Original Dead Men

[Larry White]

The town is hurrying right along.
The brick building came out rather nice, if I may say so myself.

Wonder how other clavers are fairing?......


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[Anthony Bennett]

Looking good Monsuer.

[Susan Banasky]

That looks like a pretty strong brick bank, that will keep all those bank robbers out.
Is that abalone in your windows? Effective idea.

[Larry White]

If I ever meet one of you Conclave waddies that
actually finishes his project piece after the meet,
I think I will shake his hand and give him a Daniel Webster cigar.

Yes, abalone windows.

[Larry White]

We don’t know those boys you are looking for........


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[Tony Segale]

They are weary gilders.

. . . Who worked him over with the ugly stick?

Those two on the end,

cut 'em out.

Do like I tell ya!

[Larry White]

I wasn't expecting any...present....

Got this little gem from one Mr. Benmont Tench.

He sure can scratch. Broke the mold after him.

Now it lies amongst my prized possesions.

-Aho!



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[Larry White]

Did up this little ditty for Machine on
Mental Health Day. Two tones of face
up acid embossing, followed by antique
silvering.


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[Kim Ross]

That's a mighty handsome unit. Makes me sorry I squandered my travelin' money gettin' my .50-95 shootin' iron squared away, I could have seen that rascal in person. I also missed dining with you guys...few people dine with as great a zeal as the Dead Men.

[Larry White]

You just keep on as you are, we'll be gettin' together soon enough.

By then, the sign will be hung, you can see it, personally.

We did do two sessions of Bill Blake's End of the Line ribs...
the best I have made, cooked all day, it is within reason that
they would be a tad better than good. I'll be fixin' them again,
next time you're in town....

Remember, sofkee always cooks up bigger than ya think.....

Aho!



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[Larry White]

The people at Dickinson Metalworks cordially invite you to the Grand Opening of,

The Esperanza Hotel



When it's time to build, BUILD! ....don't gild!



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[DAVE SMITH]

Very good Larry, man you put some work into these buildings.
Dave

[Larry White]

Recycled everything...old crates from the recycler make the walls,
old pallets covered with planks scrounged from a construction site,
windows, door, and roof tiles donated from Dead Men, hacked up
head boards I found in the alley, sign lettered on a an old wood tray
decor from who knows where...even an old Chevy's sombraro!

Ah....it's a turkey shoot.....


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[Tony Segale]

that your sombrero?

nice sombrero.

we'll take care of the business between you and me when we get to Rio Seco.

[Larry White]

Well, come on!

If yer COMIN'!!.....

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[Jerry Berg]

Another fine building and.... hey, is that Schofield's scalp I see?

[Kim Ross]

I believe that I was reading the paper the other day where a disgruntled patron gunned down innocent women and children in front of the Rio Seco Hotel...yes, I remember now...gunned them down like they was rattlesnakes or somethin'. Nasty business, that.

[Larry White]

Hey Jenco, the next time you come over for a wedge of beef,
I got a new place to grind....the lookout tower in Fort Harmon!



We'll be fine...as long as the cards don't blow away!

-Chief Billy!


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[Tony Segale]

You display great poise.

It's gonna be a beautiful fort, Harmon.

[Tony Segale]

We had a lively time....
at our little Coon Hunt (Dead Man 2011)

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[Larry White]

I seen some photos of this place a short time ago.....

Photos from Machine

We too, had lively times....

[Danny Baronian]

Are you guy's still here??

[Tony Segale]

who's all in there?

[Larry White]

Arial view of the shop being trashed by a bunch of Free Gilders....

TrashNshop.jpg (138.85 KiB) Viewed 35445 times

You're still doin' that?

YES

WE

ARE!


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[Larry White]

It's easy to find me....

I'm somewhere between the acid lounge and the glue pot!

BigDWG sign-Glue.jpg (98.92 KiB) Viewed 35428 times

I leave a trail wherever I go....

a trail of bright, shiny, gilded glass!

...once you've finished one...it's easy to start another.....



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[Larry White]

A Second Look: Jim Jarmusch's 'Dead Man'
Johnny Depp stars in the hallucinatory frontier odyssey, making its Blu-ray DVD debut.
August 07, 2011|By Dennis Lim, Special to the Los Angeles Times

It's often said that the journey is the oldest of narrative forms, and much of Jim Jarmusch's career has been devoted to finding new variations on this ancient theme. His filmography abounds with road trips and wanderlust-stricken heroes, from the hepcat drifter in his no-budget debut, "Permanent Vacation," to the enigmatic hit man on a mission through Spain in his latest, "The Limits of Control."

But no Jarmusch journey has been as cosmic — as much of a trip, in every sense of the word — as his hallucinatory frontier odyssey "Dead Man."

The film earned mixed reviews when it opened in 1996, nearly a year after its premiere at the Cannes Film Festival and after a reported wrangle over the final edit between Jarmusch and the distributor, Miramax. (The director always has insisted on final cut.) But its reputation has grown steadily in the years since. It ended up on many critics' lists of the best movies of the '90s and some now consider it Jarmusch's greatest achievement.

It makes its Blu-ray DVD debut this week through Echo Bridge, a company that signed on this year to distribute a chunk of the Miramax catalog.

Shot in richly modulated black-and-white by the cinematographer Robby Muller and featuring an improvised, feedback-heavy score by Neil Young, "Dead Man" is essentially one long death scene. A Cleveland accountant named William Blake (Johnny Depp) arrives at a town called Machine, an industrial hellhole at the end of the line, where he learns from a crazed factory owner (Robert Mitchum) that the job he had been promised no longer exists.

An encounter with a local girl that night leads to a shootout — the first of the film's many awkward and absurd spasms of violence — and Blake escapes into the wilderness, bounty hunters on his trail and a bullet in his chest.

The rest of the film is a journey toward death that Jarmusch juxtaposes with the violent birth pangs of a destructive society and the spiritual regeneration of a lost soul. The timid Blake, transformed into an outlaw and a killer, finds a traveling companion in a Native American outcast named Nobody (Gary Farmer), who believes him to be the visionary English poet (Blake himself has never heard of his namesake) and prepares him to pass through "the mirror of waters" and into the spirit world.

Jarmusch has long made a specialty of seeing the United States through the eyes of outsiders: immigrants and tourists whose perspectives grant a new window onto America. It's central to the politics of "Dead Man" that the designated role of the foreigner is filled by a Native American, a sardonic comment on the fate of the land's original people in both history and movie mythology.

Unlike his film predecessors — typically reduced to the savage Other in the traditional western or recast as a fount of New Age wisdom in the more sensitive updates — Nobody is a complex and fully drawn figure, one of Jarmusch's charismatic eccentrics but also a mouthpiece for the film's eloquent fury.

But "Dead Man" is not a didactic tract. The William Blake reference — as well as the one to the French poet Henri Michaux, who provides the opening epigraph ("It's preferable not to travel with a dead man") — are hardly gratuitous name drops.

With its numerous internal rhymes and its hypnotic, incantatory rhythms, it's a film that owes much to poetry in structure and syntax. Nobody quotes Blake frequently — lines like "The eagle never lost so much time as when he submitted to learn of the crow" could just as well be Indian sayings — and the film's doomsday visions and anti-industrial, anti-capitalist bent align with Blake's world view.

Countless pundits and scholars have seized on the western as the Hollywood genre most conducive to subtext and commentary, and this has proved true from Sam Peckinpah's Vietnam-era films to Kelly Reichardt's recent "Meek's Cutoff," which connects the doctrine of manifest destiny to foreign policy under George W. Bush.

"Dead Man" goes farther than just about any other neo-western in rethinking the rules of the game, from the depiction of violence to the portrayal of whites and Indians and even to the use of landscape, typically vast spaces of possibility but here filled with foreboding.

In Jarmusch's hauntingly beautiful yet stubbornly unromantic film the genre devoted to the celebration of westward expansion is turned inside out. The nominal subject of most westerns is the opening up of the West, but everyone in this movie finds the world closing in around them.

[Larry White]

This ain't "off topic"...checkout the signs as they go by....

My Daughter, Crystal made this video of pictures she took when we went on an adventure to the Salton Sea...

The Desert of Dreams


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[Tony Segale]

I want this out over the wires. Post a $500 reward from here to hellen back. Notify every gilder, letterer and glue-chippin' lowlife in the goddamn territory. Bring everybody in. I want that blue ray DVD. And make sure you include a personalized autograph of Crystal's video. I want that signature before she's famous!

[Larry White]

The identity of the hanged man has been discovered!















It's Jose Gomez!!


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[Larry White]

I have downloaded the image files from the recent
R&E catalog website link. I crunched them into
a jpg image and uploaded them to my website.
Click on each page below to view it. You can then
right click on the image and do a "save as" to save it
to your drive. They are fairly large. If you ever vectorize
any these, kick me down a copy!

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See, aren't you glad you look at the ODM post!

Keep your lovin' brother happy!

-Aho!


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