JAMES WILLIAMSON jams with THE ICARUS LINE

 

 It's loud, insistent, rhythmically, uh... brisk, emotionally raw, bombastic even at times like the best of heavy metal or the Grand Opera. But it's far from heavy metal or the Grand Opera: all it has in common with them is sheer grandeur. The Icarus Line is an onslaught of well-played, proud rocknroll noise led by giving-it-his-all singer Joe Cardamone who thinks I don't understand. I don't need to understand. I feel everything they send out, like every single member of their audience.

Hall of Fame guitarist extraordinaire James Williamson (above left) of Iggy and The Stooges joined The Icarus Line onstage 12.11.14 at Silverlake's Echoplex for several Stooges songs and more  thanks to singer Joe Cardamone's participation in Williamson's new Re-Licked solo album that features 14 passionate singers on the lost Stooges songs that were to have followed up Raw Power (more to come on this.) Formed in 1998 and with 7 album releases, The Icarus Line cranks out raw power of its own intense 
divination...

The Icarus Line are: 

Joe Cardamone, vocals; John Bennett, guitar, Jeremy Gill, sax/ keyboard; Alvin Guzman, bass; Ben Hallett, drums. For more info, click LINK

IT'S NOT CHRISTMAS UNTIL...

It's just not Christmas until I post my irreverent card drawn by yours truly...

but here's a new interpretation of "...peace on earth..." below 

DR. BOOGIE ROCKS ON, Club Loaded 12.13.14

After meeting legendary photographer David Bailey at the Rolling Stones' photo exhibit "It's Just A Shot Away" (LINK) 12.13.14, I hastened over to Club Loaded in Hollywood to shoot a group fast becoming everyone's favorite new band Dr. Boogie. And why? 

Because they're real rock and roll a la The Stones and, say, The Faces with a great sound, a great look, great vocals and great songs. They've already gotten airplay four weeks in a row on Rodney on The ROQ, major mainstream broadcasting with Los Angeles' KROQ radio station. 

(For more info and examples of Dr. Boogie, see LINK and LINK.)

IT'S JUST A SHOT AWAY: THE ROLLING STONES IN PHOTOGRAPHS with DAVID BAILEY, STEVEN TYLER, ARNOLD SCHWARZENEGGER et al...

David Bailey, legendary celebrity + fashion photographer and one of my few 
heroes (LINK) was guest of honor at the 12.13.14 opening of the TASCHEN Gallery exhibition "It's Just A Shot Away: The Rolling Stones in Photographs." It was easy to spot!

 
David Bailey and his model/muse/lover Jean Shrimpton rightly were celebrated icons to my generation in the 1960s for being their own self-created personae and being young successes to boot: the "one of ours" syndrome.  But to me, Bailey embodied the adventuresome spirit of the true artist working in commercial fields: he experimented with formats and films, he crossed class barriers as a self-made pro, he made interaction with his subjects personal to that art's ultimate benefit, and he figured out a then new high contrast look that always reproduced perfectly for any periodical from cheapo to art tome in an era of otherwise muddy black and white printing. He was godhead to this self-taught photographer, and boy did I try to learn from his work.

 Below, Bailey bridging the past and present as "a black and white memory," title of one of his many photography books published throughout his almost six decades of top flight work; at right, guest photographer © Kurt Ingham: Bailey pictured with a Rolleiflex Twin Lens camera (my own onetime workhorse studio choice pre-digitally: sharper than Hasselblads) and his studio manager/assistant Mark Pattenden.

As this was Bailey's first group show since 1971 and a rare Los Angeles public appearance, it joyously became sort of a teddy bear's picnic of local photographers celebrating fellow photogs. Seen above amongst assorted Bailey pics left are, above right, photographer Jimmy Steinfeldt and Bailey; below, guest photographer © Kurt Ingham shots of photographer Brad Elterman with Canyon of Dreams author Harvey Kubernik who attended with his brother Kenneth Kubernik, themselves co-authors of Big Shots: Rock Legends and Hollywood Icons: The Photography of Guy Webster, whose Stones' work was indeed part of the exhibit; right, photographer Harold Sherrick with David Bailey. 

 

Above, my second favorite shot of the evening featuring two avid photography lovers, 
one honing fine art chops in infancy and the other being a very knowledgeable young photographer seen developing his brand new retro-prints on the floor, who covered the event with his Polaroid Big Shot, the very same camera used by Andy Warhol for all of 
his own famous portraiture.

Below, Bailey and The Stones' draw of star power: left, Arnold Schwarzenegger; right, Aerosmith's Steven Tyler multitasking by being photographed and talking shop with a small cadre of friends that included-- sorry boys, just out of camera range since both she and I are under 5'7"-- Pamela Anderson.* I smiled at Jack Nicholson who returned it but I did not document same: my soul is not that of a papparaza. Artist David Hockney remained backstage so to speak, while The Honorable Councilmember Tom LaBonge, restauranteur Michael Chow, painter/author/film director Michael Lindsay-Hogg (the Stones' Rock and Roll Circus) and another featured exhibit photographer Ethan Russell made the rounds.

 

Above, Harvey Kubernik
with S. Ti Muntarbhorn;

next shot, guest photographer:
© Kurt Ingham: Harvey with
TASCHEN's p.r. manager
Mallory Testa.

Left and above, Harvey Kubernik and, sporting the Leica shirt I gave him last Christmas, my better half Mr. Twister of Christopher Milk and Chainsaw, who uniquely occupies the twin territories of both magazine subject and magazine photographer. He had cover stories in Rolling Stone when he was lead singer of the band Christopher Milk, and also shot covers for Creem, Entertainment World and many more.

Below, Michael Joseph's notorious Beggar's Banquet retro "La Grande Bouffe" photos.

 

At left below, photograph by Dominic Tarlè of the Stones' 1972 sojourn at the Villa Nellcôte, France to make Exile on Main Street. This photo series by Tarlè has significance for me. Little known at the time, these shots and their originator were uncovered by author Sid Griffin when I told this capable sleuth of their existence, and they subsequently made one of their first appearances in Gram Parsons, a Music Biography by Griffin that I Art-directed in the early 1980s. Gram and wife Gretchen were Keith Richards' guests at Nellcôte, adding much to Exile on Main Street's country rock ambience. Since the photos had taken some effort to procure, I was pleased to read a book review specifically praising the Tarlè shots for "...speaking volumes of decadence." Lastly, a wrap shot: the gala was well attended and definitely enjoyed.

 
Below left, guest photographer © Kurt Ingham: why am I beaming? David Bailey graciously

signed my "Goodbye Baby and Amen" book of his photographs for me. I had bought the book new in 1969, its initial year of publishing.

*However, for those of the XY chromosome persuasion who wish to be beaming as well...go to LINK for Getty Images and LINK for TASCHEN house shots. By the time photographer David LaChappelle, David Bailey, Pamela Anderson and model Amber Rose posed for these standard shots, Mr. Twister and I had lit out since I had work later that evening photographing up and coming band Dr. Boogie at Club Loaded in Hollywood, LINK herein...

"It's Just A Shot Away: the Rolling Stones in Photographs" exhibit runs until the end of January 2015 at TASCHEN Gallery, 8070 Beverly Blvd., Los Angeles CA 90048, Tuesday through Sunday from 11 a.m. to 6 p.m. (323) 852 9098 for further info. At the show, TASCHEN Publishing also offers the deluxe, just 1,600 copies limited edition book The Rolling Stones by the show's curator Reuel Golden featuring the show's masterful photographs and personally signed by our remaining Rolling Stones Mick Jagger, Keith Richards, Charlie Watts and Ron Wood.

PUPPY PIX AND STRAY SHOTS

Before we resume with the rock and roll, a few random takes with three pics by guest photographer © 2014 Kurt Ingham.  Above, niece Zaz, your humble photojournalist and dogs at Thanksgiving. Puppy has already outgrown this red harness, and Sally Stevens captioned the photo at left with dialogue-- Sarahbelle: "Here we go!" Gia: " 'Must eat 
the hedge!"  

 Below, impromptu playdate with two Irish Wolfhound puppies 12.10.14. First, the greeting, then the milling around and then the chasing...

 

Below, quite a find: the finest descriptive copy on a wine bottle ever.  Pure jabberwocky!

Below, guest photographer © 2014 Kurt Ingham again. 
This appears to be the One Child Left Behind...

Book signing: HOLLYWOOD HOOFBEATS by PETRINE DAY MITCHUM and AUDREY PAVIA

 

Above L-R: Audrey Pavia, yours truly and Petrine Day Mitchum

at the book signing for Mitchum and Pavia's latest edition of 

Hollywood Hoofbeats.  

Photo (C) 2014 Kurt Ingham

 

 If you've ever yearned for genre collection books to be written by experts in the field rather than generalists with their inevitable cringe-worthy missteps, your wish just came true.  The authors of Hollywood Hoofbeats: The Fascinating Story of Horses in Movies and Television, Petrine Day Mitchum and Audrey Pavia are fully credentialed horsewomen as well as pro writers. Petrine is former story editor and script analyst for The Ladd Co., Pathe`, Tri-Star and Dreamworks as well as being a longtime horse owner in Serious About Horses Central, the Santa Ynez Valley of California, while Audrey is former editor of the essential Horses Illustrated magazine, writer for Western Horseman, Thoroughbred Times, Horses USA, and Appaloosa and Quarter Horse owner herself.

The brand spankin' new edition (above) expanded from its 2005 progenitor (below, so you don't mix 'em up)features a plethora of new documentation, such as that of of the films Secretariat, Seabiscuit, War Horse, Dreamer, Django Unchained, remade versions of True Grit, King Arthur and The Lone Ranger, all the Lord of the Rings epics, even delving into animation both traditional like Spirit, and the latest in animatronics (mechanical horses) plus CGI (digital,) as in the equine-like beasts ridden in Avatar (and explains and shows how.)

This volume remains thorough in research and jam-packed with production stills, movie posters, lobby cards, etc. galore. Everyone who's ever noticed horses in movies and television will have their own favorites.  Mine were: The Cisco Kid's gorgeous black and white tovero pinto horse; The Black Stallion without his makeup (he's really a bay!), a history of the purebred strain of Crabbet Arabians at the Kellogg Farm in Pomona, California which were utilized in Rudolph Valentino's The Sheik, Son of The Sheik and the impossibly rare lost film with so many Kellogg Arabians galloping through faux desert sands, the 1929 talking/singing version of The Desert Song. (So of course here's a clip!)

https://www.youtube.com/watch?v=_i8XFwIudGQ

 However, the most poignant and truly essential part of the volume for me is their documentation of how the American Humane Society (NOT the Humane Society of the U.S.) came to protect all animals used in film and television productions, particularly western horses condemned to ignominiously fatal so-called "stunts." While nowadays I'm always relieved to see CGI animals in the perilous scenes, at least I know the AHA oversees all trainers, riders, handlers and stunt persons dealing with horses to maintain safety for all of them, human or animal.   

One of the many ways you can ascertain the expertise of these authors is their inclusion of Smokey, the horse in Cat Ballou (a 1965 Jane Fonda western!) who emulates the perpetual drunken stupor of the gunfighter played by Lee Marvin who won the Oscar for same. Their rightfully casual description of drugging the horse to look soused should be met with the knowledge that all horse owners have to sedate their horses lightly for many essential medical procedures on an annual basis, from equine dentistry to cleaning the smegma, dirt and crud from a male horse's penis sheath. They term Smokey a "method actor" for his depiction of feeling no pain both literally and figuratively.

Overall, this is a terrific volume just in time for holiday giving or personal enjoyment for anyone with an interest in horses and movie/tv production.  The photograph at the top shows the authors et moi at their well-attended book signing 12.6.14 at OutWest Boutique and Cultural Center in the old town section of Newhall, California.  

 This work and its copious research from silent films to the present deserve to stand on its own merits, although I was tempted to place this review in my Tales Told Out of School section of Fastfilm blog (LINK.)  Petrine and I were friends at the Westlake School for Girls whose lives but not interests drifted apart. Catching up we swapped our mutual horse owner, dog owner and mutual friend musician stories, while my better half Mr. Twister regaled them with his insider stories of Petrine's brother at the prep school they both attended. In the intervening forty years, Petrine still has the friendliness, dry humor and sophistication that I recalled from school, plus retains all the good looks and distinctively great eyes of, to use an equine expression, her illustrious sire.

R.I.P. VANESSA JOHNSON

First, the shocking news about someone I had liked immediately. There are some folks whose life you catch for just a brief amount of time but you just can tell what a great person he or she is. Vanessa was one. 

She had transported little Gia from her hometown in another state to ours, with sighthound expertise and humor. "Gia is a little screamer, isn't she?" Vanessa laughed. When queried how she got into pet transport/driving field (which has grown with every badly stressed animals incident in airline travel,) she claimed she hated working in an office, and with this job she met nice people and nice animals. It was, she said, her dream job.

She stayed overnight, and I asked her about her initial interest in Borzois, as mine was from an old 1900s photo of my grandfather with his Russian Wolfhound as they were then known. She answered, "Oddly, I first saw them at a circus and thought what spectacular dogs! I'd like some!" She then bred and showed champion Borzois, including one of the top Borzois in the USA, a winner at Westminster (our premiere American dog show) plus won the difficult and athletic sport of lure coursing with them.

Then followed the awful news from the family.

According to her daughter, who lived elsewhere: "She was in a single car accident. Cops and ambulance came. She did not go with the ambulance. The cop took her to a motel. I am sorry to inform you that she was found dead this morning in the motel room. Thank you for all your help. I am very grateful for all your help. She was truly loved by many. I could not have done this without you all."

Within one hour of the awful news, 600 friends had written in their condolences to the family and 400 had shared it as written from the daughter. Vanessa Johnson was truly liked, admired and the dog world has lost one of its best friends. Rest in peace, Vanessa Johnson of Shuttle Pet.

Above, my better half Mr. Twister and Bereton Tanager Gia the night Vanessa Johnson brought her...

LESSONS from MURDERED MASTER PHOTOGRAPHER Dr. ERICH SALOMON

A page from 'Portrait of an Age' by photojournalist Dr. Erich Salomon, who was killed by the Nazis at Auschwitz concentration camp in 1944. Before that, he was the pre-eminent low light photographer in the world, coaxing natural light (no flash) and fast film with his Ermanox camera in high places. Read his suggestions for "access," as true today as they were in 1933 when he wrote this: his remarks about photographers' "fights" to do their job remain timeless. I was influenced by him without even knowing it initially, 

r.e. his fait accompli deductions.

Above, his photo with British Prime Minister Ramsey McDonald and Albert Einstein. Below, Mussolini and German diplomats in 1931.

Selfie: Dr. Salomon and his Ermanox camera.

Disastrously, he chose the Netherlands, his wife's homeland, as would-be haven to flee the Nazis: that's exactly where they grabbed him. His sons who fled to England survived, including photographer Peter Hunter-Salomon who searched out and kept his murdered father's legacy alive for posterity, thankfully. Even beyond Salomon's low light technical achievements, he is remembered for documenting the candid mechanics of those in power rather than the posed smiles and faux dignity.