Tuesday
Sep012009

Feature: Catching Out

Published September 2009 Vol. 13 Issue 8

by Karolyn Tregembo
photography by Bill Ross

The city seems filled with vagrant kids, lounging on street corners, in parks, under bridges. I pass them on the bike trails and perched in front of the coffee house. Sometimes they ask for a dime or a bite to eat and sometimes I oblige. Some are just passing through, looking for a place to crash for the night. Others are faces I recognize and some I know.

Pony Boy sits on the sidewalk, playing his guitar, as much for his own enjoyment as for the passersby. At 17 years old, he is tall and baby faced, wearing a flannel and a mischievous grin. He is playing for enough change to get some coffee and maybe a sandwich. We have talked before, about how he never quite felt as though he fit in at home or school. As early as age 11 he found solace at punk shows and hanging out with like minds in coffee houses and the warehouse district. He says he has a place to stay right now, but finding a job is hard when you are young and don’t conform to social norms.

He likes to get out of the city sometimes and with no money in his pockets this is accomplished by jumping into an open boxcar. I am curious about the boxcar and he explains that he doesn’t really want to talk about hopping trains; he isn’t an expert and doesn’t want to give that impression. “There is a difference between living on the rails and catching a ride once in a while,” he says.

His friend, Banjo Fred, agrees, “I am still young and not yet fully experienced in the ways of the road, I have no right to pretend otherwise.” At 19, Fred is already a wanderer. He is good looking, quick-witted, and wise beyond his years. He tells me that he finds comfort and adventure in his travels, in going new places. I ask about a place to live, a job, possibly going to school. “There are things that get in the way of living frivolously, like sense and reason, both of which I cannot stand,” he says.

Huck Finn and Peter Pan with a modern twist. These two even hop trains. What could be more adventurous than jumping on a 2,000-ton piece of moving steel, heart pounding as it lurches and builds speed until it is carrying you at 60 miles per hour through vast, still undeveloped land. There is an obvious lack of sense and reason in stealing through dark train yards and thick brush beneath bridges to find the perfect spot to “catch out” (a term widely used to describe the act of catching a ride on a freight train). The excitement is in the unknown, in the anticipation of what lies ahead and often, in the very trains themselves.

A youthful desire for adventure and hopping trains isn’t anything new. At the height of the Depression 250,000 teenagers were wandering across America, a large number riding the rails in the hopes of finding money, food and shelter. Train hopping is reminiscent of a time when the economic upheaval of the Great Depression and the dust bowls of the Midwest left hundreds of thousands of people out of work and homeless. A time when the railways were filled with men, women and children riding box cars across the country.

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Tuesday
Sep012009

Personal Profile: Grand Transit

Published September 2009 Vol. 13 Issue 8

Route 9

by Quinten Collier
Illustrations by Ross Evertson

Behind the rehab clinic and directly across the street from the work release compound, right on the dividing line between “Historic” Downtown Grand Junction with its fortress-like courthouses, octogenarian cottages and shop windows filled with irrelevancies, there lies the mute, oppressive warehouse atmosphere of the barren industrial district. Here, with the police station not a block away, amidst the street-hardened ex-cons and addicts, many with the famished eyes of those who have seen so much corrosion of the mind, body and soul they have ceased to notice anything else, with bestial tattoos like old war maps encircling their arms; here, in the desert heat that erodes the sidewalks, where 7th Street and South Avenue intersect, here is where a person looking to take the GVT (Grand Valley Transit) will find the main transfer point for busses.

I usually take the Route 9 to Clifton, a section of Mesa County composed of undernourished, deteriorating suburban neighborhoods, clustered trailer parks and stucco shopping plazas eaten by the sun. But I don’t often come to the transfer point. I did today just to see what it was like.

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Tuesday
Sep012009

Art Feature: A six hour tour

Published September 2009 Vol. 13 Issue 8

by Ross Evertson

All but one stop. After going all the way from ‘Aspen Grove’ in Littleton, past the Rossonian in 5-Points, and all the way down to wherever-the-heck it is at the end of the F Line—I couldn’t bear to take the last leg over to 9-Mile. While the C/D Lines  briskly take you through the industrial corridor of Santa Fe Blvd, the F Line is slow, starting in a concrete valley west of I-25 and gradually turning into a tour of office park sprawl with bits of the prarie that said sprawl is consuming.

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Saturday
Aug012009

Personal Profile: Big Man in the Nut House - Big Al, an ex-Vietnam tank crewman, dishes out 400 lbs of wisdom on life in public housing.

Published August 2009 Vol. 13 Issue 7

text and photographs by Tom deMers

Tom deMers is a writer and former HUD property manager. He lives in Longmont, Colo. “Big Man in the Nut House” is a chapter taken from his unpublished book titled “Living in the HUD.” Names have been changed at the request of concerned parties.

Hobo Camp
Technically, Big Al was never homeless. He lived east of Boulder in a Tuff Shed. Times being what they are, Tuff Shed living may be a lifestyle more people want to look into. If so, Big Al is your guy. We spoke on the patio at Pineview, a public housing facility I managed. A cautionary note: talking to Big Al is like driving down an old country road, lots of twists and turns before it ultimately reaches its destination.   

“I stayed in the Tuff Shed while out at the hobo camp near the creek,” he tells me. Several years. “Digger lived there too. You know Digger?”  The name was familiar. “Yeah, he lived there. He came up on the list for Pineview, but they wouldn’t let him in. He had some real bad habits; they must have found out. Probably good. He used to shit on the floor and wipe his ass on newspaper and throw it in the corner. Hank loved everybody, but he finally asked Digger to leave.”

“Who was Hank?” I asked.

“He was a lawyer, but he was a hippy at heart. Great guy. He owned this land by the creek and loved to have us there with him. People came and went. Some guys had tents. Hank lived in a trailer,” said Al. “I had the Tuff Shed.”

The Tuff Shed sounded tough in the winter. Not for Big Al.

“Hey, it had a door. I ran the space heater, turned on the TV and sat in my old leather chair. It was great. Of course there was no running water. Unless you were Digger, you had to crap in the Porta-Potty. That was tough.”

“How come you left?” I asked.

“Had to. We all did. The county rousted us out and cleared the land. Some guy got tagged for shoplifting. The police came out looking for him and discovered us all. I mean, they went bush to bush chasing everybody out, except Hank. Lucky for me, just at that time, I was offered public housing at Pineview and two other places. I’d already turned down Section 8 because they were paying only $275 of my rent, which I’d have nothing left for food or doctors or anything. But now, two years later, my social security was turned on, and I had enough to make it work. Then, you showed me this place with its great view of the hills. I said, ‘This is it!’”

Big Al

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Saturday
Aug012009

Art Feature: Ravi Zupa

Published August 2009 Vol. 13 Issue 7

by Natalie Covert

Ravi Zupa can’t say his life has changed since the recent “world ending” recession. The Denver artist continues to live simply and make art daily.  He works independently and sets his own schedule, being sustained through art sales, video projects, and his recent Westword MasterMind Award for Video/Film/Multimedia. He moves easily from making multimedia compositions rich in illustration, to short films and music videos.

To know Ravi and see his self-portraits is to witness contradictions he uses throughout his artwork.  His self-portraits can suggest an intense character—bald with a straggly beard and dark piercing eyes; face-to-face, he reveals himself as quiet and humble—if not sweet.

Drawing from various religions and cultures, Zupa creates a myriad of mythological scenes featuring contrasts of character.   A Mayan God holds a pistol to his neck.  Armed soldiers bare the wings of an archangel.  A multi-armed Robot God sprouts from a lotus flower. 

By combining a wide assortment of icons, Zupa compels viewers to unveil the mystery behind his sometimes obscure connections.  Taking the opportunity to ask him some questions, we interviewed him about his work and inspirations. 

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