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Recently, there was an interview about me on the net. I was asked to show three of my photos that I liked and tell why I liked them. I also told how and why I do my photography in the way that I do. You can read the full interview at this web address:
I usually shy away from interviews but Offscreen is such a beautifully produced mag, I just couldn't say no…
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An interview i gave for this cool blog about collage. Here it is www.notpaper.net/2011/01/christos-kourtoglou.html
Kristen Stewart on the cover of interview mag.
The first decade of the 21st century, which is about to draw to a close, is in serious danger of being remembered as the time when fame was measured in pokes, tweets, and the ability to parlay a death-defying (and sometimes not so death-defying) degree of persona recklessness into a reality-television deal. But just as the door was about to slam shut on the double aughts, in walks—or, more appropriately, saunters—Kristen Stewart.
At 19, Stewart has already earned a place in the annals of pop-culture history. This is due to her starring role in Twilight, which—in case you’ve somehow managed to elude word of its all-encompassing death grip on young America—is a film based on the first in a series of very popular books about vampires, werewolves, and teenage life in the town of Forks, Washington. Stewart’s character, Bella Swan, is a newcomer to Forks who is forced to cope with the dueling pressures of starting life at a new school and the fact that her prospective boyfriend, the rakish Edward Cullen (played by the rakish Robert Pattinson), is a 104-year-old undead bloodsucker.
Given Twilight’s preoccupation with the timeless themes of misunderstood youth, troubled young love, and the intervening forces of darkness, the film’s success isn’t all that surprising. (To date, it has grossed more than $380 million worldwide.) Nor is the fact that more Twilights are in the offing: A second installment, New Moon, hits theaters in November, and a third, Eclipse, is due out next year. But the growing size and complexity of the Twilight machine has had some unavoidable implications:
In the last 12 months, Stewart has become a tabloid regular and a blog-stalked cynosure. The fact that her Twilight character is romantically linked to Pattinson’s in the film has also fueled nonstop speculation that they are involved in real life. BUYING A HOUSE? and GETTING MARRIED? were just a couple of the early autumn headlines. Between filming Twilight sequels, Stewart did a turn as Joan Jett in Floria Sigismondi’s new rock-band biopic The Runaways; even her hair for the film—which was chopped and dyed to mimic Jett’s late-’70s shag—inspired reams of media critique.
Stewart grew up in Los Angeles in a Hollywood family of sorts—her mother is a script supervisor, and her father is a stage manager—and as a kid announced her interest in working in front of the camera. Her second film, David Fincher’s 2002 thriller, Panic Room, in which she played Jodie Foster’s too-quick, too-wise, too-over-it daughter, proved an early indicator of her ability to play young, smart, but not precocious. Her performance in more left-of-center projects such as Sean Penn’s Into the Wild (2007) and this year’s Adventureland has only reinforced that notion. But if there’s a thread that runs through her relatively small body of work, it’s one that’s closely connected to the idea that you don’t have to be old to have soul. With Stewart, you don’t get 19-going-on-35. What you do get is a visceral window into what it means to be young and struggling to make sense of your own life and the world around you—and all the alternating waves of darkness and confusion and brightness and possibility that come with that. In many ways, it’s the unwritten nature of Stewart’s own story now, with its surreal subplots and recent twists and turns, that makes her compelling to watch. It’s true that she might very well be a rebel anodyne to many of her bleached and sprayed-on contemporaries. Or, like Bella Swan, she might just be someone who comes from somewhere, found her way into something exceptional, and is on her way to someplace else. Either way, she’s got a solid arc.
In celebration of Interview’s 40th anniversary, we askedactor, director, writer, and photographer Dennis Hopper—whose connection to the magazine reaches across all fourdecades—to handle the interviewing duties for this cover story. He graciously obliged. He spoke to Stewart, who was shooting Eclipse in Vancouver, from the set of his cable series, Crash, in Albuquerque, New Mexico.
DENNIS HOPPER: Before we start, I have a little six-year-old daughter here who’s going crazy right now because you’re on the phone. Could I just put her on for a second to say hello?
KRISTEN STEWART: Yeah, sure.
HOPPER: Okay, her name is Galen. [hands phone]
GALEN HOPPER: Hi!
STEWART: Hi! How are you?
GALEN: Good.
STEWART: It’s really nice to meet you, Galen. [pause] Hello?
GALEN: Hi!
HOPPER: [takes phone] She’s so excited.
STEWART: Wow, that made me so nervous!
HOPPER: It made you nervous?
STEWART: Yeah. I’m just sort of intimidated by kids. I didn’t know what to say.
HOPPER: Well, thank you for doing that. So how are you doing?
STEWART: I’m pretty good. I’m not very good at interviews, but this is a trip. Why in god’s name did you want to do this? You have no idea how cool this is for me.
HOPPER: Well, you’re a really good actress. And my daughter is your biggest fan, so I thought, What the hell? [laughs] I usually don’t do this, either. But you must be going through a lot right now, the way Twilight is hitting. You must have no peace at all.
STEWART: The sad thing is that I feel so boring because Twilight is literally how every conversation I have these days begins—whether it’s someone I’m meeting for the first time or someone I just haven’t seen in a while. The first thing I want to say to them is, “It’s insane! And, as a person, I can’t do anything!” But then I think to myself, God damn it, shut the fuck up.
HOPPER: [both laugh] You know, you’re giving really wonderful performances. Since you didn’t know you’d be making sequels when you were making the first Twilight, has it been difficult for you to get back into character for these new ones?
STEWART: I’ve actually always been interested in following a character more long term, but the only place to really do that as an actor is on a TV series. But the Twilight series is cool because you know what’s ahead of you—all of the books have been written. And I get breaks in between. It’s sort of a depressing thing to lose a character just when you’ve been able to get to know her. Usually, at the end of a film it’s like I’ve finally gotten to know this person completely, and then we’re done. That actually happened on the set of Twilight, and then it happened again on New Moon. Each time my character Bella became a different person, and I got to know that person and take her to the next level.
HOPPER: Have you been able to enjoy it? Or do you feel more pressure doing these sequels?
STEWART: I do feel more of a pressurized strain than what is typical for me. Usually, what drives you is your own personal responsibility to the script and the character and the people you are working with. But in this case, I have a responsibility not only to that but to everyone who has personal involvement in the books—and now that spans the world. It’s an insane concept. There are certain things in Twilight . . . As much as I’m proud of that movie and I do like it, I feel like maybe I brought too much of myself to the character. I feel like I really know Bella now. But most readers feel like they know Bella because it’s a first-person narrative. She’s like a little vessel and everyone experiences the story through her. All of these girls who are fans personally feel like they encapsulate that character. So it’s like, “How the hell am I going to do that for all of them? It’s impossible!” But I’ve decided, if you’re just unabashedly honest all of the time, you have nothing to be ashamed of.
HOPPER: These Twilight books have some dark material.
STEWART: But the movies aren’t that dark, as much as we’d all have loved to have made those films. But as pretty as it is to watch and as nice as it is to have watched these two characters find solace in each other, everything around them is absolute chaos. I mean, you have to question their motivations—to watch two people so unhealthily devoted to each other . . . I stand behind everything that they do. I have to justify it in my mind, or else I couldn’t play the character. But they are definitely not the most pragmatic characters. The weirdest fucking themes run through this story—like dominance and masochism. I mean, you always have to realize that the story needs to make sense to the 11-year-olds who read the book and aren’t necessarily going to be viewing a scene as foreplay. But then there is the other segment of the audience—a large percentage—who does see the scene as foreplay. And it’s pretty deep, heady foreplay. [laughs] So it’s fun to play it both ways. I mean, I don’t know what it feels like to make out with my vampire boyfriend because it isn’t something that anybody has ever felt. But it’s funny to think that a lot of the audience is 10 years old and will maybe one day grow up to realize there are a lot of involved thoughts in Twilight that they didn’t see before.
HOPPER: Well, you’re getting a lot of attention.
STEWART: Yeah, it’s weird. There’s an idea about who I am that’s eternally projected onto me, and then I almost feel like I have to fulfill that role. Even when things come out of my mouth, I want to be sure I’m saying exactly what I mean. All I’m thinking of is the fact that everything that I say is going to be criticized—not criticized, just evaluated and analyzed. And it’s always something that matters so much to me that doesn’t come out right. But in terms of how my life has changed, I never really went out a whole lot before. I’m sort of an in-my-head kind of person. I wish I could take more walks . . .
HOPPER: You can’t take walks?
STEWART: I’d like to take more walks after work, instead of having to come back to my hotel room and not leave. So it can be boring. I’ve been working as an actress since I was very young, and I know a lot of people who are actors who don’t have to deal with having a persona . . . You know, if you look up the word persona, it isn’t even real. The whole meaning of the word is that it’s made up, and it’s like I didn’t even get to make up my own. It can be annoying. But I have a really strong feeling that this is going to go away, that this is the most intense it’s going to get—and could get—and that it’s fleeting. So in a few years, I will hopefully become more like the people I want to become like.
HOPPER: Does it bother you to see yourself in the tabloids?
STEWART: There’s nothing you can do about it, to be honest. I don’t leave my hotel room—literally, I don’t. I don’t talk to anybody about my personal life, and maybe that perpetuates it, too. But it’s really important to own what you want to own and keep it to yourself. That said, the only way for me not to have somebody know where I went the night before is if I didn’t go out at all. So that’s what I’m trading. It depends what mood I’m in. Some nights, I think, “You know what? I don’t care. I’m just going to do what I want to do.” Then the next day I think, “Ugh.Now everyone thinks I’m going out to get the attention.” But it’s like, no, I actually, for a second, thought that maybe I could be like a normal person.
HOPPER: I was looking at all the films you’ve done, and you’ve worked with some extraordinarily talented people: Patricia Clarkson—god, she’s a great actress—and Jodie Foster. Just really wonderful people. And your performances are very different. You started when you were nine years old. You wanted to act, right? It wasn’t like you were forced into it because your parents were in the industry?
STEWART: No. Not at all.
HOPPER: Because Dean Stockwell is one of my best friends, and he has horror stories about acting when he was a kid. But you wanted to do this, right?
STEWART: It’s a weird thing to expect a child that young to say what they want to do, like act. I’m not sure it was a natural inclination for me either, but it was something that I fell into. To be honest, I had fun at first. It was the first thing I ever thrived at. My parents are crew. They were both baffled that I wanted to act. But they support anything that me and my brothers want to do. It was something I thought was fun because I grew up on sets. And then a few years later, I grew up and acting became very different to me. I think I was about 13.
HOPPER: Did you study with anyone? Or did you just pick it up through association?
STEWART: No, I just walked into it.
HOPPER: You learned it there. That’s the best place to learn. I saw Panic Room again last night.
STEWART: Really? I haven’t seen that in so long. That was the second movie I ever made. Thank god Jodie Foster did that movie because I wasn’t thinking about anything on that set. I was literally just hanging out with her and being myself. I can’t think about watching that—it would kill me. It would be like watching a home movie.
HOPPER: But you’re so good in it. Did you go to school while you were working as a kid?
STEWART: I went to public school up until junior high. I know it’s a little late and I’m a little old, but I just finished high school—with honors. The other day I was doing a graduation scene on Eclipse, and I had just finished high school myself the week before, so I told the crew, “Hey, just so you know, I’m actually graduating right now, and I’m not going to have another ceremony.” So I took a mock picture with an extra. I literally asked the actor to come back and shake my hand and hand me the diploma while I was dressed in a cap and gown.
Fanning, and he knows her as well, so it was cool. I actually hadn’t seen him in a couple of years. So it was sort of a trip because I’m different and he’s not. You know what I’m saying?
This is an excerpt of the October cover story. To read the full Kristen Stewart interview pick up a copy of Interview.
www.interviewmagazine.com/film/kristen-stewart-1/
oh pls. don't try to copy me
no POSERS allowed here!!!
pls. don't take my photos with w/out my permission
no STEALING pls.
btw. don't just view. leave comments && notes too:)
vampirekisses<333
Not a good dress attire because the tie make it too funerally. If he change his tie to a color print , he may be able to pull this suit off for and interview.
www.twitter.com/Memoire2cite Les 30 Glorieuses . com et la carte postale.. Il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain.Les films du MRU -Industrialiser la construction, par le biais de la préfabrication.Cette industrialisation a abouti, dans les années 1950, à un choix politique de l'Etat, la construction massive de G.E. pour résoudre la très forte crise du logement dont souffrait la France www.youtube.com/watch?v=zR_jxCANYac&fbclid=IwAR2IzWlM... … Le temps de l'urbanisme, 1962, Réalisation : Philippe Brunet www.dailymotion.com/video/xgj2zz?playlist=x34ije … … … … -Les grands ensembles en images Les ministères en charge du logement et leur production audiovisuelle (1944-1966) MASSY - Les films du MRU - La Cité des hommes, 1966, Réalisation : Fréderic Rossif, Albert Knobler www.dailymotion.com/video/xgiqzr?playlist=x34i - Les films du MRU @ les AUTOROUTES - Les liaisons moins dangereuses 1972 la construction des autoroutes en France - Le réseau autoroutier 1960 Histoire de France Transports et Communications - www.dailymotion.com/video/xxi0ae?playlist=x34ije … - A quoi servaient les films produits par le MRU ministère de la Reconstruction et de l'Urbanisme ? la réponse de Danielle Voldman historienne spécialiste de la reconstruction www.dailymotion.com/video/x148qu4?playlist=x34ije … -les films du MRU - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : la préfabrication en usine, le coffrage glissant... www.dailymotion.com/video/xyjudq?playlist=x34ije … - TOUT SUR LA CONSTRUCTION DE NOTRE DAME LA CATHEDRALE DE PARIS Içi www.notredamedeparis.fr/la-cathedrale/histoire/historique... -MRU Les films - Le Bonheur est dans le béton - 2015 Documentaire réalisé par Lorenz Findeisen produit par Les Films du Tambour de Soie içi www.dailymotion.com/video/x413amo?playlist=x34ije Noisy-le-Sec le laboratoire de la reconstruction, 1948 L'album cinématographique de la reconstruction maison préfabriquée production ministère de la Reconstruction et de l'Urbanisme, 1948 L'album cinématographique içi www.dailymotion.com/video/xwytke
archipostcard.blogspot.com/search?updated-max=2009-02-13T... -Créteil.un couple à la niaiserie béate exalte les multiples bonheurs de la vie dans les new G.E. www.youtube.com/watch?v=FT1_abIteFE … La Ville bidon était un téléfilm d'1 heure intitulé La Décharge.Mais la censure de ces temps de présidence Pompidou en a interdit la diffusion télévisuelle - museedelacartepostale.fr/periode-semi-moderne/ - archipostalecarte.blogspot.com/ - Hansjörg Schneider BAUNETZWOCHE 87 über Papiermoderne www.baunetz.de/meldungen/Meldungen_BAUNETZWOCHE_87_ueber_... … - ARCHITECTURE le blog de Claude LOTHIER içi leblogdeclaudelothier.blogspot.com/2006/ - - Le balnéaire en cartes postales autour de la collection de David Liaudet, et ses excellents commentaires.. www.dailymotion.com/video/x57d3b8 -Restaurants Jacques BOREL, Autoroute A 6, 1972 Canton d'AUXERRE youtu.be/LRNhNzgkUcY munchies.vice.com/fr/article/43a4kp/jacques-borel-lhomme-... … Celui qu'on appellera le « Napoléon du prêt-à-manger » se détourne d'ailleurs peu à peu des Wimpy, s'engueule avec la maison mère et fait péricliter la franchise ...
museedelacartepostale.fr/blog/ -'être agent de gestion locative pour une office H.L.M. en 1958' , les Cités du soleil 1958 de Jean-Claude Sée- les films du MRU içi www.dailymotion.com/video/xgj74q présente les réalisations des HLM en France et la lutte contre l'habitat indigne insalubre museedelacartepostale.fr/exposition-permanente/ - www.queenslandplaces.com.au/category/headwords/brisbane-c... - collection-jfm.fr/t/cartes-postales-anciennes/france#.XGe... - www.cparama.com/forum/la-collection-de-cpa-f1.html - www.dauphinomaniac.org/Cartespostales/Francaises/Cartes_F... - furtho.tumblr.com/archive
le Logement Collectif* 50,60,70's, dans tous ses états..Histoire & Mémoire d'H.L.M. de Copropriété Renouvellement Urbain-Réha-NPNRU., twitter.com/Memoire2cite tout içi sig.ville.gouv.fr/atlas/ZUS/ - media/InaEdu01827/la-creatio" rel="noreferrer nofollow">fresques.ina.fr/jalons/fiche-media/InaEdu01827/la-creatio Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
Lieux géographiques : la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye
www.dailymotion.com/playlist/x34ije_territoiresgouv_cinem... - mémoire2cité - le monde de l'Architecture locative collective et bien plus encore - mémoire2cité - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
Le Joli Mai (Restauré) - Les grands ensembles BOBIGNY l Abreuvoir www.youtube.com/watch?v=eUY9XzjvWHE … et la www.youtube.com/watch?v=hK26k72xIkU … www.youtube.com/watch?v=xCKF0HEsWWo …
Genève Le Grand Saconnex & la Bulle Pirate - architecte Marçel Lachat -
Un film de Julien Donada içi www.youtube.com/watch?time_continue=1&v=4E723uQcpnU … … .Genève en 1970. pic.twitter.com/1dbtkAooLM è St-Etienne - La muraille de Chine, en 1973 ce grand immeuble du quartier de Montchovet, existait encore photos la Tribune/Progres.
www.youtube.com/watch?v=AJAylpe8G48 …, - la tour 80 HLM située au 1 rue Proudhon à Valentigney dans le quartier des Buis Cette tour emblématique du quartier avec ces 15 étages a été abattu par FERRARI DEMOLITION (68). VALENTIGNEY (25700) 1961 - Ville nouvelle-les Buis 3,11 mn www.youtube.com/watch?v=C_GvwSpQUMY … - Au nord-Est de St-Etienne, aux confins de la ville, se dresse une colline Montreynaud la ZUP de Raymond Martin l'architecte & Alexandre Chemetoff pour les paysages de St-Saens.. la vidéo içi * Réalisation : Dominique Bauguil www.youtube.com/watch?v=Sqfb27hXMDo … … - www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije l'industrie du bâtiment.
la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye 1975 Réalisateur : Sydney Jézéquel, Karenty
la construction des Autoroutes en France - Les liaisons moins dangereuses 1972 www.dailymotion.com/video/xxi0ae?playlist=x34ije Cardem les 60 ans de l'entreprise de démolition française tres prisée des bailleurs pour les 80, 90's (1956 - 2019) toute l'Histoire de l'entreprise içi www.youtube.com/watch?v=Yyf1XGvTZYs - 69 LYON & la Cardem pour la démolition de la barre 230 Quartier la Duchère le 2 juillet 2015, youtu.be/BSwidwLw0NA pic.twitter.com/5XgR8LY7At -34 Béziers - C'était Capendeguy le 27 janv 2008 En quelques secondes, 450 kg d'explosifs ont soufflé la barre HLM de 492 lgts, de 480 m, qui laissera derrière elle 65.000 tonnes de gravas. www.youtube.com/watch?v=rydT54QYX50 … … Les usines Peugeot - Sochaux Montbéliard. 100 ans d'histoire en video www.youtube.com/watch?v=X4w3CxXVAyY … - 42 LOIRE SAINT-ETIENNE MONTREYNAUD LA ZUP Souvenirs avec Mascovich & son clip "la tour de Montreynaud" www.youtube.com/watch?v=p7Zmwn224XE …
- Villeneuve-la-Garenne, La Caravelle est à mettre au crédit de Jean Dubuisson, l’un des architectes les plus en vue des années 1960, www.dailymotion.com/video/x1re3h5 via @Dailymotion - AMIENS les HLM C'était le 29 juillet 2010, à 11h02. En quelques secondes, cette tour d'habitation s'est effondrée, détruite par implosion. Construite en 1961, la tour avait été vidée de ses habitants quelques années auparavant. www.youtube.com/watch?v=ajz2xk5KBNo … … - Les habitants de Montreynaud parlent de leur quartier et de cette destruction entre nostalgie et soulagement içi en video www.dailymotion.com/video/xmiwfk - Les bâtiments de la région parisienne - Vidéo Ina.fr www.ina.fr/video/CAF96034508/les-batiments-de-la-region-p... … via @Inafr_officiel - Daprinski - George Michael (Plaisir de France remix) www.youtube.com/watch?v=sJeH-nzlj3I
Ministère de l'Équipement et de l'Aménagement du Territoire - Dotation par la France d'autoroutes modernes "nécessité vitale" pour palier à l'inadaptation du réseau routier de l'époque voué à la paralysie : le reportage nous montre des images d'embouteillages. Le ministre de l'Équipement et de l'Aménagement du Territoire dans les deux gouvernements de Pierre Messmer, de 1972 à 1974, Olivier Guichard explique les ambitions du programme de construction qui doit atteindre 800 km par ans en 1978. L'ouverture de section nouvelles va bon train : Nancy / Metz par exemple. Le reportage nous montre l'intérieur des bureaux d'études qui conçoivent ces autoroute dont la conception est assistée par ordinateurs dont le projet d'ensemble en 3D est visualisé sur un écran. La voix off nous informe sur le financement de ces équipements. Puis on peut voir des images de la construction du pont sur la Seine à Saint Cloud reliant l'autoroute de Normandie au périphérique, de l'échangeur de Palaiseau sur 4 niveau : record d'Europe précise le commentaire. Le reportage nous informe que des sociétés d'économies mixtes ont étés crées pour les tronçons : Paris / Lille, Paris / Marseille, Paris / Normandie. Pour accélérer la construction l’État a eu recours à des concessions privées par exemple pour le tronçon Paris / Chartres. "Les autoroutes changent le visage de la France : artères économiques favorisant le développement industriel elles permettent de revitaliser des régions en perte de vitesse et de l'intégrer dans le mouvement général de l'expansion" Sur le plan européen elles vont combler le retard de la France et réaliser son insertion. Images de l'inauguration de l'autoroute entre Paris et Bruxelles par le président Georges Pompidou. Le reportage rappel que l'autre fonction capitale des autoroute est de favoriser la sécurité. La question de la limitation de vitesse est posée au ministre de l’Équipement, qui n'y est favorable que sur certains tronçons. Un des facteur de sécurité selon le commentaire est l'humanisation des autoroutes : aires de repos, restaurants, signalisation touristiques... "Rien n'est impossible aux techniques modernes" nous apprend la voix off qui prend comme exemple le déplacement sur rail de 65 mètres d'un château classé afin de faire passer l'autoroute Lille / Dunkerque.Durée : 4 minutes 30 secondes
Sur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt
www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije - www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695...
Official Trailer - the Pruitt-Igoe Myth: an Urban History
www.youtube.com/watch?v=g7RwwkNzF68 - la dérive des continents youtu.be/kEeo8muZYJU Et la disparition des Mammouths - RILLIEUX LA PAPE & Dynacité - Le 23 février 2017, à 11h30, les tours Lyautey étaient foudroyées. www.youtube.com/watch?v=W---rnYoiQc 1956 en FRANCE - "Un jour on te demanda de servir de guide, à un architecte en voyage d etudes, ensemble vous parcourez la Françe visitant cité jardins, gratte ciel & pavillons d'HLM..." @ les archives filmées du MRU www.youtube.com/watch?v=zR_jxCANYac&fbclid=IwAR2IzWlM... … Villages de la Françe cité du Soleil
Ginger CEBTP Démolition, filiale déconstruction du Groupe Ginger, a réalisé la maîtrise d'oeuvre de l'opération et produit les études d'exécution. L'emblématique ZUP Pruitt Igoe. vaste quartier HLM (33 barres de 11 étages) de Saint-Louis (Missouri) USA. démoli en 1972 www.youtube.com/watch?v=nq_SpRBXRmE … "Life is complicated, i killed people, smuggled people, sold people, but perhaps in here.. things will be different." ~ Niko Bellic - cité Balzac, à Vitry-sur-Seine (23 juin 2010).13H & Boom, quelques secondes plus tard, la barre «GHJ», 14 étages et 168 lgts, s’effondrait comme un château de cartes sous les applaudissements et les sifflets, bientôt enveloppés dans un nuage de poussière. www.youtube.com/watch?v=d9nBMHS7mzY … - "La Chapelle" Réhabilitation thermique de 667 logements à Andrézieux-Bou... youtu.be/0tswIPdoVCE - 11 octobre 1984 www.youtube.com/watch?v=Xk-Je1eQ5po DESTRUCTION par explosifs de 10 tours du QUARTIER DES MINGUETTES, à LYON. les tours des Minguettes ; VG des tours explosant et s'affaissant sur le côté dans un nuage de fumée blanche ; à 13H15, nous assistons à l'explosion de 4 autres tours - St-Etienne Métropole & Montchovet - la célèbre Muraille de Chine ( 540 lgts 270m de long 15 allees) qui était à l'époque en 1964 la plus grande barre HLM jamais construit en Europe. Après des phases de rénovation, cet immeuble a été dynamité en mai 2000 www.youtube.com/watch?v=YB3z_Z6DTdc … - PRESQU'ILE DE GENNEVILLIERS...AUJOURD'HUI...DEMAIN... (LA video içi parcours.cinearchives.org/Les-films-PRESQU-ILE-DE-GENNEVI... … ) Ce film de la municipalité de Gennevilliers explique la démarche et les objectifs de l’exposition communale consacrée à la presqu’île, exposition qui se tint en déc 1972 et janvier 1973 - le mythe de Pruitt-Igoe en video içi nextcity.org/daily/entry/watch-the-trailer-for-the-pruitt... … - 1964, quand les loisirs n’avaient (deja) pas le droit de cité poke @Memoire2cite youtu.be/Oj64jFKIcAE - Devenir de la ZUP de La Paillade youtu.be/1qxAhsqsV8M v - Regard sur les barres Zum' youtu.be/Eow6sODGct8 v - MONTCHOVET EN CONSTRUCTION Saint Etienne, ses travaux - Vidéo Ina.fr www.ina.fr/video/LXF99004401 … via - La construction de la Grande Borne à Grigny en 1969 Archive INA www.youtube.com/watch?time_continue=12&v=t843Ny2p7Ww (discours excellent en seconde partie) -David Liaudet : l'image absolue, c'est la carte postale" phothistory.wordpress.com/2016/04/27/david-liaudet-limage... … l'architecture sanatoriale Histoire des sanatoriums en France (1915-1945). Une architecture en quête de rendement thérapeutique..
passy-culture.com/wp-content/uploads/2009/10/Les-15-Glori... … … & hal.archives-ouvertes.fr/tel-01935993/document Gwenaëlle Le Goullon (LAHRA), auteur du livre "la genèse des grands ensembles",& Danièle Voldman (CHS, Centre d'Histoire Sociale), expliquent le processus qui a conduit l'Etat, et le ministère de l'urbanisme &de la reconstruction à mener des chantiers exp www.youtube.com/watch?v=zR_jxCANYac&fbclid=IwAR2IzWlM... mémoire2cité & l'A.U.A. - Jacques Simon (1929 - 26 septembre 2015) est un architecte paysagiste formé à l'École des beaux-arts de Montréal et à l'École nationale supérieure du paysage de Versailles. Fasciné par la campagne qui témoigne d'une histoire de labeur, celle des agriculteurs "ses amis", "les génies de la terre", Jacques SIMON, paysagiste dplg, Premier Grand Prix du Paysage en 1990*, réalise avec eux des installations paysagères éphémères principalement dans des champs et visibles du ciel. Avec sa palette d'artiste, Jacques SIMON réinvente des paysages comme les agriculteurs eux-aussi à leur façon les créent et les entretiennent. Le CAUE du Rhône vous invite à venir découvrir ses travaux au travers d'un kaléidoscope de photographies empreintes de spontanéité, de fraîcheur et d'humour. Cette exposition nous interpelle sur le caractère essentiel d'une nature changeante, fragile, sur l'importance d'une activité agricole diversifiée et sur la nécessaire évolution du métier de paysan. Elle nous amène aussi à voir et à interpréter ce que l'on voit, elle éveille en nous le sens de la beauté du paysage en conjuguant les différentes échelles de perception et de lecture; à pied et à vol d'oiseau, à la fois l'échelle humaine, terrestre, géologique, forestière, hydrologique, biologique mais aussi esthétique et symbolique. Jacques Simon, paysagiste cosmopolite est l'un des principaux acteurs du renouveau de la pensée paysagère en France dans les années 60 et 70 conjuguant avec cohérence sa pratique de paysagiste, de voyageur, d'éditeur, d'enseignant avec son approche plus artistique du paysage, subtile, sensible et humaine de la nature avec la réalisation de "performances". Ses projets paysagers comme ses interventions paysagères éphémères sont marqués par la mobilité, la fragilité, une empathie avec le lieu, par la dualité même du voyage : découverte / évanouissement, création / disparition. Jacques Simon dessine, écrit sur le paysage, "une surface", un peu à la manière du land'art avec les techniques et les outils du jardinier, du cultivateur. Il ne s'agit plus de représenter la nature mais de l'utiliser en créant avec et dans le paysage. L'intention de Jacques Simon n'est pas d'apposer sa marque sur le paysage mais de travailler instinctivement avec lui afin que ses travaux-installations manifestent même brièvement un contact en harmonie avec le monde naturel. "On dit qu'il a bouleversé l'esprit du paysage, il a remis les choses essentielles à leur place. Il rit de l'importance qu'on veut bien lui donner, fils de l'air, il ne veut rien de plus que passer dans les cerveaux pour les ventiler, les rafraîchir et non pour les modeler; son "importance", il l'a ailleurs et autrement; il est historique parce que dans son temps, dans celui qui s'écoule et non dans celui qui passe". Extrait de "Jacques Simon, tous azimuts", Jeanne-Marie Sens et Hubert Tonka, Pandora Editions, 1991. Il a introduit une nouvelle conception de l'art du paysage proche du Land art, Jacques Simon est l'auteur d'une série d'ouvrages sur différents aspects du paysage et abordés d'un point de vue technique. Il a travaillé de 1964 à 1966 en collaboration avec Michel Corajoud. Il a conçu le Parc de la Deûle (qui lui a valu le Grand Prix national du Paysage en 2006, après l'avoir reçu une première fois en 19901).
Il est mort le 29 septembre 20151 et a été incinéré à Auxerre Le paysagiste Jacques Simon s'est éteint le 26 septembre dernier à l'âge de 86 ans. Diplômé de Versailles en 1959, il fut sans doute l'une des figures les plus emblématiques, les plus géniales et les plus originales du paysagisme contemporain.
Premier grand prix du paysage et prix du Conseil de l'Europe pour le parc de la Deule, on lui doit des principes de compositions très forts, autour du nivellement, du traitement du végétal ou de la place laissée au vide. Ses intuitions comme ses travaux ont inspiré tous les paysagistes avec lesquels il a travaillé, à commencer par Michel Corajoud ou Gilles Vexlard. On lui doit un profond renouvellement dans la composition des grands ensembles, ses réalisations -comme le parc Saint-John Perse à Reims- restant des modèles pour tous les professionnels. Jacques Simon développa également une production d'œuvres plus éphémères, attentif aux mouvements et aux transformations. Pédagogue talentueux et généreux, il le fut autant par les documents techniques et la revue qu'il publia, que par ses interventions en atelier devant plusieurs générations d'étudiants de l'école.
Les paysagistes perdent un de leurs plus féconds inspirateurs. L'ENSP s'associe au deuil de sa famille et de ses proches.
Témoignages à la mémoire de Jacques Simon
Si vous souhaitez témoigner votre sympathie, veuillez envoyer votre message à :
Témoignage de Mme Nathalie Dumont-Fillon (promotion 1990)
Dans les années 1990 à l'école du Paysage de Versailles, lorsque nous entrions en première année, la première satisfaction était d'acquérir du nouveau matériel d'expression plastique. Encre, feutres, supports en grand format et sur papier calque...mais aussi découvrir des livres de notre professeur Jacques Simon : des carnets de dessins et de croquis, des photomontages découpés aux ciseaux.
En amphithéâtre lors de conférences et séances de projections de diapositives, Jacques Simon évoquait surtout sa capacité à piloter un hélicoptère. Je viens de retrouver un extrait d'un article à ce sujet...
« (...) Car depuis une dizaine d'années, le Bourguignon a trouvé une solution à son imagination en bourgeonnement permanent. Jacques Simon crée ‘pour lui tout seul'. Ni commande ni concours. Mais des messages géants écrits dans les champs et seulement visibles d'avion ou d'hélicoptère. Un art éphémère et privé dont il s'amuse, les veilles de moissons, tout autour de sa ferme de Turny, dans l'Yonne.
Et là, plus rien ne l'arrête. Les agriculteurs du coin ont pris l'habitude de le voir faucher des allées entières de luzerne. De l'apercevoir écraser d'interminables chemins de phacelia, un graminé californien qui existe en trois couleurs (blanc, bleu, rouge). De l'observer dans son hélicoptère photographiant le résultat. Ses messages sont des hommages ou des avertissements. L'un prévient : ‘Hé, si tu n'as plus de forêt t'es foutu.' Un autre : 'Sans les paysans, je m'emmerde. Signé : la Terre.' Même l'hiver, Jacques Simon s'adonne à cette calligraphie paysagère. (...) ».
Extrait paru dans La Croix l'événement du dimanche 11 et lundi 12 juin 1995, par Frédéric Potet, rubrique Culture.
son site simonpaysage.free.fr/
,
file:///C:/Users/user/Downloads/B_Blanchon_AUA.pdf Interview to Jacques Simon incleded on the dvd that accompanies book "Metropoles en Europe", from the exhibition "Lille - Metropoles en Europe".
The French landscape architect Jacques Simon's love for nature first developed on his father's tree farm and then deepened when he traveled as a young man to Sweden and then Canada, where he attended art school in Montreal while working as a lumberjack. Between 1957 and 1959, Simon studied at the École Nationale de Horticulture. He has since become an important link in the renewal of French landscape architecture, combining the Anglo-Saxon and Scandinavian garden cultures he absorbed in his travels with classic Latin structures. He works as often as possible in situ, and does not shy away from driving the tractor himself.
www.youtube.com/watch?v=OyBnqrUlK9U turny.chez.com/A0archives/jSIMMON.htm Jacques Simon, Il crée la revue Espaces verts en 1968, l’anime jusqu’en 1982, publie des cahiers spéciaux dédiés à « l’Aménagement des espaces libres ».
Même l'hiver, il s'adonne à cette calligraphie paysagère».La Croix dimanche 11 et lundi 12 juin 1995, simonpaysage.free.fr/ Jacques Simon écrit ses premiers articles dès la fin des années 1950 pour des revues comme Maison et Jardin et Urbanisme. En 1965, il signe l’un de ses premiers livres, L’Art de connaître les arbres. strabic.fr/Jacques-Simon-Gilles-Vexlard … jacques simon & Le parc des Coudrays - Élancourt-Maurepas, 1970 strabic.fr/Jacques-Simon-Gilles-Vexlard … simonpaysage.free.fr/ Jacques Simon - Espaces verts n° 27, avril-mai-juin 1971, p. 44-45 Fasciné par la campagne qui témoigne d'une histoire de labeur, celle des agriculteurs "ses amis", "les génies de la terre" paysagiste dplg, Premier Grand Prix du Paysage en 1990*, www.youtube.com/watch?v=OyBnqrUlK9U …
Being interviewed for Sky Arts about this photograph of Yun Tan, which is on exhibition at the Mall Galleries, London, until the end of this month.
London, 2009.
I was fortunate enough to have been asked by Andy Butler to do an interview for Mobiography Magazine.
www.mobiography.net/interview/new-york-street-photography...
These two picture are not good for an interview. The scarf and the ruffle blouse takes away from the outfit.
I was interviewed at www.joshspear.com/item/speartalks-grant-hamilton/#more-5725. Reading it would be an excellent way to pass the time while on the potty.
Check out an interview with Grolsh Canvas
canvas.grolsch.com/uk/node/9236
Some other really cool work on there too - the movie articles are great.
interview for www.kenh14.vn
- 17 years old, currently student of Bùi Thị Xuân High School in the Ho Chi Minh city. She got famous through youtube with English songs.
My interview for BJD Magazine :
bjdmagazine.com/2010/12/07/bjd-faceups-by-caroline-seales...
thanks for reading! :)
edit :
and here's part 2!
bjdmagazine.com/2010/12/09/bjd-faceups-by-caroline-seales...
A Facebook campaign run by One for lingerie brand Simply Yours attracted hundreds of fans and tens of thousands of interactions.
As part of an ongoing online PR and social media campaign, One worked with Simply Yours to promote From Brief to Bra, a fashion design competition run by the lingerie brand. Competition entrants were asked to produce a design for a brief and bra set that could feature in the 2011 Simply Yours catalogue. A Facebook page promoting the site included a blog, design and style tips, photography of Simply Yours products and interviews with the lingerie model Elena Elfwenkrona. In just three months it attracted nearly 1,000 fans, over 16,000 page views and 11,000 photo views
An Interview with California based band: Miggs
"Anticipation and more underwear than you could shake a stick at".
Miggs first night playing in Charlotte, NC June 11th, 2005
It was around dusk as we walked from the venue for the night, the local hotspot located in the NODA Art District of Charlotte, NC "The Evening Muse". Quaint Café bar with an intimate setting, and the most spectacular sound as noted in "The Charlotte Observer" many years running. A tad muggy weather but that didn't' seem to really kill any of the mood. Fumbling through my words until the band as a whole within seconds made me feel comfortable, and I took in all that was Miggs. This is very important in all aspects they are people persons, they are down to earth, and they can make you feel like their best friend in mere minutes. This is just the beginning of the beauty that is Miggs. For now I'm going to share my dinner with the band, the totality of the conversation that took on some hot issues I've always wanted bands to openly talk about but most are just to tight lipped. How is that for another plateau of brilliant, a band who speaks what they think, they feel, going against the grain of shut up and put up. They bleed right in your face realism. Oh how I am in love with this band.
For the first few moments it was pieced together 'hellos' and 'how are you'. Ordered some food as the glasses of water left condensational puddles on the table. Don Miggs struck me as a charming business hippy, and I hope he does not mind this comparison, with a fantastic warm smile, soft-spoken voice, and some aura around him that made you just want to listen to anything he had to say. Intelligent and poised he takes the spotlight with him everywhere he goes. Talk about a light switch, this man made the fixtures. Next up in the round table was a man they called "Face", Jeff the illusive nature of his true name falling over even into their newsletter and site. The new member to the group as deduced by any fan alike he's nicknamed "Face" for the sheer reason he has a beautiful one, not just beauty but the charisma to back it up. Intensely deep set eyes, sideburns to kill for and that rock star style; he could pull off any outfit and make it look good. The wild party-man to the group, but I sense a deep sort of knowledge to this scene for his young years. Expected him to hang from the rafters and dance on the table, maybe next time, but we all knew secretly he was just wished to get up there and do his thing. Then bassist Mark Baker a country-like surfer,a twist of good wholesome country roots, with a soulful aspect to things. I noticed the light in his eyes when it came to family and just the joy of being on the road. Entirety among teddy bears, he looks at the big spectrum of things and tries to keep that balance of large to even larger, politely perfect. Last but certainly not least was the drummer Jason Gianni, an intelligent whip of a man. Philly born and raised and it shows. While he is the quiet side to this band, he is the deep thinker, cerebral counterpart; the shy one if you can have it to a band. His taste in off beat t-shirts, good food, styles, and bands gave away just enough for me to know I was in for one hell of a night.
Then there was that wonderful theme of underwear.., dinner with Miggs.
1) Q: What would you like to see change in the music industry now?
Collaborative: Wows shoot around the table. "What a way to start this" I hear muttered coyly.
Face: There is show at 10:30 tonight!
Don: It's a business and I understand that but if they could make the focus a little more like it was in the 60s that was a little more related to the music. Like if you were the best band with the best song, the best artist that usually trumped the person with the most money. Now a days it seems that Ashlee Simpson or someone like that has a lot better chance at making it than a great band because she has more money and more connections. That is the one thing I would definitely like to see change.
2) Q: What is your biggest sacrifice on the road?
Mark: Sharing beds.
Face: Startling that little trinket right?
Me: Yes, of course WOOHOO (What fan wouldn't want to clamor for room in that tour van?)
Don: Sacrifice a lot, it's like getting into a different place everyday. The sacrifice is also the best thing about it, it's cool to be in different places. It's definitely what we all dream about it
Face: You have to leave a life, if you have one to leave
Don: Yeah I didn't have one to leave.
Mark: I had a nice life, doh!
3) Q: Goes along with last question here, what would you tell up and coming artists to expect/watch out for? Don't expect this, but definitely expect this?
Face: Don't expect a hand out first and foremost.
Don: It's all about this, there are no short cuts through this, and no one is giving it away for free. If you think boom you sign a record deal and the next thing that happens and you get the keys to a great tour bus, and everything becomes beautiful and roses. All it is is what really happens if you erase all your history when you sign a record deal and you start over. It's exactly like etch-a-sketch start from scratch again, but it's still very cool.
Mark: I'll tell upcoming artists all of your dreams you have had of being a rock and roll star are not true! It's a lot more work than you could ever imagine it to be. Then again there are a lot of things you've never thought about that are just so darn cool
- Q:Like?
Mark:Like what it really means to be a musician in a band with three other people and develop with those people. In that band it can be very frustrating, but it can also be very cool
Face:I'd add to that up and coming artists know that when you have worked yourself into the ground and you feel like you are burned out, you're not even close. NOT EVEN. That is when you really separate the boys from the men.
Don: On the other side of that it's also so much more rewarding probably than you ever though it would be. It's not the sex drugs and rock and roll anymore it's really becomes the "Oh my god, I'm playing at a place at a place that people are showing up to see Miggs from San Francisco and we're in North Carolina". You traveled here to see us, how cool is that?
Mark: That actual thing, you can't prepare yourself for the reality of it
Don: That is the difference between what we do and others who go to work and push a pencil. What we do is immediate feedback so when it's bad, it's immediately bad, and when it's amazing it's immediately amazing. You can watch people transform from "I don't care, I'm not even interested" into the likes of, by the end of it "I want to buy a CD" how cool is that?
4) Q: Favorite song of new album:
Don: Real affection for "Perfect" because of how fast it came out. Just woke up at 2am and did the entire song. Something about that was really cool. Song that has the most elements of Miggs to me is "Into and over you"
Mark: Once you get into that song you can really be a part of it
Face: Sangria: I like songs that are fun to play and I really like looking out to the crowd seeing people into it and that is this song.
Mark: Looks like I'm reading this off a card but I'm serious to say I love all of it. Beginning to End it is one long sequence. It is all Miggs.
Jason: (he speaks!) "Be" is my favorite; be has a little bit everything that we are about. It's got the energy, the harmony, they lyrics, the big majestic ending, and time changes.
Mark: When it goes from the bridge back into the intro and we are really rocking it that is Miggs.
5) Q: How is this different from your last album
Face: Better!
Don: When we had producer Gavin MacKillop, whose worked with Goo Goo Dolls, Toad the Wet Sprocket and a bunch of bands, but what I always have said about him is we were like guys in a room and it was dark and there was a light switch somewhere. We will eventually find said light switch but Gavin knows exactly where it is. We're different than what that album is, he was like you are one band and pointed us that way. And he did that so when making the album together as opposed to as me just writing all the songs before I knew the band, this was when I knew them all already. In fact some of the songs on the album are about these guys, kind of sad or great?
6) Q: What do you collect on the road that if fans were to send stuff to you what should they send?
Mark: Magnets, not good at remember things like that. First place or two I got magnets after that it was all downhill. Like ones that say the town or wherever the people live, se
Face: Pins from hometown. Ladies underwear! "Yeah I do now" x. Jason's answer.
Here is where the underwear story comes into play. Jason and Face are comparing that they found out that they wear the same underwear completely by a mishap. Do we believe them? To funny to pick what is comedy and what is chance.
Jason: Ladies underwear! laughing of course.
Don: Huge music guy, go into used music stores, new music all the time.
Me: A favorite genre in there?
Don: I'm a popular music buff anything from the 50s to today. What I like to say is just put it all in a blender and mix it all up and that's what I think Miggs is.
Jason: I don't' really collect anything as much as others. I'm the photographer of the band mostly so I am the tour guide in the band. We're going somewhere and I'm telling them what exit to get off at to go see some things. So photographs from fans as I'm making up a tour book right now.
7) Q: Favorite thing a fan has done for you:
All together now " Bought the album!"
Mark: Tootsie Roll days, at some point in the band history there was this movement of Tootsie Rolls and me.
Don: I know what this was; she thought it looked like you had a big Tootsie roll stuck in your pants.
Mark: Yeah, well I'd like to think it's more meaningful than that 'glares at Don'
Don: They started bringing them to every show and chucking them up on stage
It had something to do she said he looked like a tootsie roll and wanted to do things we can't talk about?
Mark: I don't even really like tootsie rolls.
Don: Another time was this great woman traveled to DC to see us after she said all the wonderful stuff, but she came all the way to see us.
Mark: Yeah a fan bought me a beer once. It's like you play Cincinnati and someone writes and you didn't know them and I saw you, you're now my favorite, sends some photos and that is WONDERFUL.
Underwear is heard faintly in the background and through the maze of hysterical laughter and heat I'm not trained enough to decipher whom, but two of them brought it right to the front.
-Q: The new topic of this interview is going to be headlined including the word underwear, what is the deal everyone?
Don: There is a great underwear story
Face: Underwear is the theme in this band USUALLY woman's underwear
Jason: This is where we talk about how we were doing laundry and Jeff put on my underwear and thought we shrunk everything. (for reference Jeff "Face" is about 5 10 nicely build, Jason is about 5 "4" nicely built but fits his frame well, they'd never be able to wear a single thing of one another's).
During a tiny interlude here the fan that drove all the way up to DC to see the guys and were what they were talking about "coolest things fans have done for the band" walks in the restaurant. It was a very déjà vu type moment. Inviting were their hugs and greetings to these fans. Talking about their torments on the roads trying to get out DC and just passing out there, traffic kills all people!
Going back into the interview:
Don: Back to panties a fan has done that throwing stuff on stage just to give us moral support, they know how much we love that
Face: Yes, I love playing shows putting them on my head. I can be too silly.
8) Q: So is this also the craziest thing a fan has done for you?
Don: Sort of, this was from some fans you really would not expect them to be throwing underwear, full on kids next to them just winging it right at us. Fun times!
Jason: I think the best is random hugs from fans that people actually talk about.
9) Q: Ten years from now what will you be doing?
Face: hopefully still on tour, people saying still doing it? My god losers!
Mark: Meeting with president of the monument fund.
One element of music industry you just never know what you are going to do one week to the next let alone a year and then TEN! Really a tough question but I think every musician has high hopes for wanting to be still in sustaining their way of living.
Don: Hope the four of us are still playing music together.
Jason: I don't know I don't' really like you guys (he says jokingly)
Joyous laughter so I dig in.
10) Q: Is there really one thing you guys can't stand about one another, come on go at it! ;)
Mark: Are you a therapist? Hah.
Jason: Jeff was eating chex mix today one at a time.
Mark: OMG YOU HEARD THAT TOO!
Jason: Nap number one awaken.
Jeff: Wait Mark keep rattling on his bass all day while we were all sleeping.
Jason: It's like being in a marriage all of the things you love about one another can be all the things you can't stand about one another depending on how long you've been in that band.
Mark: I mean imagine about riding in a van with anyone, really anybody for six to eight weeks. We're together basically twenty-four hours seven days a week.
Don: You want to know when we got here today I had to go to the bathroom, but I went in the bathroom and stood there and stood there and I was by myself and I couldn't' go. It was just like you know what I don't care who wants to get in here but I'm hanging out until someone does!
Sidenote: I started to go on about how I could relate to this from when I was on the tour known as Ozzfest with a little named band Incubus. Brining into light that one member said in ten years if he couldn't be on the stage anymore he'd want to at least produce.
Don: I could definitely see that and I think everyone on one side of this will always go for the other. Overall I want to be like Butch Walker, I just really dig him, listening to him on the car on the way here. Just got into him actually. [Suggesting a few artists to Miggs was fun here; I love to drop some names of bands I like locally and regionally. (Trances Arc, Clifton, Y-O-U, Stephanie's Id).
Don: Reason for brining up Butch is we played a show the other night in one of the places we weren't really accepted well most of the fans would have accepted him even though he is not all about the rip roaring punk scene. He has the look and the charisma to pull that off. He is really great!
Face: We play shows that are really mismatched and it's fun showing people that different aspect.
Don: But last night was completely hardcore scene. The venue town and everything was shady and horrible.
Mark: Just wasn't a great night
Face: The night was capped off with and ambulance, cops, and a guy getting laid out on the concrete. The concrete hit him harder than the guy did.
Me: hope you got out of dodge, where was this?
Mark: Yeah we just got out of there as fast as we could!
11) Q: What do you do for your writing process?
Don: Don't sleep! No, what I think is keep your antennae up, I just watch everything and listen to everything.
Mark: Be an absolute predatory listener.
12) Q: How do you all write?
Mark: Majority of framework is Don. The rest of us arrange.
Don: Eventually it will be three songs from everyone. Theory is go for the best song as we all write good music and the best one goes on the album I don't care which one of us write it.
Q: I've noticed that your album has many more tracks than other CD's out there, what is the reason? Couldn't sort them out, really wanted to get everything on there? Everyone wanted one of his or her songs on there?
Face: It's missing two
Don: Ten songs on an album that's it. I don't want to bore people or go to far, this just felt right though. We wanted to finish what this music is, this time; I didn't want anything else to trail off into the next album. Want that album to be for how we are right then. There is a possibility of the other stuff being b-sides or getting out there some how.
13) Q: Influences, do you let a lot of outside things influence you on what direction you are going to take with your music?
Don: If we did then we'd sound a lot more like what's on the radio all over now, but if your antennae is up you can't helped be influenced by everything. So we're writing so I'll hear a little bit by Weezer but everyone interprets that differently. Such as we all don't put the same exact song on our Ipods, there is something about that, that is really cool but he'll interpret that as something a little edgier but edgy will mean a different thing to someone else. So once you look at it that way there is that element in there for everyone which is what you need to do this. Not like on the radio but familiar enough that we have our own sound.
14) Q: Biggest influence.
Don: Classic Beatles, 50s all the way to Elvis Costello, U2 found that stuff later after my dads' era but that really gets me.
Face: My scope is a little bit narrower; I'm more influenced by the 90s, early 90s really big into Sound Garden, Jeff Buckley, Stone Temple Pilots (as he wears the hat) stuff like that
Mark: Classic Stuff: Leonard Skynard stuff like that. R&B Motown old not the stuff today I just don't get all the way. I try I just don't' get it.
Jason: Motown hard to really pinpoint this down to one thing, my main influence are a combination of Beatles and Jellyfish (early 90s) into a lot of progressive music (yes, rush). A lot of heavy metal bands, marillion, metalica, pantera, metal to the end.
15) Q: What is the last concert you have been to?
Don: Cake on Virgin Mega Tour. Afghan Wigs
Mark: Afghan Wigs
16) Q: Name some up and coming bands local or regional you think that some people should listen to? A free floor to plug some new bands:
Don: Iron and Wine, go get them! Matthew Good.
Mark: Auto punch, four nights before tour Jeff was playing with them.
Jeff (face): Bay Area Band: Street to Nowhere, kid will blow you away his voice and songwriting skills are outstanding. That is my pick I think he is going to blow up.
17) Q: Interviews get boring because you get asked the same things all the time. What is something that you want an interviewer to talk with you about to get the message out there or talk about?
Don: Did a show on the WB and guy asked a question like this. Answered the whole thing and got it wrong because I went into this whole thing and Jason was like "ummmmm" that wasn't even the question! Camera was on me and I totally had to play it off.
Face: Let me think about it.
Jason: I think the one question you asked was really awesome. "What would you want changed in the music industry"
I think there is too much think part of being an upcoming band for people to know you, there is more to a band than what you see. A band where we are at who is just on the bring of breaking through, grass roots things" I think we could be more helpful to a band starting out. Talk more about grass roots and all that.
Mark: Subject we most think about I think is just how hard this business is and I think that one thing that frustrates me is what I want to talk about, compared to what people want to read. I don't really know what people want to read.
Me: (interjecting) more people are wanting to read interesting things honestly. They'd rather hear about your influences and some quirky habit than where you are from and exactly what your songs are.
Face: (with an elevated tone) Ticket prices, no way ALBUM PRICES.
18) Q: Good topic! What about ticket prices?
Don: It's album prices, we'll go to Borders and they are charging $15.99 for our album, and I'm like are you nuts? An album should be no more than $9.99. I don't buy any albums new anymore; there goes back to my used album store ways. This is why we well our albums at our shows for $10.00. We have to remember though the amount of money it costs to get your stuff on radio and all though. Ouch.
Don: This is going to sound great. When people say what do you think of the top acts like Hillary Duff being the number one song, what drives me nuts is when someone says to them "Hey, what do you think about your song as number one?" It's almost as if they can't have an opinion because how it got to be number one is they paid a lot of freaking money.
Face: Have you even heard it? I haven't? Has anyone really? I mean it's played everywhere but who listens to it?
Don: At the end of the day though you can't make this big machine we know run without money, it's all about the money. We are doing a radio campaign we're over a $25g but you throw that into the wind, most don't want to talk about that, just rock and roll.
Jeff: Bands making it? There is one way for you to make it in the music industry to which is have a massive financial machine behind you. I do not believe you can make it as a band unless you have a huge promotional campaign that is funded very well, or if you aren't in a band that can afford to be extravagant. Media wants things IMO things that are over the top. Over the top costs money. The whole thing has been done with the rags to riches element. Where you hear someone found you , someone really loved you and put you on the radio because they have the power to do it. I just don't see it that way anymore. There are just too many people out there doing it, too many great musicians.
Don: That is true I'm a guy and I'm very optimistic and I always think if there is a will there is a way but the reality is 99.9% of the time that is it.
Face: when it comes down to it was talking to our manager the other day. You either have the hard cash capital from a band or you have the resource, which is the equivalent. You have to know someone at the top that can just give it, or might happen. Even in that scenario it really comes down to cash. That person is spending that money to get you up there, but it's easy for them to do that.
Jason: I think that's are ways of breaking through but once you get there it is all of this. There is no way to get up there and stay up there. Regardless of anything it's going to take a lot of money anyway.
Don: We signed a deal with independents, we get to own everything, our tracks but at the end of the day you really need all that money.
Face: Nothing from nothing is nothing. (Hemingway reference!)
Mark: You gots to have something to get something and we are going to get something!
When the interview came to the end and we huddled in a group to grab some last moment photographs before the sweat, before the chaos, before the stage opened up and showed us a new definition of rock in 2005, we all beamed. That was the theme, beyond the underwear, déjà vu like moments, a happy feeling of calm coming over the dusk that has now fallen into a virginal start of the night. Anticipation of being defiled, completely and utterly defiled and loving every second of it, here comes the rock.
We crossed the street companions in the night to become one with the reason we all gathered at 36th N Davidson Street in the quiet Art District of Charlotte, NC 's nightlife.
Self-defining rockistry at it's best.
This is not a good dress attire for a man who is seeking a job. His clothes appears to be wrinkle, wrong types of pants and shoes.
Caught this representative of a local car dealer doing an interview/commercial. Hmmm, not sure if it's a great idea to do such in front of an auto repair shop . . . ;)
You can find this lovely interview with Vince Toulouse (www.flickr.com/photos/vince_toulouse/) on www.tilesorstuds.com/2016/03/special-interview-with-vince... also congrats on his last moc Rolling Bug (www.flickr.com/photos/vince_toulouse/25505151884/in/datep...)
I feel a little narcissistic posting an interview with myself, but Theresa decided that for our latest installment she wanted to interview me. So here it is: read more
Anne Rice, At the after party for the Broadway show Lestat. The party was hosted by Time Warner.
Some people think I am just a "papparrazzi", which in Italian means pestering insect or fly. Like in the movie "la Dolce Vita" directed by Federico Fellini; Papparrazzi-Photographers would stalk celebrities and try and get pictures of them looking foolish..There were over 25 Italian newspapers in Rome in the 50's (after the war), all of them competing for the most sensational images. Later it would be said that Papparrazzi killed Lady Diana. But Dodi loved to play cat and mouse with the photographers in any city he was in, and told his drunken drugged out driver to escape their dirt-bikes and mopeds.
So legitimate bonafide photojournalists ,like myself, who cover events by invitation, from public relations companies and press agents;
are by ignorance and default grouped in with the ambushers.
In New York City there is a Photographer, who in a past life,
must have been a dog. His name is Steve Sands. Steve gets
" tips" from the very people that manage and control the public image of celebrities they represent. If some big star checks into a hotel under a false name. Steve finds out about it and stakes out the hotel or event. It's a very fine line.
Most celebrities need and want all kinds of press. They need to be published to remain in the public's fickle eye. Ask Woody Allen about Steve Sands. Oh by the way He's made millions shooting celebrities. Come to NYC and follow Sands around!!! Get rich.