When I go to a new town like Seligman, I’m like any other visitor. I take in the bright lights and displays along the main street. After all, that’s the show. The merchants want to attract you into their stores. It makes good business sense. The old maxims counsel you to, “Put your best face (foot) forward,” and “Show your better side.” They can’t make a living if no one comes in. That’s why the storefronts are updated continuously with fresh paint, displays, and signs.
Fire Flag – A retired Seligman fire truck sits along a clapboard store.
But sometimes there’s good stuff out back, and that’s why I walk a new town’s back streets and alleys. They aren’t all spit-polished, and you can see a building’s structure untouched since it was new. If you’re looking for history or art, an alley is more rewarding because merchants ignore it.
That’s how I found the subject for this week’s featured image. It wasn’t behind but along a clapboard-sided store. It has a big faded hand-painted flag and retired fire truck which could be a museum display. The mural alone was a good shot as was the fire engine, but I decided to go for a twofer. The block of purple is a mystery, but it works in the photo. I named this image Fire Flag because it was a short, catchy description of the image.
You can see a larger version of Fire Flag on its Web Page by clicking here. I hope you enjoy viewing this week’s post and come back next week when we’ll show another featured image from Seligman and Route 66.
Any discussion about Black Canyon City wouldn’t be complete without mentioning Rock Springs, so I saved that for last this month. It’s hard for me to know where to begin. If you say that name, most Phoenicians will think about the pie restaurant. It’s understandable, it’s been open for a century now, and every time we drive by and think about stopping, we don’t because it’s packed. Like Yogi Berra said,” Nobody goes there anymore, because it’s too crowded.” As for lasting 100 years, I’d like to extend my congratulations, but I don’t want to talk about pies, I want to discuss its history.
Out Buildings – A pair of tin roofs on storage sheds behind the Rock Springs Cafe.
Before cars, trains or airplanes—when I was a child—travelers stopped at Rock Springs because it was a reliable source of good water. People came here for centuries before Caucasians lived in Arizona. On your next visit, take the time to stroll around the grounds and look for the Waterfall signs. Outback, you’ll see water drizzling over polished and worn boulders—that’s Rock Springs. The restaurant has a couple of tables out there so you can enjoy a waterside cocktail. I imagine that the flow over the falls is pretty good at times, but when it’s dry, it’s more like forgetting to turn off your garden hose.
The water is the reason that Ben Warner opened a tent-like store, and—in 1918—built a hotel on this site. In case you didn’t notice, I love these historical buildings. Fortunately, the café has a Web Page that speaks of its history and shows an old photo of the block building—with an A-1 Beer sign hanging from the portico. I really wanted to capture an image of that hotel and talk about some of its famous guests; like Jean Harlow, Tom Mix, and Wyatt Earp. I couldn’t. Decades of hastily planned expansions have camouflaged the original building. Only hints of the original hotel sick out here and there. After circling the restaurant as the sun rose, I gave up and shot other subjects.
On one of my laps, I saw this interesting pattern of weathered tin roofs on a couple of storage sheds behind the Rock Creek Café. It’s as if they knew that I would be shooting this because they built a simple plank fence that masks the clutter and adds a perspective line to the scene. When I took this shot, I honestly didn’t pay attention to the clouds, but let’s not tell anyone. I’ll claim that I planned it. I call this week’s image: Out Buildings.
You can see a larger version of Out Buildings on its Web Page by clicking here. I hope you enjoy viewing this week’s post and come back next week when we begin a new monthly series from a different place in Yavapai County.
This week’s story has all the ingredients of a great Hollywood Western movie: plantations, young love, war, drugs and alcohol, heartbreak, gold, bright futures, despair, stage robbery, friendship, false accusations, and tragic death. I don’t know how to tell it all in 500 words and still explain my weekly photograph in the third paragraph. I’ve found several books and articles about Jack Swilling, but there haven’t been any films. That’s a shame because I can visualize it like the Steve McQueen movie Tom Horn.
Swilling Cabin Window—Jack and Trinidad’s cabin ruins in Black Canyon City are on private property, and their caring owners are their only protection.
Every school kid in Phoenix knows how Jack Swilling—or one of his friends and crew, Phillip Duppa—tossed out the mythical bird’s name for the small town they were developing. Swilling filed a land claim around present-day 32nd Street and Van Buren Road for the rest of you. He wanted to grow hay to sell to the cavalry at Fort McDowell, so he copied the Hohokam method of using Salt River water for the fields by digging new canals to his property. The visionary Swilling (I suggest casting a 20-year-old Jeff Bridges) played an essential role in the layout and alignment of the new town. A couple of years later, he lost interest when the council—or whoever decided those things—moved downtown three miles west to its present site. Jack threw his hand up in disgust, and he and his wife, Trinidad (my casting idea would be a 17-year-old Natalie Wood), moved to Gillett—a mining ghost town three miles south of Black Canyon City.
In Gillett, they built a cabin along the stage route and provided travelers and horses food, water, and rest. It helped to supplement his paltry mining income. His health was failing from his old head and bullet wounds he got as a younger man. He took morphine and drank whiskey to counter the constant pain, but now the drinking got worse. When he got word that Colonel Jacob Snively—his old Indian war buddy—was killed near Wickenburg by Apaches, Trinidad encouraged him to retrieve the body and give Jacob a proper burial. Jack enlisted the help of a couple of neighbors and rode out to recover his friend. During that same three-day period, a stagecoach was robbed—also in Wickenburg—and the robbers murdered everyone on board. After Jack returned and buried his friend, he was at the bar when he heard about the stagecoach massacre. Jack cracked a joke about how robbing the stage is the only way to make big money these days, and the vague description of the robbers could include his retrieval party. They were arrested on the spot and shipped off to Prescott for trial. Since the Feds had charged him, too, the territorial government dropped their complaints to save money. The marshalls transferred Swilling to the Yuma prison, where his health took a turn for the worst, and he died before his trial. Shortly after his death, the law identified and caught the real robbers. Jack was already buried in the Yuma Prison cemetery before they notified Trinidad of his death.
When I decided that October’s subject would be Black Canyon City, I did my research, and there, I discovered the cabin ruins were in town. I wanted to photograph them, but they’re not on a map. That’s because they’re on private property and not open to the public. I stopped and talked to the tourist info people, who gave me directions to the house. When I drove to the residence, the owner came out and chatted with me. When her parents built her home, they bought adjoining lots to keep the stacked stone cabin intact. Black Canyon City doesn’t protect historic sites like other cities, so they took that task upon themselves. She permitted me to roam the property and to photograph the cabin with two caveats: don’t lean on the walls—they’re fragile and will quickly crumble, and don’t take any of the artifacts she has on display. A very reasonable request, I’d say.
Of the shots I took, I liked this variation best because of the window and the light filtering through the mesquite trees. Jack’s one-room cabin may not seem like the palace that the Father of Phoenix (and Mother) should have lived in, but examining the rock work made my sciatica nerve go off. It’s on a quiet cul-de-sac surrounded by modern homes near the Agua Fria River. I stood for a while and listened to the breeze blowing through the tree canopy, and I could see how it might have been to live there a century and a half ago.
You can see a larger version of Swilling Cabin Window on its Web Page by clicking here. I hope you enjoy viewing this week’s post and return next week when we show another featured image from Black Canyon City. “Oh!” you say. “But Grandpa, what about the rest of the story—where are the parts about the plantation, the Mexican-American War, the Confederate Lieutenant, Peeples Valley, Rich Hill, et al.” Well, you’ll have to wait for the movie or pick up a book.
Perry Mesa Needle – This needle is at the edge of Perry Mesa above Black Canyon City. It’s new to me because it’s hidden from the freeway.
Phoenix only has two interstates that will get you the hell out of Dodge; Interstate 10 which either takes you west to California or east to everywhere else, and Interstate 17 going north. Driving I-10 in either direction always seems like a dreary, endless drive through the desert, while I associate I-17 with good times, like playing in the snow or—during summer—just escaping the heat. I think it’s because of all the different climate zones it goes through, like the desert, grasslands, riparian, and alpine forests.
The first change that you come to when heading north is the grade at Black Canyon City. It’s an abrupt transition from the Sonoran Desert to riparian grassland—saguaros are at the bottom, and they’re not at the top. It freezes more often at higher elevations, and the giant cacti can’t tolerate it. Black Canyon City is distinguished by being the northern edge of the Sonoran Desert; I know that because it says so on their welcome sign.
Most Phoenicians consider Black Canyon City a suburb populated with free-spirited residents. It’s the bottleneck on the highway where heavily ladened trucks insist on passing one another up the steep grade, or traffic is backed up to Prescott because a crash closed the freeway and there’s no other way around. During heavy rain, the community makes the news because the Agua Fria River floods and people get trapped in their homes or cars. If you do stop in town, it’s to get a slice of pie at its famous restaurant. I wouldn’t be surprised if most Phoenicians didn’t know Black Canyon was in a different county—Yavapai. I know that I didn’t, and that’s why I chose Black Canyon City as my place to look for October’s art.
I saw the subject of this week’s photo as I was driving around town. I-17 divides Black Canyon City in two. The business district is on the freeway’s west side while on the east is mostly residential and a few light industries. The needle can be seen on the east side but not from the interstate. That’s why I didn’t know it was there. It’s like a smaller version of Weaver’s Needle in the Superstitions, but as much as I searched, I couldn’t find its name. There was nothing on my topographic maps, highway maps, the Gazetteer or the city’s website. I saw this neat YouTube drone video, but it doesn’t list a name either. It’s on the southwest corner of Perry Mesa (sounds like an excellent name for a lawyer, doesn’t it?) where Squaw Creek runs into the Agua Fria River, so I used that moniker for the photo’s name—Perry Mesa Needle.
In this image, I like the way the low clouds and their shadow frame the subject. The grove of saguaro midway up adds scale to the outcrop. Finally, the recent rains cleared the air and gave me a deep blue sky making the puffy white clouds seem to pop in 3D. As was the case with the Jerome Hollyhocks a couple of months ago, if you know this needle’s name, please email me.
You can see a larger version of Perry Mesa Needle on its Web Page by clicking here. I hope you enjoy viewing this week’s post and come back next week when we’ll feature more from Black Canyon City.
This week’s featured image was shot in Boynton Canyon on Sedona’s west side, north of State Route 89A. It’s the site of The Enchantment Resort—a very high-end destination requiring deep pockets to stay there. There are several trails in the canyon that meander among the cliffs and buttes, and that’s exactly what I was searching for. In the parking lot, the map said that I had a choice of three routes: one that went to a dead-end up the canyon, a second longer trail over Dead Man’s Pass, and finally a short hike to a canyon overlook. I’m all for short and I’m adverse to dead men, so I set off for the overlook.
The trail is fishhook-shaped as it skirts the south side of an outcrop then turns 180° and ascends into a saddle, wedged between the outcrop and a larger butte. It’s only a quarter-mile long, but the rise got tricky in a couple of sections. It’s good that it was well-marked with white paint splotches. The climb doesn’t seem much until you reach the saddle and turn around and see the valley floor a couple hundred feet below. To the west is a great view of the resort nestled among the red-rock cliffs.
As I clambered up the hill, I stopped a couple of times to rest and clear the heart beating in my ears. When I could hear again, there were voices, but I couldn’t see anyone on the trail above or behind me. It wasn’t until I reached the saddle that I saw a pair of climbers—a woman and a man tethered together with a rope—as they were nearing the butte’s summit. I assumed that she was leading as she was higher and coaching his assent. “Cool,” I thought.
Once I reached the saddle, I set up my tripod and camera and began shooting all the compass points, and savored the water I remembered to bring. After I completed my long-shots, I started a series of close-ups with the camera hand-held. I could tell from their voices that my climbers had reached the top and were taking in the view.
Climbers-A pair of rock-climbers celebrates success atop a Sedona Butte.
I thought about photographing them while they were enjoying their success, so I yelled up to them, “Hey! Can I get a shot?”
They were so polite. They hunkered down out of sight. “No,” I shouted again, “I want to shoot you on top.” When they stood up, I pantomimed celebration by raising my hands in the air. They followed my instructions and even began whooping. I fired off a couple of frames and shouted “Thanks” to them and then began to make my way back down to the truck.
I like the way the shot Climbers turned out even though they don’t take up a lot of frame space. As an Alaska guide once instructed us, “Humans are easy to spot. They’re the only thing standing erect.” In the image, I wanted to show their difficult conquest so I didn’t bother with a long lens. I also like the way the red sandstone contrasts against the dark blue sky and streaky cloud so I included more of it in the composition.
You can see a larger version of Climbers on its Web Page by clicking here. I hope you enjoy viewing this week’s post and come back next week when we’ll show another featured image from Sedona.
