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What always struck me about Fred’s early black-and-white pictures is how verbal they feel, but not in the corny sense in which every picture tells a story. Fred saw the artists who helped define the time- Jack Kerouac and Bob Dylan-as poets scratching lyrics and stories out of the New York air. Those immigrant families cooled themselves on stoops in the summer as the Beat youths rushed the avenues in pursuit of another hootenanny, intent on getting everywhere fast, following sounds. with the immigrant families that raised their kids in the tenements near the Café Wha? and what not. It was a new world, filled with that era’s youth, all those cigarettes and tough attitudes that were out of step but somehow O.K.
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But that was long ago, before Manhattan started to heave at its center, as it struggled to contain many people and institutions that would have disturbed Fred, a wanderer who loved New York, but a New York based on creativity and freedom rather than commerce.įred covered everything, but he first became known for capturing the start of the Beat scene, in New York.
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His photographs showed a maze of streets and ideas snaking their way down to the Hudson River, or the East River, streets filled with so many stories that I still see in black-and-white because of his pictures, which also show stretches of unaccounted-for space, like some movie version of the West. Fred’s downtown had nothing to do with chain stores and corporate raiders and their spiritually and physically embalmed wives. I’d rather write about the work he would still be doing now if he were around, covering his territory, which is to say Manhattan, specifically downtown, which, if you squint, you can still see through his eyes. McDarrah-dubious because I don’t want him to be gone. It is a dubious honor to write about Fred W.