Cal Schenkel Closing (Theater and Galleries) Recommended

When: Mondays-Fridays. Continues through Aug. 20 2013

Growing up just one generation removed from the 60s, I've always had an odd relationship to that era—a connection to something that isn't there, like sensations in a phantom limb. The period was a formative influence in the lives of my parents and therefore had a transitive effect on the shape of my own. I grew up listening to my parents' music, watching their films, absorbing pieces of politics and culture forged in the crucible of a very different time. That time is a part of me—an important part, one that went a long way in determining the person I am today. But I can't reach back and touch it. My only connection to the 60s is to people who were alive then. My entire understanding of the time comes through them. When I walked into Firecat Projects to meet Cal Schenkel, I knew I was meeting someone special, someone important, someone who had very much been a part of the storied 60s as they exist in the psychedelic swirls of my imagination. Schenkel worked with some of the most central figures in the musical avant-garde—Frank Zappa, Captain Beefheart, Tom Waits—and created some of the most iconic images to come out of the time. It was Schenkel who assembled the odd assortment of images on the album covers of Zappa's Uncle Meat and Burnt Weeny Sandwich. It was Schenkel's idea to move an old piano into his living room and position a pensive Tom Waits in the perfect state of collapse for Closing Time. And it was Schenkel who ran to the market and returned with a carp, hollowing out the head and affixing it to the face of Captain Beefheart for the cover of Trout Mask Replica. Continue reading >>

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