Monday, November 12, 2012

Jack Cooper's article in the Kodiak Mirror

Proud of my Dad today (on Veteran's Day) and always, for being such a great man!  Here's an article about him.
 
 
 
A Veteran recalls Kodiak Experience - published on November 12, 2012 in the Kodiak Mirror
 
 

                                           
                                           Jack is second from the right playing the saxophone


Spring 1944 promised a surprise for both the civilian and military personnel of Naval Operating Base Kodiak. A press release announced that an all-girl dance band would arrive to perform for the whole community. Enticing ads appeared in the military newsletter and the Kodiak Daily Mirror. Flyers flew around town and anticipation grew. There were few enough women in Alaska, especially during the war years. The Navy had a local dance band on the island, but they were all men. This would be something different.

The band’s sax and clarinet player knew it would be more than just different. It would be a complete surprise.

The evening of the show, the naval auditorium filled with military and civilians. But it was mostly military men, anxious to get an eyeful of this all-girl band. With the curtain closed, and the band set up behind it, the lights dimmed and the sax and clarinet player placed his instrument to his lips and waited for the conductor’s signal.

Soon Glenn Miller style big band music filled the theater and the audience waited anxiously. As the curtain crept opened, the applause and cheers and hoots grew to a crescendo. Then, as the band came into full view, the sax and clarinet player recalled, dead silence ensued. Anyone who has performed on stage knows this can be frightening — audience reaction can turn in many directions. In the stillness, the band could feel the audience studying them, observing the dresses and wigs and makeup and high heel shoes.

Suddenly, the awkward silence turned to bursts of laughter and applause as the audience recognized the male members of the naval band and orchestra dressed in drag.

The sax and clarinet player was 21-year-old Jack Cooper. This summer, I met him and his daughter, Janine Cooper-Ayres, while I worked my way through Southeast Alaska as the naturalist aboard the cruise ship Sea Princess. This was his third cruise to Southeast Alaska. I asked his daughter if her father had any photographs and was willing to share his memories. Back home, Janine rounded up several of Cooper’s photographs from the period, interviewed him about his experiences during the war, and sent me the photos and the transcript. I thank her for help in writing this story. (Janine is a singer, songwriter and artist in her own right. Google her name to check out her work.)

Cooper was born in Plymouth, Penn. in 1923. His father was a professional musician who had a dance band, and Cooper grew up playing sax and clarinet at dances, theatrical events and on weekends. The family moved to Detroit, where Cooper graduated from high school. For a while, he worked at WXYZ-AM as the music librarian.

That’s where Cooper was, in the radio station’s newsroom, when Pearl Harbor was bombed. He was one of the first people in Detroit to learn of that event. A co-worker ripped the story off the Teletype and handed it to Cooper to take to the announcer. He and two of his buddies enlisted right away. Cooper went as a rated musician, since he felt that was the best way he could serve his country. He was 19 years old. He trained for six weeks at the Great Lakes Naval Training Facility in Illinois as a musician 2nd class. He also played drums , did shore patrol duty, and was assigned to the bugle corps. From there he went to Bremerton, Wash. before his assignment at Kodiak.

Cooper had never flown before, and he recalls the pilot making three attempts to land amid Kodiak’s steep mountains in the heavy fog and rain. It was autumn, and with the mild weather the landscape was still green. Kodiak was a frontier town to Cooper, with its muddy unpaved streets and its wooden sidewalks.

Rehearsals with the small band and occasionally with the larger 16-piece orchestra during the day kept him busy as well as the performances at night along with one or weekly radio broadcasts. His band played at many local dances and Cooper recalls the residents of Kodiak being very hospitable toward the military. His unit had other duties and chores, including keeping the recreation hall in good shape. On his days off, he fished for salmon and trout and viewed eagles, bear and other wildlife.

In addition to the all girl band program, Cooper recalls helping put on the largest stage production on Kodiak up to that time. They called it “This is the Navy.” Military personnel from all the branches of the service participated with the music, songs, costumes, stage scenery and lyrics. Many local civilians also took part. The show ran for several nights and got great reviews in the local newspaper.

After 10 months in Kodiak, Jack Cooper’s unit was sent back to the States, but Cooper hadn’t fulfilled his overseas duty, so he was transferred to Adak. He spent some time in Dutch Harbor awaiting transport, keeping busy on guard duty along the docks — four hours on, eight off — around the clock. The memory of the darkness and the cold, foggy and wet weather remains with him today.

Finally, he got a flight to Adak. It’s not so bad there, he was told — there’s a girl behind every tree. Of course, there were no trees on Adak and hardly a bush. (Today, a tiny grove of trees is ironically called the Adak National Forest). Cooper spent a year on Adak playing for dances with a seven piece jazz band. But he also trained to operate 20- millimeter anti-air craft guns, and was assigned to a bunker during general alarm alerts.

Among Cooper’s memories of Adak were its limited food supply, and the rare event of a beer shipment allowing every man two bottles. He recalls the erratic weather — listening to the hard rain on his Quonset hut roof while playing poker with friends. Then silence, and when the soldiers looked out there was nearly a foot of snow. By morning it had turned to rain and the snow was gone. Rain, snow, fog, ice, hurricane-force winds called williwaws, and crashing waves, especially on the Bering Sea side of the island. That was life on Adak.

Sunny days were so rare that, when they finally got one, the base commander declared it a holiday and gave everyone the day off. Cooper recalls the dark days of winter and the light days of summer — and a summer baseball game played at midnight.

While he was on Adak, President Roosevelt visited the island, the last military base he visited before his death. Cooper and the Navy band stood in the rain for an hour waiting for the President’s arrival. The band eventually greeted and saluted him as his motorcade drove by.

By December 1944, his time was up and he returned to Bremerton via a captured German luxury liner that had been converted to a troop ship. He recalls 20-foot to 30-foot seas and no one allowed on deck. Nearly half the troops on board became sick, and Cooper lost nearly 15 pounds on the 11-day voyage.

“When I walked off that ship,” he says, “I was carrying my duffle bag and alongside that was a diddy bag containing my personal effects plus my saxophone and clarinet cases. I was pretty weak, but I was so thrilled and happy to be back on land … I could’ve carried a two-ton elephant.”

When Cooper arrived in Washington, D.C., the war was still on. A two-week leave brought him back to Detroit, then to a music school in Virginia. Finally, he got an assignment as an armed guard at Camp Shelton in Norfolk, VA. There he recalls talking with many German prisoners of war. “We were in the base when the information came in,” he recalls. “The bombs were dropped on Hiroshima and Nagasaki.” Two days later the Japanese surrendered.

“Thanks, but no thanks,” was his response to joining the Naval Reserve. With his honorable discharge, he returned to Detroit and got a B.S. in Business Administration from Lawrence Institute of Technology under the G.I. Bill, working odd jobs, including band gigs, to supplement his income.

During this time he met and married his wife, Irene. Together they raised four daughters. Today Cooper is 89-years-old, and lives in Grass Valley, CA with Irene.

Most of us know a little about World War II in Alaska — about the coastal defense forts, the bombing of Dutch Harbor and the war in the Aleutian Islands. But we know little about the personal lives of the thousands of individual soldiers stationed here. Their photographs and letters and stories are still in family hands.

Gen. Dwight D. Eisenhower once said: “I know nothing which so improves the morale of the soldier as to see his unit, or his name, in print — just once.” Let his be a tribute in print to one veteran stationed in Alaska during World War II, and to the sacrifices he made — a small sampling of one soldier’s story.

Doug Capra is a writer who lives in Seward. This article was first printed in the Seward Journal.
 
 


Friday, August 17, 2012

My Hollywood Years - part 1

When I was young, living back in Michigan, I used to watch the Carol Burnett show religiously every Saturday night at 8:00 on CBS.  She was my idol.  I wanted to be a comedic actress just like her when I grew up! 
But then my family moved to northern California and life was anything but funny.  The move was traumatic and life became (melo)dramatic.  I was so self conscious about EVERYTHING as are most adolescents.
But, still I had a fascination with the glamour and magic of Hollywood. So, when I moved to Los Angeles to pursue a career in music, it didn’t take long for me to  find my way into the entertainment industry.  My first experience was as an ‘extra’ in a movie directed by Clint Eastwood. It was called “Bird” about the life of jazz saxophonist, Charlie Parker.

One day while on set, during lunch, Mr. Eastwood walked toward me with his tray of food. He nearly sat down right next to me. I sat there frozen as a statue as he approached - I probably scared him off with the look on my face as he slowly walked past me.  He went on to sit a little bit further down at the same table - with the background actors!  Later I found out that he sometimes ate with the extras.  (I've worked on hundreds of productions since and have never seen a director do that.)  He also had the most unique way of directing. He never yelled, "ACTION", it was more of a subtle nod of the head and a quiet, "Okay, let's go."

Although I enjoyed background acting I couldn't get by on the wages, so I began doing temp. work.  I was living in Venice at the time, near the beach and I rode my bike often.  One day I passed by a disheveled group of warehouse buildings with the facade of a castle being built in front of one of them.  I rode my bike into the lot which turned out to be the home of Roger Corman's movie studio.  I really didn't know who he was at the time, but later found out he was "KING OF THE B-MOVIES - a producer who discovered actors like Jack Nickolson, Robert DeNiro and Dennis Hopper. 

As I was admiring the painters creating the look of carved stone on the make-believe castle facade I told them that I was a painter and asked how I might get involved in doing art on film sets. I was directed to talk with the Production Designer and he asked if I might be willing to do an 'internship'.  I agreed and began working at Roger Corman Studios the very next day. 

I worked for free for two days and then after that I became a paid employee making $75.00 a day!  I went on to work at the studio for four or five months ("Time Trackers" and "Transylvania Twist" were a few movies that I worked on) and then I found out about another movie that was going into production. That's how it worked, and still does - you just start putting the feelers out - "What's next?" Who's crewing up?" "What's the budget?" "Is it union or non-union?" and so on... 

My next job would turn out to be on a movie of the week being filmed at the legendary MGM studios in Culver City. It was my first time on a studio lot - and it was magical! I worked on a TV movie called "Till We Meet Again".
That project led into another one called "Solar Crisis" which turned out to be one of Charlton Heston's last movies!  It was a Sci-Fi movie and we had to create otherworldly landscapes inside of a large warehouse somewhere in the Long Beach area.

During this time I moved from Venice Beach to a guest house in Santa Monica. I had heard that a movie about the rock band "THE DOORS" was crewing up so I gathered the courage to walk into the "Doors" production office with portfolio in hand and met the Art Director.  She looked at my art work and said that she might have a job for me. And, indeed she did!  I was hired to re-create Jim Morrison's sketches in the dozens of journals he wrote in while he was alive. Every couple of days I would go into the office and I'd be given a few notebooks to doodle and sketch in. (Somebody else had already done the writing part).  

One day the Art Director took me in to Oliver Stone's office and introduced me to him.   It was exciting to meet the famous director!  I thanked him for the work and told him how thrilled I was to be a part of the project.  When the movie came out I was anxious to see if my art had made it onto the screen. And, sure enough it had!  There are two close-ups of my artwork and although I was never given a credit at the end of the movie I'll always know who's artwork it was on the screen! It was one of my highlights of being an artist in Hollywood!

Me & Fred Savage - while working on THE WONDER YEARS


Still on a confidence high, I rode that wave right into the production office of my favorite TV show at the time. It was called "The Wonder Years".  I left my resume and portfolio with the Art Director (Bill Ryder) and hoped that he'd give me a chance to work on the show.  A few days later I was called in to work!  It was so unreal being on the set of a show that I watched all the time. I felt as though I'd already known the actors. And, everyone treated me with kindness from the start.  I went on to work on that show for three years as their on-call set dresser/scenic artist! I remember the last day of filming. We were each given a Director's chair with our name on it.  They served us lobster for lunch and there were plenty of tears and hugs to go around as we said our good-byes.  When you work long hours with a crew you often create a bond.  Although I've lost touch with those I worked with, there will always be a place in my heart for them and for the "Wonder Years".

MORE HOLLYWOOD MEMORIES TO COME!


Janine's art and music can be seen and heard @  www.j9art.com





   

Monday, March 26, 2012

Painting VIPS (Very important Pets)

Several years ago my friend Chris asked me to paint three of his cats and his dog.  In fact, they were to be the first of my series of Pet Portraits. Although Chris and I lost track of one another I recently heard from him again. He has two new family members (a cat and a dog) and he asked me if I could continue the series.  The painting below of his cat ("GEORGE") may have been the very first pet portrait I ever did!


GEORGE
 Since then I've painted dozens of them and it's really an honor to commemorate these VIPs (very important pets).  It's also a bit anxiety provoking because each time I do it I strive to capture the spirit and personality of these special creatures.


When I was young we had a family dog (she was a little wiener dog - a Miniature Dachshund). We rescued her from at  a shelter back in Michigan. She soon became part of our family. It didn't matter that she looked a little different (and smelled a little different!).  She was one of us and when she passed away, it was one of the most difficult times of my life!  Can you believe, it still brings tears to my eyes to think back on her passing...

As sad as that time was I'm glad that I experienced it because it made me realize just how important pets are - all animals really - to those who love them.  I also realize that with each portrait I paint, there's a responsibility of trying to get it right. With that being said, I have to admit, I'm really not a great artist, so it's a real challenge, each and every time! 

One of the first portraits I painted was of "NOCHE". He  liked to be out at night prowling for mice and other critters. For this reason I decided to paint him in a night scene.  I call this painting NOCHE @ NOCHE.
NOCHE @ NOCHE


I've met some interesting people through the years who've collaborated with me in unique ways. I've been asked to paint clients' pets on different planets - or flying through the sky with wings.  A few years ago I was commissioned to paint a pet portrait as a wedding gift to a couple who lived on the East Coast.  I was asked to send it to them directly upon finishing it and I did, but the package got lost in the mail! Just as I was about to start all over it was found. Thank God for that because I think I got lucky and the painting came out well. The dog's name is "OTIS" - shown below.


OTIS










I'd like to thank all of those who have entrusted me with painting their VIP! It's something I'll probably continue to do for as long as I'm able to - and for as long as I'm asked.

If you would like to immortalize your pet, or know someone who might, please don't hesitate to contact me at:







MARLEY








MADDIE





Tuesday, February 14, 2012

A new year - A new exhibit

As the new year begins I'm happy to announce that I've been invited to exhibit my art at the La Canada Flintridge Library once again. This will be my third year and I'm really happy to be back! The exhibit will be up for the entire month of February.

When I was young there was no place more exciting to go to than the library! This is where you could find exciting books and pictures that made your imagination grow leaps and bounds!  It's where you could discover stories and photos of wild animals, bugs, plants and exotic places! It's where I got hooked on the childhood classics and then books like the Nancy Drew series. (I've always loved a good mystery.)  

And, nowadays, you can check out DVDs, magazines and CDs for free, unless you're late returning them which I usually am. But that's okay. Whenever I pay my late fees I know the money is going to a great cause. 

There have been times that I've been unemployed (or underemployed) and the library made it easier for me to send out resumes, research prospective companies or to update my skills.

And, you're never alone in the library.  You can almost feel the buzz of concentration and inspiration that others are soaking up and tapping into. 

I think my paintings like to hang on the walls whenever I display at a library.  It's a most unpretentious atmosphere!  Some day I may graduate to a gallery in Beverly Hills or NYC, but for now I'm perfectly content exhibiting at libraries around town.

Below are a few paintings currently on display at the La Canada Flintridge Library.  And, if you'd like to see the whole bunch, please click on the link right here:  http://www.youtube.com/watch?v=Cuh2UfnIJNY



Saturday, January 28, 2012

When I grow up...

When I grow up I want to be an artist like Syd Mead!


I had the pleasure of meeting him briefly at his Artist's Reception in Glendale recently and was completely awed and inspired by his futuristic paintings!


First, a brief BIO -  Syd Mead graduated with distinction from the Art Center College of Design in 1959.  His specialty was in creating innovative and realistic looking transportation and architectural renderings and this kept him in constant demand by Intl. Hotels, architectural firms and the Auto Industry for over twenty years until he was discovered by the film industry in 1979. Since then he has worked on such motion pictures as Star Trek, Tron, Blade Runner, 2010, Aliens, John Mnemonic and MI-3.  Most recently Mr. Mead worked with director Neill Blomkampt on his latest Sci-Fi production due to be released some time this year (2012).


What struck me most when I looked at the collection of Syd Mead's paintings (currently on exhibit at the Forest Lawn Museum in Glendale) was the attention and respect to detail that he puts into every stroke. Mainly working in gouache, the medium of choice for most illustrators throughout recent years, his paintings reveal immediately that this artist does not rush or hurry through his work.  He doesn't have ADD!  He's not lazy. Doesn't become bored with what he's doing. Goes the extra mile, putting in interesting details far back into the distance of his scene, where most artists, including myself would choose to just let it go, due to general fatigue or lack of imagination.


Syd Mead reminds me through his art, to follow through.  Not to get restless. To be respectful of what it is I'm trying to convey and not to get sloppy or lazy. 


Geez, I'm truly humbled and a little bit embarrassed to call myself an artist next to this man.  So, I'll call myself a painter with a vision and a hope to be an artist like Syd Mead some day when I grow up.



   


Visit http://www.sydmead.com/  right now!