February 2012

February 29, 2012April 15, 2021

Covering Simon and Garfunkel

When I shot this photo of Paul Simon and Art Garfunkel in concert at Ohio University on Oct. 29, 1968 (if you can believe the negative sleeve), I didn’t know then that the body language might be a hint of the breakup of the duo coming just two years later.

The two singers met in elementary school in 1953 (where they appeared in the school play Alice in Wonderland) and recorded their first record as Tom and Jerry in 1957. The went off to separate colleges, but got together after Paul Simon wrote some folk songs, including one dedicated to murdered civil rights worker Andrew Goodman. Goodman had been a friend of both men and a classmate of Simon’s at Queen’s College. They cut Wednesday Morning, 3 A.M., which initially flopped when it was released in 1964.

Is THIS Paul Simon?

I recognized Garfunkel right away, and the sleeve was tagged Simon and Garfunkel, but this guy didn’t look like the Paul Simon I was used to seeing. I wondered if he was a backup singer. It wasn’t until I covered up the scraggly beard and mustache that I saw Paul emerge. His eyes and nose definitely give him away.

Simon and Garfunkel were at their peak

After a few stumbles, they caught fire. The single Sound of Silence became a #1 hit in 1966 and the album by that title made it to #21. Wednesday Morning came back and climbed to #30. The songs kept coming in 1966: Homeward Bound; I Am A Rock; The Dangling Conversation; Parsley, Sage Rosemary & Thyme; A Hazy Shade of Winter. They definitely provided the soundtrack of our lives that year and for the next few.

Mrs. Robinson was the biggie

In January, 1968, Mike Nichols’ film The Graduate was released. Peter Bart wrote in a May 15, 2005, issue of Variety that Nichols had been obsessed with S & G’s music while he was shooting the film and had producer Larry Turman cut a deal with Simon to write three new songs for the movie.

By the time they were nearly finished editing the film, Simon had written only one new song. Nichols begged him for more but Simon, who was touring constantly, told him he didn’t have the time. He did play him a few notes of a new song he had been working on; “It’s not for the movie… it’s a song about times past—about Mrs. Roosevelt and Joe DiMaggio and stuff.” Nichols advised Simon, “It’s now about Mrs. Robinson, not Mrs. Roosevelt.”

Personal tensions and creative differences caused a strain that reached its breaking point during the production of their last album, Bridge Over Troubled Water in 1970. The album was originally supposed to contain twelve songs, but Simon refused to record a Garfunkel pick and vice versa. It was finally released with only eleven songs on it.

What do I remember about the concert?

Not a lot. When you’re shooting something like this, you have all your visual senses working. You’re concerned about angles, light, shutter speeds – technical stuff – not the music. I’m sure they played all the favorites, but I don’t know that I actually heard any of them.

I learned early on that I couldn’t count on being the best shooter at an event: I had to be the one who showed up earliest, stayed the latest and was willing to scout out the odd positions. I’d cover myself by shooting the standard, “safe” shot, then go looking for the unusual.

I took these high-angle photos from the lighting catwalks high above the concert floor. You don’t ask permission to do something like that because people will find a dozen ways to turn you down. If you just do it, though, everybody assumes that it must be OK.

Not every shot works. This one doesn’t, but you don’t know until you try. It’s always a mistake not to push the button when your instinct tells you to. Something drew your eye there, and if you don’t shoot it at that moment, the magic will leak out if you stop to think about it. You can always discard; you can’t recreate.

Look at the audience

I was surprised to see how well-dressed the audience was. This is a folk-rock concert, so you’d expect to see a lot of casual hippie-type clothing, but most of the guys have on suit coats, if not ties. Hair lengths are Kennedyesque, not shoulder-length. Skirts are delightfully short.

Other concert photos

Simon and Garfunkel photo gallery

There are a lot of “magic moment” photos in this selection that I knew at the time would never make it into the paper, but were recorded anyway. Now that I’m not constrained by the cost of dead trees and ink, you’ll get to see them. Like I said before, most of them don’t work, but they do give you some insight into my thought process and how a picture evolves. Click on any image to make it larger, then click on the left or right side to move through the gallery. Humming of music is allowed.

February 28, 2012

Central Majorettes 1964-65

I may have run one or more of these photos before – it’s getting harder and harder to remember what’s run and what hasn’t. Well, if I WAS going to repeat something, I can’t think of anything better than this. Click on the photos to make them larger.

This is the photo that ran in the 1964 Girardot.

Kneeling: Pam Parks, Ann Seabaugh.

Standing: Becky McGinty, Linda Maddux, Susan Seabaugh, Robin Kratz, Vicki Berry, Della Heise.

Alternate shot of the 1964 Majorettes

The order is slightly different, but you should be able to figure out who is who.

1965 Girardot majorette photo

This is one of those groupings that make it difficult to write a caption. Do you list them by row, by clockwise or do you do what the editor did and punt and just list the names.

Jane McKeown; Gwen Petty; Della Heise, drum major; Phyllis Metzger; Ruth Ann Seabaugh, head majorette; Toni Grose, Nancy Swan.

1965 majorettes in gym

We must have wanted to hedge our bets by taking a second shot inside the gym. Note: don’t shoot flash directly at a shiny ceramic brick wall. The light will bounce right back at you. Somebody must have helped line up this shot. I could have gotten them lined up, but I wouldn’t have come up with that toe-point thing.

Leading band down Broadway

Ruth Ann Seabaugh is in the lead. It must have been a day that warmed up. I see lots of folks in the crowd holding their coats and jackets. The boy second from the left seems to be checking out Toni’s ankles pretty closely.

Other majorette photos

February 26, 2012April 24, 2015

Cape Sewer Project 1940-41

Dad worked for Markham and Brown Construction before he started his own company. These photos are from one of his scrapbooks. They were captioned “Sewer Job – 1940 – 41 Cape.” His sewers aren’t as old as the ones I posted yesterday.

1936 Project required 25 to 100 men

I couldn’t find any news stories about the 1940 project, but E.L. Markham was awarded a $125,837.69 contract to construct a sanitary sewer in the West End in 1936. The February 1, 1936, Missourian story said the project would employ an average of 25 to 100 men for a period of three months. The money was going to come from PWA, one of the alphabet soup of “make-work” agencies created to get men working and pull the country out of the depression. (We’d call that a stimulus project today).

80% of work to be done by machines

Eighty per cent of the excavation work was to be done by machinery. Laying the sewer pipes would be done by guys like this. About 11 miles of ditches needed to be dug.

Dad said a guy came up to him on a job and complained, “Mister, that dragline you’re operating put 20 men with shovels out of work.”

Without missing a beat, Dad responded, “Yep, or 2,000 men with teaspoons.”

The H.H.S. in the above photo would have been my Uncle Hubert Steinhoff. He ended up working for an asphalt company in Illinois.

Skilled labor made 60 to 75 cents per hour

Three classes of labor were to be employed: skilled, semi-skilled or intermediate, and common laborer. Ninety per cent of the workers were to be taken from the relief rolls in the city before looking for other workers.

Skilled labor, such as operators of machines, concrete finishers and brick layers, were to be paid 60 to 75 cents per hour; intermediate labor, 40 cents, and common labor, 30 cents. Because the goal was to employ as many men as possible, no laborer could be worked more than eight hours a day or 130 hours a month. The PWA preferred that the work day be divided up into two five-hour shifts.

I remember Peewee

Some of these guys have the fresh-off-the-farm look of some of the fellows I worked with one summer. One young guy named Peewee was built like a fireplug and was strong as an ox. He would make lunch money by betting passersby that he could rip his shirt off just by expanding his chest. As soon as the mark had handed over the ernest money, Peewee would take a big gulp of air and the shirt would go ripping off like The Hulk on the TV show.

One day three or four of us were wresting a concrete bucket onto a truck. Peewee walked up, told us to step aside, and threw it on the truck by himself.

Dad was really sorry the day Peewee told him he was going to have to leave the job because he’d been drafted. All that was left was for him to pass his physical. The next day Peewee was back on the job. The army rejected him because he had gotten “all stoved up” when a wagon fell over on him when he was a kid. Maybe that’s why I was a 128-pound weakling: I didn’t have a wagon fall on me during my formative years.

Photo gallery of sewer project

Click on any photo to make it larger, then click on the left or right side of the image to move through the gallery.

February 26, 2012

Sewers and Tunnels in Cape

“Is it part of the Underground Railroad?” is the question that comes up every time someone encounters a below-ground structure in the older parts of Cape. Not being a historian, but being a guy who has wielded a shovel in Cape Girardeau and tried to cut through rocks and roots, I’m going to say, “Nope.”

The labor and logistics of moving rock and dirt would be greater than frugal Cape Girardeans would consider expending to move escaped slaves up north. Still, there ARE interesting things under beneath our feet in the city.

Richard Cochran explorations

Here is an email I received from Richard Cochran, Jr., Class of ’84.:

I am very appreciative of the work you put in on your site about Cape Girardeau. I still am fascinated by the history in the city. Many of the articles are before my time (Central Graduate of 84); but, I can relate and have seen many of the items you photograph and discuss.

Longview (Thilenius House)

The Thilenius House Wine Cellar and other wine cellar stories are of particular interest. I have some first hand knowledge of the colonial house mentioned in the Thilenius House article as I was working for my father when that home was designed. I helped draft the house plans. I particularly remember surveying the site and examining the wine cellar when we started that project.

The newer home which was built by an Indian doctor in the mid 80’s was located behind the cellar. I remember his purchase of the property required that the cellar not be damaged. I also remember that the house had one room designed around a particular piece of furniture that he had which was an odd dimension not fitting in most normal rooms. I think he sold the house since then; but, not positive.

I’m not sure if the cellar still exists; but, it seems that the last time I drove by there, I couldn’t see it anymore.

Sanitary and storm sewers

Anyway, to get on with it, I am a Civil Engineer and have worked on some sewer projects in the city. One of these near City Hall got me climbing into manholes to verify things. At one time, the sanitary sewer and storm sewer were combined in this area and flowed through the same pipes/tunnels. It think over time, some of this infrastructure has been replaced and I know in the mid 2000’s, the sanitary was separated from the storm so that it could be treated at the wastewater plant instead of discharged into the river.

Stone and brick tunnels

During my inspections, I found older parts of the sewer system which were tunnels. These were constructed of stone and brick in some areas. This piqued my interest as well, wondering when they were constructed and if they possibly served other purposes. I’ve heard the stories all my life of tunnels from homes to the river used by the underground railroad and wondered if possibly, some of these storm tunnels were actually what was used?

I’ve attached some photos that I took of these tunnels. They aren’t the best quality; but, you can see the tunnel and where some changes have been made connecting pipes and such.

Cape Sewers in 1940-1941

I have one of Dad’s scrapbooks that shows the Cape sewers being constructed in 1940-41. I’ll run more photos soon. The sewers Richard photographed are much older than Dad’s project. Dad’s trenching was done mostly by hand (under conditions that would cause an OSHA heart attack these days), but all of the pipes were precast concrete instead of stone and brick.