








a gallery opening, walk right in, get a strong vodka & cranberry for free- tip the bartender of course- view some art, take in a scene, find yourself looking into a barbershop (is it a haircut if no one is there to watch it?), talk to a producer of childrens' television, exit, slightly buzzed, then pass a dozen lighting places- all dark of course, notice several windows
made up of fish tanks, or rows upon rows of smoked chickens, of red
pieces of roast pork, mystery meats all hanging from hooks, buy a
dinner’s worth of incredible seafood noodle soup with a curry broth for $7, pass a prison, then another mission, then cross one of the most famous streets in the world, look up & see a Gothic skyscraper, see a Dan Flavin neon sculpture, pass a $25 million home, then nearly step on a rat the size of a cat, see the Ghostbusters firehouse, then the building where JFK Jr. used to live, pass Harvey Keitel, then a cement mixer next to a Mercedes next to a backhoe, then see two lovers sharing a kiss where a homeless guy used to live, then finally climb my steps, slightly frozen, to reflect upon life in NY, my journey, and of course, enjoy my dinner, while watching The Office.
To mark the closing of the X Initiative gallery in Chelsea, they opened the doors for 24 hours and invited anybody- which of course includes yours truly- to exhibit pretty much anything you could drag over there.I made a print of an image from my nightlife series, and placed in an "appropriate" location.

All around were installations of paintings, drawings, photography, sculptures, videos, sound recordings, conceptual pieces, interactive pieces, happenings, and the occasional small child or dog. These were hung, taped, nailed, screwed, glued, wired, push pinned, constructed, placed, poured, painted, drawn, silk screened, printed, and otherwise attached or put all around two floors of the gigantic X Initiative building….
I only wish there were more galleries/shows like this where there were no rules, no curation, no limits, no arbiters of good or bad taste, just every kind of “art”- and lots of it!
apparently I should have been. Trying to get out of Manhattan via the Williamsburg Bridge was not happening, so after an hour on Delancy, I took some empty back streets to the Brooklyn Bridge, which was open.
Once I got out of the city, the roads were passable, and I was able to make I to my shoot on Long Island only slightly late. I can’t show the images until after they have run, but look at the March 2010 issue of Consumer Reports to see what I did.
Just got back from a week out in San Francisco. While I was out there, I had a bunch of appointments at some ad agencies- I met with: Debbie Mobley at Venables, Bell & Partners, Suzee Barrabee at Goodby, Silverstein & Partners, Jen Hall at Anderson DDB, Kelly Steblay at BBDO West, Kevin Stokes at Kane and Finkel Healthcare, as well as some folks at some top notch design firms: Robin Raj, Steve Fong, Kristin and the gang at Citizen Group and Jon Schleuning, Gloria Hiek, An Luc and Rob Duncan over at Studio Hinrichs. Thank you to everyone for sharing your time with me.Ate some great lunches at Henry’s Hunan, referred by my buddy, super DP Andy Lilien. He recommended Marty's Special- a dish made with chicken, bamboo shoots, onions carrots, bell peppers, house made smoked ham, all mixed with a hot red peppers- smoky, salty, delicious, but not for the faint of heart. Another signature dish is Diana's Special Meat Pie, described as “Deep-fried flour cakes filled with meat sauce, Parmesan cheese, vegetables, onions and condiments (with or without hot sauce)”- like China meets Mexico in SF. Not sure why good Hunan is so hard to find here in NY, where Szechwan seems to have taken hold as the premier spicy Chinese cuisine.

I also spent some time wandering through SF’s Chinatown, taking 
pictures, and had a sort of déjà vu moment when I realized I had walked the same area shooting some pictures almost 20 years earlier. What was interesting to me, upon reflection, was not just how much things had or hadn’t changed, but how much I had changed. Instead of looking at the scene, and shooting it from a distance, I now go right into the scene, and shot using a wider lens, making myself a part of the action. The other thing is back then it was a manual focus Nikon F3, shooting Kodachrome 64, and of course I couldn’t see what I had shot for days until I sent the film out to Fair Lawn NJ.

As for reworking some of rock iconic songs using a choir, you may hate it, you may love it, but you have to give credit to Davies that at 66, he is still experimenting, still breaking new barriers in music- oh, and rocking like a kid a third of his age!
...and welcome to it!