeye/Stand-With-Your-Back-to-the-Sun Era.
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