Absinthe Epiphanies -Brenda Knight's Adventures in Prague

Risks Worth Taking -Drinking Absinthe in Prague

A Tale of Two Pragues -A "Trip" to Middle Earth

I had the fortune of going to Prague for a literary festival a few years ago. As if that weren’t wonderful enough, I was accompanied by Laurence Ferlingetti and ruth weiss, two of the legendary poets who were also coming to Prague for the first time. We were enthralled with the city, and its undisturbed medieval beauty, despite some unfortunate Communist era architectural monstrosities in the suburbs. Also., we got to stay near the city gate on Templova Street in an apartment building that had been a Knights Templar stronghold a mere 800 years ago. Walking along the banks of the Charles River, it was like a dream. Get thee to Prague as soon as you can, it is a place of deep magic and will doubtless inspire you.

There seemed to be two Pragues, from what I could tell. One is the day-to-day Prague with citizens going about their business as they always have, intermixing with tourists and the many expats who (like I very nearly did) came to Prague to visit and simply never left. Then, there is the Prague by night, which has many discos and a glittery blend of Europeans and North American clubbers. Lit by candlelight and neon, this Prague takes on an otherworldly glow where pretty much anything is possible. For me, the most memorable public house of all is a bar whose name translates to “The Man With the Shot Out Eye,” a reference to Jan Hus. Our Beat contingent decided to visit on our last night in Prague and on this night the pivo (Czech for beer) and the absinthe was flowing. I was an “absinthe virgin” and everybody was guessing I would not be able to handle it. Perhaps it was the romance of this trip but I WAS able to handle the absinthe. I think.

That night, the bar was filled with mostly men, odds I was definitely appreciative of – Russians, Moravians, Slovenians, Slovakians, Czechs, Germans, Hungarians, Poles, Estonians. And, I’m sure it was NOT the absinthe, but they were the most interesting looking men, mostly with long hair and dark clothes, in short – pretty darn Goth. At one point, after my third glass of absinthe, all the colors in the room got just a little bit brighter and suffused with a sort of electric glow. I was talking to a particularly amiable young man with long blonde hair and he was explaining the wonders of the Eastern Bloc to me and I had a perceptual shift. It was right after that I had what I call my absinthe epiphany, in which I realized that J.R.R. Tolkien’s Riders of Rohan were the Slovakians, and that all of the peoples of his middle earth (minus the Hobbits) were right here in the bar with me. I was thunderstruck and so overcome with excitements at my sudden understanding of Tolkien’s Lord of the Rings, which I tried to explain it to all of my new friends. They heartily agreed; my new Slovakian friend insisted I was correct and he was a Rohirrin warrior and we swept out into the streets to take Prague by storm. The next day, a bit headachy and sad to be leaving my new second home, I realized that I had a minor absinthe-induced hallucination. When the first of the Lord of the Rings movies came out in 2002, I was pleased to see that the casting director apparently saw Middle Earth the way I do.

Risk Assessment: Even though I enjoy an excellent glass of wine more than most, I was scared to drink absinthe, associating it with madness and murder, the reasons it was outlawed. It took lots of cajoling by my Czech mates to get me to drink it. I am convinced they wanted to see a blonde American girl be repulsed by the harshness. I think they were just as surprised as I was to see that I not only enjoyed the "green fairy" drink but had a truly memorable experience. I'll never forget that night in the ancient city and taking the risk of daring to drink absinthe in the company of strangers as a favorite traveling memory!

A Best Mind of the Beat Generation: Fred McDarrah by Brenda Knight

I was taken aback when I read Fred's obit in The New York Times. He always seemed more alive then anyone else. Back when I was researching for my Beat book, I didn't really know what I was doing and I would just call people. (this was 94, 95, and 96, PreGoogle, if you can imagine researching in the way back machine) So, one of the people I called was Fred McDarrah as I knew his work and loved his photographs. He seemed to be always at the right place at the right time and has photos of Jack Kerouac, Bob Dylan, Allen Ginsberg, and his rent-a-Beatnik pal Ted Joans to name just a few. I really enjoyed talking to him, now THAT was a New Yorker -his accent, I dearly loved. He had amazing stories and was a real guiding light and kept me on the right track in many ways. He had the killer instincts of an investigative reporter and ace journalist and that is how he should be remembered. Fred, you made your mark and it was big one, to be sure.Below is his obit and tribute from Tom RobbinsFred W. McDarrah, 1926-2007by Tom RobbinsNovember 6th, 2007 10:57 AMFred W. McDarrah, April 1978photo: Janie EisenbergRemembering Fred W. McDarrah (1926-2007) The Voice work of the photographer, from Bob Dylan to Andy Warhol to Rudy GiulianiVeteran Village Voice photographer Fred W. McDarrah died in his sleep at home in Greenwich Village early Tuesday morning. He was 81.Over a 50-year span, McDarrah documented the rise of the Beat Generation, the city’s postmodern art movement, its off-off-Broadway actors, troubadours, politicians, agitators and social protests.Fred captured Jack Kerouac frolicking with women at a New Year’s bash in 1958, Andy Warhol adjusting a movie-camera lens in his silver-covered factory, and Bob Dylan offering a salute of recognition outside Sheridan Square near the Voice’s old office.Not just a social chronicler, McDarrah was a great photo-journalist. He photographed the still-smoldering ruins of the Weather Underground bomb factory on W. 12th Street. His unerring eye for gesture and detail caught lawyer Roy Cohn whispering what appeared to be tough orders in the ear of a young Donald Trump.For years, McDarrah was the Voice's only photographer and, for decades, he ran the Voice’s photo department, where he helped train dozens of young photographers, including James Hamilton, Sylvia Plachy, Robin Holland and Marc Asnin. His mailbox was simply marked "McPhoto."An exhibit of McDarrah’s photos of artists presented last year by the Steven Kasher Gallery in Chelsea was hailed by The New York Times as “a visual encyclopedia of the era’s cultural scene.” It included candid shots of Janis Joplin, artist Jasper Johns, and avant-garde artist Charlotte Moorman.Wayne Barrett Remembers McDarrahIn the days when politicians routinely let reporters and photographers inside their fundraising extravaganzas, Fred McDarrah never missed a fat cat with a fork or a knife in his hand. He got his camera right under their double chins. If they waved him away in anger, he took an extra shot. He circled the world of New York politics with me for two decades, responding to every brusque rejection with an irresistible charm and a grin wider than his lens. It wasn't just that Fred loved to photo the New York predator class and their political prey, he understood who they were and what they wanted. He collected names and public price tags as well as pictures. I remember standing with him in the rain outside Studio 54 for the birthday party of that infamous fixer Roy Cohn as we rushed toward every opening limo door, squeezing the story out of the street. I remember stakeouts that dragged on for hours and his edgy exuberance, a kid-like quality he carried with his camera into his 70s. Fred loved his town and his craft and his era and his family, and he has left a legacy of prints unparalleled in our time.J. Hoberman Remembers McDarrahLike anyone who ever looked at the Village Voice during the ‘60s, I was familiar with Fred McDarrah's world—long before I met him. Fred spent that decade (and three more) documenting the city’s be-ins, demonstrations, peace marches, happenings, free concerts, coffee-house readings, loft performances, jazz bars, and underground movie emporia, not to mention the flotsam and jetsam of Sheridan Square, Bleecker Street, Avenue C, St Marks Place, and the Bowery. He was a real newspaper guy and a genuine historian of his times. His street and studio portraits of downtown artists, avant-garde luminaries, local pols and boho celebs were often definitive.Fred was a feisty, wiry Son of Brooklyn who knew how to get to the front of a crowd, hold onto his light, and make the most of any given situation. In 1960, he invented a sort of human catering service called Rent-a-Beatnik. Did I say he was feisty? Fred wrote irate letters to the Voice editor both before and after he became the paper’s staff photographer. (A proud populist, he always took regular issue with film critic Andrew Sarris’s annual ten best lists.) Fred was free with friendly counsel and fiercely protective of his work, as I learned when I, as Village Voice greenhorn, I asked him on behalf of an avant-garde filmmaker friend, if she could use one of his best known photographs in her movie. Fred lost his smile and gave me an earful. (I considered it career advice.) And he was right, the work he furnished the Voice for pennies was only going to grow more valuable. Fred may have been a terrific journalist but, as he’d have been the first to tell you, he wasn’t a hippie.

One of the Best Minds of the Beat Generation: Fred McDarrah

I was taken aback when I read Fred's obit in The New York Times. He always seemed more alive then anyone else. Back when I was researching for my Beat book, I didn't really know what I was doing and I would just call people. (this was 94, 95, and 96, PreGoogle, if you can imagine researching in the way back machine) So, one of the people I called was Fred McDarrah as I knew his work and loved his photographs. He seemed to be always at the right place at the right time and has photos of Jack Kerouac, Bob Dylan, Allen Ginsberg, and his rent-a-Beatnik pal Ted Joans to name just a few. I really enjoyed talking to him, now THAT was a New Yorker -his accent, I dearly loved. He had amazing stories and was a real guiding light and kept me on the right track in many ways. He had the killer instincts of an investigative reporter and ace journalist and that is how he should be remembered. Fred, you made your mark and it was big one, to be sure.

Below is his obit and tribute from Tom Robbins



Fred W. McDarrah, 1926-2007
by Tom Robbins
November 6th, 2007 10:57 AM
Fred W. McDarrah, April 1978photo: Janie Eisenberg
Remembering Fred W. McDarrah (1926-2007) The Voice work of the photographer, from Bob Dylan to Andy Warhol to Rudy Giuliani

Veteran Village Voice photographer Fred W. McDarrah died in his sleep at home in Greenwich Village early Tuesday morning. He was 81.
Over a 50-year span, McDarrah documented the rise of the Beat Generation, the city’s postmodern art movement, its off-off-Broadway actors, troubadours, politicians, agitators and social protests.
Fred captured Jack Kerouac frolicking with women at a New Year’s bash in 1958, Andy Warhol adjusting a movie-camera lens in his silver-covered factory, and Bob Dylan offering a salute of recognition outside Sheridan Square near the Voice’s old office.
Not just a social chronicler, McDarrah was a great photo-journalist. He photographed the still-smoldering ruins of the Weather Underground bomb factory on W. 12th Street. His unerring eye for gesture and detail caught lawyer Roy Cohn whispering what appeared to be tough orders in the ear of a young Donald Trump.
For years, McDarrah was the Voice's only photographer and, for decades, he ran the Voice’s photo department, where he helped train dozens of young photographers, including James Hamilton, Sylvia Plachy, Robin Holland and Marc Asnin. His mailbox was simply marked "McPhoto."
An exhibit of McDarrah’s photos of artists presented last year by the Steven Kasher Gallery in Chelsea was hailed by The New York Times as “a visual encyclopedia of the era’s cultural scene.” It included candid shots of Janis Joplin, artist Jasper Johns, and avant-garde artist Charlotte Moorman.
Wayne Barrett Remembers McDarrah
In the days when politicians routinely let reporters and photographers inside their fundraising extravaganzas, Fred McDarrah never missed a fat cat with a fork or a knife in his hand. He got his camera right under their double chins. If they waved him away in anger, he took an extra shot. He circled the world of New York politics with me for two decades, responding to every brusque rejection with an irresistible charm and a grin wider than his lens. It wasn't just that Fred loved to photo the New York predator class and their political prey, he understood who they were and what they wanted. He collected names and public price tags as well as pictures. I remember standing with him in the rain outside Studio 54 for the birthday party of that infamous fixer Roy Cohn as we rushed toward every opening limo door, squeezing the story out of the street. I remember stakeouts that dragged on for hours and his edgy exuberance, a kid-like quality he carried with his camera into his 70s. Fred loved his town and his craft and his era and his family, and he has left a legacy of prints unparalleled in our time.
J. Hoberman Remembers McDarrah
Like anyone who ever looked at the Village Voice during the ‘60s, I was familiar with Fred McDarrah's world—long before I met him. Fred spent that decade (and three more) documenting the city’s be-ins, demonstrations, peace marches, happenings, free concerts, coffee-house readings, loft performances, jazz bars, and underground movie emporia, not to mention the flotsam and jetsam of Sheridan Square, Bleecker Street, Avenue C, St Marks Place, and the Bowery. He was a real newspaper guy and a genuine historian of his times. His street and studio portraits of downtown artists, avant-garde luminaries, local pols and boho celebs were often definitive.
Fred was a feisty, wiry Son of Brooklyn who knew how to get to the front of a crowd, hold onto his light, and make the most of any given situation. In 1960, he invented a sort of human catering service called Rent-a-Beatnik. Did I say he was feisty? Fred wrote irate letters to the Voice editor both before and after he became the paper’s staff photographer. (A proud populist, he always took regular issue with film critic Andrew Sarris’s annual ten best lists.) Fred was free with friendly counsel and fiercely protective of his work, as I learned when I, as Village Voice greenhorn, I asked him on behalf of an avant-garde filmmaker friend, if she could use one of his best known photographs in her movie. Fred lost his smile and gave me an earful. (I considered it career advice.) And he was right, the work he furnished the Voice for pennies was only going to grow more valuable. Fred may have been a terrific journalist but, as he’d have been the first to tell you, he wasn’t a hippie.


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