Margaret Durow
NEU by Anton Corbijn
There were more than seven hundred and sixty rolls of film to develop: an impressive tally, even to snap-happy profligates of the digital age. Then there were contact sheets to print and mark up; from those, he made a thousand work prints, which were tacked to the walls of his apartment on Third Avenue, near Tenth Street, or laid flat on the floor for closer inspection, before being whittled down to a hundred. The final count, from all those months on the road, was eighty-three pictures: enough for a slim book, which was published in November, 1958, in Paris, as Les Américains, and here, in January, 1960, as The Americans. For his pains, Frank was paid two hundred dollars in advance, a sum that rose to just over eight hundred and seventeen dollars by the end of the year. By then, the book was out of print.
-From a New Yorker article on Robert Frank’s The Americans
(via zenthing)
One time, me and my buddy Emilio planned this thing. It was one of those times where we sat around and said, We’re really gonna follow through on this. All the way. Nobody’s gonna laugh.
This guy Kelly always got off the school bus with Emilio. So one day, I was around the corner with another buddy in my car. We had .22‑caliber machine guns with blanks. And Emilio had a blood squib ‑a big bag of fake blood. So he coaxed this guy Kelly into walking down to the ice‑cream parlor with him.
We drive by‑and we open fire. Emilio does this great stuff. He squeezes the blood bag, and it bursts all over his front. He hits the ground. Kelly has a skateboard in his hand, and he’s freaking out. He starts to walk away in shock.
So we grab Kelly at gunpoint, put him in the back of the car, and we take off. He’s so scared, he can’t talk. We’re wearing ski masks, and were calling him Emilio as if we got the wrong guy, right? We go up into the canyon. We stop and tell him to get out of the car, and we say, ‘We’re not going to hurt you, but we’re gonna tie you to this tree, and then we’re gonna take off.’
This was our greatest, ever: out of the back of the car we take this gasoline can –it’s full of water - and my buddy lights a match. The guy starts screaming. I pour the water on the guy, and my buddy flips the match at him.
Then we tell him. Emilio arrives, and we have a little picnic. And that guy has never been the same since.
— Sean Penn, in a 1983 Rolling Stone interview with Christopher Connelly
photo by Mary Ellen Mark
More Cottage Grove pix from LP10 session
6/13/2011 - Damien Jurado recording sessions by Richard Swift
(via richardswift)
Don’t care to know much about the band, but am into this promo photo.
(via)
William Eggleston & Charlotte Rampling
