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Sunday, July 20, 2003
Give Peach a Chance
It's Summer here in Modesto (duh!) - as it is in the rest of the Northern Hemisphere - and that means one thing: summer fruit.
Peaches and nectarines are at the height of the season and Friday I savored one of the few things that makes Summer tolerable in Modesto - the unimaginably sweet taste of a tree-ripened white nectarine.
You'll find fruit and vegetable stands all around the outskirts of Modesto and surrounding towns, some stands are even on the honor system where the fruit is placed on a cart near the edge of the road, you select what you want and drop your dollars into a box.
But Friday, I drove across town to the Rodin Farms fruit stand at the corner of Claribel Avenue and Oakdale Road. I had primarily gone to buy ears of corn - I love the tender Silver Queen variety - which was selling for 6 ears for $1.00. But once I tasted the samples of the white nectarine slices near the cash register, I knew it was the nectar(ine) of the Gods.
Unlike the peach, there is no fuzzy skin to interfere with the tastebuds, the tree-ripened flesh of the fruit melts as honey melts on your tongue. At $1.25 a pound, I purchased $21.00 worth of peaches, nectarines and apricots, and 24 ears of corn at the going rate.
I pity those who have never tasted a tree-ripened nectarine or peach from California's Central Valley, specifically in the area surrounding Modesto, which are absolutely better tasting than the one's David "Mas" Masumoto and his fellow growers harvest down in Fresno, 100 miles to the south (the gauntlet is thrown down...).
The taste of the fruit got me thinking about a job I had two summers-in-a-row in 1975 and 1976 at the Tillie Lewis Foods Cannery on 9th Street in Modesto, about 1.3 miles from my home in Modesto's original barrio. My next door neighbor, Jess Ibarra, was a mechanic at the plant and had such a strong work ethic that The Modesto Bee newspaper did a story on him in the 1980's chronicling the fact that he'd never missed a day of work in the 30+ years that he'd worked there.
Since Jess had known me my entire life, when I started work there he got me one of the "cleanest" and more highly sought after jobs in my pay scale - working the "can line."
I worked by myself, about 30 feet above the other employees on the floor: fillers, seamers, clean-up, palletizers, depalletizers, sorters, can-end loaders, etc. I used to describe my job as being like watching model trains all day, the various size cans (8 oz, 16 oz, quart, gallon) would be transported by conveyer from the warehouse and would rotate around and around in the rafters like an airplane holding pattern until magnetic sensors would detect the need for more cans to be diverted to the filling machines. The fruit our plant canned were tomatoes and peaches.
But not tree ripened peaches. These were "industrial" cling peaches, necessarily tough to withstand the normally peach-bruising harvest and transport from field to processor. The peaches were yellowish-orange with no detectible fibrous texture as a tree-ripened peach has. The fuzzy skin was scorched off in a caustic lye bath. These were "uber-peaches."
So, what actually WAS my job in the can line? Well, as the cans rotated round and round, occasionally a can would get stuck and I would get a broomstick-like handle and dislodge the offending can from the logjam it had created. That was it. Just be vigilant. Don't daydream too much as the sunlight (filtering in at spots from the aging cannery) reflected off the chrome finish of the can's exterior or there'd be hell to pay as the "floor lady" banged on the metal chutes that fed the respective filling machines, demanding more cans.
One day, without warning, the power to the can line was switched off and the deafening clang of thousands of tinplate cans came to an abrupt halt.
My crew leader yelled at me from the floor to climb down. All work had stopped and it was puzzling to see everything at a standstill because the cannery worked 24 hours a day, 7 days a week during peak season. I was told to join the hundreds of other workers in standing along the edge of aisles in the cannery. The cannery, as I said, was old and congested with green-painted machinery jammed so tightly as to be anathema to the claustrophobic. Imagine the funky plumbing and well-worn machinery in Terry Gilliam's film, "Brazil" or the "Nebuchadnezzar" in the "Matrix" films.
We were ordered to be quiet, on our best behavior, because there was to be an important inspection shortly. I felt like a soldier waiting for a general to inspect the troops, such was the climate of seriousness. We kept the plastic color-coded "bump hats" on our heads that designated our rank, just like the military. Red was for managers, blue for mechanics, yellow for safety inspectors, white for supervisors and the rest of us - the majority - wore green hats.
Suddenly, everyone went quiet and eyes turned up the aisle as three men walked swiftly towards us. They were wearing black hats and black suits. And each had beards. Men who looked like them were familiar in Modesto - you know, the German Baptists in their austere, modest suits. But these men looked a little different as they approached. Ah, I could tell by their payes (the long sideburn-like locks of hair) that they were Hasidic Rabbis.
I wasn't sure why they were there, but I found out years later upon an inquiry, that they were there to make certain the plant was kosher. I did a seach today at the Kosher Consumer website and saw the following information:
"During the canning season or production schedule the supervising rabbi will visit every cannery and every refinery several times during the season. In the course of these inspections the rabbi may review or ask questions about the process or any changes that he observes. The rabbi will also ask about ingredients, labels and any other aspect taking place in this production facility or any co-Pak that is being done by them or for them. The rabbi will also visit Corporate headquarters where he will consult with the corporate staff on any new products, suppliers or new formulas which are being considered, and of course any kashrus issues. A food production facility, which processes kosher and non-kosher products in equipment adjacent or in close proximity to each other, may require a full time Mashgiach (kosher knowledgeable supervisor). There must be a reliable method of assuring that the food or ingredient produced at the facility did not become contaminated with any non-kosher ingredient or equipment."
The image of the Rabbis walking down the aisle is etched indelibly, almost cinematically, in my memory. I'm curious how many of California's ever shrinking number of canneries (Tillie Lewis Foods has been closed at least 20 years) maintain kosher standards. I'll do some research and update this blog as I find out.
Until then, however, the men with black hats, black suits and beards you see in Modesto will probably be German Baptists - or maybe a Country and Western band.
Posted by: Adrian / 3:18 PM
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Friday, July 18, 2003
She died 24 years ago, why are you still searching for her?
In my July 2nd blog titled "Drama and Trauma in the Cinema House" I make reference to being informed of the death of a co-worker in the following manner:
"Monday evening I arrived for my shift and came across a cashier, Sari (pronounced "Shar-ee") Gacsaly, a beautiful dark-haired young woman of Hungarian descent who had an uncanny resemblance to Elizabeth Taylor. As I walked up to her, I could tell she was deeply upset.
"What's wrong?" I asked.
"You don't know?" she answered.
"What?"
"Lindy's plane c rashed on the way to Utah. She and her parents and the pilot were all killed."
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This brief reference to my former co-worker, Sari Gacsaly, resulted in the following email from someone who did a search of her name the other day. He asked that I not use his name or city, but gave me permission to reprint the rest of the email...
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Dear Adrian,
First of all, you don't know me. Something possessed me to click Sari Gacsaly's name on a search engine. It was with much interest that I read your brief account of your conversation with her at the cinema 31 years ago. I was especially impressed by your description of her. She was one of a kind, as beautiful inside as she was on the outside.
I met her in mid 1973, after having moved back to Ontario (Chaffey H.S. class of 1967). I knew several Chaffey graduates of the class of 1972, and she moved in the same social circle that they did. The first time I saw her, I fell hopelessly in love. Assuming she would decline, I asked her out, and I was flabbergasted when she accepted. For weeks, I courted her in the parlor of her home, always chaperoned by her mother or grandmother.. I still remember the address - xxx W. xxxx St., Ontario. We became very close and intimate over the summer and fall of 1973. I've always figured it was because she met someone else, but anyway late that year, she gave me the old heave ho. I have nev er felt badly towards her for dumping me. I still had numerous bad habits left over from my time in Vietnam, and don't know how or why she put up with me as long as she did. Maybe it was just because she couldn't reciprocate what I felt for her.
Our mutual friend, Richard C., told me in 1980 that Sari had died in late 1979. I wish I knew more about that. Even though I have been married to a wonderful woman for 25 years, and have many children, and have had many lovers, Sari will always be the love of my life. The Sari I knew was perfect, a saint incarnate in human form, an avatar. Her beauty almost scared me, and sometimes I think she was just too beautiful and perfect for this world.
Certainly too fine for the likes of me...It was because I thought I couldn't handle seeing her without the closeness we once had that I up and moved out of California altogether. I have been down on the bayou ever since. Oddly enough, she never really believed she was all that much. A rare trait in a gorgeous woman, most of whom are full of themselves. Sari had humility and was nice to everyone.
Well, it gave me a thrill to find her somewhere on the web, even if just your brief account.
Bless you!
(name witheld at his request)
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In coming full circle, the young woman who informed me of the death of a friend, was revealed to have died nearly a quarter century ago herself. I wrote back to him and told him that I too, loved her. But my overtures went unrequited, "She gave me the 'let's be friends' speech," I informed him.
I was deeply saddened at this beautiful life cut so short. I remember seeing Sari perform in the Chaffey H.S. production of "I Never Sang for My Father," and it was the first time I'd ever seen theater in th e round. Sari said she could feel the intensity of my gaze as I concentrated on her superb performance. And her gypsy beauty.
I never sang for you, dear Sari. Probably a good thing...
So, I've found this person - or rather - he's found me, and we've become instant kindred spirits in our memories of this woman so long removed physically from this realm.
And I wrote back, asking him,
"Still, I'm curious as to what possessed you to enter the name of a "girl" who died nearly a quarter century ago into a search engine. No, wait - I think I know."
Posted by: Adrian / 10:35 PM
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Monday, July 14, 2003
Recycling Images in Photojournalism
Maybe you saw the Associated Press photo by John Moore today in your local or regional newspaper. I saw it on the front page of today's San Francisco Chronicle. It showed Iraqis identified as "Hussein loyalists" who had theirs hands bound behind them and were wearing bags over their heads.
The photograph immediately brought to mind an image I had taken of an initiation into a club called "The Clampers" in the hills of California's "gold country" in 1994. The men were all hooded with paper bags, but despite a morning enduring mock-humiliation (decorum prevents me from elaborating), they all knew that in the end they'd be treated to a substantial portion of grilled steak and all the beer they could drink.
So after 17 years of photographing for 2 different new spapers, I've seen a good share of "recycled" photos - from other photographers - a s well as my own. By "recycled," I'm talking about photographs or even film sequences that are directly ripped-off from other photos or even works of art. The most shameless example I can think of is a portrait of keyboardist Keith Emerson sitting at a piano framed EXACTLY like Arnold Newman's portrait of Igor Stravinsky. Or, it can be an homage as Woody Allen did with Edward Hopper's Nighthawks in his classic film, "Annie Hall."
For me, my "recycled" images have either been coincidental parallels or intentional rip-offs that are usually an homage, inside joke or visual pun. When I worked for the now-defunct Manteca (CA) News, I had an assignment to take photos of a cheerleading camp and recalled photographer Phillipe Halsman's "jump" series, including this one of Dean Martin and Jerry Lewis and tried my own version of this with about 80 girls, aged from 6 to 13 years old.
Other times, it can be amazing how close p hotographs can become visually that span decades of time, as I discovered in this photo I did in 1977 of an Escalon, CA manufacturing site that closely re s embles this photograph by Margaret Bourke-White taken in 1936.
In Ruth Orkin's signature photo, " American Girl in Italy, 1951," the lass is obviously despairing as she hurries to walk past the gazes and comments of a leering group of Italian men. But in my photograph, taken at a lowrider car show in St ockton, California in 1989, the young Chicano men's leers don't seem to be affecting the winner of a "best legs" contest in the very least.
So, several of my fellow photojournalists and I know that we have images in our memory banks to pull "off the shelf" if we need them, and every year or so when we are assigned to such mundane events as tree plantings, for example, we can recall the raising of the flag on Iwo Jima and make a visual equivalent that pays homage to the original iconic image.
After all, it was none other than Pablo Picasso who said, "Good artists borrow, great artists steal."""
Posted by: Adrian / 7:37 PM
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Friday, July 11, 2003
"The only word with any truth in it..."
John Willis, the British Broadcasting Company's Director of Factual & Learning, gave a speech at the Royal Television Society at BAFTA in London on 17 June 2003.
Excerpts include the following observations about televsion, particularly American television:
"Now more than ever, as television viewers the world over receive the same messages, has T. S. Eliot's description of television come true: "It is a medium of entertainment which permits millions of people to listen to the same joke at the same time yet remain lonesome"?"
"Pick away at the hundreds of channels on offer and you find that the apparent choice is just a tawdry illusion. Hours of cloned entertainment, for every Batchelor, there is a Bachelorette, jostle with lame comedies and drama-by-numbers."
"Fox News led the way as the military cheerleader apparently giving both the viewers and the politicians what they want. Contra scandal star, Oliver North, reported on the ground for Fox. Bill O'Reilly calls his programme a 'no spin zone' but there's more spin than Shane Warne and Phil Tufnell combined. The channel's proud slogan is Real Journalism, Fair and Balanced, but as columnist Tom Shales put it: 'The only word with any truth in it is 'and'. Even that seems suspect'."
Posted by: Adrian / 8:17 PM
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Wednesday, July 09, 2003
On Being Cussed-out by a Major Film Director
(Note: Strong language is used in today's blog)
It started out mundane enough, Mark Raymond, editor of the now-defunct Manteca (CA) News, was plowing through San Joaquin County burn permit applications in July, 1989, when he came across one for Lucasfilm's special effects unit, Industrial Light and Magic.
The application was for New Jerusalem Airport, really nothing more than a landing strip near Tracy, CA. Raymond called Industrial Light and Magic (ILM) public relations, and asked if a photographer (me) could be on site to document their work on a film. They agreed to give me access, so the next day I drove the 15 miles or so to the airstrip.
ILM was contracting second-unit photography for Steven Spielberg's film, "Always," starring Richard Dreyfuss and Holly Hunter. "Always" was a remake of a 1943 film called "A Guy Named Joe" starring Spencer Tracy in which he's a WWII bomber pilot. In the remake, Dreyfuss is a pilot flying fire supression aircraft in National Parks.
Being a second-unit, there were no actors on the site, and that day's shooting ended up representing about 3 seconds of screen time (no wonder films are so expensive).
The director was Joe Johnston, an ILM alumnus who made his feature film debut that same Summer with Disney's "Honey, I Shrunk The Kids."
On site were talents such as cinematographer Hiro Narita, special effects producer Jim Morris, special effects supervisor Edward Hirsch and camera operator Kim Marks.
There were no restrictions on my photography, so I shot filming, preparation by model makers on site (planes were 1/5th scale), grip work and video monitor scene reviews. So in essence, it was "a day in the life of a special effects film unit."
Everyone was very polite and didn't seem to mind the constant whir of the motordrive on my Canon T-90. They even invited me to join them for lunch.
So, when finished, I went back to The Manteca News, processed the b&w film, edited images, screened images on my enlarger with vacuum base, cut and waxed prints and layed them out on 2 full pages in our "C" section. It was a photo essay that I completely controlled (the advantage of working f or a small town newspaper) and even came up with a headline I thought was cute and appropriate: "Honey, I Shrunk the Airplanes."
As soon as they were printed, I got a bundle of 25 newspapers and drove the 15 miles to the site to drop them off. Several of them, including, Johnston, seemed to enjoy the documentation and even the headline itself. But someone - with a bit of dread in his voice - said, "We're going to have to send one of these to Spielberg." They all laughed nervously. After leaving and driving back to the newspaper, I had a message waiting for me - they'd called wanting another 50 copies of the newspaper. I was flattered. So I grabbed a bundle and drove back out.
The next morning, I received a phone call from Joe Johnston personally. "Honey, I Shrunk the Airplanes? I'll bet you think that's fucking funny!" he yelled. He went on for a while spouting obscenities at me for something that the day before they'd all enjoyed and finally just hung up on me.
I surmised that Spielberg had seen the edition and was not pleased, took it out on Johnston and he was passing it on to me. Perhaps it was thought that the photo-essay took the focus off of Universal Studios and Spielberg himself. After all, Johnston and ILM were just contracted for parts of the film and they made the inadvertant mistake of circumventing the studio publicity department. Not only that, but I had linked (by title) a Disney and a Universal film.
As they say, no good deed goes unpunished. But I wasn't angry about being berated by Joe Johnston. How many of YOU have had your work seen by Steven Spielberg?
The film itself was a commercial and critical flop. But Johnston has gone on as a solid director, churning out several films which have been - significantly - about flight: "The Rocketeer, October Sky" and "Jurassic Park 3" (remember the flying dinosaur "pteranodon?"). He also directed the film "Jumanji."
Johnston's latest film, Disney's " Hidalgo " (due for October 3, 2003 release) is "Based on the true story of the greatest long-distance horse race ever run, Hidalgo is an epic action-adventure and one man's journey of personal redemption. Held yearly for centuries, the Ocean of Fire -- a 3,000 mile survival race across the Arabian Desert -- was a challenge restricted to the finest Arabian horses ever bred, the purest and noblest lines, owned by the greatest royal families. In 1890, a wealthy Sheik invited an American and his horse to enter the race for the fi rst time" (source: http://www.startedbyamouse.com/happenings/Hidalgo.html).
One thing I can guarantee to you, though - Johnston will make that horse fly.
Posted by: Adrian / 12:39 PM
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Tuesday, July 08, 2003
Karaoke from Muskogee
When I returned to my hometown of Modesto in 1975 after 11 years in Southern California, one business that caught my attention was a curiously named smorgy on McHenry Avenue. I can't fathom EXACTLY what kind of food they served there, since I never did bother going in, but its name still resonates with me after all these years. I swear I'm not making this up, although I regret I never took a photo of the sign. It was called "Okie Frijole," which in a sense tells you everything you might want to know about Modesto.
Modesto is the county seat of Stanislaus County and the county has about a 40% Latino population, at least 90% being of Mexican descent. Modesto also holds a large population that migrated from Oklahoma during the dustbowl era and there are still remnants of that migration. The woman that was made famous in Dorothea Lange's " Migrant Mother" photograph lived in Modesto's "Butler's Camp;" a trailer park that was once a migrant camp.
In the past 4 months I've had assignments to photograph performances by Dwight Yokum, Loretta Lynn and Merle Haggard at the State Theater in Modesto. Ticket prices were in the $75.00 range and all performances were sold out. For a time in the 1980's, the State Theater had an incarnation as
" Cine Mexico" So even in the abstract the connection continues.
I talked to a friend about this recently - her father is from Arkansas and mother from Oklahoma. Even though she's a successful businesswoman, she's down-to-earth and unpretentious. Her humble roots might be the source of her demeaner and she agreed that you can't understand the core of Modesto's soul without knowing the migrant influence.
So as Modesto boasts its agricultural prowess as the bread basket to the world, the workers that migrated from Oklahoma and then Mexico are too often forgotten or ignored. But if you look close enough, you'll still see evidence of the migrant influence which is inextricable from Modesto's identity.
Posted by: Adrian / 10:22 AM
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Wednesday, July 02, 2003
The Drama and Trauma of the Cinema House
At Montclair High School - 35 miles due east of Los Angeles - everyone KNEW I was going to have a career as an actor. After all, I'd been the only actor to receive applause at the end of my soliloquies in both "Up the Down Staircase," as well as "Spoon River Anthology."
By the time I was 19, I'd worked at 2 movie theaters and one of them - General Cinema Corporation's Cinema I & II - I worked at twice.
The first time was at age 16 and as a "doorman," I'd wear my black tuxedo pants with the satin stripe down each pantleg, a white shirt, black bow tie and the standard issue cadium blue blazer with golden GCC logo above the breast.
The "candy girls" and cashiers' uniform consisted of a white blouse and short black skirt they all hated because it would twist on them.
The films I was able to see and study during 1972 were such classics as "The French Connection, The Godfather," and "The Last Picture Show." There were also some very obscure films like the very stylish "Four Flies on Grey Velvet" by Dario Argento. I thought I might be able to hone my acting skills by studying actors and director's work as frequently as I could. Besides, I had a blast at the job.
The GCC Cinema's I & II were the very first multiple movie theaters on the West Coast. The large auditorium held just over 900 people and the smaller one, about 550. The complex sat at the edge of Montclair Plaza, just off Interstate 10. Ivy creeped up the walls and it had a
quasi-fortress look to it. It was a sprawling structure with giant north-facing windows opening up into the lobby. When the smog cleared, you could actually see Mt. Baldy, at 10,000 ft. the highest peak in
Southern California and a mere 15 miles away.
I befriended a cashier, Lindy Warner, who one weekend was traveling with her family to her sister's graduation from BYU.
Monday evening I arrived for my shift and came across a cashier, Sari (pronounced "Shar-ee") Gacsaly, a beautiful dark-haired young woman of Hungarian descent that had an uncanny resemblance to Elizabeth Taylor. As I walked up to her, I could tell she was deeply upset.
"What's wrong?" I asked.
"You don't know?" she answered.
"What?"
"Lindy's plane crashed on the way to Utah. She and her parents and the pilot were all killed."
I was stupified. I walked into the back staircase, sat on the stairs and bawled my eyes out.
Upon exiting, I walked past the manager's wife saying to the other employees, "Well, I guess we'll have to get another cashier."
Of course I was outraged by such a callous comment and quit the following day.
Posted by: Adrian / 8:51 AM
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Two years later I'd just returned to Montclair from a summer hitch-hiking to Spokane, Washington to visit a friend and experience Expo 74, an ecologically themed World's Fair.
I saw a classified ad for an assistant manager's position at the same Cinema I & II, and after a bit of pressing the point (the manager, Gary Beckstrom, was in a hurry to hire someone because he was going on vacation soon). So, even though I had no management experience, he had faith in my knowledge of the workings of a movie theat er. Thus, in August 1974, I was hired for my second stint at the theater.
In October, I had an opportunity and bought a "used" 35mm camera, a Canon FTb with 50mm f.1.4 lens.
I started with photos of friends like Joe, Kevin, Doug, Lee and Andy and of lad y friends like Mary Beth, and of my family members.
In December 1974, we received word that Mel Brooks was going to be attending a sneak preview of a new film on a weeknight, and Gary, fearing that we might not be able to fill the 900 seat theater had me out all day drumming up bodies to fill the seats (or was that DIGGING up bodies???). By showtime, the theater was packed for this anonymous film and Brooks showed up with wife, Anne Bancroft, hoping to observe audience reaction just as anonymously. But a s soon as his name appeared on the greyscale tones of the screen, the audience went wild with applause. So much for unbiased market testing...
But the first time we heard, "That's FRONK-en-steen," we were hooked. Yes, it was probably the very first public showing of "Young Frankenstein" ANYWHERE, and we watched it with the great Brooks and Bancroft.
Regrettably, despite having my camera, I didn't take any photos to keep in line with the low profile they were hoping to keep.
Weeks later, I was asked by GCC West Coast V.P. Saul Karp to be one of an army of theater personel to make a presence at the premiere of Irvin Allen's film, "The Towering Inferno" at GCC's Avco Center Cinema in Westwood, CA. It was a gala of the "old Hollywood" type. A stuntman was slated to light himself on fire and jump off an adjacent building as the high-profile guests arrived. When people started whispering that that the stunt was cancelled, I walked up to Karp and asked him why. "Premonition," was his one word reply.
So, with the over-staffing of employees in GCC blue blazers and management black, I asked Karp if it would be ok if I wandered off and took photos of the crowd. He cut me loose to photograph.
Lesson #1: if you ever get a chance to get inside, UNRESTRICTED access to the world's most famous actors and actresses, bring more than ONE ROLL of black and white film. Hey, I was a beginner!
But I got photos of my acting idols, Henry Fonda and Gregory Peck. As well as the great Gene Hackman. And I wasted a few shots on the likes of Robert Vaughan (famous at the time for his role as Napolean Solo in the 1960's series, "The Man from U.N.C.L.E."), Mary Tyler Moore and Susan Blakely. I say wasted, because I should've saved the precious few shots I had for better pictures of Groucho Marx (I took ONE of him, and it was somewhat out of focus - hey, I was a BEGINNER, ok?!!!).
So, after nearly 30 years, I've finally dusted off the negatives from that event and display my photos of Fonda, Peck and Hackman in my Photojournalism gallery being interviewed by actress Ruta Lee.
Posted by: Adrian / 8:50 AM
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Tuesday, July 01, 2003
The Best Mexicans You Never Heard Of
It's indeed unfortunate that talent of the magnitude I'm about to share is unknown to the general populace.
At the top of the list is the trumpet virtuoso Rafael Mendez. How great was he? Lore says that he perfected the art of "circular breathing." What that means is that he was able to inhale at the same time he was exhaling into trumpet solos that seemed to test the limits of human endurance. As a result, Mexican standards such as "Chiapanecas" (also known as "The Mexican Hat Dance") were transformend into staccato blasts approximating the licks of "Mahavishnu" John McLaughlin on guitar. Or imagine Eddie Van Halen at quadruple speed.
Mendez showed such virtuosity that at age 10 he was "invited" by Pancho Villa to travel with him for 6 months to perform for him and his troops.
Despite being virtually unknown by both Chicanos and Mexicanos, he actually has a school of music named after him, the Rafael Mendez Brass Institute at the University of Colorado at Boulder:
http://spot.colorado.edu/~stanleyw/RMBI.htm
Another Mexicano/Chicano you may not know is Lalo Guerrero, often referred to as "Chicano #1." His musical prowess and biting satire may remind one of Mark Russell - however, such a thought may be an injustice - it might rightly be said that Mark Russll is the gabacho Lalo Guerrero.
And lastly, for now, (I must resume with examples of women - perhaps some of you can point me in the right direction), there's cinematographer John A. Alonzo. Alonzo's best known work was creating the noir-ish setting of 1930's L.A. in Polanski's "Chinatown," one of my absolutely favorite films. But Alonzo also shines in Hal Ashby's classic "Harold and Maude." Recall the glow of the swimming pool as Harold's mother swims and he feigns drowning to punish his mother.,
Posted by: Adrian / 1:23 AM
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