Fred W. McDarrah loved New York—a New York based on creativity and freedom rather than commerce. In his photographs, a maze of streets and ideas snake their way down to the Hudson River.
—as poets scratching lyrics and stories out of the New York air. What always struck me about Fred’s early black-and-white pictures is how verbal they feel, but not in the corny sense in which every picture tells a story. What we see in so many of the pictures from that time are people talking and telling stories, a fusillade of words caught in space, ideas and jokes that may come to nothing or everything.
Fred was born in a hard place. His father, a depressive, was barely able to function, and so the care of the family fell to Fred and his brother early on. Whenever he talked about his youth, or his father in particular, a shadow crossed his face; those were the only times I ever saw Fred remotely unhappy. He never elaborated on where he was raised, and you knew not to ask: the pain in his eyes was real and deep and fresh., marching on June 3, 1974.
The Stonewall—the safety of a gay bar—was a small thing to ask, having come up with no safety at all, and I wonder if Fred—because of his upbringing—understood that. He must have, because he was always drawn to people who didn’t have a lot but made a lot with what they had. His portrait of Candy Darling, the trans performer, is one of the greatest comments we have not only on transformation but on stillness—a moment of reflection during an era when change, not stillness, was the point.
Mr. Gina, from Costa Rica, wearing a Henri Lissaver designer dress at a Mattachine Society ball, at the Hotel Diplomat, October 27, 1967.Young people celebrate outside the boarded-up Stonewall Inn after riots over the weekend of June 27, 1969. As inclusive as New York can be, it is also a segregated city, but I never felt like a divided self at the Oscar Wilde; I felt lucky to enter its doors and see the latest
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