Photography can serve many functions. One of the most powerful is open up parts of the world we never see, reminding us that they are as viscerally real as our own lives. Humanity’s a huge thing and there are teeming cultures all around us — universes really — that we rarely glimpse from inside. Day by day, it’s amazing how much of it we file away as alien, content to leave it there.
Brodie’s work has been justly praised, with exhibitions around the world and ecstatic comparisons to Dorothea Lange. However, he seems to have virtually disappeared during the last year: no new exhibitions, website down, the works.
Erik Lyle, a past squatter and rail-rider himself, writes that Brodie’s work provides glimpses of “a sort-of hobo-topia where packs of grubby kids (and dogs!) play music, share food, and forage in the ruins of post-industrial America together, while traveling together from town to town on freight trains and homemade river rafts.”
Yeah, that’s there. But, I also found his pictures — especially the jarring first image I found — to be an effective antidote to romanticizing the homeless. Yes, there’s vitality, fun and even a sense of grandeur here.
Yet a look at the missing teeth, the Mad Dog and the ever-present grime shows us a different side as well. This is still a group that remains nigh-illegal thanks to many a gentry-friendly law, is extremely vulnerable and are often plagued by mental and physical illness. The knife cuts both ways.
The British Teddy Boy subculture is typified by young men wearing clothes inspired by the styles of the Edwardian period, which Savile Row tailors had tried to re-introduce after World War II. The group got its name after a 1953 newspaper headline shortened Edward to Teddy and coined the term Teddy Boy (also known as Ted).
So sayeth the neck-beards at Wikipedia in the entry for Teddy Boy, a sub-culture heretofore unknown to me. The article goes on to credit the Teddy Boys with helping to create a youth market in England, having been one of the first groups to identify as teenagers with a specific code of dress, perhaps only predated by the Scuttlers of mid 19th century Liverpool and Manchester. Scuttlers, as an interesting aside, were identified as wearing an eclectic get-up of:
[…] brass-tipped pointed clogs, bell-bottomed trousers, cut like a sailor’s (“bells” that measured fourteen inches round the knee and twenty-one inches round the foot) and “flashy” silk scarves. Their hair was cut short at the back and sides, but they grew long fringes, known as “donkey fringes”, that were longer on the left side and plastered down on the forehead over the left eye with oil or soap. Peaked caps were also worn tilted to the left to display the fringe.
Actor Richard Beymer, who played Benjamin Horne in Twin Peaks, has a gallery of hauntingly beautiful black-and-white photos from his time behind the scenes on the David Lynch show. Even if you never watched the whole series (as – full disclosure – I still haven’t had the opportunity to!) – the photos stand alone as an enthralling glimpse at the synergy that evolves around any special production between the cast and the crew. The photos read almost as family portraits, permeated by a sense of camaraderie and playfulness. Lynch himself is always a wonderful photographic subject – this portrait of Lynch and Isabella Rossellini by Helmut Newton is one of my favorite images of all time. In the Beymer photos, Lynch looks genuinely happy to be working on the series with the equipment and people around him. The grainy processing of the film adds another layer of nostalgia over every shot. See all 49 images here. [via Flesh World – nswf]
OK, so about that interview with Ross the other day. Despite the fact that some of you seem to have found it amusing, we don’t do that sort of thing for shits and giggles. When we ask a man if he prefers sushi or tacos, we mean business. That, friends, was a Coilhouse job interview. And he’s hired. Ladies and gentlemen, put your tentacles together for our newest guest blogger, Ross Rosenberg!*
Few subjects are as tiresome to discuss in a public forum as politics. It is an arena which I make a concerted effort to avoid whenever possible. Indeed, should I have the urge to debate matters of a political bent I do it alone, in the privacy of my own cave. So devoted am I to the idea that I have cultivated a rather well-conceived alter ego; a personage of conservative persuasion who I merely call Dermot. This personality, combined with the hand-puppet I fashioned in secret just for these occasions, provides the perfect foil for my decidedly liberal views and many times I have debated, long into the night after everyone has retired for the evening, in a dual toned, hushed and angry whisper, subjects ranging from stem-cell research, to corn subsidies, to what I should have for breakfast.
The reason for disclosing this tedious and potentially embarrassing information is to assure you, dear readers, that I do not dwell wistfully on this area of our society; that I do not haunt the same vicious corners of the internet as the detestable and frail “political junkie”; and that I certainly do not watch C-Span.
Issue 01 contributor/photographer Taslimur and Ash
Last Thursday, Coilhouse staff photographer Allan Amato threw a crossdressing party at his studio/loft. For various reasons we ourselves couldn’t make it, and now that we’re seeing the party photos from that night, we’re twice as sad that we weren’t there. To me, these spontaneous, messy party photos are just as powerful as Allan’s most pristine, carefully-composed fashion masterpieces. This series, intended to be only a private gallery for the party attendees until I begged him to let me post it here, is honestly one of my favorite things that Allan’s ever done.
Click after the cut for lots and lots more photos. I identified people where I could, but wasn’t sure of everyone’s name. If you were there, identify yourself in the comments!
A ruff and a space helmet – two great tastes that taste great together! This is the work of Chenman, a 20-something Beijing photographer. Her work’s been published in fashion magazines around the world, and though she already has campaigns for MAC, Chanel, Sony Ericsson and Canon under her belt, I have a feeling that she’s just beginning to pick up speed. Chenman’s web presence consists of a portfolio website and a blog. The latter’s in Chinese, but there are still plenty of images to enjoy.
90% of Chenman’s portfolio consists of pristine commercial images, but a good look at the personal portfolio on her site her site reveals the weirdo lurking underneath. You can tell just by looking at her picture that this chick’s got spunk and a sense of humor. Any high-end fashion photographer who tells a model to stick a tissue in her nose & hold that pose is OK in my book. I love her ongoing preoccupation with Mickey Mouse ears. One to watch! More favorites after the jump. [Thanks, monk3y!]
Something old, something new, something borrowed, something blue: there’s a bit of everything on the “queer” Flickr set, which focuses heavily on vintage images of the gay movement. Gwen at Sociological Images makes some interesting observations about the 1970s protest image shown above:
Given that since the anti-gay-marriage Prop 8 passed in California in November, many people have argued that a) the African American community is particularly homophobic and voted against the bill (so it’s Black people’s fault Prop 8 passed) or b) gay rights organizations have failed to reach out to the African American community and win their support (so it’s elitist gay people’s fault Prop 8 passed), both positions that imply that gay rights and African Americans are at odds, I found this photo from Philadelphia (in 1972) particularly striking as a reminder that African Americans often did and do support gay rights, and the gay rights movement has often actively included them… oh yeah, and also there are gay Black people.
There’s some fantasy mixed in with reality in this Flickr set, too. The set owner tacks amusing observations onto a 1918 Navy recruitment poster, digs up some lurid pulp covers and includes a lot of maybe-queer vintage portraits side-by-side with ones that are undeniably genuine. The set’s a wealth of information, too. The photos are lovingly annotated, so that you can branch off and start learning more. We’re introduced to photographer Grace Moon, dancer Alvin Ailey, comedian Wanda Sykes, and many more. There are hundreds of sets like this all over the web, and I can’t say what drew me to this one in particular enough to blog about it. But I think it’s the warmth. There are so many images here of people who look genuinely happy to be together, a glowing tenderness that runs through almost all the images collected here. At the end of the week – after that horrible “Storm is Coming” anti-gay marriage ad here in the states, and the recent reports of a wave of homophobia-driven murders in Iraq – it’s important to remember that the fight is far from over.
Tilt-shift miniature faking is a technique for making images of real-life lanscapes look like tiny scale models by manipulating the focus and shooting from a specific angle. Keith Loutit a master of this craft; he’s shown us beaches, harbors and a monster truck rally from the point of view of a giant child. His latest video of the Sydney Gay and Lesbian Mardi Gras is the most fascinating of all. The disco candyland we see here is the straight out of the religious right’s worst nightmares about where the world is heading. Watching this felt like someone crammed Dziga Vertov and Zombie Zombie into one sparkling mini-masterpiece. Enjoy! [Thanks, Kelly]
Headlining performer Victoria Vengeance. Image by Chad Ward.
This Friday the 13th, Los Angeles will see the premiere of a new dark cabaret night hosted & organized by Coilhouse favorite Chad Michael Ward. This new night is called Lost Grind Opera, and all I knew about it before writing this post is that it’s hosted by two clowns that make me extremely uncomfortable and that there are a lot of pretty ladies involved. Although I’m not a huge fan of burlesque events, I’m curious to check this one out, because I’m curious to find out what Chad in particular thinks will make for a good show. If the actual event is anything like the photography and graphic design that he’s been cranking out to promote it, I know it’ll be something unique. So I caught up with Chad and asked him a few questions about this upcoming night.
Headlining performer Shelby “Belfast” Jones. Image by Chad Ward.
Lost Grind promises to be a cabaret show unlike any other. In an era that’s oversaturated with neo-burlesque outfits, what’s in store that we’ve perhaps never seen before? “Burlesque” has taken many shapes and forms over the last decade here in Los Angeles. We’ve seen everything from very traditional acts that hearken back to the 50s to modern dance troupes to full-on stripteases, and everything in between. With the Lost Grind Opera, we’ve taken some of the better bits of what makes Burlesque great: live music, comedy, beautiful women and both vintage and modern dance and combined it with the kind of dark and sultry sensibility you might find in a Prohibition-era speakeasy or 1940s Berlin with a touch of vaudeville and theater. The end result is a new unique experience for the patrons of the L.A. underground looking to be entertained in a way that has yet to be fulfilled.
Can you describe some of the performances that we can expect to see at Lost Grind Opera?
I don’t want to give too much away, but the evening’s overall theme is “Decadence” and the girls have taken their routines in many different directions. We’ve got a bit of cabaret, a touch of drag, a little Cajun mysticism and some Gypsy spirit all done to the live music of our house band, The Grinder Monkey Quartet.
What kind of atmosphere does the El Cid Theater have?
The El Cid was originally built as a theater for D.W. Griffith’s “Birth of a Nation” to be screened. In the 1950s it became a well-known Cabaret Concert Theater before eventually becoming the Flamenco dance theater and restaurant it is today. It’s got a very intimate and historic vibe to it that made it perfect for our inaugural show.
Not like that, you perverts (though, I admit, she is my type). But here’s a photo I took of my beautiful Coilhouse co-editor Meredith Yayanos, which I’ve been dying to post for quite some time. We did this shoot back in December, and it was pretty much my only big shoot of 2008. We did two looks that day, light and dark. Above is Angelic Mer, but there’s also the more sinister Rocky Horror-meets-Caligari Mer (“Mergenta Mernau”), which you may have seen before on my site, her Flickr or via Warren Ellis (drink up, bitches!). Note the necklace in this picture; Mer made it herself out of keys that she’s been collecting all her life (here it is, up close). Mer did her own makeup, the hair here was done by the inimitable Holly Jones – who also did the styling for our Issue 02 cover – and the ruffalicious garment was styled by Mildred.
Mer is a total chameleon. I’ve done a lot of shoots in my life, and it’s hard even for me to believe that these two pictures of the same person were done literally within an hour of each other:
There will probably be more from the white set on Mer’s Flickr on the days to come. Stay tuned!
