Murray Bowles was, by all accounts, the very best kind of artist. For more than forty years, he was in regular attendance at punk shows billing up-and-coming bands in ramshackle and makeshift venues throughout Northern California (particularly in the East Bay). Honing his technical skill he developed and mastered a photographic style known as the “Hail Mary,” later dubbed the “Hail Murray”: an outstretched arm above the head, body still jostling in the fray, capturing in one moment the very essence and energy of the show in all its hectic glory. Yes, his hours of practice gave him skill. But it was his love of the East Bay punk scene—an affection that never waned and only deepened as he photographed generations of punks—a love that truly transformed his technical skill into an artform that transcends concert photography.
How lucky are we then to have a chance to travel back and pore through Bowles’s masterful, playful pictures in Hail Murray!: The Bay Area Punk Photography of Murray Bowles 1982-1995, newly published by Last Gasp in San Francisco, and lovingly curated by Bowles’s longtime friend, Anna Brown.
Brown, who co-collaborated with Bowles on this book before his death in 2019, spent five years without compensation combing through thousands upon thousands of Murray’s negatives. She and Murray had envisioned a book for years, something that would chronicle and forever encapsulate the scene they both dearly loved. When Murray died, Brown said she wanted to see the idea come to fruition, as a tribute to the man who gave so much to so many in the punk community.
“It’s hard to explain what Murray was to us. He wasn’t an outsider, a voyeur, or a fun uncle; he was just one of us,” says Brown. “[He was] a friend in a truly all-ages scene. That’s why he had such incredible access to everything—his presence was ubiquitous. Everyone trusted him.”
This was a trust gained from musicians and audience members alike. Indeed, both groups clamored each week during shows to shuffle through the photographs Bowles brought to sell for a quarter—just enough to pay for processing the film. It was considered a rite of passage to be in one of Bowles’s photos, a sign you had actually become a part of the family.
IT’S HARD TO EXPLAIN WHAT MURRAY WAS TO US. HE WASN’T AN OUTSIDER, A VOYEUR, OR A FUN UNCLE; HE WAS JUST ONE OF US.”
—ANNA BROWN
The collective energy of the entire scene radiates from each of Murray’s pictures. You can almost smell the sweat and feel the heat coming off the musicians and the people grinning and flailing in the pits. You can see the joy, the pain, that singular teenaged state of feeling so much on so many faces. It feels exuberant, turning these pages. If you weren’t there, you really, really wish you had been.
Paul Curran helped Brown for months with book design, gratis. Curran played in several bands in the East Bay punk scene (including Crimpshrine) and did graphic design for Maximumrocknroll—a monthly fanzine for the underground punk scene, which regularly featured Murray’s photos. “All of us in the scene felt Murray was an extremely important figure to us,” Curran says. “I wanted to help, because he meant so much to so many of us.”
Curran added that one of the most interesting aspects of designing the book was going through the photos and noting the disconnect between the typical punk stereotypes of the 1980s. Rather than being mainly white dudes in spikes and leather, the reality of the community was quite different. “It was so amazing to look back and see so many pictures of women and people of color, all of us just out there, just having fun,” Curran said. “Murray captured it all right there.”
Green Day offered to pay for the printing, and Brown says their generosity, coupled with the time and energy of other East Bay punk musicians and music lovers, helped her make the book she felt Murray deserved. It speaks to the lasting imprint Bowles left on the people he immortalized in his art: that so many stepped up to make sure Bowles, who lived faithfully on the other side of the camera for so long, had his proper moment in the spotlight.
Murray Bowles photo captions and recollections provided by book editor Anna Brown and musican and writer Aaron Cometbus below.
