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The Last Best Ghost Town: Bodie, California

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There are a thousand ghost towns spread across the western United States -- a whole constellation of loss and ruin -- but most are little more than foundations, or at best a few tumbledown shacks, or if the people who lived and died there did anything of note, and if they're lucky, a sun-faded commemorative plaque mounted on a squat stone pillar. The ghost town of Bodie, however, is another story altogether. A mining boomtown, it was the third most populous city in the state of California in 1880. By the 1940s sickness, wars, bad weather and exhausted mines had led to the town's desertion, and its isolated, inhospitable location made certain that it stayed that way; no one eyed this high desert waste, 8,000 feet above sea level between Yosemite and the lonely Nevada border, and imagined a shopping mall in its place. Count us all lucky.

Only five percent of Bodie's structures are still standing, but considering how large Bodie was, that's still a lot for a ghost town -- more than two hundred. And unlike Tombstone, Calico or any number of other "preserved" ghost towns in the West, it's not a tourist trap where you can buy cotton candy from gunfight-staging actors playing oldey-timey cowboys; the town is kept in a state of "arrested decay," which means the park rangers that patrol its dusty streets focus on making sure what's left of Bodie doesn't fall down, but they could care less about painting, weatherizing or cleaning up the decades-old trash that's heaped everywhere.

Bodie vista

I bought a little self-guided tourbook at the gate when I visited. It's full of fascinating tidbits, which I'll be quoting below:

By 1879 Bodie boasted a population of 10,000 and was second to none for wickedness, badmen and "the worst climate out of doors." One little girl, whose family was taking her to the remote and infamous town, wrote in her diary: "Goodbye God, I'm going to Bodie." The phrase came to be known throughout the West.

The old general store has been turned into a small museum. Other than that, the buildings remain untouched. Sitting creepily in the back of that museum was this vintage hearse, which once plied the streets of Bodie with its morbid cargo. (Awesome band name: "Morbid Cargo.")
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Killings occurred with monotonous regularity, sometimes becoming almost daily events. The fire bell, which tolled the ages of the deceased when they were buried, rang often and long.

Below: a hollow grave in the Bodie cemetery, used for hiding bottles of liquor during Prohibition.

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Robberies, stage holdups and street fights provided variety, and the town's 65 saloons offered many opportunities for relaxation after hard days of work in the mines. The Reverend F.M. Warrington saw it in 1881 as "a sea of sin, lashed by the tempests of lust and passion."

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Above: the Methodist church, erected in 1882 and abandoned in 1932. "Since then, the interior has been badly vandalized, and the Ten Commandments painted on oilcloth which once hung behind the pulpit ('Thou shall not steal') has been stolen."

Below: a saloon, as seen through a hole in the door.
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I'm not sure if this sign is original, but it leads to the approximate location of Bodie's red light district, where ladies of the night "lived and worked in a row of one-room cabins called 'cribs.'"
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Rosa May was the town's most famous prostitute. Born in Pennsylvania, she ran away at age 16 and drifted west, where she worked as a prostitute in mining camps to survive. She moved to Bodie in 1890, where in 1911 she died after caring for sick miners during a pneumonia outbreak. (Yep, a hooker with a heart of gold.)
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Considered a hero by the miners, she was nonetheless buried beyond the gates of the town cemetery because of her profession, alongside murderers and other Bodians of ill repute. Her sad wooden headstone, split from age and temperature fluctuations, reads

Rosa Elizabeth White
"Rosa May"
Born Jan. 1855
Died in Bodie, in the winter of 1911-1912.
Sacrificed herself for Bodie miners.

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In the 60s, a descendant of one of the miners she saved erected a new tombstone for her a few yards away:
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They might not have been able to save Rosa May, but they did save her red light, which hangs in the town's small museum.
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Lots of fascinating junk still sits rusting around Bodie. Old cars especially:
bodie car fix

Inside this house, you can still see -- if you squint -- wire hangars in the closet.
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All that's left of the old bank is the vault. The rest of it burned in the fire of 1932, which devastated much of the town.
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There aren't many houses in Bodie you can actually go inside, with a few super dangerous exceptions, like this place. Through the window you can see the old Standard Mine and Mill, the massive success of which took the town from a population of 20 in 1878 to 10,000 just two years later. Between 1860 and 1941, it produced nearly $100 million in gold and silver.

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The drive to Bodie is a beautiful one. I had to stop and take a picture of this pasturing herd of sheep.
sheep pasture

Most houses in Bodie are filled with the same things that houses in ghost towns everywhere are filled with: broken old crap. See what I mean:
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I kept thinking how lonely this place must be at night.
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Believe it or not, Bodie is open year-round -- even in the dead of winter, when snow piles up five feet high and they stop plowing the roads. There's always a park ranger or two on the property to ensure that vandals don't wreak havoc or start fires, so if you decide that 20 miles on a snowmobile is doable, they'll happily collect your five dollars and let you wander around (in snowshoes). I think that's kinda cool.

I found this postcard in an antique store a few weeks ago. It represents all that Bodie is not:

ghost town or bust!!

You can check out more Strange Geographies columns here.

If you're interested in getting prints of any of these photos, they're available here.

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7 Throwback Photos of 1980s NYC Subway Graffiti
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In May 1989, after a 15-year-long campaign of slowly eradicating New York City’s subway graffiti train-by-train, the Metropolitan Transportation Authority officially declared the city’s subways graffiti-free. There’s still subway graffiti in New York City today, but now it's confined to rail yards far away from the stations and tunnels. By the time the trains make it back onto the tracks, they’ve been cleaned of any markings.

There was a time, though, when graffiti artists had near-free rein to use the city’s subway trains as their canvases, as much as the transportation agency tried to stop them. A new book of photography, From the Platform 2: More NYC Subway Graffiti, 1983–1989, is an ode to that period.

A photo taken at night shows a subway train tagged

Its authors, Paul and Kenny Cavalieri, are two brothers from the Bronx who began taking photos of subway trains in 1983, during the heyday of New York City's graffiti art era. They themselves were also graffiti artists who went by the names Cav and Key, respectively. (Above is an example of Cav's work from 1988, and below is an example of Key's.) Their book is a visual tribute to their youth, New York's graffiti culture, and their fellow artists.

For anyone who rides the New York City subway today, the images paint a whole different picture of the system. Let yourself be transported back to the '80s in some of these photos: 

A subway car bears tags by
Some of Kenny (Key) Cavalieri's work, circa 1987.

Graffiti on a subway car reads

Blue letters tagged on the exterior of a subway car read “Comet.”

Pink and blue lettering reads “Bio” on the outside of a subway car.

A subway car reads “Pove” in green letters.

The book includes short commentaries and essays from other artists of the period remembering their experiences painting trains. It's a follow-up to Paul Cavalieri’s original 2011 collection From the Platform: Subway Graffiti, 1983-1989. He’s also the author of Under the Bridge: The East 238th Street Graffiti Hall Of Fame, a history of four decades of graffiti in the Bronx.

From the Platform 2 is $30 on Amazon.

[h/t The Guardian]

All images courtesy Paul and Kenny Cavalieri // Schiffer Publishing

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Karol Pałka, Kama Jania
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Design
7 Weird, Beautiful Tents We'd Love to Take Camping
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Bolt Half, Kama Jania, Finland, 2015. Waterproof plastic, aluminum, PVC, Mylar.
Karol Pałka, Kama Jania

When you go camping, you’re usually looking for much more than aesthetics from your tent. You want it to be easy to set up and sturdily weatherproof. Mostly, you want it to be super portable. But some tents are truly beautiful. A recently published book called Mobitecture: Architecture on the Move by Rebecca Roke (Phaidon, $25) highlights the best designs in portable architecture, tents included. Here are seven super-cool (if not entirely pragmatic) tents featured in the book.

1. BOLT HALF

Created as part of a 2015 thesis project by industrial designer Kama Jania, the Bolt Half tent (above) gives you peace of mind in a thunderstorm. It has a custom-designed locking frame with copper wiring that discharges electrical currents to the ground if the tent is struck by lightning. It’s waterproof, fits one to two people, and weighs just 2 pounds.

2. UMBRELLA HOUSE

A white structure made of umbrellas sits in a park with a single white umbrella opened in front of it.
Umbrella House, Kengo Kuma, Italy, 2008. Umbrellas, waterproof zippers, timber base.
Yoshie Nishikawa

In 2008, Japanese architect Kengo Kuma turned white umbrellas into a temporary sun or rain shelter. Kuma added zippers to connect the umbrellas, but used the trusses already built into the umbrella to support the structure. It’s a moveable pavilion meant to turn the individual protection provided by an umbrella into a group shelter.

3. HABITENT

A shiny silver tent is topped with a sweatshirt-style hood.
Habitent, Lucy Orta, UK, 1992. Aluminum-coated polyamide, polar fleece, telescopic aluminum poles, whistle, lantern, compass.
Pierre Leguillon

Mobitecture calls this one-person tent from British artist Lucy Orta a piece “somewhere between art, architecture, and social protest.” The Habitent takes a waterproof poncho, created from aluminum material similar to what’s used in emergency space blankets, and turns it into a home for the wearer.

4. THE WEDGE

A blue tent illuminated from the inside sits on the edge of a rocky beach.
The Wedge, Heimplanet, Germany, 2013. Inflatable thermoplastic urethane, high tensile polyester fabric.
Stefan Leitner

This two-man tent from the German outfitter Heimplanet is designed to minimize the time you have to spend setting up your tent. Its interconnected inflatable poles fill up with the same pump. It goes up fast, and when you’re done, you can deflate the tent and fold it back up into your pack. It is not, however, cheap: You can buy it for $600.

5. GLASTONBURY SOLAR CONCEPT TENT

A rendering shows a rounded tent with solar panels on it set up in a grassy field.
Glastonbury Solar Concept Tent, Kaleidoscope and Orange, UK, 2009. Photovoltaic fabric, solar threads, Plexiglas, plastic.
Kaleidoscope Design

Designed for the Glastonbury music festival in the UK, this tent is woven with photovoltaic threads and covered with adjustable solar panels so that it can store up power to charge festival-goers’s devices overnight. (It was designed for the cell phone provider Orange.) At night, the panels emit light to make the tent glow. It’s just a concept design, but we very much wish it was real.

6. THE CATERPILLAR

A giant inflatable arch structure sits inside a park.
Caterpillar, Lambert Kamps, The Netherlands, 2007. PVC, steel cables.
Lambert Kamps

This tent designed by Dutch artist Lambert Kamps isn’t for camping—it’s for movies. The inflatable theater can be set up in parks to house up to 30 moviegoers, with a large film screen at the end of the tube. It’s made of PVC foil and designed to remain cool and dry even in wet summer weather.

7. KAMPER KART

A brown canvas camper pops up from inside a store shopping cart.
Camper Kart, Kevin Cyr, USA, 2009. Steel shopping cart, chipboard, nylon, canvas.
Kevin Cyr

If you think tiny houses are small, check out the Kamper Kart, which takes an ordinary shopping cart and turns it into a petite mobile home. Designed by Maine-based artist Kevin Cyr, it folds and unfolds to turn a cart full of wood and canvas into a home. A crank raises the roof of the structure, and the retractable bed extends into the sleeping position.

A yellow book cover reads “Mobitecture: Architecture on the Move.”
Phaidon

You can get the book for $16 on Amazon.

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