"Saylor Livestock Part 2. Livestock Truckers"

Learning Resources 305 with Ted Stenerson. It was a photography class I took at Western Illinois University in the fall of 1981. A mid-level class where we refined and improved on technical aspects and composition. I had immediate respect for Mr. Stenerson, as he was 180 degrees apart from the pretentious instructors I’d encountered at SIU-Carbondale. Ted was like a good coach, he knew how to bring out the best in someone without belittling them. WIU didn’t keep Ted because he didn’t have an advanced degree. That is unfortunate, as he was a great professor. Knew what he was doing and worked well with students. He may be living in Florida these days, and I’d be thrilled if this blog finds him.

The class was in Memorial Hall. Along with Ted was Paul Lee, the man who ran the “cage,” the room behind the counter where we checked equipment for the darkroom in and out. Paul was from Plymouth, IL and was a legitimate cowboy when he wasn’t working his day job at WIU. Into horses and rodeo, he usually dressed the part, and he walked with the “gimp” of someone who’d been bucked from the saddle more than a few times. A great guy, he passed in 2018.

The final project for LR 305 was a “picture story” or photo essay. The story was to contain 10 photos, and the subject matter was entirely up to us. I don’t believe this class involved any aspect of color. If so, we were given the choice of using color or black and white. I chose black and white. Each of the 10 prints were to be mounted on matte boards, numbered in sequence of presentation, and captioned on the back of the matte. A photo story usually contains a “lead” photo, which acts to introduce the subject matter, and the “closer” which acts as the “period” to end the story. In between are photos that fill in the rest.

I chose to document/photograph livestock truck drivers. My Uncle George worked in that industry as the owner of Saylor Livestock, I’d have unlimited access to whatever was going on at his business. Having worked for him for two summers, I knew the drivers and enjoyed spending time around them and the hogs and cattle. I used Thanksgiving break to work on the project, as it would allow for multiple days of shooting and a variety of situations while home in Pittsfield.

That plan worked well. I spent time at the office and barn, took a short trip to nearby Barry, IL to get a load of hogs from a farmer, then took a longer trip to the National City Stockyards in East St. Louis, IL to deliver hogs to market. I believe I worked three days, and shot three or four rolls of film. The negatives bear witness in that, many times, I made only one frame per situation. One Nikon FM body, along with three lenses, a 24mm 2.8, 35mm 2.0, and 105mm 2.5, were my “tools.”

Brief descriptions of each photo, and any relevant technical information are listed below.

Photo 1. Terrell Stearns behind the wheel on our way to the National City Stockyards. The “lead” photo. The obvious truck driver frame. 24mm lens, I was standing/kneeling on the passenger seat with my head backed into the corner of the cab, trying to get as much context in the frame as possible. A wider lens such as an 18mm would have been nice to have!

Photo 2. Donnie McLaughlin, left, and his step-son, Ronnie White, drive cattle from a holding pen into a barn for shipping. I stood in a feeding trough like the one seen in the background. Cattle are typically hard to drive towards someone so I stood up for that reason, and for the “taller” angle. Either the 24mm or 35mm lens.

Photo 3. Vern Sevier, speaks to Mr. Gentry, who was bringing in hogs. Vern was a driver and helper. I was riding “shotgun” with him on an errand and we stopped for a quick exchange. I thought using the door and window of the pickup truck as a frame looked might look good.

Photo 4. Tom Fesler inserts aluminum decking into a trailer to convert it from hauling cattle to hauling hogs. That 24mm wide angle lens really helped for this one, though I had to be willing to crawl, duck, and get pig shit on my knees to get the shot.

Photo 5. Vern Sevier again. Using the mirrors of the tuck to catch him, with the holding pens in the background.

Photo 6. Ronnie White, a helper, waits by the door, watching for a load to arrive. This photo… It was NOT staged. I took ONE frame of this, still learning light, exposure, and how to use the light meter in the camera. When I processed the film I was disappointed and shocked at how the negative looked, believing it was an underexposed throwaway. It looked “thin,” ( a term meaning the shadow areas of the neg lacked detail) When I made an attempt to print it, the “Oh, WOW” moment happened. Though not intentional, I had used the camera meter to read and exposure the light coming through the door. It’s been said National Geographic photographers “expose for the highlights and let the shadows fall where they may,” making for that beautiful, contrasting light. This was a learning moment, and the first really good example of achieving that “look.” This photo has received several compliments and sold a few copies. Some have said it resembles a Dust Bowl era photo.

Photo 7. Vern yet again. We had gone to the Schnepf farm near Barry to sort and load hogs. Vern holds the “hot shot”, Carl Schnepf is in the middle, and one of his sons is at left. To make this photo, I used the open air slots on the side of the trailer and treated them as a ladder to climb to the roof of the trailer.

Photo 8. Uncle George, left, confers with Donnie McLaughlin in the office.

Photo 9. Terrell Stearns backs his truck into a chute for unloading at the National City Stockyards. The skyline of St. Louis, MO is seen across the Mississippi River.

Photo 10. Vern Sevier. This portrait was staged but not posed. I did not feel there were any candid moments strong enough to be the “closer,” so I asked Vern to stand next to the trailer. He leaned in and his body language made it “That’s got it,” I thought.

Photo 11. Mr. Stenerson’s notes on the back of the last board. The story received a 97 of a possible 100.

P.S. Many who drove for George are not included in this project. Depending on the time period, drivers came and went. I’d like to list as many as I can think of, and would like to thank Gene Stickman (who was a driver) for his help. Those guys were/are, in no particular order… Earl “Tuffy” Richards, Denny Richards, Vern Sevier, Tom Fesler, Terrell Stearnes, Donnie McLaughlin, Gary Guthrie, Gene Stickman, Ronnie White, Roger Harshman, Terry Yelliott, and Merle Springer. Great guys all.

Terrell Stearns drives a load of hogs to the National City Stockyards in East St. Louis.

Donnie McLaughlin, left, and Ronnie White, drive cattle into a barn from a holding pen.

Vern Sevier stops briefly to speak with a local farmer who was bringing in hogs for market.

Tom Fesler inserts decking into a trailer to convert it from hauling cattle to hogs.

Vern Sevier.

Ronnie White watches and waits for another load of livestock to arrive.

Vern Sevier, right, sorts hogs at Schnepf Farms near Barry.

George Saylor, left, talks to driver Donnie McLaughlin.

Terrell Stearns backs into a chute at National City Stockyards with the St. Louis, MO skyline across the river in the background.

Vern Sevier poses for a portrait.

WIU professor Ted Stenerson’s notes and score on my project from Learning Resources 305 in 1981.

"Saylor Livestock Part 1. Uncle George"

When I thought of using a college photography class project regarding livestock trucking as a blog, I didn’t consider the importance of a backstory. After all, “a picture’s worth a thousand words.” However, the more thought I gave it, the more I felt it necessary to explain a little. Tomorrow’s blog WILL be about photographs, those I made of the men who drove for Saylor Livestock, my Uncle’s business. It’s important to know a little background on Uncle George.

He was my mother’s brother, born November 18th, 1925, the oldest of six children. He lived in Pittsfield, IL (my hometown), which permitted me more access to time with him, whereas my other aunts and uncles lived further away. George and his siblings were born and raised as farm kids, and that placed George around livestock from his beginnings. When my dad died in 1973 I was 14. Uncle George stepped up to help mom and me.

As a teenager, or in his early 20s, George began working for Gerard Brothers Trucking in Pittsfield. He started as a truck driver, working his way to manager. “Ding” and “Dike” Gerard owned the business, located on the southeast edge of town. Through working for the brothers, George got to know livestock, and people, really well.

He moved on to become an “order buyer,” purchasing cattle from farmers for companies such as Swift and Independent Packing Company, while also locating feeder calves for farmers.

George purchased property West of Pittsfield. Fences were repaired, the grounds cleaned up, a barn and office added. It became Saylor Livestock.

George was the “middle man.” He built a good reputation, working a radius of approximately 200 miles surrounding Pittsfield. It was not uncommon for him to put 600 miles a week on his car as he drove to farms and sale barns looking for cattle. His largest single purchase of cattle was from a farmer in Missouri, 1,014 head.

He worked hard, and he expected others to follow. This led to occasional “head butting” with drivers and others. He likely worked more between the hours of 5-9 a.m. than most people do all day. I have heard stories of some conflicts and I “get it,” though he may have been easier on me as his nephew. I worked for him for two summers and he was hard to keep up with. “Grab a root and growl,” he’d say, implying we should act like a wild animal, jump in and grab a root in our mouths, and dig in with conviction. There were many mornings I had a 5 a.m. breakfast with him at The Cardinal Inn before the day’s work began.

George had a nickname for me. “Gilly.” I relished it and never questioned it. I assumed it was in honor of Gale Gillingham, a guard for the Packers when I loved them as a kid. Instead, it was for a Pike County resident, Gilly Goodin, George knew. Gilly had long curly hair like myself, and that reminded George of a story. George went to Goodin’s to conduct business one day. The man was fixing breakfast and George had to wait. When the bacon and eggs were done, George watched as Gilly took his cast-iron skillet and hung it on a nail in the wall, grease running down the surface from the pan.

As I graduated from high school it was still to be determined if I would make photography “stick.” George and others thought to see if I had the aptitude to follow in my uncle’s footsteps. We drove to Norris Farms, a huge feed lot near Havana, IL to look at cattle. George could estimate the weight of an animal to within 2-3 pounds. He quizzed me, “How much do you think that one weighs, Gilly?” “Oh, somewhere between a thousand and fifteen hundred,” I answered. My cousin Eric saw George soon after this trip. “I heard you’re going to make a cattle buyer out of Kent,” Eric asked him. “No. I don’t think I’ll live that long,” George replied.

Stories…We were sorting cattle at the barn one day, I was having a hard time keeping a head count. I asked my uncle for advice. “Count the feet and divide by four,” he joked!

Gene Stickman was one of the truck drivers and is a friend of mine. I recently spoke to him and he shared this one. Gene drove from Kansas City to Pittsfield with a load of feeder calves. He sat in a White Freightliner with a V-12 Detroit diesel. (think of a Ferrari truck, fast!). Gene made “good time” and called George to announce he had arrived in Pittsfield, at the barn. “You can’t be,” George said, knowing how much time it usually took. Sure enough, when George arrived, Gene and the load were waiting. “I can tell you must have gone fast because the first five rows of cattle had their ears pinned back and were wearing goggles,” said George.

Stories aside, Uncle George became an expert with cattle. He judged 12 consecutive American Royal Livestock Shows, the most prestigious show in the country. The equivalent of being asked to officiate 12 consecutive Super Bowls.

He wasn’t perfect. I’m told he played as hard as he worked. He got into some trouble in business dealings, I don’t know all the details. I was too young and just knew him as “Uncle George.” He bounced back to continue his work until he just couldn’t do it anymore. Age, and a broken hip, took him down.

Uncle George passed in August of 2014 at 88.

Uncle George and his siblings. Date unknown. Clockwise from lower left: Alvin “Bud”, Dorothy, June, Jean, Donnie, George.

Uncle George giving me my “birthday spanking.” January, 1971. His buyer card number for that day still in his pocket.

Ariel view of Saylor Livestock property. Circa early-mid 80s.

Uncle George’s obituary.


"Every Picture Tells a Story. Culture Club and Wrestling"

“Imitation is the sincerest form of flattery.” That’s a quote from Oscar Wilde.

I began seeking out Rolling Stone magazine in the summer of 1975 to follow The Rolling Stones massive U.S. tour. I was 16 years old and packing a new, Minolta SRT 101 camera, beginning my quest to become a professional photographer. The photos of the tour by RS staff photographer Annie Leibovitz had a huge impact and influence on me. I became a big fan of her work, rightfully so. She was great. A genius with concepts.

Fast forward to June of 1984. A portrait of Boy George and Culture Club caught my eye on the cover of the magazine. It was Annie’s. “Oh, that’s kinda cool,” I thought to myself. “Great idea.” That portrait of the band stuck with me, in the back of my mind. What is it they say? Something about how we accumulate thoughts, ideas, etc, like lint.” The portrait became “photographic lint.”

If they are honest, I’d bet any photographer would tell you how they were influenced by another photographer along the way. By one or more “shooters” who came before them. The payoff, once one gains enough experience and develops their own style, is to learn that yourself influenced someone coming up behind you. Tom Grieger, who was the Director of Photography at The Daily Herald when I worked there, said, “There’s nothing new under the sun. Everything has been shot. It’s all about how you make it look new again.” I can speak only for myself, I have never meant to directly steal an idea, but I have certainly emulated some.

Fast forward again, to December of 1991. I was working at The Daily Herald at its bureau in Lisle, IL in DuPage County. The paper was making a huge push to increase circulation in a rapidly growing area. The prep sports department in DuPage was second to none, strong! The editors “turned the dogs loose” in terms its use of photography. Photos got huge play, which photographers love.

Waubonsie Valley High School in East Aurora was in the circulation area. I was dispatched to photograph three brothers, all wrestlers, for the high school. I arrived, was taken to the practice area, was introduced, and we began working. I can’t remember for sure, but I believe I was told in advance that the story and photos would lead the section. I knew I had to come up with something better than usual. “Do the best you can and don’t screw up,” we used to joke. “Failure is not an option, we can’t publish excuses,” Mr. Grieger would say. Both quotes rang in my head.

I had time to work with the brothers. We tried few things. I did not have any wireless flash triggers back then, but I did carry three Nikon SC-17 cords in my camera bag. Flash cords, which enabled one to shoot with off camera flash. One end attached to the hot shoe of the camera, the the other to the flash. By tethering the three together, I could place a flash on a stand (or have someone hold it) 6-10 feet away. I also had a couple of Wein Peanut slave units (triggers a second flash when the first one fires)

At some point in the session, Annie’s Culture Club portrait came back to me. The brothers were good-natured and went along with the idea when I showed them what I had in mind. I placed the oldest brother in the position to put his younger siblings in the “headlock,” something synonymous with wrestling.

The primary light was the one with the cords, using a piece of cardboard to bounce and soften the light. The second light (with the peanut slave) was placed to the right, one stop brighter and with no bounce, to give the accent light on the hair and cheek of the older brother.

Joe Bush wrote the story. And there you have it.

The Quintanilla brothers. Waubonsie Valley High School wrestlers. From December 1991

The portrait that influenced me to make the wrestling photo. PHOTO CREDIT: Annie Leibovitz/Rolling Stone magazine.

"Concert Flashback. .38 Special"

January 10th, 1980. 46 years ago. Stages Nightclub in Granite City, Illinois.

Granite City sits across the Mississippi from downtown St. Louis. Stages was, as I recall, in an industrial area, not a lot around it. A basic building in a gritty neighborhood. It opened in the 70s and gained a reputation as a stop off venue for local, regional, and national acts who may have had an open night while passing through. An up and coming artist named John Cougar (later Mellencamp) played there in August of 1979. I wasn’t at that one, but did see him open for The Kinks a month later in Macomb.

Stages was a square building with a large lobby just inside. The show area had an open floor, the stage was chest high, and a balcony with seats and tables hung from at least three sides. I believe the wall behind the stage was open. I’d guess the capacity to be a few hundred.

I first saw .38 Special when they opened for Peter Frampton on August 2nd, 1977 at Kiel Auditorium in St. Louis. Both artists were on A&M Records and .38 Special had released its debut album in May of that year. Leading off for Frampton gave them exposure. They were “Southern rock” with a softer, more commercial sound than most of the bands of that genre at the time. They were credible and good. A six member group, with two drummers. They also had a lead singer with the last name of… Van Zant. Donnie Van Zant, a younger brother of the late Ronnie, who had been the lead singer and songwriter of Lynyrd Skynyrd.

By January of 1980 they were touring to promote their third album, “Rockin’ Into the Night”, which was released in October of 1979. They were often headliners by then, gaining moderate success as they progressed. Guitarist Don Barnes had begun sharing lead vocals on the third album, including the title track. They were becoming almost too polished, and always did lack the writing skills of the older Van Zant. But with the opportunity to catch them in a tiny club…With camera in tow, thee I did go.

I made arrangements for press credentials. I wrote occasional stories and reviews, with photos, for The Prairie Sun, a free newspaper that was distributed by Co-op Tapes and Records, which were regional music stores. The paper was music oriented, with some other entertainment copy at times.

It was my first trip to Stages. I found it, went inside, and settled in. One camera, three lenses, and a handful of slide film. There was no photo pit or barrier. I’d be working directly under the stage, with free access to roam anywhere else in the room. I don’t recall a huge crowd but I do know the opening band was Candy. They are completely forgettable.

I was making photos and loose notes, but don’t have a full set list. They covered a mix of material from those first three albums, the energy good, Van Zant wore a black hat, much like the “trademark” lid his older brother sported.

When the show was over… I had not been granted any promises and hadn’t asked for any. There was no “backstage” area to speak of, but the “green room” was off/near the lobby. I knew they’d retreated in there, it was too tempting, and I summoned the courage to knock on the door.. Someone answered and came out, probably the road manager. told him I was doing a story, etc, “Would it be possible for me to talk to the guys,” The man excused himself, went back into the green room, and soon returned. “No questions about his brother,” was the lone stipulation. (Ronnie had been killed in the Lynyrd Skynyrd plane crash in October of 1977). I shook my head to affirm “no.” I hadn’t planned to ask anyway. This was about .38 Special. With that understanding, I was led into the room. Most of the band were milling around, having sandwiches and winding down. Guitarist Jeff Carlisi and Van Zant were seated on a sofa. I was invited to sit between them while we talked. Van Zant took off his hat and placed it on my head.

I asked some general questions about the band’s history The two guys were incredibly kind and patient. So generous in fact, that they had someone work up a ham sandwich for me. As we talked and ate, a joint made its way around too. One of them suggested we should get a photo of the three of us. Hell yeah, I was livin’ the dream! What a night for a 20 year old, aspiring photographer.

I was back at Stages soon after. This time for Rick Derringer on February 17th. In between .38 Special and Derringer, another band played Stages on January 24th. I knew of them, had their their first two albums, and liked them a lot. They were ascending fast, I just didn’t want to make three lengthy trips in such a short time, figuring I”d catch them later on somewhere. It was a poor decision. When the they released their third album in October of 1980, they exploded to super-stardom. The band I passed on seeing in that small club was The Police.

.38 Special lead singer, Donnie Van Zant at Stages Nightclub. January 10th, 1980.

With Jeff Carlisi, left, and Donnie Van Zant after the .38 Special show.

The masthead for The Prairie Sun. I worked as the Macomb, IL correspondent.



"Every Picture Tells a Story. Floor Scramble"

The Macomb-Western Holiday Basketball Tournament begins tomorrow. Quick research shows it began in 1946. For as long as I’ve been aware, it’s been a three day tourney, beginning soon after Christmas, with a lot of very good Class A teams playing in Western Hall on the campus of Western Illinois University. It’s a well-run tournament.

As the photographer for the Macomb Daily Journal, I covered four of them. Throw in one more when I shot for The Pike Press (Pittsfield, IL), and one as an independent shooter.

While working a the Macomb paper (1983-1986), there were several teams within the circulation area. A lot of time was spent in Western Hall, covering those teams, which was fine by me because of my love of photographing sports. The atmosphere was good, the energy high, right after Christmas. With Pittsfield often playing in the tourney, it gave me the chance to see a lot of friends who made the drive from Pittsfield to Macomb to watch the games. Western Hall was well-lighted and a good place to work.

The Macomb High School Bombers were the local team, and they were usually part of the tourney. During my tenure at the paper, one of the star players was Matt Margenthaler. He was very good, and it may have been in his genes. His dad Jack Margenthaler, was the head coach of the Western Illinois University Leathernecks basketball team at this time. Both father and son approached the game with intensity.

I’m not sure what year this photo was made, but I can tell you the circumstances around it.

Normally, my “go to spot” to photograph basketball is sitting on the court, along the baseline of the court, on the right side of the basket. I prefer the right side because more players are right-handed than left-handed. Working from the right side leaves less chance that a player will block their own face with their arm if they going up for a shot.

With a three day tournament, covering 2-3 games per day, I don’t want every photograph looking the same. I scout for other positions to work from to keep the angle different and fresh. For a Macomb Vs. Brown County game, I decided to plop my butt down along the sideline, still on the playing surface near the mid-court line, across the floor from the benches. Space was tight but “doable,” I was inches from live territory.

These were also the “early days” of my career. I had one camera body, three lenses, and NO motor drive. Making a photo was a two step process. Press the shutter for one photo, move the camera from your face to glance down and cock the shutter lever to the next frame, then make the next picture. No keeping the camera to your eye, no burst of photos from the automatic film advancement a motor drive provides.

At some point during this game there was a scramble for a loose ball, and it nearly happened in my lap! Margenthaler and a player from the Brown County (Mt. Sterling, IL) Hornets were involved. I was using a 105mm 2.5 lens on at the time and made this shot. ONE frame. It’s close to full frame, meaning not much cropping. They were that close. It’s not perfect, in that there is “dead space” at the top right. But the intensity and concentration on Matt’s face, combined with the entanglement of the leg and arm (looks like there may even be some motion blur), made this one a “keeper” back then.

Macomb High School’s Matt Margenthaler scrambles for a loose ball in the Macomb-Western Holiday Basketball Tournament. (Circa 1983-1986)

"Christmas Eve. The Great Escape"

If you read this one, you’re in the majority. Only a tiny fraction of my friends and family know this story.

Christmas Eve, not sure of the year., it was 1970 or 1971. I was 11 or 12, spending a lot of time with one of my junior high classmates, Donnie Bradburn. Donnie had attended East Grade School, I’d gone to South Grade School, but when the primary schools combined at Higbee Junior High School, we found each other through common interests and occasional mischief, nothing terrible.

Example. Donnie lived near the two lumberyards in our hometown of Pittsfield. The two of us would make a game of it to see if we could scale the fences and get into the lumberyards undetected during business hours, then climb around on the boards and materials and get up into the catwalks and rafters and play around. Sometimes there was success, sometimes a worker would spot us. “Hey, Donnie.” We weren’t harming anything and they never got too excited. Like Tom and Huck, we were just looking for adventure.

I’d watched “The Dirty Dozen” with dad. The World War II movie with a great story line and cast. It remains one of my favorite movies of all time. Towards the end, the dozen and the officers are all together, meticulously planning their attack on the chalet where the Germans are staying. Plans made, down to the minute. I guess that movie inspired me and I pitched an idea to Donnie.

Why not two pals, sneak out of their homes (completely across town from each other), on Christmas Eve, and meet up “somewhere in the middle.” I think the plan was finalized in Mr. Boyd’s science class just before break. I wrote my itinerary down on notebook paper. We’d synchronize our watches and leave our houses at the same time to meet up at a random location, the west stall of the car wash at the Deep Rock gas station between Dutton and Mississippi Streets near downtown. From my house, 7/10ths of a mile.

Donnie had the logistical advantage. His bedroom had a window that exited onto a low roof. Next to the roof was a tree. Escape was easy. Many times prior, when I did a stay over at Bradburns, we’d shimmy down that tree to prowl the streets of town, doing nothing more than just running around.

Our house was a ranch. No easy way out. However, I had a “boy cave” in the basement, complete with a full-sized bed. With relatives visiting for Christmas, I'd be sleeping there while my room was for an aunt and uncle. That’s what gave me a “window of opportunity,’ literally, to pull it off. Under the family room was a crawlspace. Two windows led outside from there. A third window, just above the deep freeze in the laundry room, led to the crawlspace… I’d quietly get out of bed, hope I could get into the laundry room without a pair of doors that separated the main basement room from the laundry room, from creaking too much. Then put on a pair of pre-stashed, dark coveralls, and use the deep freeze as my step ladder. Go through the first window, belly crawl through the dirt (just like soldiers), then exit the second window I had unlatched earlier that day as it opened outward. There had been the possibility of dad, sleeping downstairs with me that night, but I was going to try it anyway,, looking to make sure he was asleep! “Check on dad,” read one of the entries on the time frame. He wound up sleeping upstairs, making it much easier for me.

Am not recalling our “go time,” maybe 9 p.m. as Christmas Eve was usually early to bed. was usually to bed. The adults stayed up, had their adult beverages, and talked by the fireplace. It was certain they’d still be awake while I was sneaking out, the crawl space was directly under where they were. Any noise or mistake and I’d be “captured by the Germans.”

I made it out! It wasn’t terribly cold, and there was no snow that year, making it easy to begin dashing through the shadows of yards, away from street lights. Up Clinton Street to Grant Street, then east, where I used the south side lawns. Then cutting diagonally on Sycamore near Chuck Yeager’s house to Fayette Street. From there, it was only three or four blocks to the car wash. I’d made it on time. I crouched in the southeast corner of that west bay, waiting for Donnie.

It was Christmas Eve quiet. Only a car or two, but I felt like the headlights may have shined on me as I stayed still and down. It spooked me. Waiting for no more than 10 minutes, it became clear that Donnie was not going to show. Retracing my route, almost step for step, and getting back into the house undetected, I’d done it, though the rendezvous didn’t happen. There had been no plan for what we might do if we did meet, we just wanted to see if we could “get by with it.”

I almost did until…That piece of paper I’d printed the timeline on… When it came time for mom to do laundry, guess what she found in the hip pocket of a pair of my jeans?

It was probably a week or so after Christmas, mom and dad summoned me, sat me down and presented the paper. I was stunned. Questions were asked, “Why,” “What’s this check on dad part?” “What were you going to do?” I don’t think they’d have believed me if I had told them it was all inspired by a war movie. “Did you do it,” they wanted to know. Of course I lied (something dad detested and rightfully so). “No,” I convinced them, it didn’t happen. That pretty much was the end of it. At 66, I shudder to think of the consequences if I’d been caught! It was extremely daring of me. Neither parent ever learned the truth. Donnie, of course, would remember the story, and there may be six or seven friends who have heard it.

The Dirty Dozen found success with its mission, but only one made it out alive. Thankfully I’m still here. If I’d been caught by dad, I’m not so sure you’d have read this blog.

Christmas night, 1970. Dad indulges in a game of electric football with me.



"2008 Fatal Fire"

Tom Baughman was a retired Galesburg firefighter. We lost Galesburg lost him a couple of weeks or so ago. Suddenly and sadly. “Baughie” was a friend to all he knew. If you knew him you know what a great guy he was.

Through my work for the Galesburg Register-Mail I got to know many firefighters and police officers. I remember Tom for as long as I’ve been in this area, 28 years. A fond memory is of Tom and his son Brandon, standing at the Hy-Vee grocery store on National Blvd, ringing the bell for the Salvation Army at Christmas time. Tom in his Turnout gear, Brandon, a little boy at the time, in his own, “junior sized” outfit, a mirror of his dad.

At the news of his passing, I thought of the times I might have interacted with him at fire scenes. There were many, but one in particular came to mind. “I think Tom was the lead photo in that double-fatal duplex fire I covered,” I thought to myself. My “photographic” memory was spot on. That fire was 17 years ago today, December 16th, 2008. A father and son perished that day, it was tragic.

We probably learned of the fire from the police scanner in the newsroom. Available, I bolted out the door to the address. Susan Kaufman, a reporter, close behind. It was snowing and cold, and the structure, a duplex, was fully involved when we arrived. Firefighters hadn’t been there long, and it wasn’t too long before we heard reports there may be people inside.

Allowed to do my thing, with full access, I made photos and kept moving while maintaining a safe distance and keeping out of the way of the guys. Susan worked by observing and talking to officials who were on the scene but not actively battling the fire. There was a flurry of activity and urgency. Susan and I maintained contact with the newsroom and I recall someone, I think it was editor Rob Buck, coming to the scene to pick up some camera cards to take back to the office so we could get an early jump on the coverage.

The people who lived in the adjoining side of the building were on site, or came home to find the scene. As time passed, a relative or friend of those inside, arrived and had to be restrained by a police officer. I saw concern and frustration in the faces of the firefighters through the camera. It became clear there would be no rescue that day. The circumstances were about as terrible as they could be. Firefighters are a brotherhood, they take it personally when someone is lost.

Eventually, the fire was knocked down and put out. The “10-79 call” had been put in to notify the coroner, they arrived. The fury of action subsided, it was all but quiet except for radio transmissions from the trucks.

When it came time to remove the victims, I could sense I wasn’t as welcome at the scene as earlier. Not by any firefighters, but by a Galesburg police detective. Keeping a good distance, I made the photo I needed to help tell the story from the porch of a house next door. When the victims were gone, I was invited by, and escorted to, the side of the burned house by a firefighter. (it was not Tom Baughman.) We stood and talked, then he wandered off. Very quickly, I was approached by an Illinois State Police fire investigator who was not happy to see me that close to the house. “Hey! This is MY scene. Get away from there!” I believe the instructions came with a threat. Moving fast and immediately I did, but without explaining I’d been invited. No way was I gonna sell out the firefighter. The investigator didn’t know me that well. If he did, he would have known I would never have been so brazen and aggressive to walk right up to the window of that house. I was already “gun shy” from the exchange with the police detective. There was no need to push it, I knew I had what I needed. I know the investigator, he’s a nice guy. It has been my intention for years to tell him what happened that day, without naming the firefighter.

I hadn’t viewed these photos in years. It was Tom’s passing that made me think to dig them out and check my memory. I was especially struck by the terrible irony of the child’s “fire rescue” helmet. I think the photos tell the story of the day, but there was/is no reward in making them. I doubt there’s a photojournalist alive who “enjoys” covering stories like this. I’d much rather have photographed cute kids running through water sprinklers. But life isn’t always unicorns, jumping over rainbows. Sometimes it’s really harsh. The job of a photojournalist is to document.

Galesburg firefighter Tom Baughman.

A Galesburg firefighter works a structure fire on December 16th, 2008.

Galesburg police officer Steffanie Cromien with the occupants of the adjoining side of the duplex.

Galesburg firefighter Dan Foley yells at a structure fire.

I’m pretty sure this is firefighter Tom Simkins.

Work gloves at the scene.

Galesburg firefighter Stephen Labbe.

Galesburg police officer Steffanie Cromien restrains a woman who arrived at the scene.

A Galesburg firefighter attaches a fresh air tank to Mike Whitson.

Mike Whitson, left, and Dan Foley.

Burned items near the duplex.

Firefighter Mike Whitson, left, and Galesburg police detective Damon Shea.

Galesburg firefighter Scott Benson.

One of two victims removed from the structure.

Dewey Brackett, left, and Justin Moffitt.



"Every Picture Tells a Story. Mallory Square Musician"

It was the second weekend in December, 2001. Key West, Florida. By choice, chance, and fluke that I found myself there. The original plan was for a “four day weekend” to San Antonio, Texas in 2000, to explore the city, the River Walk, etc. I’d never been, and believed it would be a “warm welcome” as winter settled in the Midwest. Airfare was purchased, etc. When the time came to travel, I found myself without enough “walking around money” to go. The trip was scrapped and I sat on those plane tickets for a year.

Now with enough cash to take a proper trip, I learned the difference for the airline tickets had grown too much in a year to go to Texas. Where to go for less money, but be warm? Someone suggested Key West. Sounded good to me. I’d fly down on Friday, come home on Monday.

A rental car awaited in Miami, a Mitsubishi convertible. I had no agenda or schedule. It was me, a duffel bag large enough to hold my tent, sleeping bag, and enough clothes for four days, and, of course, one camera body, a Domke bag full of lenses and a few rolls of film. Wanting to travel as light as possible, a conscious choice was made to not take a flash.

Meandering south with the top down. (The only time the top was up was for a 20 minute rain shower). It was a great run, down through the northern keys. It was all very foreign to me. I stopped when I wanted. For photo ops, food, etc. I remember mispronouncing Conch to a waitress. Driving on until I found a campground at/near Big Pine Key. That would leave me 30 miles from Key West, where I knew things would be more expensive.

After setting up camp, it was on to Key West to see what it was all about. I liked what I found. During the course of Friday evening and Sunday evening, most of the time was spent there, taking in most or all of the “touristy things” The marker at the southern most location in the continental U.S., a tour of Hemmingway’s home (cats were everywhere on the property), climbing the steps of the lighthouse…. Chickens roamed the streets, people were friendly, and it was pretty visual. Photos were easy to make.

Walking, exploring, and photographing. Making time to duck into a bar for a drink. One of them had live music, a man on guitar on a stage, playing what he knew, and taking requests. He was also inviting people to come up and sing. Alone, with no one to embarrass myself in front of, and with just enough “liquid courage” in me, I shouted out “Illegal Smile” by John Prine. The musician knew the song and called me to the stage. Nervous, I missed my cue to begin singing, forgot some lyrics, I was always coming in behind the chords and verses. I really sucked, but it was fun.

It also happened to be the weekend of the Lighted Boat Parade, or “Venetian Night”, as I heard it called. I did not know of this when the weekend to visit was chosen, it was bonus. Boats of all sorts, done up in Christmas lights, moving slowly through the water off the key. A Christmas parade on water. The only film I had was Fujichrome 100, shutter speeds were super slow in the dark. I panned with the boats the way I panned with race cars. It generally worked.

The “must see or do” thing on Key West is to take in the Sunset Celebration at Mallory Square. Arts and crafts, street performers, food carts… It’s a nightly event, year round (I think). People gather to watch the entertainment, have a drink, grab a bite, and watch the sun set into the waters of the Gulf. I saw jugglers, a high wire walker, and a little dog, jumping through hoops of fire. A huge cruise ship was docked nearby.

But it was a man playing a guitar that got my attention. Besides the guitar, he had a variety of other devices attached to himself that he could use for other sounds. Whistles, percussion, etc. He also had props. Troll dolls, an American flag, he was attracting a pretty good sized audience. I can remember at least one song he played. “One More Cup of Coffee” by Bob Dylan.

The issue was, once again, light. The sun was beautiful but low. I was using a 105mm lens with the aperture close to wide open. It wasn’t enough. I had to set the shutter speed to 1/30th at best, but I recall 1/15th and possibly 1/8th. Too slow to stop the action for a sharp photo. There would likely be motion blur. I found myself wishing I’d brought that flash!

Not willing to burn up a roll of film for one shot, I made approximately 10 frames, holding as steady as possible. Maybe a couple of shots would be acceptable. When the film came back from processing, all but one frame were too blurry or had flat lighting to be a keeper.

But that one frame… It became obvious. During one of my longer exposures, some other tourist with a camera, had made their picture at the EXACT moment my shutter was open. And they had used a flash! Their flash provided the perfect fill for my exposure. And because their light was away from my camera, the quality was perfect. The result was a mixture of blur, stop action, and color. A stranger’s camera and pure luck timing, created a decent frame.

And that’s the story of this picture.

Street musician at Mallory Square. Key West, Florida, 2001


"Bears, Packers, Vikings, Oh My"

It’s one of the biggest, most-storied rivalries in the NFL. Two teams, in cities within driving distance of each other, each much different. The Chicago Bears rank third in market size in the league. The Green Bay Packers, are at the bottom of the list. The Packers, in fact, are the smallest major league professional sports team in North America.

Fans for both teams are loyal. When they meet (and because they are in the same division it’s twice a year) it’s a big deal. They will meet for the 211th time, Sunday in Green Bay, at Lambeau Field.

As a former staff photographer for The Daily Herald and National Sports Daily, I’ve been fortunate enough to cover the rivalry a “few” times. With the Packers, in two Wisconsin cities. I use “few” because I’m not sure how many games between the two I worked at Soldier Field in Chicago, but I’ve been to Lambeau twice, and old County Stadium in Milwaukee once (Packers vs. Vikings). The Wisconsin games are memorable.

I’m 99.9% certain my first visit north was September 25th, 1988. It was my second fall at the Daily Herald and I’d gained enough experience and trust to cover a road game. Newspapers had big budgets in those days. We’d send 2-3 photographers to home games, and one shooter for away games. More, if it was a playoff contest. How well were papers doing, you ask? I flew from O’Hare to Green Bay on United Express, the regional carrier. Flying to Green Bay and back in one afternoon…I saw air fare receipts for as much as $700-$800. The Herald could have taken photos off the wire from the Associated Press or United Press International, but it was a “pride thing.” Papers wanted exclusive photos, and the goal was to out shoot the competition.

The man sitting beside me on the flight WAS the competition. Ed Wagner of the Chicago Tribune. Eddie was one of three ace sports photographers for the Trib. He was a great guy. He could tell jokes all day. And he’d pretty much covered it all. Stuff of legend. He called people “kiddo” whether they were older or younger than himself. I picked it up from “Wags” and use the term to this day. Eddie had one bad eye but would routinely get “the shot”. During the flight I shared my excitement that this was the first time I’d traveled for the Herald. He picked up on that and we chatted away, talking about sports photography and the paper industry. He must have had access to a crystal ball. Without any tone of discouragement at all, I remember him saying at some point, “Let me tell ya kid. Open a hot dog stand.”

As a boy I was a huge Packers fan. From about 1964-1969. Yet walking into Lambeau that day, there was no time (and I was too nervous) to gaze around and soak in all the history. In which end zone did Bart Starr make the quarterback sneak to win the “Ice Bowl” in 1967? I don’t know to this day. I need to go up and take a tour sometime. It IS a cool stadium with great atmosphere.

I worked the game, made the flight home, got back to the office, processed film (we were using color transparency film then), and an editor and I chose which photos to publish. I had a good day, so did the Bears. They won 24-6.

The second trip across the state line was October 28th, 1990. This was a job for The National Sports Daily, and I drove from Chicago to Milwaukee for a game between the Packers and Vikings at County Stadium. The Packers played one game a year in Milwaukee for many years. My work for that game wasn’t just football action. I was specifically instructed by the editors in New York to get plenty of photos of Vikings placekicker, Donald Igwebuike. Word was out he was in legal trouble. Sure enough, he was indicted soon after for assisting in smuggling heroin. He was acquitted in April of 1991.

It was a warm, sunny fall day. What made County Stadium unique was both team benches being on the same side of the field. There were 2-3 stadiums in the 1960s that implemented this set up, County Stadium was the last to do so. At all NFL stadiums (at least back then) photographers could roam anywhere we wanted, either sideline, the end zones, etc., BUT were not allowed beyond either the 30 yard line. The bench area and behind it was strictly off limits except for TV and the team photographer. To move from one end to the other, we had to “funnel” our way through a tight area at Solider Field. For this game in Milwaukee, we could work the entire length of the field. It was super nice! The Packers last game at County Stadium was in 1994. The experience for me that day was literally once in a career.

It was back to Lambeau one more time. The National Sports Daily had folded and I had returned to The Daily Herald. It was the Bears at Packers again and the date was October 25th, 1992. The Daily Herald had begun to use color negative film by then.

Sitting at the gate in O’Hare, waiting to board the plane to Green Bay, I glanced over a few feet to see… Packers legend Paul Hornung! He had been “The Golden Boy” for the Packers for many years. #5 was, and is, one of the most beloved players to wear green and gold of all time. He got tangled in gambling scandal in 1963 which tarnished his reputation for awhile, but he was all but forgotten by most. I sat there studying him, he was reading a newspaper. It was a gambling publication! I am NOT making this up.

I couldn’t resist the chance to approach greatness, but waited until we boarded. And I decided not to stroke his ego by talking about him, but by asking about Jerry Kramer, who had been my favorite Packer. It worked, he looked mildly put off. “I don’t know, I think he (Kramer) is still ranching in Montana,” Hornung responded. It would not be my last encounter with Hornung that day.

As always and before, it’s all business. The pressure to produce is there. Not much time to gawk or socialize. looking. Working the game, not enjoying it as spectators. There were some good moments and good action during the four quarters. The Bears won 30-10. How I performed would be determined when the film was processed that evening, upon my return to the paper.

I was parking my rental car at the airport when another car arrived in the same vicinity. I watched as it moved closer. Rather than fully negotiate the lot, it jumped a curb and parked three or four spaces from me. Who gets out of the car but… Paul Hornung and Dick Butkus. Apparently, they’d crossed paths at the game and shared a ride to the airport. They looked at me as to determine whether I was a threat to turn them in, scold them, or whatever. They looked like kids who’d been caught with their hands in the cookie jar. I grinned at them and we all went about our business. It was a cool moment.

Normally it would be a photo editor or senior photographer who would wait in the office to help the returning photographer with processing, editing, and getting prints to the sports department. For whatever reason (probably because no one wanted to work late on a Sunday) my co-worker, Daniel White, was on board to assist, and he was great. In most cases, one photo would be chosen for the front of the news section, one for the front of the sports section, and (my day included) a handful of photos would be saved and devoted for a full “picture page” a day or two later. I’d had a decent day at Lambeau. A full page ran on the following Tuesday.

The Bears were 2-0 when I photographed at Lambeau. I’ll be home and warm on Sunday. I’m calling for a Packers win.

P.S. In this digital age it is possible to save (literally) every frame we make. In the “film days,” most of us kept only the VERY best, portfolio worthy negatives. Everything else was retained by the publication. What you see here is what I felt was the best of the best of my film (or newspaper tear sheets) I have zero material from that game at County Stadium, and that’s a real shame. I blame myself for not making a few frames showing the context of both benches on one side of the field.

Dennis McKinnon makes a catch during my first game in Green Bay. September 1988.

Tom Waddle drags a Packer along for the ride. My second time to work in Lambeau, 1992.

Bears Vs. Packers, 1992

Bears Vs. Packers, 1992

Bears Vs. Packers, 1992

Bears Vs. Packers, 1992 (caption is included with next photo)

Bears Vs. Packers, 1992. (second caption accompanies previous photo)

Photo page of my work from Bears Vs. Packers, 1992





"Every Picture Tells a Story. IHSA Football Playoffs"

We’re into the football playoff season here in Illinois. There are now eight classes, based on school enrollment. It’s “win or go home” this time of year, with communities across the state, turning up the volume on home town pride and school spirit. It’s a good atmosphere.

I can’t remember the last time I photographed a playoff game, but there have been many over the years. Smaller schools when I worked in Macomb and Galesburg. A mixture of both when I worked in the Chicago Suburbs.

This one is from 1984 and was taken in Hamilton, IL when I worked for the Macomb Daily Journal. I was one year into my job as the sole staff photographer. Sports reporter and editor, Joe Stevenson, and I made the drive west to the small town along the Mississippi River, across from Keokuk, IA. Hamilton was on the fringe of the paper’s coverage area, but the football team had a good year and was rolling in the playoffs. Now one game away from playing for the state championship. All they had to do was beat the visitors from Casey, IL

I’m sure the pressure increases on the athletes in the playoffs. I can tell you for sure that it does for photographers. The approach is still the same, capture the action. But it becomes more important than ever to capture key moments and plays that define the game and tell the story, win or lose.

In the end, it’s almost always jubilation or dejection that will wind up being the “lead”, most story-telling image.

As an 11 year old, and a huge Dallas Cowboys fan, the Baltimore Colts broke my heart when they beat the Cowboys on a field goal with 5 seconds remaining in the Super Bowl. When Sports Illustrated landed on our doorstep, I was struck by a photo of Mel Renfro, sitting all by himself on the bench. I am not sure who took the photo, but would bet it would be one of the aces in those days at the magazine. I’m embarrassed I don’t know, and I DID look! That photograph, showing the isolation and dejection, became sort of a benchmark for me. I was a long way from becoming a photographer, but I never forgot that photo.

Fast forward, 13 years later. I was a professional photographer working a game at Hamilton High School. It either had rained hard, or was raining during the game, I don’t remember. But the field was a muddy mess. Things did not go well for the Cardinals (Hamilton). I did my job and tried to capture good action. Near the end, Casey was ahead 22-0, I knew I’d be looking for dejection, not “jube.”

I’ve joked that it’s easier to cover dejection than jubilation because no one is running around. Most sit or stand in silence. But it’s also more awkward. At the local level, bonds and friendships are formed and it’s hard to photograph young people after a defeat. I can remember a handful of times when I’ve been scolded, given the “stink eye”, or had someone actually try and block me from doing my job. That doesn’t play well with me. I have a job to do, though I’d much rather be making “happy” photos.

With my attention now turned towards the sideline and bench, and full of courage, ambition and determination, I made the choice of putting myself “right in there” and use a wide-angle lens rather than a short telephoto. The 24mm lens had become a valuable tool to use. I loved that lens.

Crouching or kneeling, I got down and within a couple of feet of two players. I distinctly remember that not a word was exchanged, no threats, verbal or physical gestures, were made. Those kids ignored me or looked right past me. You can see the coach in the background at right, sort of giving me a sideways glance. But there were no real issues at all. I’m pretty sure it was the “lead” photo for the story. I had made what might have been the first “portfolio worthy” sports dejection photo.

Technically…. The photo is a bit flat. Slightly underexposed. As “muddy” as the field. On gray days, it’s best to avoid the sky as it “washes out.” I over-burned (a technical term) the sky in trying to bring in detail. (This photo is from a print, not a scan.)

The names of those two players are in the caption, taped to the back of the board. I wonder where they are now? I’m sorry they lost the game, but I am happy they let me do my job that day.

The photo from a 1984 football playoff game involving Hamilton High School.

The caption on the back of the matte board.

The photo from Sports Illustrated of Mel Renfro that had a huge impact on me. (Photographer unknown. I DID look)


"Every Picture Tells a Story. Haunted House"

This one comes from the fall of 1979 when I was working for The Pike Press, my hometown paper in Pittsfield, IL The weekly publication had a solid, good reputation in serving Pike County and the region.

My connection to the paper ran deep. My Aunt Betty Kriegshauser (dad’s sister) once worked there and had some stock in the ownership. It was time spent with her that accelerated my interest in photography. Watching prints “magically” come to life in the developer tray of the darkroom was cool. The whole process was. Before mom would let me buy my first SLR camera, I was loaned an old Rolleiflex from the paper, to use just to make sure my interest wasn’t a passing fancy.

Al Seiler was, and had been, the editor and publisher for as long as I remembered. Aunt Betty worked for and with him. There was a cast of people who had been there a long time. A true team, taking pride in the content and product.

I’d bombed out of SIU Carbondale that past spring. Even flunking a history of photography class due to lack of interest because the professor was an insufferable, egotistical asshole. SIU wasn’t all for naught, however. I’d also been a staff photographer for The Daily Egyptian, the student paper, and I learned a lot from working with a group of guys who were a lot better than I was at that point. One of their tips was… Get rid of Minolta stuff and go with Canon or Nikon.

I decided to take a break from college, get my act together, hang around home, and find work of some type. The Pike Press found room for me, now equipped with a Nikon FM body and three lenses. A 24mm 2.8, a 35mm 2.0, and a 105mm 2.5.

This photo… I was dispatched to make a promotional photo for a Jaycee’s haunted house that would operate around Halloween season. I think it was out on West Perry Street. A rundown structure that had not been occupied for awhile. No one told me how to compose or what to do. I didn’t know what I’d have to work with until I got there.

I probably tried a few things. I was not very good at staging or directing, “setting it up” as we’d say in photojournalism speak. Later, when I worked for The Daily Herald, staging a photo was referred to as “monkifcation” or “monkifying” because we were told by a gruff newsroom editor, “Trained monkeys could do what you do.”

After a little time and exchange of ideas, I thought of using the 24mm. With the Minolta gear, the widest lens was a 50mm, and that’s not wide at all. The Daily Egyptian guys told me a 24mm was a must have. They were right. That lens opened up a whole new world for me. It forces you to work close, and it really accents the foreground from the background. It separates, especially at a shallow depth of field. When used close enough to the subject, it also can distort. PERFECT to make ghoulish figures look more ghoulish. We arranged some guys on the roof and brought two of the guys in the best costumes to the forefront.

And there you have it. Mr. Seiler and the staff loved it. A year or so later, I remember showing it to either Scott Dine or Larry Williams, at the St. Louis Post-Dispatch, during an informal interview and portfolio critique. The photo drew praise.

P.S. I’d forgotten to look to see if there was a caption on the back of the print. There is. It was indeed West Perry Street, not a bad memory after 46 years. I don’t know who all was present that day, but I’m 99.9% certain the one on the roof, in blue jeans, is Rick Miller.

Pittsfield Jaycees haunted house. 1979. I was working for The Pike Press.


"Robson Farms. The Final Harvest"

Harvest season is winding down. It’s a camera, not a combine, I use, but I’m observing more open fields than standing corn or beans lately. I’m told it’s a good crop this year. Spring planting, fall harvesting. A cycle for all farmers, some of them for generations.

Ten years ago, Wataga resident Michael Robson approached me, asking if I’d be interested in documenting a project for him and his family. I’ve known Michael from my very first days in Galesburg as a photographer at the Register-Mail newspaper. Michael was the athletic director at Galesburg High School. He and his two brothers, David and Dan, were sons of a farmer. Their father, John, was a second generation, maybe third generation, farmer. It was not uncommon to spot John and his wife Chey at the local DQ on Thursday evenings.

Michael lives in the house his dad grew up in on the farm property, His mom and dad had built a ranch style home just across the fields. The two brothers live away from this area. All three men had found, or chosen, different career paths than their dad. At some point, everyone in the family knew the string would end with John.

The timeline moved up, not by choice, when health issues crept up on John. He was 83 years old in the fall of 2015 and had been going strong before.

Michael’s idea was for me to make trips to the farm at various times and days, and make photos of whatever was going on. They would be bringing in corn and soybeans with the help of hired hands, Dick Kelly and Larry Lytle. For four years previous to 2015, Michael was an integral player in the planting and harvest seasons, very involved in the farm operations.

I jumped at the chance to do the work. Stories are the backbone of photojournalism, a chance to expand. Greg Mellis, a friend, great photographer, editor, and now owner of a paper, said this. “I don’t care about singles (one photo), anyone can get lucky. I wanna see stories. They tell me how you think.” A typical story has a “lead” photo, a “closer", and a few in between. Detail shots are important too. In the newspaper business, a story was usually limited to four-six photos due to space. In the digital age, with galleries, space is unlimited. As a result, redundancy in content is a risk. “Every photo should tell you something different,” I’ve been told.

Michael and I communicated on when the best opportunities might be for photos. I had some ideas too, wanting to make sure I caught daylight and nighttime hours, key moments, etc. To tell the story!

The first day for photos was September 30th. I’d never met Dick or Larry before but jumped right in. All four men quickly grew comfortable with me around. The guys acted like I wasn’t around, which is exactly what a photographer hopes for, to capture real moments. There were staged portraits as well.

The further into the project, the more varied it became with situations and emotions. Larry and I were atop a grain bin when the wind blew his hat off his head. John once crouched down, mirroring and mimicking me as I had lowered myself for an angle of him near a combine. John and Micheal stood by a grain cart for me. The portrait was posed, the positioning was not. The cart brand was J&M, the initials of the father and son! In looking back, Michael has noted that in nearly all photos, Michael is walking to his dad’s left, and they are walking in near unison.

Every day, John drove his pickup truck across the fields to have lunch with Chey. I knew this could be a very important photo for the story. Realizing as well, that it was a private moment for the Robsons. A photographer is only as good as the access they are given. Access is earned by trust. I explained how much of lasting impact the photo would have. I sensed only a second of thought and hesitation before I was told I could follow John to the house. I worked quickly and quietly. I feel the story would be weaker without it. When Michael had books produced, allowing me to lay out the photos, I ran it across two pages of the book. A “double truck” it’s referred to in the publishing business.

The last day came. Dick and Larry were on hand, standing nearby, when Michael and his dad, both in the cab of the combine, took out the last of the corn. What we wound up calling “The Final Harvest” was complete.

John Robson passed away the following spring. His passing brought to mind coach Bear Bryant and Peanuts cartoon creator Charles Schultz, who died one day after the last cartoon strip published. A man has to have a sense of purpose. John Robson’s was farming. A slide show of many photos from the harvest played at his visitation, helping tell of John’s life.

Mrs. Robson and Larry Lytle have also passed since this project.

Seven trips and a combined 12 hours were spent at the farm. Just under 2,000 photos were made. Michael has told me many times, he’s so glad he had me do the project. It was an honor and privilege to work with five fine people.

Photos have SO much impact! It’s important to document and preserve memories. If you have a farmer, a butcher, baker, or candlestick maker in your life, I’d love to do more of these stories/projects.

“A picture’s worth a thousand words.” Below are 24 that tell the story better than I can.

Wataga, IL farmer John Robson in the fall of 2015. John is standing near his favorite location, able to see all points of the land.

One of the very first photos made for the project. From left, Larry Lytle, Dick Kelly, John Robson, and his son, Michael Robson.

Corn harvest.

John Robson operates a combine during the fall harvest of 2015.

Dick Kelly, Larry Lytle, and Michael Robson, from left.

Larry Lytle, left, and John Robson, during a coffee break.

Michael Robson in the kitchen of his home. A sketch of the farm hangs behind him.

John and Michael walk the property.

Soybeans in the early evening light.

Michael Robson takes his turn in the combine near sunset.

Work doesn’t stop when the sun does.

Mr. John Robson.

The hands and gloves of a farmer.

Michael walks with his father after John’s shift in the combine. It was lunchtime.

John and Chey Robson say Grace before lunch in their home.

Corn is emptied from a grain cart into an elevator grate.

John mimics the photographer, who had crouched for a lower angle as John got out of the combine.

John and Michael with a grain cart. Ironically, the brand name shares the initials of their first names.

A load of corn arrives from the fields.

Michael and John. Two generations of men and tractors.

Dick Kelly, left, and Larry Lytle stand nearby as Michael and John, run the combine through the last few rows of corn.

Michael and John harvest the last of the corn, completing the 2015 harvest at the Robson farm.

Michael Robson, left, and his father, John.

The last pair of boots and gloves of Wataga farmer John Robson


"Every Picture Tells a Story. WIU homecoming parade"

A quick one.

It’s “homecoming season.” High schools, colleges, and universities seem to use late September through mid-late October as the window for homecomings and the activities that come with the event. I photographed for Monmouth College last weekend, I believe Knox College celebrated the week before. Crisp air, fun times.

I went to Carbondale to see a Bob Dylan concert in the fall of 1978. Not only was it homecoming, it was Halloween weekend. 12,000 people, partying in the streets. I was attending Culver-Stockton College at the time. A small school, located in Canton, MO. I decided SIU was the place to be, transferred the next semester, attended, and pretty much bombed out.

This photo… After taking a year off, I wound up at Western Illinois University in Macomb, IL. Well on my way in wanting to beome a photojournalist, I was honing my photography skills. First, at the student newspaper, The Western Courier, then, The Sequel, the WIU yearbook.

My camera gear at that time was a Nikon FM body, a 24mm lens, a 35mm lens, and a 105mm lens. That’s it. No second body or long lenses. And NO motor-drive on the FM.

This is from 1982. I was covering the homecoming parade, standing on the north side of West Adams street near Lake Ruth. Right across the street from the WIU Alumni House. Floats and people were rolling by. The hill in front of the alumni house made for good viewing. Everything was routine until…

A guy broke from the crowd and jumped onto a cannon, being pulled along by the college ROTC department. He hung there, one arm draped over the barrel, his drink in the other hand, wild eyed. The move definitely livened things up!

The photo was made with the 35mm lens, the lens on the camera at the time. I’ve looked back on this moment and second guessed myself as to whether the 105mm lens would have tightend things up some. Again, I had no second body, and in the time it would have taken to change lenses the moment would have been gone. He wasn’t out there long. “Looser” might be better here. You can enjoy the reactions from those on the hill across the street. There is a lot going on, and to study. Too tight and you wouldn’t see the reactions.

The Tri-X negative of this frame is missing in action. All I have is one print, mounted to a matte board, with the caption taped to the back. Charlie Mueller is his name. Thankfully, the print is of decent quality, and, by golly, I was tack sharp on this one. With no negative, I don’t know how many frames I made. 1-3 at the most, having no motor-drive, I was cocking the shutter lever each time. It was truly “the moment”, as we say in photojournalism.

A frame from the 1982 WIU homecoming parade.

The caption, taped to the back of the matte board.

"Concert Flashback. Bachman-Turner Overdrive"

Concert Flashback. October 21st, 1975. Bachman-Turner Overdrive. Kiel Auditorium. St. Louis, MO. Ticket price $7.50

It was EXACTLY 50 years ago this evening. Tuesday, October 21st, 1975. My seventh concert, 16 years old. So young that mom wouldn’t let me drive to St. Louis on my own. I had to find an older “chaperone.” Randy Lemons, for whom I worked for at his family grocery store, offered to go.

My musical tastes at that time were all over the place for good reason, there was a lot of great material out there. The Rolling Stones were at the top of the list, but Bachman-Turner Overdrive was right up there. They were red hot with the “Not Fragile” album. I’d seen them live in April at Chicago Stadium with Thin Lizzy and The Bob Seger Band as the opening acts. Now, in the same year, they were following up with a second record, “Four Wheel Drive,” touring to promote it.

Living 90 miles from St. Louis, I used the mail order system for tickets. Contemporary Productions had not yet come to town, this show was promoted by Panther Productions. Randy was older and a shrewd businessman. He knew how “the system” worked and offered me advice. “Why don’t you throw in some extra money for the tickets. Maybe it will get us better seats.”

Randy’s idea of extra money, and my idea, were on different levels. I think I added five bucks, nearly the cost of a ticket, that was big money to me then. I also enclosed a hand written note, stating I was a big fan of the band, and that I was hopeful the extra money would help. “Perhaps even the front row,” it read. That was probably one of my first and few bribes in life.

It’s always weird to receive mail that is written in one’s own hand. When the self-addressed, stamped envelope hit our home mailbox I opened it with huge anticipation. Two tickets and a flyer were inside. I could NOT believe my eyes. Second row, center aisle!

Friends of Randy would be attending the show. Their seats were near, but not with us. Mom’s stipulation was that I would ride with Randy only, not in anyone else’s car. Randy drove a silver Corvette which went along perfectly with some lyrics in one of BTO’s songs titled “Welcome Home.” There’s a line in it… “Silver Vette with gold wheels”… We cheated a little and met the others at the grocery store. The Vette stayed in Pittsfield and we hopped into a Firebird Trans-Am with Phil and his date, off to St. Louis we went.

The opening acts were Point Blank and Brownsville Station. Point Blank was a Texas based, hard rocking band. They never went far for the simple reason is that their music was loud but bad.

Brownsville Station had a hit with “Smokin’ in the Boys Room,” but had never caught on or made it big on any national level. However, they had a reputation as a really good live act. Two classmates of mine, Brian “Peach” Ruble, and Mark Guthrie, told me flat out, “Kent. Those guys are gonna upstage BTO.” I’ve learned in more recent years that Stephen King, the author, was a big fan of Brownsville Station, naming Cub Koda as “America’s greatest houserocker.” Brownsville Station was touring in support of the album “Motor City Connection.”

We got into Kiel and I still couldn’t believe it was real as we walked the floor to our seats. “We’re sitting HERE,” I said to Randy. There was no photo pit or barrier, just 20 feet of open floor between us and the chest high stage. I carried in what resembled a large purse. In it was my fairly new Minolta SRT-101 camera, a couple of lenses, Sunpack flash, and a Panasonic tape recorder loaded with a cassette. Those were the days!

Point Blank bored us and made our ears ring. Brownsville Station hit the stage and everything came to life. Cub Koda, guitarist and front man, knew how to work a crowd. They were loud too, using the stacks of Marshall amps so popular then. They opened with “Combination Boogie,” a cover of a J.B. Hutto and His Hawks song.

“Can’t see…too good from here… They got the stage line moved back tonight. But there’s an awful lot of weird people down in front,” Koda quipped a couple of songs in. They ripped through their set, doing songs from the new album, and the back catalog. “Sleazy Louise” was a yet to be released song. It showed up two years later on the follow up album.

Koda told a story of their first time to play St. Louis. “About six years ago, we played our very first show in St. Louis at a place called the Rainy Days Club. It was a stinkaroo, man. Nobody showed.” He continued. The band stopped at a gas station for directions. “Hey buddy, how far is it to Route 35 or wherever,” Koda asked. The attendant responded with “What you got that hat on for, boy?” Koda replied, “I got the hat on because this is 1969, and when I get to this area of the country, I know cats like you are going to kick the shit out of me,” The attendant made him take his hat off, revealing long hair. “You better get your ass on away from here, hadn’t you, boy.” Koda left him with “You know. Peace love, and fuck you. Don’t you know you’ll never catch this ass, cause’ I’m a roadrunner”! The band tore into “Roadrunner,” the Bo Diddley classic.

I made photos from my seat. Sometimes using flash, sometimes not. Looking back at them, it looks like Koda was playing to me. He could easily see me, that close to the stage, with the flash also drawing attention. I was new to photography and didn’t utilize the vertical format near as much as I should have.

The band was awesome live. Koda, bassist Michael Lutz, Henry “H Bomb” Weck on drums, and Bruce “Beezer” Nazarian on second guitar. Their time on stage was limited but they made the most of it.

Koda began humming the intro to “Rockin’ Robin,” the Jackson Five song. What the hell?! Then cut into “Smokin’ in the Boys Room.” “Ahhh, you thought it was something else, didn’t ya”?! The record version tells the tale of a subject having a bad day. “You ever seem to have one of those days when it seems like everyone’s gettin’ on your case from your teacher all the way down to your best girlfriend.”

Koda improvised live. “Didya ever seem to have one of those days when it seems like everyone’s gettin’ on your case from your old lady all the way down to your local dope dealer.” I was naive’ to drugs and misheard that line. It would make for fun later. At the end of the show, confetti with “Motor City Connection” printed on it, shot out from the stage. I grabbed a handful and stuck it in my camera bag. The band finished and left. They delivered a great show.

The best was yet to come, right? Well, sorta. I knew every song in the BTO library. Four albums worth to that point. They opened with “Roll on Down the Highway,” bassist Fred Turner with that gravelly voice screaming. Next up, I think, was “Blue Moanin.’” I held that tape recorder, or sat it on my chair as I photographed. I have the full show, but never jotted down the set list. The tape is 50 years old tonight, has broken and been spliced once, and is super brittle. I’d love to have it digitized but worry the next time it’s played it will permanently “die.”

I called out songs as they began in a note or two. In no particular order here, “She’s Keepin’ Time,” “Let it Ride,” “Give it Time,” “Rock is my Life, and This is My Song,” “Welcome Home,” “Hey You,” “Four Wheel Drive.” All the major hits and a few deeper tracks. Though they didn’t touch upon the first album until the encores.

BTO took more the straight ahead approach. Not as much fun or banter as BVS. Randy Bachman used a drumstick to pick at his strings on one song (like Jimmy Page and his violin bow) Robbie Bachman tossed a drumstick in our direction at one point, it was snatched up by the guys in the front row. Turner on his Rickenbacker bass, Blair Thornton on a variety of Gibson guitars, including an SG. Bachman preferred Fenders.

Predictably, “Not Fragile,” and “You Ain’t Seen Nothin’ Yet” came near the end of the show. The first encore was “Takin’ Care of Business,” followed by “Slow Down Boogie,” (a track not any studio album I’m aware of) and a final encore of “Thank You for the Feelin.” A great night, but a school night for me. A 90 mile drive home awaited us.

We were all reliving the show in conversation. Our favorite songs, moments, etc. Besides that silver Corvette, Randy also owned a boat. He and his friends spent a lot of time on the Mississippi River, tubing and skiing. They even had shirts with “MRTT” emblazoned on them (Mississippi River Tube Team). I’d been invited to join them one time. It was a blast to hang with “the older kids.” So the boat connection was fresh on my mind. The talk turned to Cub Koda and the improvised lyrics to “Smokin in the Boys Room.” “Wasn’t that funny, I offered, when Koda talked about your local boat dealer.” The whole car burst into wild laughter! “You stupid, said Phil. He said DOPE dealer!”

I listen to BTO when I’m in the mood, semi-frequently. I believe their music has held up over time. But Peach and Mark were right. Brownsville Station totally won me over that night. One of the best live acts I’ve ever seen.

From my scrapbook. Randy Lemons’ note on how to obtain tickets

A flyer promoting upcoming shows. Note Prine & Goodman, and Kiss on Halloween night

A Panasonic tape recorder, exactly like the one I owned

Cub Koda of Brownsville Station. I hadn’t yet learned to “think vertical”

Cub Koda and his Marshall amps

Brownsville Station. From left, Michael Lutz, Bruce Nazarian, Cub Koda, and Henry Weck

Randy Bachman

Fred Turner

Blair Thornton

The BTO logo that hung behind the band

One side of the program from that night

Second side of the program from October 21st, 1975



"Every Picture Tells a Story. Bear Vs. Squirrel"

We’re headed into week four of the NFL season. The NFC North Division has some tough teams. You may be carved by a Packer, or gored by a Viking. But it’s those wild animals you really be afraid of. The Bears and Lions. How about the Squirrels?!

This photo is from the 1991 season. It took some sleuthing to make that determination.
1. I was working for The Daily Herald, having returned to that publication as a staff photographer after The National Sports Daily had folded earlier that summer.
2. The photo was made using color negative film. The Herald had switched from color transparency to color negative sometime during those 17 months I was gone, working for The National. This fact is what really helped with the time frame.
3. Jay Hilgenberg, Chicago Bears center, is the player in the photo. He was with the Bears in 1991, gone in 1992.

I knew you just had to know that!

I don’t remember who the Bears were playing this day, but it appears to have been a non-conference opponent. Squirrels are NOT in the north division!

The Daily Herald typically sent at least two, many times three, photographers to home games. Three would work the first half, then one (designated by the photo editor) would collect all film shot in the first half and return to Arlington Heights to get an early start on processing and editing. The two remaining photographers would stay until the end of the game.

Film consumption was based on the action, and how “trigger happy” the photog might be. At 36 exposures per roll, and a rough average of six rolls shot (per photographer), that’s 216 frames. Multiply by three, and you’ve got 648 frames to cull through. This is why getting a head start was important. The editing process involved throwing the uncut film on light tables, and using a magnifying loupe to examine each frame closely. Hunched over, eye to the loupe, moving the film across the table, looking for an “eye stopper.” Good enough to make the cut for publishing. As the “keepers” were found, a paper punch was used to put a small notch on the very edge of the frame of the film.This made for quick reference in relocating the shot.

We always arrived early at Soldier Field, even with parking passes, to beat the traffic, and to get onto the field and settle in. There was a lot of standing around, but there was always opportunity to make player profile feature photos, fans, etc. Such was the case this day. I was hanging out on the visitor’s sideline, near the northwest corner, when the cheering and noise level went up. For what, I wondered? Nothing was going on except for warmups.

So small in scale, it took a second to figure out. A SQUIRREL had gotten onto the turf! How, from where?! It was running around in a panic. And it was MOVING! Hard to track with the 400mm lens (manual focus, kids). It began to get more and more attention as people caught on. Fans and players alike, including Jay Hilgenberg. You can see bemused teammates behind him, on the Bears sideline.

The squirrel was darting all over the place. It was headed towards the middle of the field when it suddenly doubled back towards the north end zone. When it finally crossed the plane… TOUCHDOWN! The place went bonkers!

I was one of the two to stay for the whole game. When we got back to the office, there was no mention of a “squirrel photo.” Frankly, I’d sort of forgotten it, tired from the day. When it did register, I asked the photo editor if he’d seen it. His look was that of puzzlement. We found the frames but it was too late to include it for Monday’s paper and was never published. I sensed some embarrassment on the part of the editor, yet can understand why it was missed. In the pace of editing, it’s not an “eye stopper.” One Bear, with teammates in the background. No action to speak of, not even a player from the other team. Just that tiny squirrel.

And that’s where the story ends. I don’t know who won the game. But the squirrel scored first!

"Concert Flashback. Farm Aid 1"

Concert Flashback: September 22nd, 1985. Farm Aid 1. Memorial Stadium, Champaign, IL. Ticket price $17.50/credentialed.

Bob Dylan made an offhand comment while performing at Live Aid in July, 1985. Something along the line of, “Maybe they can take just a little bit of the money they make today, and give it to the farmers who need help.” That comment got Willie Nelson to thinking…

Nelson got his friends, Neil Young and John Mellencamp, on board with the idea of taking Dylan’s idea to heart. Farm Aid 1 took place 40 years ago today. September 22nd, 1985, in Champaign, IL at Memorial Stadium on the campus of the University of Illinois. It was a rainy Sunday. 80,000 people attended, and it raised seven million dollars for struggling farmers, many of whom were in a crisis, brought on by a combination of things.

Two years into my first job as a photographer at The Macomb Daily Journal, and a lover of music… You know where this is going... I applied for credentials and received them. A photo pass and a writer’s pass. Separate of each other.

A friend, Mark, was intended to go along, each of us using one pass. The writer’s pass to Mark. The photo pass for me. Mark bailed out on short notice. The night before the show, I found myself on a phone call, talking to Trevor. He was a friend, was learning photography, and a freshman at the University of Central Missouri in Warrensburg. I offered the writer’s pass to him. It was probably 10 p.m. at this point. Trevor got in his car and made the 6 hour drive to Macomb, arriving at my place in the middle of the night. We may have rested some, but pretty much geared up and headed for Champaign.

Media check in was at a Ramada Inn, just west of the stadium. We got in line to pick up our credentials. Interestingly, the usual benefit of being a member of the press, a “free ride,” didn’t apply today. We had to pay $17.50 each, the face value of a ticket, just like everyone else. I had no problem with that because of where the money was to go. The line moved quickly. As we stood there, Neil Young passed. One of my favorite artists at the time. The temptation was to break line and approach. “You are a professional,” I told myself, staying put.

We’d leave the car in the Ramada lot and walk the short distance to the stadium. Trevor had brought his camera but assumed he wouldn’t be able to use it because of his “writer’s pass.” He left it in the car, armed only with a reporter’s notebook. We got into the stadium around 9 a.m. and split up. He would be back in the staging and hospitality area. I’d be out front, making photos. Remember, 1985. Waaaaaay before mobile phones.

Before the show began, a steady, cool, rain hit. It lasted all day and into the evening before letting up some. That’s not what dampened our spirits. Without knowing of each other’s situation, Trevor discovered cameras were allowed backstage. I discovered my “photo pass” didn’t grant access to the photo pit. Any photos would be made from where ever I could fight my way through the crowd. It made for a huge letdown. I vowed to persevere, but the rain and “buzz kill” made it very difficult.

As I recall, Neil Young came out and did a song or two. Then, L.A. punk rockers, X, was the first band to come out and really get the day rolling. From then on…The diversity of acts and the amount of talent there that day was staggering. I’m not sure how many artists crossed the stage that day. Here is a link to who played, and their set lists.

https://www.setlist.fm/festival/1985/farm-aid-1985-43d6ab27.html

The music was SO good. But the rain…I made photos when inspired, changing locations. At other times, I stood, listened and watched. Trevor, backstage…Was literally in the middle of everything. As a wide-eyed 19 year old, he was aware this was a once in a lifetime experience, making observations and taking notes, Trevor’s contributions to this blog are IMMEASURABLE!

All day, into the evening, it went. Well organized, one act after another. John Fogerty was a huge highlight for me. I loved Creedence Clearwater Revival as a kid. Farm Aid was Fogerty’s first public appearance in 12 years. His set was solid, so was his message. “Hey. You don’t just go down to the Safeway and pick up your hamburger. Some farmer gave his whole life for that.”

People were having fun, things had been “g-rated,” and family oriented. Then, Sammy Hagar introduced his song, “I Can’t Drive 55.” “Here’s one for all you tractor pullin’ motherfuckers out there!” The Nashville Network, broadcasting live, covered with, “Well, Sammy sure is enthusiastic tonight.”

Trevor and I found each other around 10 p.m. He recalls the crowd had dwindled. As it grew late, Trevor says the show ended with Willie Nelson, jamming with a few others, then sort of waving to the crowd, “Thank you and goodnight.” Trevor and I drove back to Macomb. He immediately began the drive back to Warrensburg. I was back to work the next morning.

If every detail of the day was put this blog, you’d reading for days. It’s best now, to use “Quick hits”, in no particular order of progression or importance. My memories first. Trevor’s astounding compilations second.

KENT’S NOTES:

1. Foreigner performed “I Want To Know What Love Is” with the backing of a full choir.
2. David Allan Coe announced himself as he took the stage. “You’re looking at what’s left of David Allan Coe.”
3. It was John Fogerty’s first public performance in 12 years. No, he didn’t play any Creedence songs.
4. Two artists performed my favorite songs of theirs. John Denver did “Back Home Again,” Carole King did “Sweet Seasons.”
5. Daryl Hall covered one of my favorite songs of all time. “Oh Girl,” by The Chi-Lites.
6. Lou Reed dedicated “Walk on the Wild Side” to Tipper Gore. (Gore was railing against explicit lyrics and helped found the PRMC, Parents Resource Music Center.
7. Timothy Hutton hooked up with Debra Winger at this event.
8. B.B. King was presented with a birthday cake backstage. His birthday was days before, on the 16th.
9. It was the first time Sammy Hagar and Eddie Van Halen got together, leading to Hagar joining the Van Halen band.
10. Bob Dylan used Tom Petty and the Heartbreakers as his backing band for his set.
11. My friend Lee, a farmer from the Macomb area, was interviewed by ABC radio.
12. John Mellencamp performed in a Seymour, Indiana, FFA jacket.
13. Billy Joel and Randy Newman doing a piano duel of “Stagger Lee.”

TREVOR’S NOTES:

Trevor interacted and/or had conversations with many artists and dignitaries. At 19 years of age, he also found himself “fetching beers” for Eddie Van Halen, Illinois Governor Jim Thompson, Iowa Senator Tom Harkin, and others. Trevor helped place B.B. King’s birthday cake on a table. If there was an artist he wanted to see, he had limited access to view the stage. He shuffled between the tent and that area throughout the day.

Dottie West quotes: “I was raised on country sunshine.” (Country Sunshine was a hit for West.) “Actually, I was raised on cornbread and a fiddle.” “I remember the days we picked the cotton and sugarcane. We had to miss 4-5 weeks of school in the fall to help on the farm.”

On Willie Nelson: Smelled progressively bad as the day went on, especially after the rain.
Made several formal/informal stops in the press tent, accompanying many artists for their interviews, including David Allan Coe, Loretta Lynn, Roger Miller, and Sissy Spasek.
A quote from Willie. “So goes the family farm, so goes the grocery store down the street, then the gas station down the street. It snowballs.”

On Lou Reed: Didn’t “seem there” during the interview. Wanted to talk more about music censorship than the farm situation.
A quote from Lou. “Everyone’s a musical influence on me.”

Quotes from John Denver: “I’ve picked cotton and cut wheat all the way from Texas to Canada.”
“The small family farm is the foundation of of our society.”

A quote from Randy Newman: “Billy Joel and I have never played together, so we’ll probably sound like shit.”

A quote from John Mellencamp: “I’m a lot more radical than most of the people up here.”

On Sammy Hagar/Eddie Van Halen: Sammy did most of the talking, hardly shut-up.
Eddie never stopped smiling. Like he was in a daze.
A quote from Eddie: “We’re making it official here.” (David Lee Roth out, Sammy in)
When asked if the band’s name would change. “No. Van Halen. I’m not changing it to Roth.”
Trevor had a brief chat with Eddie, telling him his (Trevor’s) first concert was a Van Halen show in Macomb in 1980. “He was a very nice person,” Trevor reports.

Trevor spoke with Martha Quinn multiple times. Quinn, the MTV host, coordinated press tent appearances.

On Tom Petty: Glazed eyes and hardly spoke. One word answers when asked questions and to elaborate. Press conference with Petty was very awkward. He was quickly in/out of the press tent.

On Daryl Hall: Impressive hairdo.
A quote from Hall: “It’s like a picnic up there.” (on stage and back stage).

On B.B. King: Was presented a guitar shaped cake (Lucille) for his 60th birthday. I was sitting nearby and helped set the cake on the table in front of King. Willie Nelson and Charlie Daniels prompted the group to then sing “Happy Birthday.”
A lot of chit-chat about King’s performance earlier in the day. He broke a guitar string and changed it on the fly during “How Blue Can You Get.”
King talked a lot about his upbringing, born on a plantation, later working as a sharecropper.

On Charlie Daniels: Angry disposition. Wants five minutes with President Reagan to “tell him what he should be doing.”
A quote from Daniels: “Politicians should start doing what they’re supposed to be doing, serving the people.” I think they’re doing a piss poor job of it.”
'“Charlie Daniels was an angry, angry, angry, man,” Trevor’s notes state.

On Don Henley: He came into the tent with an arrogance, appeared he was looking for someone. Not very animated on stage.

On Delbert McClinton: Delbert came in, sat down, and no one recognized him. He pulled out a harp and began to softly play.

On Carole King: Trevor and King had a one on one conversation. They spoke about her ranch in Idaho, and the animals her and her husband raise, mules and poultry.
King admitted to financial issues with the ranch, to the point of having to be in court.
King was involved with environmental issues with the Idaho forests.

On Neil Young: Young walked into the tent and sat down. There were three of us. He looked directly at me and said, “Hey Hey, My My.”
Quotes from Young: “I love my family, and the American family is at stake.”
“Our American heritage is at stake, and we’re going to turn it around.”
”I’m political, but this isn’t political.”
”I haven’t had much sleep in the past three weeks. I went to Washington and researched bills. I did my homework.”
”I think President Reagan has done a good job.”
”I would like world peace. But I also want safety for my family.”
”After we took our name (band name, The International Harvesters) the company went broke. I guess they only make trucks now.”

Quotes from Tonya Tucker: “So many people from different parts of the music business here.”
”I love it when George Jones comes on right after Foreigner.”

On Brian Setzer: Farm Aid was his first solo set (away from The Stray Cats). No new name for the band yet.
Setzer is a big New York Mets fan.
Was asked to play at the last minute by John Mellencamp.

Quotes from Kenny Rogers: “It’s hard to get emotionally involved in every situation.”
”My involvement is in world hunger. But there’s a correlation between the two.”

Trevor also notes: Roy Orbison’s glasses.
Having a crush on Valerie Bertinelli.
Lots of energy from the evening performers.
He carries 40 years of lament and remorse for not having a camera. “There would have been no issues.” “It was one of the biggest photo blunders I ever did.”
"There seemed to be some artists who were less concerned about the farm situation than their own, self-serving interests.”
All of the country artists…”My grandma wouldn’t believe it.” “I shook hands with Loretta Lynn, Dottie West, and Glen Campbell.”
He got autographs from everyone in the Alabama band, as well as Daryl Hall, Glen Campbell, and Lou Gramm of Foreigner.

The day didn’t work out the way it could have for Trevor. And it didn’t for out for me in what I expected. But it was still a day.

Farm Aid 1. Early in the day.

Los Angeles punk rockers, X.

David Allan Coe.

Avoiding the rain and looking at a program.

Hoyt Axton.

Kenny Rogers.

Staying dry. It rained all day!

Lee, a Macomb area farmer, being interviewed by ABC radio.

John Fogerty. His first public appearance in 12 years.

Bob Dylan, with Tom Petty and the Heartbreakers.

The evening crowd.

Kent, Paula? and ???. Wearing my newly purchased, sleeveless shirt, over my regular shirt. My Nikon F3 and 300mm 4.5 lens.

Trevor’s reporter’s notebook.

Trevor’s notes from the day.

B.B. King, Charlie Daniels, Willie Nelson. With King’s birthday cake. PHOTOGRAPHER UNKNOWN.

Eddie Van Halen and Sammy Hagar. Trevor states he is “100% positive, this is moments after I (Trevor) handed him that Miller.” PHOTOGRAPHER UNKOWN.

"Gram Parsons"

If you’re not familiar with Gram Parsons, STOP now and START here!

https://en.wikipedia.org/wiki/Gram_Parsons

Quite a story, right?!

My knowledge was extremely limited. Until… On a whim, I purchased a two CD “Anthology” to listen to on a road trip. The music instantly took me in and I headed down “the “rabbit hole” of research.

The Parsons story is fascinating and tragic. A trust fund child who spent one semester as a student at Harvard. Handsome, and so passionate about sharing his love of country music. Some call him the “Godfather of country rock.” Without him, there may not have been The Eagles, etc. Dead at 26, leaving a mystique.

In 2007, I had an invitation to visit California. A friend had access to a cabin just outside the border of Joshua Tree National Park. The route to the property would take us right past the Joshua Tree Inn, where a big part of the Parsons story took place. It was a “must see” for me.

I’ve always had a strong sense of curiosity. How did it happen, what were the circumstances? That need to understand. Reading about it doesn’t always cut it. Too much left to the imagination. Being there is seeing it with your own eyes. Here was that chance.

Things were surely different in September of 1973. The road past the inn was two lane. But the cinder block building and the property have not changed all that much. Quaint but very basic. If you’re not ghost chasing, you’d probably drive right on past.

The attendant was super nice. The inn probably has to deal with hundreds of people a year just like me. “Lookers,” but not staying. With no hesitation, he led my friend and I down a sidewalk. There are eleven, ground level rooms that face a courtyard. We stopped at room #8, he opened the door and we went in.

The guy answered questions the best he could. I looked around and took it all in. I made a few photos with the point and shoot Canon. It doesn’t have a wide angle lens so I did so with what I had. “The bed frame is the only original piece left from then,” he volunteered. A recent visit to the inn website states “a mirror and picture that hung in the room back in 1973” are still there.

It was quiet. No joking. around. Parsons died in this room. I believe, when someone passes, that earthy energy has to dissipate somewhere. I didn’t sense any spirits, but was getting a much better feel for that itch of understanding. We were in the room maybe 10 minutes. As we exited, I made a point to look down.

Thresholds. They can be literal. They can be figurative. Thresholds are crossed. When you cross the threshold from the skybridge onto a plane, you’re no longer in control. “Carry the bride across the threshold.” Those are literal. Moving from one thing to another, that’s more figurative.

There’s a small step from the sidewalk to room #8. Assuming that cinder block building is still structurally the same as in 1973, so is the threshold. Gram Parsons was alive when he crossed the threshold to enter the room. High on morphine and tequila. He was dead when he was carried out across that threshold.

We thanked the clerk for his time and moved on. A day later, in Joshua Tree National Park, we visited Cap Rock, the area where Phil Kaufman and Michael Martin did what they did.

Parson’s half-sister, Diane, has stated she finds it sad that fans note his death date more than his birth date. That’s a fair point. I never romanticized the story, just found it interesting. As time passed, it’s still interesting, but pretty gruesome. It depends on who you talk to.

The Joshua Tree Inn.

The courtyard at the Joshua Tree Inn.

Inside room #8. Parsons died in this room.

Outside room #8 at the Joshua Tree Inn.

A memorial in the inn courtyard.

The Cap Rock area in Joshua Tree National Park.

The book by Ben Fong-Torres. A great read.

This is a GREAT documentary!

Various artists cover Parsons. It’s super good.

The two disc set I bought on a whim. It’s great!

"Longs Peak, 2012. Success"

2025 BEFORE THOUGHTS: September 14th marks the 13th anniversary of my summit of Longs Peak. Transcribing the words from my journal to here was like reliving it. What a day and experience! After failing in 2010, it was great to get it done. In this account, you’ll read about my friend Marcy, and a reference to mountain lions. Marcy lives in Estes Park and has had one direct encounter with one. And a second, non direct encounter. Both within the city limits of Estes. Marcy and I had dinner the night before I made the climb. She offered me tips and suggestions. Especially about gloves. Now… Let’s hit the trail.

Friday 9/14
LV: RMNP
AR: RMNP 37 miles

For two reasons, Longs Peak is almost a “bucket list” obsession. I’ve done a lot of day hiking, but want to climb a mountain. Longs is 14,259 feet. Also, I’ve always been fascinated by Mt. Everest, at 29,000 feet. Longs would be base camp or below, for Everest. Mind boggling. And though Longs is a non technical route (The Keyhole Route), I had read enough and heard enough to know it would give me plenty of physical and mental challenge. It would be “my Everest” to conquer.

The self-conscious and imagination are wild places. As I rode through the dark to the Longs area, I remembered Marcy and her mountain lion story, and that she never hikes at night. With it being past peak season (no pun intended), I knew there wouldn’t be as many climbers as there were in August of 2010, despite the excellent weather forecast. I was relieved to see a half dozen cars in the lot when I got there.

I unloaded, packed, and was on the trail at 2:03 a.m.

Matt, a young man from Fort Collins, was preparing to go too. “Would you like to hike up to the timberline together,” he asked? “Sure,” was my answer. He reasoned that a pair of us would be safer against wildlife than one of us. “We’re hiking at the most dangerous time of night, during the most dangerous time of year,” he said. Meaning hungry bears are looking to fatten up for hibernation. Though it was more likely there could be a mountain lion, looking for an easy snack.

Matt told me he works at a country club, tends bar, and has summited the mountain four times this season alone. Once, he and a group climbed by night and watched the sun rise from atop the summit. The kid had a very quick pace. I knew from the last time, how hard this was going to be. He wasn’t breathing hard, yet I was gasping and needed to stop for a break, probably only a half mile in. “How old are you,” I asked Matt. “Twenty,” he said. “How old are you,” Matt asked of me. “Fifty three,” I informed him. “Whoa,” said Matt.

We made it another mile or so and I sent him on his way. Not to be rude, but I knew I couldn’t keep pace. Trying to do so would spoil my effort. Too much energy now, not enough for later. I heard him up ahead, making noise to scare whatever might be hiding in Goblin Forest, aptly named for the wicked looking tree roots, all scraggly and exposed, along the trail. I clapped my hands a few times too to make noise. Honestly, wildlife really wasn’t a concern. The enemy today would be fear and fatigue. The enemies within.

The trailhead is 9,400 feet. Most of the climb is above the timberline. Goblin Forest is the start, and fairly small segment of the journey. Alone for some time now, I walked on and cleared the trees.

Once out of the woods I could see Matt’s headlamp on the trail above, where there are switchbacks of small stature where the trail changes directions. Matt had put a fair amount of distance between us. I carried on at my own pace in the dark. I was warm enough. My clothes choice was the same pants I wore in 2010, a short sleeved, quick dry shirt, topped with a new, long sleeved wool shirt that is both lightweight and quick drying. I also wore a stocking cap, and some light, water resistant gloves with textured, “pebbled” palms. I had taken Marcy’s advise on the gloves. “You should take them,” she said. “Those rocks will be cold, and have sharp edges.” “You’ll be doing a lot of climbing and scrambling.” I did not bring a full rain suit this time. Only a lightweight, waterproof jacket which also served as a windbreaker.

The CamelBak was loaded with water. In it’s compartments were trail mix, beef jerky, Oreos, and granola bars. Weight is the enemy. The point and shoot camera was along. The binoculars were not.

Not sure what the temperature was. This kind of exercise made me sweat, but I kept warm. The first problem came at a “pee stop.” Once the lining of the gloves were wet with sweat, they were hard to get back on. I stood just off the trail, sullen. I finally got them back on and vowed not to take them off again for any reason.

I made one photo stop to shoot a trail sign, using the light of my headlamp. Working the camera with gloves was difficult.

As I climbed in altitude, two things became more evident. The stars in the clear night got closer. And the dropping temperature made the water in my CamelBak cooler. Alone, on a trail to a 14,000 plus foot mountain. Splendid Isolation (referring to a Warren Zevon song) was where I was. Isolated? Yes. Splendid? Ummmm.

The Longs trail is a tough one. Even though it gets traffic, it’s not really groomed. Smooth, round, ankle turning stones cover the trail. Many of them baseball sized and larger. There are a few poles and flat rocks on the way up to prevent erosion. There aren’t many level areas to catch your breath. When you make a step it’s probably a one footer. Just like the walk to school our parents told us they made, Longs is pretty much “uphill all the way.”

As I walked and climbed, I could hear two voices and quotes, one in each ear. “Fatigue makes cowards of us all,” from Vince Lombardi. “A man’s got to know his limitations,” from Dirty Harry.

As with two years ago, there was a time or two I thought of quitting. To go back to a warm sleeping bag. I had begun to chill a little, knew The Boulderfield was ahead, and was anxious about what was on the other side of it. I didn’t quit. I thought of that couple in their 80’s I’d met on a day hike on Wednesday. I thought of others, younger, older, more out of shape than me. Mostly, I thought of opportunity, and how many more chances I’d get at this. It was one foot in front of the other. “At least TRY,” I told myself. Snails move at a slow pace, but they move. I had the time, and perfect weather. God and nature were doing their part. The courage and stamina were up to me. Onward and upward.

I stopped and looked back towards the lights of Greeley, to the East, Boulder, to the South. Pretty sights I tell ya. And the stars and the moon. I thought of settlers and the old West.

Got my first glimpse of the rising sun at some point. Not sure of what time, or where on the trail. But it was more subdued than 2010. That year it seemed to come up in a ball. This year was more of a long, horizontal sliver. And I could tell by my location I was further up the trail than 2010. Even factoring in a months difference of days and light, and an hour earlier start time. Knowing this boosted my spirits. With the sun, I could see better and would warm up. I really didn’t want to walk The Boulderfield by headlamp. Too tricky, with no set path through there. Just the rock Cairns that hikers build to help fellow hikers keep on the trail, or to mark an easier route. As I was pondering “The Boulderfield,” it began to get light enough that I could almost see without the headlamp. Perfect timing!

By paying attention to the Cairns, I navigated my way through the easiest part of The Boulderfield much more quickly than 2010. Then, almost on cue, like a movie, the sun rose to paint The Keyhole and the giant vertical wall to the left of it, in brilliant orange sunlight. So saturated it it was almost unnatural. Spectacular! I’ve seen some fantastic sunsets, but this may be the best sunRISE I’ve ever witnessed.

Navigated my way up the bigger rocks on the the steepest part of the climb to They Keyhole and shelter just below it. It was 7:03 a.m. I’d done this segment in five hours, to the exact minute. 45 minutes better than in 2010, if my memory is correct. I was happy about that. I planned to rest in the shelter for no more than 15 minutes. I did so, having a couple of strips of jerky and 3-4 cookies. I also drank water and made a couple of photos through the doorless entry of the shelter. I felt good, and didn’t want to spend too much time thinking of what was ahead. I spent less than 15 minutes before moving on.

“The real work, both physically and mentally, begins after The Keyhole,” I’d been told. I can verify that. I crossed over The Keyhole, a notch in the wall of the mountain, and small in scale to it (hence, Keyhole). This was now the West side of the mountain. From The Keyhole to the summit is 1.5 miles. There is NO trail. Only “bullseyes,” painted in red and yellow on rocks, mark the route. I passed through and made my first “wrong turn.” I was on the outside, exposed side of a rock when I should have been on the inside. Thankfully, I caught on and quickly corrected myself. I was now on the section known as The Ledges.

It’s pretty much what it sounds like. The mountain wall to the left, vertical or near vertical drop offs to the right. Hundreds of feet down. When I inquired of those who have climbed Longs about the exposure and drop offs, I asked whether the drop was really straight down, or nearly straight down? Would I fall to my death or would I tumble to my death? Somehow, tumbling doesn’t seem as bad to me. Free falling, floating through the air, not so much. With tumbling, you might not know when the “lights out” moment is coming. You may be able to grab something to stop the fall and save yourself. With a sheer drop, the moment you make a misstep or lose your grip, falling into air, you know you’re done. I’ve wondered, would I scream and yell if that were to happen? Or would I quietly say to myself on the way down, “Well, you’ve done it now.” Remember. It’s not the fall that kills you. It’s the sudden stop at the end.

The Ledges vary in width. Three or more feet in some places, even more in others. For whatever reason, I did not freak out. I concentrated on footwork and the bullseyes ahead, not looking to the right. The Ledges are where you’d tumble to your death. Steep but not sheer.

The first real mental obstacle came in the form of an obstacle of nature. A big rock that one has to pull themselves over. It’s mentioned in brochures about the climb. Two rods have been secured in the rock, used as hand grips. There’s virtually no footing. So many people have crawled over that rock it’s been worn slick. You have to pull your body and weight over it. Most, including me, wear a backpack of some sort. This adds weight and affects balance. I didn’t like what it involved but I did it, and it gave me confidence to move on. The Ledges follow that back wall for a mile. They end at the next section, The Trough.

Anyone not in reasonable condition would stop when they saw The Trough. Long and uphill, probably a 45 degree angle, and 2,150 feet of ascent. It requires climbing and scrambling. Described as the “StairMaster” part of the climb. There are times you’re nearly on all fours to make the next move. There are boulders and rocks. There’s also loose rocks called scree. Those ahead can kick scree loose, sending it showering down on those below. That happens more during the busy season. Some climbers wear helmets. The scree wasn’t an issue today. But I did encounter snow and ice.

Slow and brutal, but not as exposed as The Ledges. The worst that could happen here was a heart attack. In that regard, I noticed my breathing wasn’t getting any harder as I gained elevation. I was well above 12,000 feet, a number I noted in 2010, as to when I can really “feel it.”

I encountered Matt, already on his way down. He said he didn’t summit, something about “water and ice.” I didn’t catch it all. He seemed impressed I’d made it this far and encouraged me to move ahead. “You can do it,” he said as he moved on down.

About this same time, a tall, tan guy with a ponytail went by on his way up. He was flying, picking his way through The Trough like he was out for a morning jog. He wore light shorts and some kind of special running shoes, carrying no provisions of any kind. The guy summited and was on his way down as I still fought The Trough. “You’re an animal,” I called after him.

The Trough consumed close to an hour. Near the very top, where a bullseye directs one through, and up a crevice to the next section, there was ice. I happened to be with two guys with experience. We decided to work around the issue. They led, I followed. We had to get footholds, then pull ourselves up to a ledge about three feet wide. The fall back wouldn’t be far, but it would hurt or injure. Six feet back to the rocks below. Once up, I moved on my hands and knees. I’d made The Trough and was now at the next section, The Narrows.

The Narrows follow the South side of the mountain. Similar to The Ledges but shorter in distance at 1,000 feet. As the name implies here, The rock ledge is narrow. And here, the drop off is pretty much vertical. The wall to your left is 1,000 feet high. You can touch the wall with your left hand while looking down at certain death to your right. The Narrows are three feet wide at one point, with a 500 foot clear air drop to the right. To compare, the Gateway Arch is 630 feet, Hoover Dam, 726. Step on a trouser leg and trip, catch a gust of wind, hit a slick spot…You’re toast. There are no cables to grab for aid here, like Angel’s Landing at Zion or Half Dome at Yosemite.

In 2010, a climber from Minnesota had been found “dazed,” wandering The Narrows. He’d spent the night there, having been struck directly, or indirectly, by lightning.

I’m usually one to glance. Yet again, I looked ahead and not down. I did sneak a peek a few times, both here and back at The Ledges. It puts butterflies in your stomach. I kept thinking of how I’d made it to this point, and how this was likely my last shot. There was zero wind, a huge benefit. I felt I was receiving help from all directions. Other people and a higher power. The rest was up to me.

I’d stopped for a moment and watched two guys ahead, navigate one of the last parts of The Narrows. From where I was, it looked like a 15 foot, straight up climb over a rock. “Unh-uh, no way,” I said out loud. Yet I decided to approach it and check it out before giving up. It wasn’t as bad as it looked. I was over it, and at the last section before the summit, The Homestretch. Not just in name, literally.

Marcy had said The Homestretch is her “least favorite” part of the climb. I didn’t find it to be all that daunting. It was another uphill battle, but nothing like The Trough. Marcy doesn’t like it because so many have summited, that on the way down, hundreds have scooted on their butts. This has made the granite face slick. There’s no exposure to speak of, but there aren’t as many footholds or grab holds. Going up, I found mild traction issues. Going down, a worst case scenario for someone would be to slip and fall. The Homestretch would then act as a giant “slip and slide” to eternity, as there’s nothing to stop you at the bottom. Only air and blue sky. Weeeeeeeee!

Nothing was going to stop me at this point. I stayed low, picked my way up, and summited Longs Peak at 10:40 a.m. The journey had taken eight hours and forty minutes. Five hours to The Keyhole. A staggering, three hours and forty minutes to make the last mile and a half from The Keyhole to the summit.

Of course I did the obligatory “throw your arms in the air” in celebration pose. I”m pretty sure I yelled out, “I made it!” to no one in particular. Details are fuzzy. I’m not sure what I did next. I think I had surprised myself.

The summit is huge. Literally as big as a football field. Good sized rocks, but not terrible walking. I moved around to near the East edge, looking straight down at Chasm Lake. A vertical drop much like Yosemite’s El Capitan. I didn’t get too close.

There I stood, atop Longs Peak, 14,259 feet in elevation, feeling pretty good. Then thinking. “WOW. I’m 4,000 feet BELOW base camp for Everest!” Humbling perspective.

Marcy had suggested I hang out for a little while. Drink plenty of water and eat snacks. Take in the spectacular views, but remember, “You have to come down too.”

The views were awesome. One guy, who had summited more than twenty “14ers,” pointed out many other mountains on the Front Range, including Pikes Peak, 130 miles to the south, which I’m told, received 10” of snow Tuesday night during the weather here.

During the busy climbing season, and with so much room, some bring a Frisbee to toss around. I took photos of the altitude marker, mounted to a big rock. And I signed the summit registry, a rolled up log of paper that is enclosed and protected in a PVC tube with a screw off cap at one end. It’s tethered to a rock with wire and stuck in a crevice when not in use. I chatted with those there. Took photos of them with their cameras, had photos taken of me with mine.

It was warm and windless. Free of snow, and with breath taking (pun intended on this one) views. It had been “breath taking” all the way up! But the fact was, I did have to make it down. After resting, there was little else to do. Starbucks was closed and McDonald’s was out of biscuits and gravy. (that’s a JOKE.)

By coincidence and timing, I was invited to descend with Rich and Sean, two Brits here on holiday. Rich had a lot of climbing experience. It allowed for conversation and friendship. Confidence, and the ability to follow on the way down.

We stepped off the summit to The Homestretch, navigating it with no issues. I think this was the most “mild” section, both up and down.

The Narrows were no worse going down than coming up. We even stopped and sat down for Rich to eat a sandwich. He made me nervous when he stood close to the edge in a casual manner. 500 feet straight down. “God, am I gonna witness an accident,” I wondered? I allowed myself to look around. Dizzying and a little scary, but mostly stunning. The many lakes below, most of them big, looked like tiny ponds.

We got off The Narrows, the most exposed and dangerous part, and back to The Trough. We had to navigate that top part again (detour around the icy crevice), but it wasn’t too bad. The Trough can kiss my ass. Brutal both ways. Going up is hard on the heart and lungs. Descending, the scree can put you on your ass if those loose rocks move from under your feet. And it’s not practical to to go downhill on all fours. The Trough was tedious and time consuming. What a view to the West. I could see Black Lake, where I’d looked up at The Trough in 2010. On a day hike, I looked up at climbers in The Trough through binoculars and thought, “Oh. That doesn’t look so hard.” The Trough taught taught me a lesson today. An ass-whooping.

Back to The Ledges. We made our way along with no issues. Less spooky and wider than The Narrows in most spots. They did seem to take longer on the descent. Getting over that boulder with the two rods was easier this time. I was tired. I told Rich and Sean my objective was to get across The Boulderfield and back on the clear cut trail. We took one last break just before The Keyhole, then made the passage through it. Barring a freak situation, the real danger was over.

As we began to climb down the big rocks, now on the East side, out of the shelter came a guy. We all chatted. A seasoned veteran, he was just on his way up. It was probably 2 p.m. Though I couldn’t see him, this guy had a friend with him, sitting in the shelter. The unmistakable smell of burning pot was was pouring out. Rich and Sean decided to hang back and take another break, laying out on one of the huge rocks. I told them I’d see them at the bottom. Or likely, they’d catch me. Sean had lagged behind on the descent, I’d watched it. I was so tired, my concern was if I didn’t keep moving… The day was getting away. It’s a long way down from The Keyhole. You’re tired, and the trail is not easy.

I made a point to look back at The Boulderfield and Keyhole before they faded from sight as the trail drops. My work on Longs Peak was almost complete. It’s doubtful, at my age and condition, that I’ll ever see that view again. Kind of a sad thought, but I made it today. So the story ends well.

I remembered from 2010, how long the walk down was. Today it came back twofold. Alone, and with no one to pace with. It wouldn’t have mattered. Mentally I was happy and focused. Physically, I was absolutely spent. I’d consumed water but hadn’t eaten much all day. Adrenaline. It quickly became an effort to put one foot in front of the other. Hikers know they are tired because they begin stubbing their feet on rocks, etc. I was. As before, it looks a lot different and more stark by day than night. On and on and on it went.

Then.. My right foot rolled off a rock the size of a baking potato. I fell over to my right, falling onto a bigger rock and then ground. No real harm done. I thought of how embarrassing it would be to have to be rescued and carried off the mountain. It actually sounded kinda good, but no way was I gonna let it happen. I’m almost positive my pace down was as slow, or slower, than my pace up.

Once at the timberline and Goblins Forest, thoughts of “almost home,” hit. Wrong again. As before, this section is longer than the mind believes. As you drop, you think you’ll see the parking lot appear around every corner. The best part of Goblins Forest is the fragrance. Pines, firs, and cedar. More concentrated than other places I’ve been. The smell of a pine tree is one of my favorites, along with leather and burning racing fuel. Visuals are obvious in the mountains. Scent is more subtle. It was great, even with the mild stuffiness I’ve had all week.

Just as I was almost broken I came to the parking lot. I staggered through it, almost delirious. It was 5:27 p.m. I’d spent fifteen and a half hours on the mountain! Brochures state it can take up to 16 hours. It’s a 17 mile round trip task, with 4,875 feet of elevation gain. Its all relative. To a climber, fitness buff, youngster, or someone used to the altitude, Longs Peak is nothing that big. To a 53 year old, slightly overweight dude from Illinois, who did absolutely no training, and has some issues with heights, this WAS a big deal.

That is not cockiness. Because of my condition and lack of climbing experience, I could have just as easily died of a heart attack or fallen of a ledge. I understood this. I’d made peace with that beforehand. I choose not to live in fear. Mother Nature and God gave me a gift today.

It’s difficult to measure milestones and accomplishments. I hope people think I’m a decent photographer. More so, a decent human. I’m my own worst enemy. Hard on myself. The mountain was a goal. It’s still sinking in. I’m a little surprised at myself. I understand better, what a lot of will and determination can do. Making the summit of Longs Peak was the biggest physical and mental challenge of my life. It’s also the most fulfilling payoff.

As tired as I was, I cruised through the Longs Peak campground, looking for Rich and Sean’s vehicle. I was gonna leave a business card. I couldn’t find the Suburban they said would be there. When I got to the Route 7 intersection, my legs were SO tired I could BARELY hold the motorcycle upright. I would LOVE to know how many steps I did! Once in Estes, I called my buddy Rob to tell him I’d made it. I eventually got ahold of Marcy to tell her the same. “I’m proud of you,” she said.

Got back to camp, fixed a freeze dried three cheese lasagna over my tiny cook stove. It tasted good, though I was almost too tired to eat. I ran dangerously close to making myself sick today. I visited with Kip and Kay, my camp neighbors, for a a few minutes, then excused myself. I got in the tent and sleeping bag at 7:30 p.m. I slept soundly until 5 a.m. My longest sleep cycle in months. Slept with a new camping pillow under my head and a “14er, under my belt.”

The next day, if Longs came up in conversation with anyone, I’d point to the summit and proudly proclaim, “I was up there yesterday.” I also rode back to the Longs ranger station at the parking lot near the trailhead. I sat and talked with ranger Brad. Brad is a “dead ringer” for John Denver. He went to school with Marcy. I asked him about the pony-tailed runner I’d seen yesterday. “Oh. That is Anton Krupicka,” Brad said haltingly. “He’s…not...human.” (Krupicka is a world class ultra runner)

I came home, having achieved my goal. One of my best moments in life.

2025 AFTER THOUGHTS: I would love to try one more “14er”. That’s not likely to happen. I’ve been diagnosed with Hypertrophic Cardiomyopathy. I get short of breath and sweat too much. It’s embarrassing. Mowing the lawn or bringing in the groceries can gas me. At other times I feel like… I could climb a mountain. The doctor told me to exercise more. I’m not on any restrictions. We’ll see.

I apologize for the extreme grain in some of the photos. I use a point and shoot on motorcycle trips due to weight and size. They don’t handle high ISO speeds well. There aren’t a ton of photos to share from the summit day. It took too much effort and concentration to be messing around with a camera. The stakes were too high. I do wish I’d made a frame or two from The Narrows to show how scary that segment is. When I think about that section now, it gives me the “willies.”

Part of my journal from September 13th.

On the way up. Using light from my headlamp to make the photo.

The first hints of the sun.

Not quite sunrise at The Boulderfield, looking toward The Keyhole at right.

You’ve been warned.

Sun hitting The Boulderfield and Keyhole. Can you spot the shelter hut?

Guess who?

View from inside the shelter.

The Ledges. Note the “bullseyes” to mark the route.

Pretty sure this is looking down from the top of The Trough.

The summit of Longs Peak. I made it!

Summit and altitude marker mounted in the granite.

Standing on the summit of Longs Peak. September 14th, 2012.

One of the Brits. Resting on The Ledges on the descent. It’s a long ways down on the left.

Looking down into The Boulderfield from near The Keyhole on the descent.

Brought home the decal. Maggie, at The Frameworks in Galesburg, did her magic and made it art.









"Longs Peak, 2010. Failure"

Thurs: 8/19
LV:RMNP
AR: RMNP 43 miles

Longs Peak Day.

It began to sprinkle at some point in the night. By 11:45 p.m. it was steady and lasted 45 minutes or so. I laid awake and wondered how this would affect the day. Should I use the weather as an excuse not to go?

Of course not! I had been sleeping light from anticipation. Even after setting the alarm set for 2 a.m., I was up at 1:51 and started to roll.

Everything had been packed and prepared earlier. Including my clothes, etc. I was up and out of the campground (Glacier Basin) within 15 minutes, trying as quietly as possible not to disturb my neighbors as I left. Out of the park, through Estes, and the nine miles to the Longs Peak area.

Parking lot busy with cars and people, but I found a spot. The motorcycle doesn’t take as much room. I registered and began walking at 3:07 a.m. Jacked up and ready to go, combined with the fact that it was still dark, I started at a pace that proved way too much.

From the get-go, the trail is very steep. The trailhead is at 9,382 feet. When Marcy’s ex-husband told me it was “uphill all the way,” he wasn’t kidding. There were very few level areas going up. And most of them were only for a few feet. Half, or three quarters of a mile into it, I considered giving up. I was breathing fire and gasping for air. This was not helped by the fact that a light cold had pretty much clogged my nose, making for less breathing capacity.

Early on, I stopped at least twice. I was passed by a few but slowed down and soon hit a stride. The “buzz” they say hits marathon runners took over and I was feeling better, but working just as hard.

As we climbed, the little hiking head lamps that wrap around one’s head, held by a strap, could be seen. I was wearing one. Everyone was at this hour. Looking back down the trail they looked like the torches carried by the posse as they chased Butch and Sundance. When I looked up and ahead, they twinkled like little stars. Seeing this provided a grim confirmation of high the trail was, and how far I had yet to climb.

The trail isn’t in the treeline long. I passed through Goblins Forest, aptly named for the gnarly, exposed roots of many pines and firs. After that, it’s pretty much all granite. The trail is steep, with some wooden fence posts embedded in the trail. They were steps of sorts. But primarily used to prevent erosion. It’s rocky and it’s hard!

By 5:35 a.m. I switched off my headlamp and wore it like a collar. It was so sweat soaked it it had been slipping down my forehead anyway, but I didn’t want to stop and adjust the band. I was wearing my new hiking pants, Royal Robbins. They are super light, dry quickly, and are “convertible” (can be made into shorts). I wore a quick dry short-sleeved shirt, and a flannel shirt over that. The Camelbak, also new, was awesome, as I could drink while walking. My rain suit, hooked to the CamelBak, swung free, annoying and distracting.

Miles of switchbacks and elevation gain lead to The Boulderfield. The first real “test.” It lives up to it’s name. Huge rocks early on, then huge boulders later, scattered across a basin. Massive rock walls to the left and ahead. The view coming up, then looking back, was awe-inspiring. Especially at dawn and sunrise. I could see where I’d come from. The cities (Greeley, Loveland, and Boulder) around us were visible, along with the forest and lakes below. Now it was boulders. Lots and lots, and lots of rocks. It was getting more windy and cold. My hands and fingers were swollen from all the pumping blood. I couldn’t close them into a fist.

I don’t know the distance across The Boulderfield to The Keyhole. Maybe 3/4 of a mile. You can clearly see The Keyhole, but the elevation begins to really take a toll here. Combined with the fact there is no more trail to speak of. Early on, there is some semblance of a trail, but it quickly fades and walking becomes a real challenge. I was literally stepping and scrambling from rock to rock, choosing each step. Trying to be safe, yet “easy” at the same time.

I passed The Boulderfield campsite where some stop to spend the night to acclimate to the altitude before making the final push the next day. The campsite is nothing more than a waist high circle of rocks, maybe eight feet in diameter, to break the wind. Metal boxes are near, provided for garbage. No need for “bear boxes” for food storage. No bears at this altitude.

You’re near The Keyhole at this point. But oh so far away. The boulders are huge. There are times you’re not only stepping, you are having to use your hands to lift and pull yourself to the next one. I’d been told some of the boulders are “As big as a Volkswagen Beetle.” It’s true.

“You do NOT want to be on that boulderfield in the rain,” my nephew’s wife’s words rang in my ears as it began to drizzle. She was right. They would be extremely hazardous and slick. Like trying to walk on marbles. A broken leg or arm, a busted cranium.

People were talking about the weather. It was a concern. I heard someone say that the chance of rain had been bumped from 40% to 60%. Being unplugged from the news, I didn’t know or care. Yesterday had been beautiful, but I wanted to make sure my legs and feet were up to the task so I rested. Would it rain or not? How much? When? Would there be lightning? Shelter was miles below us.

Those that were ahead of me, and there were many, must have gone on to try and summit. But the majority of the people I’d been around, all but two or three, decided The Keyhole would be it. No further. Gray clouds were rolling by just above us so fast, they looked like sped up in time lapse photography. Seriously.

I could see The Keyhole and the tiny little shelter (Agnes Vaille Memorial Shelter) to the left. Did I really need to climb another 100 steep feet of boulders to actually BE at The Keyhole? Absolutely! I wanted to be able to say I’d made it that far. It was climb a step, rest 30 seconds. Climb a step, rest 30 seconds.

I made it. The view down the other side (West) was stunning, even in the gray. I had hiked and climbed 6.2 miles and gained 3,800 feet in elevation to this point. As I sat perched in They Keyhole, I was at 13,200 feet. There with a half dozen others, looking thousands of feet down, in a fierce wind. It was pretty cold with the wind chill. I felt some uneasiness.

From where I was at, and what I could see ahead, was enough for me. Viewing The Ledges (the next section), there is no trail at all. Just “bullseyes,” spray painted on the rocks to mark the route.

I forgot to check my watch when I got to The Keyhole. I crowded into that tiny shelter with four or five others after spending no more than 5-10 minutes at The Keyhole, then climbing down 15 feet or so to the shelter. It was 9:10 a.m. Colorado time, I think. So I would have made The Keyhole around 8:50. My math is fuzzy. Had I used Colorado time or Illinois time? My watch was set for Illinois. Had it taken me 5:45 to get there? or 4:45?

I spent 10-15 minutes in the shelter, out of the wind, eating beef jerky and drinking water, still mulling over if I should try to move on. I would not. The last 1.5 miles to the summit is exposed and a lot more dangerous. The wind was horrible. If those ledges got slick from the rain…”People die up there,” I’d been told by more than one. It can take 2-3 hours to do the last 1.5 miles. Then you have to have the energy to get down.

We started back down. The Boulderfield was just as difficult. On a positive note, I hadn’t felt nauseous, nor had a headache from the altitude. Now my heart would get a rest and I’d no longer breath fire. My feet, knees, and hips would take the beating now.

It got easier after leaving The Boulderfield, but it was still a tough trail. Seeing what I’d done by the light of day made me see what I’d done. Heck. If I’d seen what was ahead of me by the light of day I may never have started. It was slow going down. I visited with folks, took a photo or two, saw a rainbow, stopped for water, but only in the last mile or so did I stop to pee. All that water had been needed for body fuel.

Near the very end, I stopped and chatted with a 69 year old man, headed up to camp at The Boulderfield. This was to be his 7th summit. I felt bad, but not failure. Not like Angel’s Landing at Zion National Park where I flat chickened out. But I hadn’t gotten the true test today. The hardest part of the climb to the top of Longs Peak, that would have tested my mental toughness. Would FEAR have stopped me?

It was 12:30 p.m., Colorado time when I hit the parking lot. Nine hours and 25 minutes (I think), bottom to The Keyhole, and back. My legs felt as if they’d fall off. I was beat. I can’t think of anything I’ve done in my life that was more physically demanding. I stopped in Estes Park to call my friend Jim to let him know I was down and safe.

I came back to camp and headed straight to the tent for a nap. The rain finally came. At least down here. Longs has it own weather system. I awoke, got outside for awhile, and went back inside for a second nap. And so went the rest of the afternoon, into the evening, went. I returned a compass and whistle that Bob and Sue from Medford, Oregon, had loaned me for the hike. Thankfully, they weren’t needed.

I ate more trail food and drank water for dinner. I went to another ranger program. I was back at the tent and in the sleeping bag by 9:30 and had another good night of sleep. The sleeping has been quiet and peaceful all week. And just the right temperature.

So. I didn’t summit the peak but had a great day. There was success in my failure.

On the trail at night.

Sunrise.

Onward and upward.

Navigating The Boulderfield.

The Keyhole.

The Agnes Vaille shelter, just below The Keyhole.

Looking back at The Boulderfield from near The Keyhole.

People who were at The Keyhole when I was.

Right at the notch of The Keyhole.

Seen on the descent.

Goblins Forest on my descent.

Bob and Sue from Medford, OR. They loaned me a compass and whistle.







"Longs Peak, Prequel"

Hey! Wanna climb a mountain with me? Read on!

Mountains. I love them.

A 1964 family vacation to Colorado was the first time I was old enough to appreciate the mountains for their beauty. Being near granite, smelling pines and firs. There’s not much better. It inspires the imagination. Think of what it took for those who settled West to make it through and over. The “cowboy culture.” has also been a life long interest. The Wild West era.

I’m not super religious. I have to report I don’t know the Bible well. Wasn’t raised as a churchgoer. But I do believe. I’m more spiritual. And when I’m in the mountains, I’m in church. I tried to explain this feeling to my friend Lee. “Kent, those mountains don’t hold the key to the meaning of life,” he told me. He didn’t convince me. I think they might. Wanna know how insignificant we are? Look up at the sky on a clear night. Get lost in the mountains. Eternity fascinates me. Those mountains have been there a long time. And they’ll be there a long time after I’m long gone.

I have a sense of adventure. The mountains are inviting. They call my name all the time. As a kid, I saw them from the back of the family station wagon. I wanted more. I don’t want to be near nature. I want to be IN it!

Artificial thrills don’t interest me at all. Skydiving, bungee jumping, that sort of thing. Zero allure. It’s nature. She’s beautiful but powerful. Respect her or she may kill you.

I read and daydreamed. There was a time I aspired big. To summit Mt. Everest. The tallest in the world at 29,032 feet. It boggles my mind to know there’s a mountain out there that isn’t all that far below the altitude commercial aircraft fly. The problem with Everest is that I don’t have 80K to burn on getting to the top. If I wanted to climb, I was going to have to “settle.”

Why climb a mountain? George Mallory was asked that question in 1923. “Because it’s there,” he replied. He died on Everest. Another great quote comes from Ernest Hemingway. “There are only three sports. Bullfighting, motor racing, and mountaineering. All the rest are merely games.”

Colorado is home to 58 peaks that are 14,000 feet or more in altitude. “14ers,” they’re called. One of the most popular is Longs Peak. It’s 14,259 feet and is located in Rocky Mountain National Park, just south of Estes Park off Route 7. It’s popular, and has a route that doesn’t require expensive technical gear. Because of this, its reputation, and location, It became my goal. I don’t remember how long, or how much thought, I put into the idea, but I was going to try at some point.

I was on Longs Peak twice. 2010 and 2012, with different outcomes. If you’re interested to read more, two blogs will follow this one between today and Sunday. Sunday the 14th is an “anniversary day” of one of the two times there. You’ll read accounts from each of those two years, the words lifted from my notebook journals. Most of the words come straight from my notes, with a minor correction or afterthoughts not scribbled down at the time.

A few details that will help you understand the blogs are as follows, in no particular order of importance.

1. Longs Peak is considered a Class 3. The Keyhole route (the one I used) does not necessarily require technical gear. Make no mistake. This is NOT a hike. It is a climb. Big elevation gain, lots of exposure to deadly drop offs, weather factors…64 people have died trying. An average of about two per year, according to my research. Longs is the most deadly of the Colorado “14ers.”
2. You’ll read the name, Marcy. She grew up down the street from me. Moved to Allenspark, Colorado in first grade or so. Now lives in Estes Park. She has made the summit of several “14ers,” and had offered me advice.
3. You’ll read about a CamelBak. This is a backpack with an enclosed bladder that holds a couple of liters of water. They are great!
4. I hiked alone both times. You may see “we,” you may see “I.” Longs is popular. 15,000 per year attempt it. With a 50% success rate, based on my research.
5. You may see present tense, you may see past tense. I’m all over the place when I journal out there. Usually in the tent or at a picnic table. I print because I’m trying to get my thoughts down so quickly that writing would be chicken scratching. Unreadable. If you travel and don’t journal and make photos, you’re doing yourself a huge disservice. Enjoy the trip. But one day your memory will fade.

Ready to roll? Meet me at the trailhead at 2 a.m. It’s going to be a long, hard day.

On the trail and in the dark in 2012