We couldn’t help thinking, as we got to the corner of 14th and U, that the street fair preceding it and the route to be taken by the D.C. Funk Parade was exactly where, in 1968, the riots that gutted Washington’s interior all began. Even as our nearby neighbor Baltimore was bracing for more disturbances in the wake of Freddie Gray’s murder by police, D.C. was fixing to throw a party, a parade.
14th and U: exactly the street corner where, on the Thursday night in April 1968 when word of Dr. Martin Luther King’s assassination reached the streets, the Nation’s Capital began to burn, with key commercial corridors — the heart of Black D.C. in particular — not recovering for thirty or more years.
That the Funk Parade would travel from the Howard Theater at one end of U Street, to the Lincoln Theater at the other end, made sense symbolically. Washington is far from a perfect city. If you created a histogram of its population, you would still see the zone to the left completely black and the zone to the right completely white. But especially along this commercial entertainment zone, so filled with history from the Duke Ellington era to the time that began, for some of us, when the 930 Club moved nearby and rock bands began playing in a neighborhood white kids might previously have feared to tread, D.C. has become a city where whites and blacks mix more freely than most others in the U.S.
And so the D.C. Funk Parade was preceded by a street fair in the U Street Corridor, as it is called, with every alley booming with music.
Kids were there with parents, old folks mixed with the young, and for a few hours, the city shined.
We could not help thinking also about how history was everywhere around us, and the hero of the past might now loom with irony in the present.
But as the parade time came closer, this was a city ready to get its funk on.
People were out in their celebration finery.
And the parade itself — which for some weird reason had been forced to go along a different path last year, until this year a Change.org petition and a new mayor restored it to its rightful route — was finally almost here.
The streets filled and people took their places, even as clouds gathered behind us.
Until finally the Funk Parade arrived, and it was a joyous event.
Everyone clamored to see it. And we were again left reflecting on what a remarkable city our home of more than 30 years really is, its problems notwithstanding. What was destroyed by civil disturbances 47 years ago has in many ways come back, with a changed, multiracial population. The very streets that were destroyed by rioting — 14th Street, the U Street Corridor, 7th Street, the H Street Corridor — being the places that today have been restored as the most vibrant sections of a city that is livelier than ever. It made us hope that nearby Baltimore can have the same rejuvenation, but in much, much less time.
We know there is much to think of, to reflect on, if the progress that D.C. has made is to continue in the future. All images Leica M (typ-240) and 35mm Summilux.
Archive for the Uncategorized Category
Reflections On The D.C. Funk Parade
Posted in Uncategorized with tags D.C. Funk Parade, Leica 35mm Summilux FLE, Leica M-240, Nation's Capital, Washington on May 3, 2015 by johnbuckley100Haunted
Posted in Uncategorized with tags 35mm Summilux Asph FLE, Ben's Chili Bowl, Bill Cosby, Leica M on May 3, 2015 by johnbuckley100Dale Yudelman’s Very Serious Humor
Posted in Uncategorized with tags Dale Yudelman, South Africa, Street Photography on April 22, 2015 by johnbuckley100
Dale Yudelman is an award-winning South African photographer who has the instincts of a comic novelist able to tell a serious story while playing to your sense of humor. Like Rian Malan and other artists of his generation, he left South Africa when it was intolerable and returned when the country embarked on its democratic path. Since the mid-1990s, several of his projects have gained an international audience, but it is long past time that he be recognized as one of the foremost street and social documentary photographers on the planet.

The artistic stakes are high in a country with as poignant a history as South Africa, but even when Yudelman is funny — funny like Elliott Erwitt is funny — he never hides behind irony. He’ll show things as they are — see on his website, under the project called “Reality Bytes,” the man who’s crashed his car and been projected through his windshield, though the little girl in the foreground seems more amazed that a photographer is taking a picture than she is at the accident itself.
He’ll show the country as it is:

Even as he also captures his Cape Town environment at its most romantic:

Fortunately for some high school students in Cleveland, he was in the States last autumn teaching photography — a white South African in post-Ferguson America, living in Cleveland when a 12-year old black boy could be shot by police while playing with a toy gun. Welcome to America. He calls the resulting project “Knocking On Cleveland’s Door,” and you should go see it: here.
To our knowledge, there are no books by Yudelman in print in the States. But there should be. The only book of his work that we can find, Life Under Democracy, is selling used on Amazon for $1000. A steep price for an introduction to a photographer’s work. A bargain, though, when you realize he is a contemporary master worthy of joining the canon.

To see more of Dale Yudelman’s work, go here.
Wait, You Think The Tulip Frenzy Is This Weekend…
Posted in Uncategorized with tags 28mm Summicron, Cherry Blossom Time, Leica M, The Tulip Frenzy, Tulip Frenzy on April 17, 2015 by johnbuckley100Wire, Last Of The Class Of ’77 British Punk Bands, Returns Anew With A Gorgeous Album
Posted in Uncategorized with tags "Pink Flag", Bruce Gilbert, Colin Newman, Wire on April 17, 2015 by johnbuckley100Next year, when Wire celebrates its 40th birthday as a working band, only they and the Fleshtones may be entitled to lay claim to having played CBGB in its prime and still be intact. Yes, guitarist and guiding spirit Bruce Gilbert left in 2003, but the core of Colin Newman, Robert (Gotobed) Grey, and Graham Lewis have just released their 14th album, the eponymous Wire. It should be no surprise to readers of Tulip Frenzy that it is melodically beautiful, occasionally thrilling, and completely worthwhile. We still haven’t listened to the new Calexico, because Wire is the only band we can listen to this week, on our iPad, in the car, at home before the computer.
Forget the Halley’s Comet reunions of the Buzzcocks and Sex Pistols, and even that ephemeral episode where Magazine thrillingly came back from the dead. Of the British bands who set our ears on fire in the late ’70s, it is only Wire that we have been able to rely on, at least since they reformed in the mid-’80s following their having been dropped by EMI upon the release of their third album, and masterpiece, 154. That album was the most fascinating document of a fascinating era: Wire’s three-chord rhumba having given way to gorgeous Eno-inflected experimentation all within the construct of pop songs, on an album that symbolically closed the punk era they’d helped create by being titled with the address of New York’s preeminent disco.
Since Gilbert left in the early Aughts, his replacement, Matthew Simms, plays with, not against the grain, and sure, something is lost in the process, same as the way Pere Ubu was never the same without Tom Herman, the Stones without Mick Taylor. But on three successive albums, particularly 2011’s Red Barked Tree, and 2013’s Change Becomes Us, the band has touched past glories and updated the story. With Wire, the foursome consolidate much of their gains in an upbeat, occasionally beautiful record that is more than a reminder of what has been.
Colin Newman has always been a schizophrenic vocalist as comfortable playing the Cockney punk as the pretty-voiced pop singer. On the new one, it’s really all the latter, a series of songs for adults to listen to on a late-night car ride when they want to stay awake and engaged but not on edge. We might not rave about it the way we did Change Becomes Us, but we welcome it, and Wire, as old friends, here for the long haul.
People Taking Pictures Of Themselves Taking Pictures Of People Taking Pictures
Posted in Uncategorized with tags 28mm Summicron, 50mm APO-Summicron-ASPH, Cherry Blossom Time, Leica M on April 13, 2015 by johnbuckley100All pictures taken by the Leica M and either the 28mm Summicron or 50mm APO-Summicron-Asph.
Since the advent of the iPhone, the Tidal Basin at Cherry Blossom time has taken on a frenzied atmosphere, as crowds press in to have their pictures taken, by others or themselves.
Even when beauties show up for their portraits, it’s hard to believe their friends can get a clean shot without several smartphones in the foreground.
Oh sure, there are faces that can be isolated from the crowd.
And sometimes it’s fun to see people posing amidst the blossom frenzy.
But the advent of Selfie Sticks is a pretty horrifying development, and if you note, even the toddler seems to be taking a selfie.
And then it seems the only way to stand out and have a memorable image taken is to mug for the camera — your own camera.
But as you can tell, it was a lovely night, and after a long winter and a late bloom, the blossoms this year are truly awesome.












