From the first time he hit the stage back in the 90's as the lead singer for the Bay Area's roots n' blues flavored band The Loved Ones who were on HighTone Records, to his melodic vocals intertwining with the hybrid electronica/funk music of Honeycut who were on DJ Shadow's hip-hop collective Quannum Projects, to the soft-pop stylings he is crafting today as a solo artist, Bart Davenport has traversed a varied musical landscape over the years, cultivating his own distinctive vocal style along the way. "I’m like a thrift store vintage artist in the sense that I like taking things from the past and put them in the context of a new song. I don’t want to be a retro purist, I just like to borrow when it seems like they would be fun to use. I’m a purist in art but I’m not a purist in period music. It’s just that it’s a fine line. I will literally write a chord progression that sounds like Bert Bacharach and I will play it with Johnny Marr’s guitar tone and then sing over it like a man trying to be Karen Carpenter. So right there, that’s 3 different decades. So yeah, I am influenced by old music but I’m not trying to make like one thing. The new record Physical World (on Lovemonk and Burger Records) occupies this space
between soft rock and power pop."
I started photographing Bart with his LA band (Jessica Espeleta on Bass, Nathan Shafer on keyboard and Andres Renteria on drums) who were performing at the amazing Historical Monument #157 in Lincoln Heights. The next day, I followed him around his Highland Park neighborhood on a sunny afternoon. Bart graciously allowed me to document him for this series giving us a little peek into his world.
Like his name sake, Motorcycle Hall of Famer Bart Markel, Bart Davenport is fearless and intuitive, carving out his own path with a passion and fervor only see in those who dedicate their lives to their craft. It takes a true Rock n' Roller to forge his own path, tipping the hat to the greats that have come before but never looking back.
Nothing floats my boat more than clowns and amusement parks. I find it odd that people are afraid of clowns. I suppose I was brought up by a Mother who enjoyed getting scared by the supernatural and made me feel safe in the realm of the bizarre and unusual. There is nothing terrifying to me about a clown. Their colorful and flamboyant cloths coupled with face paint in exaggerated facial forms draws me in and gives me a thrill. Cotton Clowndy is the 6th set of images from The Mask Series combining the absurdity and playfulness of a clown captured at an amusement park,Pacific Park on the Santa Monica Pier to be specific. What was most interesting about this shoot was the person behind the mask. A terribly shy person, Clowndy surprised me with her enthusiasm and extroverted yet awkward gestures during the shoot. Her selection of the clown mask at first confused me since I thought she wouldn't be able to pull off such a gregarious character. In the end, it was exactly what she needed. The mask allowed her to let her guard down and have some fun in front of a camera. Her simple zipped hoodie, jeans and flip flops are a foil for the usual clown costume and helps to transform the character into just a regular person having fun at a fair, one that we can all relate to. Once again, two limited edition prints from this set are available through my Etsy store. For the clown inside us all, Julie Pavlowski Green September 20, 2014
Back in March, I approached and photographed Bob Baker at his Theater in Echo Park for my blog entry "Bob Baker and His Magical Marionettes" which focused on the history and evolution of this Los Angeles legend. My fascination was piqued when his assistant and fellow puppeteer Alex Evans had mentioned their workshop where the Marionettes where made and stored.
I jumped at the chance to dig a bit deeper into the making of these amazing objects of Art. Every inch of these Marionettes are made by hand and the labor of love that goes into making them shines through. Bob once again graciously gave his time to conduct the following interview which allows us a peek inside his workshop and look into his amazing life. For the love of all things made by hand, Julie Pavlowski Green September 13, 2014
Julie Pavlowski Green: Were all your Marionette’s made here in your Los
Angeles workshop?
Bob Baker: Yes but
some were also made in New Hampshire.
JPG: Could you talk a little bit about who made them,
how long things took to make and what people’s specialties were?
BB:
Basically, I was making them but I did have other help. There was King who was
an amazing artist with sponge and designing hands and so forth.
And Roy Raymond was a great puppeteer. He would take a puppet head and do something with it and all
of a sudden it would look like Beverly Sills! I would finish animating it,
do the eyes and make sure the mouth worked properly.
JPG: Did you work with plaster?
BB: No, the heads were made
out of all sorts of stuff - wood dough, later on it was flexique which is poured
and cast. It has some chemical in it that makes it set up and get very hard.
JPG: On average, how long does it take to make each puppet?
BB: It takes
350 hours to make a puppet consecutively over a three month period. We’d make a design and then
not follow it. When you’re working, certain things fall into place and
others don’t so you have to make adjustments.
Alex Evans:
Here’s a box of heads that Bob created. These were going to be made into roses,
right Bob?
BB: Those
are singing roses we did years ago.
JPG: The craftsmanship is amazing. How you made
everything by hand is really fascinating. BB: It’s the only way you can make ‘em! You have to be very carful about making a mouth, to make the mouth move. You have the block that goes in the area and the main thing is, you don’t ever touch the sides of that block of wood.
That is your perfect joint. The sides of the head that comes down that it
fits into it you can change that a little bit - add and subtract a little but
never change that block of wood. Once you touch your file to that block of
wood, you’re in trouble! You can carve teeth there and a tongue but you can’t
touch the sides cause they have to go into that channel.The original workshop is
where the party room is now, table saws, laths, ban saws, drill presses - you name
it.
JPG: Is this a
new body you’re working on?
BB: No, this is an old body
that was a Prince we made up for Bullocks Wilshire. We start with the torso and
then they costume it. The body is made out of beautiful white sugar pine which
used to cost $5 and now today the same piece would be $125.
I would take this body over to
my mold maker and we would make a mold of it. I placed indications on them so they can
glue the screw eye at the top and attach strings to it. Then
we made the little cloth piece which
is glued in the midsection of the body which allows them to twist and turn. You can even make
them breath:
The 45 degree angle at the
end of the leg is done so the puppet can raise the leg up and do a high kick. If they didn’t give
it enough space here, the puppets leg movement would be limited. See everything
works for one another in the parts and pieces.
JPG: I can’t help but notice the pair of leopards
behind you. What story are they from?
BB: The
leopards opened the circus that brought in Cleopatra. Poor old Laguna Beach didn’t know what to do
when we did it down there. We had Carol Channing do the song “Cleopatra”
written by Rogers and Hart and she stopped in the middle of the whole thing and
said: “Oh there are pharaohs in the bottom of my garden!”
Poor Laguna Beach, they
nearly had a hissy fit. In the newspapers it said we were bringing dirty shows
to the children of Laguna. Well, they wanted an adult show and we
gave them an adult show called “Sketchbook Review”. They didn’t invite me back after thatand told me it was due to the fact that I
didn’t live in Laguna Beach.
JPG: What year was this?
BB: The year
we opened the Theatre (1960). We had a puppet theater at the Pageant of the Masters for 6 years. I went to the very first Pageant (back in 1933), the very
first one there ever was, my Aunt took me. My Grandfather opened the road to
Laguna Beach and built the inland road. He owned a lot of property there and
built houses and so forth.
But after the “Sketchbook
Review”, they had other puppeteers that did not live in Laguna Beach. They had Rene Zendejas who lived in the Valley. After that they had Tony who lived downtown.
JPG: Where there other people that used to work for
you?
Morton had done a lot of the
Broadway stuff, he would design these things at MGM. He used to design for me,
the puppets. He said to me “You make such interesting things that I can’t help
but to design for you”. So the thing is
he would design the puppets and I would make them.
Some puppets we would make
over 4 or 5 times because he didn’t like em. So we would tear them all apart
and do them over again. But he always had a little twist to his work. He could
cartoon as well as do straight (sketching). He would make my costumes and
circus first and then would copy a lot of the designs he made for me and use them one other projects.
JPG: What years did you work with Mr. Hack?
BB: He
designed my front window when I first moved to Santa Monica Blvd. when I was
just 21, just after the war (WWII). I had just come back from the camouflage.
JPG: What was the camouflage?
BB: I joined the 938th Camouflage Battalionwith all the studio people. We were attached to the Air Corp.
Our job was to put Los Feliz all the way out to Lockheed Martin (in Burbank), under canvas. You couldn’t see that Lockheed was there. We painted and we built
and we camouflaged, so when the planes flew over it looked like open land.
300 or 400 men worked on it. I started teaching at 18 in the camouflage school.
JPG: How did you meet George Pal?
BB: I wanted
to go to work for Disney after the war. I just adored early Disney. JPG: Have you been to the The Walt Disney Family Museum
up in San Francisco?
BB: Oh that
his daughter did? I wanted to go up there and she goes and dies on me!
JPG: They just had an exhibition on the late Mary Blair
who designed “It’s a Small World” at Disneyland.
BB: I did
high end collectable puppets for Disney. We did a big Pinocchio and a little Pinocchio and the last thing we did was Maleficent. We only
made 75 of them because we could not get any more of the fabric. He had a
special purple that he used on all of his villains and I couldn’t get any more
fabric, so I couldn’t do any more of the puppets of Maleficent.
At the beginning (of Disneyland), I made all
of the figures that were displayed in the windows down main street. I made all the
figures for them and they would do the backdrops and so forth. They were all semi-animated. We ran strings up like Marionettes. Ursula was going to kill me
since I sold them the patterns to the costumes. Oh, she was so mad!
JPG: Who is Ursula?
BB: Ursula Heine
came to us from Galanos. She helped James Galanos make Nancy Regan’s three
inaugural gowns. The beaded one is in the Smithsonian.
JPG: So she did a large majority of your costumes?
BB: For the
last 30 years! . The first thing she said when she came to work is
“Women don’t tailor” but she says: “I’ll tell you what, I can do it for you”. So she gets this beautiful little costume for a 12” puppet all done in
vacuform, she says to me “How do we put it on”? and I told her “Glue it”. She
says “Do what? You gotta be kidding! I spent all this time making this gorgeous
little costume and I’m gonna glue it?”. Well I told her it wont get on any
other way, you have to glue it on! Well, she’s become one of our best gluers. It didn’t dissolve your
sequins with lacquer. It was a white glue and it was perfect for gluing fabric.
I tested out all kinds of glue when I was doing big backdrops with trees that were made out
of felt. I introduced Fox, Universal - all the studio costume departments, I
introduced to this glue – sequin cement. Only thing is now, the people that made the glue have gone out of business!
Bob Baker and Scherzo
JPG: So who is this little guy here?
BB: His name is Scherzo. He used to run up and down the keyboard while
Murray Sam was playing. “Moppet and Mr. Scherzo” was a children’s show on
Channel 5 in the early days. We were on there
for a month.
JPG: Well Bob, thank you once again for sharing the techniques you used in the crafting of these magical marionettes and for bringing a smile to us all!
My fascination with Adobe structures has lead me to seek out and photograph as many of them as I can. I have located over 44 Adobes just in the Los Angeles basin that I hope to capture in natural light over the next few years. This summer, I was fortunate enough to actually stay inside two amazing Adobes in Twentynine Palms: The Hayes Adobe and Irene's Adobe at the 29 Palms Inn located on the west end of the 9,000 year old Oasis of Mara.
I have always been intrigued with the history behind Irene's Adobe since the first time my husband and I stayed in the Bottle Room which is a part of the 29 Palms Inn. The Adobe was built in 1933 by The Stubb Brothers for Gerald Charlton, a landscape architect from British Columbia. Mr. Charlton originally dubbed the Adobe "La Querencia", which is Spanish for a place where one feels safe and at home, a place where you can truly be yourself.
Mr. Charlton's second wife Irene Zimmers Charlton inherited the property and lived there until her death in 1997 at the age of 95. Irene Charlton was a local artist who, along with her first husband Philip Zimmers (also an Architect who designed the Little Church of the Desert), helped in the organization of the Twentynine Palms Gem and Mineral Society.
The Bottle Room and the space next door called the Dark Room, were originally the Adobe's garage. In 1938, Harlow W. Jones established his "Desert Photo Lab" in that very same garage and became Twentynine Palms first official Photographer. Irene used the Bottle Room as an artist studio and was widely know for her beautiful watercolors of the desert landscape. According to the Twentynine Palms Historical Society, from 1956 - 1963, the Adobe was used as an Art Gallery for the Twentynine Palms Artist Guild.
Modern day Twentyniner Pat Rimmington has a wonderful book out titled "The Adobes of Twentynine Palms" if you are interested in further exploration of this subject.
Looking back at the history of Twentynine Palms and photographing these structures of mud that have withstood the test of time due to the love and care in maintaing their existence, has given me a glimpse back in time to a pre-WWII era of pioneers and adventures who had the strength of character to create a home from the ground up, a character which the desert demands.