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I've been tagging my dolls, and quite often come across a doll or two I have never photographed. The Interview Silkstone Barbie is one of them.
My interview with Fujifilm for Stocksy United:
fujifilm-blog.com/2018/02/28/introducing-stocksy-photogra...
I was fortunate enough to be interviewed recently about my (bizarre) start in photography, my life before photography, how my book deal happened, and how social media helped build my career.
Part 2 of my interview just just went up! It's a long interview! This part is about who my photography clients are, how I make a living, how I do my snow photography, and my all time favorite photo I have taken in the snow .
Excerpt from Part 2 of the interview (full interview: Full Interview Here )
Favorite photos, Vivienne’s approach to capturing ‘fantastical’ images...
Dave: Are there a couple of favorite photos of yours that you could talk about how they came about, or what were you thinking and what your process was in making them? We’re kind of interested in your process in general. Do you set out on a photo walk with a mission to find something specific? Or is it more that walk and just let the muse dictate, kind of follow your emotion or thinking at the time?
Vivienne: I am absolutely in love with New York City at night in the snow! I started doing a lot of snow images a few years back. I just started going out every single snowstorm and trying to capture how I felt every time I walk around in the snowstorm. [The images] just sort of took off online. A lot of them went super viral. So now I’m super into that project.
I really love it; I think that there’s this sort of really magical quality at night in New York City when it snows, that just can’t be replicated anywhere else.
So with that I’m definitely on a mission. There are certain themes that I try to capture that are iconic for me in my memory. One photo that I did was a direct homage to...
Continue reading the full (very LONG interview) here:
Our favorite photographers: A conversation with Sony Artisan, Vivienne Gucwa: Part II
Hope you enjoy!
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Curious about the book? Tons of information about my New York photography book with sample pages (including where to order and what stores are carrying it):
NY Through The Lens: A New York Coffee Table Book
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View my New York City photography at my website NY Through The Lens.
View my Travel photography at my travel blog: Traveling Lens.
Interested in my work and have questions about PR and media? Check out my:
Ms Skolnick being interviewed by local newscaster about the extension of Shillmans famous January Coat Sale due to the impending snow storms coming to Washington DC.
Ms Skolnick started the interview by saying, "Hello my Shillman customers" as she smiled at the camera. When asked about being a dowdy store and how sales were, Ms Skolnick gave the interviewer kinda a sharp edge of her tounge and went on to say that sales were way up.
Few months ago, I made an interview of the excellent french drawer & musician MCBESS.
Interview is available on the inevitable french blog SOME COOL STUFF.
At the end of our long conversation, I asked him if he was ok to make a little dedication... and here it is baby !
Click HERE to view the big size.
www.1001pallets.com/2016/09/pallet-crafter-interview-12-t...
Today, we had the chance to ask some questions to Tim Steller, Crafter from Sarasota in Florida (USA) who specializes in making all kind of beautiful Artworks mainly from recycled wooden pallets; you can follow the work of Tim on its website: Steller Artworks. If you think you deserve to be featured in the next interview, please, drop us an email.
Tell us a little more about you? Who you are? Where are you from?
My name is Tim Steller and I am a 36-year-old pallet artist that lives in sunny Sarasota Florida. I enjoy my beach-style life with my lovely wife Ashley and my almost 3-year-old boy Camden. Along with our knucklehead dogs Angus & Maverick. They’re goofy and lovable. Or for short we call them Gus and Rick.
Why do you craft?
I craft because, like most of us, I have an appreciation for wood and the characteristics it has and what it becomes. I love being able to look past pallet wood’s original purpose and recreate something new. I also try to express myself with art into everything I make just to give it a new feel.
How did you learn to do wood crafts?
I learned to do wood crafts with a lot of trial and error techniques. Actually, oddly enough, I got inspired from pumpkin carving. It’s one of my favorite things. Then I remember, a long time ago, borrowing a friend’s jigsaw and really got to know that machine so I went and bought my own and got to carving.
How long have you been working with pallets?
I've been working with pallets for about 2 years now and love them. They have the coolest, roughed-up look I can never recreate with chains or hammers. And when I find one by a dumpster it's even better because I know I'm giving it a better purpose.
Why did you choose to work with pallets instead of purchased wood?
I prefer working with pallets for many reasons, but mostly because they already have wear and tear, and natural knots missing. Imperfections are perfect for me. I always try and keep the nail heads in my artwork to give it that raw look.
What are your can’t-live-without essentials?
There's not a lot in my workshop I can't truly live without. My essentials list is short just because I hate being "attached" to any materials. But as far as for my work I can't go without my saws, power drill, hammer, crow bar, blowtorch, and sander. They’re my hard workers. I also can't work without my wireless speaker. That's a must. But more importantly, my family keeps me going every day. They are my world.
Are there any brands that are your favorites?
For tool brands I love DeWalt, Rockwell and Black & Decker. For my wireless speaker, it's the JBL Flip. It’s the best out there.
How would you describe your crafting style?
My crafting style would have to be an "Island Lifestyle". I live by the beach and most of my artwork is sea life inspired. I have also done many custom pieces with other subject matter or styles, but I prefer the tropics.
Are there any crafters/artists/designers that you particularly look up to?
There are so many crafters out there that all inspire me to challenge myself and think outside the box and try to see things from different views. Too many artists to list but Dali has always been my artist I grew up studying and many tattoo artists that work with 3-D effects. It’s amazing what they can do with a needle. Detail is the key to finer artwork.
Where do you do your wood crafts? How would you describe your workspace? How did you make your workspace more functional and/or inspiring?
I do all my wood crafting at my house. I converted my garage into my art gallery where I paint/stain and next to my garage is my car port that I use for my wood working. My workspace is not that typical as you will see everything from fine art to skulls on shelves and everything between. My work space is art to me. Organized confusion is the best way to describe it. I thrive on creative chaos. This makes everything so much easier, because everything I do is from my home. When I want to have family time, I just shut the garage doors, sweep up the car port, dust myself off and I rejoin my normal life.
What types of things inspire you?
Living down here in Southwest Florida, there is inspiration everywhere you look. You just have to be able to stop and look at it and appreciate it without feeling the necessity of taking a selfie to post up. It's just the lifestyle down here that I find inspiring. But I do also get inspired every time somebody says, “Wow, did you cut that out with a laser cutter?” Nope! Just my jigsaw and my hands made that piece.
Where do you look for inspiration for a new woodcraft?
I look at all kinds of artwork all the time and I get inspired from ideas and try to blend them. Also, a lot of times my clients from that past will order a new piece with a theme in mind and that will get me inspired/excited to try something new. Change is always fun.
When do you feel the most creative?
I guess I feel most creative late night, after the little one is down for the day. It’s quiet, and I’m at peace. My toughest critic (besides myself) is my wife, but I’m glad of her input. It’ll get me thinking of ideas – or rethinking them - and then the chemistry starts. I’ll get the music playing and that’s the perfect setting for creativity.
We live in such a mass-produced, buy-it-now society. Why should people continue to make things by hand?
One of my biggest selling features is that every piece is one-of-a-kind and can't be duplicated. But that's mostly because of the wood. They absorb differently and each has its own characteristics and that makes it unique. Just to know it was handpicked, broken apart, sanded, etc., is such a quality in itself. In other words you won't find my artwork on Amazon anytime soon.
What is your favorite medium to work in (other than pallets)?
I also love to work with other related arts such as sketching and painting but I I’m also a bartender at a busy marina where I get to be creative and use local ingredients to make some of the best cocktails in the SW Florida. This is a craft that is taking off around the world and I love being a part of that scene.
What are your tips for people who'd like to start crafting? What are your most important safety tips when woodworking?
Tips for beginners: Try to have fun and don't get discouraged with your first attempts. That's how you learn and the next will be that much better. Also try to make a work space outside, not on your patio. The wood and tools will add up quickly and then your patio is a cluttered workshop with dust everywhere. Your other half won't be thrilled. Lastly be careful. Tearing apart a pallet is tough and dangerous, especially if you’re using saws. Also, know your tools. Practice on something easy first. Pallets have split boards with sharp ends, large nails waiting to pierce you and they're heavy. If you can get that pallet home, then you’re half way there. You can take apart an entire pallet with just a hammer. I've done that. But you can also learn dismantling techniques with saws, but once again, be CAREFUL! Watch some YouTube first.
What is your guilty pleasure?
Guilty pleasures would have to be collecting abstract art, my weird skull collection fascination, Halloween, horror films (old and new), Tattoos, loud music, Jeeps, boating, big dogs, and a few others.
What are some of your other hobbies or favorite things to do (other than crafting)?
A few hobbies I like to do are going to a certain beach with the family and collecting driftwood. I'm working on some cool table tops with using driftwood as the base. Other hobbies would include football, basketball, and soccer to stay active.
What are some of your best tips for breaking down, prepping, and cleaning pallets before you build with them?
The first thing you need to know is if the pallet you found is free for the taking, or does the company recycle them? If they do, you can't take that pallet. But there are plenty more around you can take. Next, make sure there are no chemical spills on it, like from a construction site. You don't want those. Once you break it apart you can either remove the nails by hammering them out in reverse or cut them off with a bolt cutter. Then it's time to sand. 80 grit works to get it down to smooth but finish with a 220.
Have you designed any special tools or jigs for wood crafts?
I don't have any hand-made tools I use but I have a variety of tools I use. I do like using my paints and stains for my projects and I make a lot of my own color combinations along with stain to give it a unique look. I try to imitate wood aging like barn wood or petrified wood. I've used all kinds of brushes that I've made; even using an old sock!
What are some wood working skills you really want to learn?
There are endless skills you can use in wood crafting. This has been going on since the dawn of time, haha! I would like to start working with bamboo soon but that's an entirely different operation I need to learn.
What is the one project you’re the proudest of so far?
I guess the piece I'm most proud of is my first one I ever made, which I still have. I have made many pieces that are hanging in million dollar homes as well as high-end restaurants and businesses and some of my favorites are the hammerhead shark, the hog fish, mermaid and the Marlin but my first one is my favorite. It's a very simple piece made of 7 boards with a song quote on it. I still think it’s very cool.
What else would you like to share with the pallet community?
The one thing I can share is to keep thinking of the possibilities. Take a pallet and turn it around. You have a 6 shelf herb garden you can throw up on a wall outside. You don't need to hammer a thing. Just try looking at things from a different view. Pallets are adult-sized Legos for us to build with. The online fascination is growing each day and now people appreciate it because there's a story behind each one. Let's keep this movement going!
If you’re ever in the Sarasota FL area, I am at the Siesta Key Farmers Market on Sundays displaying my art, and I would love to talk to you.
Editor’s note: Thank you for your time and for sharing your story with us, and with our fellow Crafters. Your work is beautiful and inspiring to all of us, and we truly look forward to more from you in the future! Keep those gorgeous pieces coming!
Thanks Tim for this interview :)
To find more on Tim: Steller Artworks website.
Had an interview this morning at the green bus as my shoulder is geting no better so am having to look at going on the buses and forgeting the coach game for now. Seen parked on Hill Street is S881BYJ a Daf ND250 / Optare Spectra . So this week could well be my last week in the coach industry for the time being as time to face up to the fact i am having to stop doing it . Photo taken 10/02/14
Interview with Sam Cox The Doodle Man about his work and plans for world domination. www.youtube.com/watch?v=5eml1DZOdWU
-Filmed and Edited by Christina Tsaou
Title.
Silver. White. Blue.
(LUMIX G3 shot)
Manhattan. New York. USA. 2017. … 10 / 13
(Today's photo. It is unpublished.)
Images.
Toshiki Kadomatsu ( 角松 敏生 )- Magic Hour
youtu.be/UVB5oNTZ2PY?si=eZsH8F_PD-KYHLsk
::Link photo music and iTunes playlist::
music.apple.com/jp/playlist/photo-music/pl.u-Eg8qefpy8Xz
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Important Notices.
I have relaxed the following conditions.
I will distribute my T-shirt to the world for free.
m.flickr.com/photos/stealaway/50656401427/in/dateposted-p...
m.flickr.com/photos/stealaway/50613367691/in/dateposted-p...
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Exhibition in 2024
theme
Goodbye , Photo .
Images
Ai Otsuka ( 大塚 愛 ) / Goodbye photo ( 恋愛写真 )
youtu.be/B2XfJCQ2Dy0?si=WN3UePWye5N03yi4
Live 1.
youtu.be/MjBYxuVgj70?si=K3TyYOGqa3Y8BdAt
Live 2.
youtu.be/Dccv85TarHs?si=BI-f4JfrihO3CTXD
Mitsushiro - Nakagawa
Sponsored by
design festa
place
Tokyo Big Site
schedule
November 16 and 17, 2024.
exhibition.mitsushiro.nakagawa@gmail.com
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Notice regarding "Lot No.402_”.
From now on # I will host "Lot No.402_".
The work of Leonardo da Vinci who was sleeping.
That is the number when it was put up for auction.
No sign was written on the work.
So this work couldn't conclude that it was his work.
However # as a result of various appraisals # it was exposed to the sun.
A work that no one notices. A work that speaks quietly without a title.
I will continue to strive to provide it to many people in various ways.
October 24 2020 by Mitsushiro - Nakagawa.
Mitsushiro Nakagawa belong to Lot No. 402 _.Copyright©︎2024 Lot No.402_ All rights reserved.
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Profile.
In November 2014 # we caught the attention of the party selected to undertake the publicity for a mobile phone that changed the face of the world with just a single model # and will conclude a confidentiality agreement with them.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
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Interviews and novels.
About my book.
I published a book a long time ago.
At that time # I uploaded my interview as a PDF on the internet.
Its Japanese and English.
I will publish it for free.
For details # I explained to the Amazon site.
How to write a novel.
How to take a picture.
A sense of distance to the work.
All of these have something in common.
I wrote down what I felt and left it.
I hope my text will be read by many people.
Thank you.
Mitsushiro.
1 Interview in English
2 novels. unforgettable 'English version.(This book is Dedicated to the future artist.)
3 Interview Japanese version
4 novels. unforgettable ' JPN version.
5 A streamlined trajectory. only Japanese.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
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iBooks. Electronic Publishing. It is free now.
0.about the iBooks.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
1.unforgettable '(ENG.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216576828?ls=1&...
2.unforgettable '(JNP.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216584262?ls=1&...
3. Streamlined trajectory.(For Japanese only.)
itunes.apple.com/us/book/%E6%B5%81%E7%B7%9A%E5%BD%A2%E3%8... =11
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My Novel : Unforgettable'
(This book is Dedicated to the future artist.)
Synopsis
Kei Kitami, who is aiming for university, meets Kaori Uemura, an event companion who is 6 years older than her, on SNS.
Kaori's dream of coming to Tokyo is to become friends with a famous artist.
For that purpose, the radio station's producer, Ryo Osawa, was needed.
Osawa speaks to Kaori during a live radio broadcast.
"I have a wife and children. But I want to meet you."
Rika Sanjo, who is Kei's classmate and has feelings for him, has been looking into her girlfriend Kaori's movements. . . . .
Mitsushiro Nakagawa
All Translated by Yumi Ikeda .
images.
U2 - No Line On The Horizon Live in Dublin
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
Main story
There are two reasons why a person faces the sea.
One to enjoy a slice of shine in the sea like children bubbling over in the beach.
The other to brush the dust of memory like an old man who misses old days staring at the shine
quietly.
Those lead to only one meaning though they do not seem to overlap. It’s a rebirth.
I face myself to change tomorrow a vague day into something certain.
That is the meaning of a rebirth.
I had a very sweet girlfriend when I was 18.
After she left I knew the meaning of gentleness for the first time and also a true pain of loss. After
she left # how many times did I depend too much on her # doubt her # envy her and keep on telling lies
until I realized it is love?
I wonder whether a nobody like me could have given something to her who was struggling in the
daily life in those days. Giving something is arrogant conceit. It is nothing but self-satisfaction.
I had been thinking about such a thing.
However I guess what she saw in me was because I had nothing. That‘s why she tried to see
something in me. Perhaps she found a slight possibility in me # a guy filled with ambiguous unstable
tomorrow. But I wasted days depending too much on her gentleness.
Now I finally can convey how I felt in those days when we met.
1/9
www.flickr.com/photos/stealaway/24577016535/in/dateposted...
2/9
www.flickr.com/photos/stealaway/24209330259/in/dateposted...
3/9
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4/9
www.flickr.com/photos/stealaway/24515964952/in/dateposted...
5/9
www.flickr.com/photos/stealaway/24276473749/in/dateposted...
6/9
www.flickr.com/photos/stealaway/24548895082/in/dateposted...
7/9
www.flickr.com/photos/stealaway/24594603711/in/dateposted...
8/9
www.flickr.com/photos/stealaway/24588215562/in/dateposted...
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www.flickr.com/photos/stealaway/24100804163/in/dateposted...
Fin.
images.
U2 - No Line On The Horizon
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
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Title of my book : unforgettable'
Author : Mitsushiro Nakagawa
Out Now.
ISBN978-4-86264-866-2
in Amazon.
Unforgettable’ amzn.asia/d/eG1wNc5
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The schedule of the next novel.
Still would stand all time. (Unforgettable '2)
(It will not go away forever)
Please give me some more time. That is Japanese.
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My Works.
1 www.flickr.com/photos/stealaway/48072442376/in/dateposted...
2 www.flickr.com/photos/stealaway/48078949821/in/dateposted...
3 www.flickr.com/photos/stealaway/48085863356/in/dateposted...
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Do you want to hear my voice?
:)
1
About the composition of the picture posted to Flicker. First type.
2
About the composition of the picture posted to Flicker. Second type.
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About when I started Fotolog. Architect 's point of view.
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Why did not you have a camera so far?
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What is the coolest thing? The photo is as it is.
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About the current YouTube bar. I also want to tell # I want to leave.
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About Japanese photographers. Japanese YouTube bar is Pistols.
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The composition of the photograph is sensibility. Meet the designers in Milan. Two questions.
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What is a good composition? What is a bad composition?
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What is the time to point the camera? It is slow if you are looking into the viewfinder or display.
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Family photos. I can not take pictures with others. The inside of the subject.
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About YouTube 's photographer. Camera technology etc. Sensibility is polished by reading books.
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About the Japanese newspaper. A picture of a good newspaper is Reuters. If you continue to look at useless photographs # it will be useless.
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About Japanese photographers. About the exhibition.
Summary. I wrote a novel etc. What I want to tell the most.
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I talked about how to make a work.
About work production 1/2
About work production 2/2
1 Photo exhibition up to that point. Did you want to go?
2 Well # what is an exhibition that you want to visit even if you go there?
3 Challenge to exhibit one work every month before opening a solo exhibition at the Harajuku Design Festa.
4 works are materials and silhouettes. Similar to fashion.
5 Who is your favorite artist? What is it? Make it clear.
6 Creating a collage is exactly the same as taking photos. As I wrote in the interview # it is the same as writing a novel.
7 I want to show it to someone # but I do not make a piece to show it. Aim for the work you want to decorate your own room as in the photo.
8 What is copycat? Nowadays # it is suspected to be beaten. There is something called Mimesis?
kotobank.jp/word/Mimesis-139464
9 What is Individuality? What is originality?
www.youtube.com/user/mitsushiro/
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Explanation of composition. 2
1.Composition explanation 2 ... 1/4
2.Composition explanation 2 ... 2/4
3.Composition Explanation 2 ... 3/4
4.Composition Explanation 2 ... 4/4
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My shutter feeling.
Today's photo.
It is a photo taken from Eurostar.
This video is an explanation.
I went to Milan in 2005.
At that time # I went from Milan to Venice.
We took Eurostar into the transportation.
This photo was not taken from a very fast Eurostar.
When I changed the track # I took a picture at the moment I slowed down.
Is there a Japanese beside you?
Please have my video translated.
:)
In the Eurostar to Venice . 2005. shot ... 1 / 2
www.flickr.com/photos/stealaway/49127115021/in/dateposted...
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Miles Davis sheet 1955-1976.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
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flickr.
www.flickr.com/photos/stealaway/
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instagram.
www.instagram.com/mitsushiro_nakagawa/
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Pinterest.
www.pinterest.jp/MitsushiroNakagawa/
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YouPic
youpic.com/photographer/mitsushironakagawa/
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twitter.
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facebook.
www.facebook.com/mitsushiro.nakagawa
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threads.
www.threads.net/@mitsushiro_nakagawa
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Blue sky.
bsky.app/profile/mitsushironakagawa.bsky.social
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Amazon.
www.amazon.co.jp/gp/profile/amzn1.account.AHSKI3YMYPYE5UE...
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my statistics. (As of February 7, 2024)
What is the number of accesses to Flickr and U-Pik?
Flickr 21,694,434 Views
Youpic 7,003,230 Views
What is the number of accesses to Flickr and YouPic?
(As of November 13, 2023)
Flickr 20,852,872 View
Youpic 6,671,486 View
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Japanese is the following.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
Title of my book unforgettable' Mitsushiro Nakagawa Out Now. ISBN978-4-86264-866-2
Mitsu Nakagawa belong to Lot No. 204 _ . Copyright©︎2020 Lot No.402_ All rights reserved.
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Title.
シルバー。ホワイト。ブルー。
( LUMIX G3 shot )
マンハッタン。ニューヨーク。アメリカ。2017年。 … 10 / 13
(今日の写真。それは未発表です。）
Images.
Toshiki Kadomatsu ( 角松 敏生 )- Magic Hour
youtu.be/UVB5oNTZ2PY?si=eZsH8F_PD-KYHLsk
::写真の音楽とiTunesプレイリストをリンク::
music.apple.com/jp/playlist/photo-music/pl.u-Eg8qefpy8Xz
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重要なお知らせ。
僕は以下の条件を緩和します。
僕はTシャツを無料で世界中へ配布します。
m.flickr.com/photos/stealaway/50656401427/in/dateposted-p...
m.flickr.com/photos/stealaway/50613367691/in/dateposted-p...
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２０２４年の展示
テーマ
Goodbye , Photo
Images
大塚 愛 ( Ai Otsuka ) / 恋愛写真 ( Goodbye photo )
youtu.be/B2XfJCQ2Dy0?si=WN3UePWye5N03yi4
Live 1.
youtu.be/MjBYxuVgj70?si=K3TyYOGqa3Y8BdAt
Live 2.
youtu.be/Dccv85TarHs?si=BI-f4JfrihO3CTXD
Mitsushiro - Nakagawa
主催
デザインフェスタ
場所
東京ビッグサイト
日程
2024年11月16日。17日。
exhibition.mitsushiro.nakagawa@gmail.com
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” Lot No.402_ ” に関するお知らせ。
今後、僕は、” Lot No.402_ ”を主催します。
このロットナンバーは、眠っていたレオナルドダヴィンチの作品がオークションにかけらた際に付されたものです。
作品にはサインなどがいっさい記されていなかったため、彼の作品だと断定できませんでした。
しかし、様々な鑑定の結果、陽の光を浴びました。
誰にも気づかれない作品。肩書がなくとも静かに語りかける作品。
僕はこれから様々な形で、多くの皆様に提供できるよう努めてゆきます。
2020年10月24日 by Mitsushiro - Nakagawa.
Copyright©︎2021 Lot No.402_ All rights reserved.
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プロフィール
2014年11月、たった1機種で世界を塗り替えた携帯電話の広告を請け負った選考者の目に留まり、秘密保持同意書を結ぶ。
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
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インタビューと小説。
僕の本について。
僕は、昔に本を出版しました。
その際に、僕のインタビューをPDFでネット上へアップロードしていました。
その日本語と英語。
僕は、無料でを公開します。
詳細は、アマゾンのサイトへ解説しました。
小説の書き方。
写真の撮影方法。
作品への距離感。
これらはすべて共通項があります。
僕は、僕が感じたことを文章にして、残しました。
僕のテキストが多くの人に読んでもらえることを望みます。
ありがとう。
Mitsushiro.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
１ インタビュー 英語版
２ 小説。unforgettable’ 英語版。
３ インタビュー 日本語版
４ 小説。unforgettable’ 日本語版。(この小説は未来のアーティストへ捧げます)
(四百字詰め原稿用紙４５６枚)
あらすじ
大学を目指している北見ケイは、SNS上で、6歳年上のイベントコンパニオン、上村香織に出会う。
上京してきた香織の夢は、有名なアーティストの友達になるためだ。
そのためにはラジオ局のプロデューサー、大沢亮の存在が必要だった。
大沢は、ラジオの生放送中、香織へ語りかける。
「僕には妻子がある。しかし、僕は君に会いたいと思っている」
ケイの同級生で、彼を想っている三條里香は、香織の動向を探っていた。。。。。
本編
人が海へ向かう理由には、二つある。
ひとつは、波打ち際ではしゃぐ子供のように、今の瞬間の海の輝きを楽しむこと。
もうひとつは、その輝きを静かに見据えて、過ぎ去った日々を懐かしむ老人のように記憶の埃を払うこと。
二つは重なり合わないようではあるけれども、たったひとつの意味しか生まない。
再生だ。
明日っていう、曖昧な日を確実なものへと変えてゆくために、自分の存在に向き合う。
それが再生の意味だ。
十八歳だった僕には大切な人がいた。
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
５ 流線形の軌跡。 日本語のみ。
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
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iBooks.電子出版。（現在は無料）
0.about the iBooks.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
1.unforgettable’ ( ENG.ver.)(This book is Dedicated to the future artist.)
itunes.apple.com/us/book/unforgettable/id1216576828?ls=1&...
For Japanese only.
2.unforgettable’ ( JNP.ver.)(この小説は未来のアーティストへ捧げます)
itunes.apple.com/us/book/unforgettable/id1216584262?ls=1&...
3.流線形の軌跡。
itunes.apple.com/us/book/%E6%B5%81%E7%B7%9A%E5%BD%A2%E3%8...
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僕の小説。英語版
My Novel Unforgettable' (This book is Dedicated to the future artist.)
Mitsushiro Nakagawa
All Translated by Yumi Ikeda .
1/9
www.flickr.com/photos/stealaway/24577016535/in/dateposted...
2/9
www.flickr.com/photos/stealaway/24209330259/in/dateposted...
3/9
www.flickr.com/photos/stealaway/23975215274/in/dateposted...
4/9
www.flickr.com/photos/stealaway/24515964952/in/dateposted...
5/9
www.flickr.com/photos/stealaway/24276473749/in/dateposted...
6/9
www.flickr.com/photos/stealaway/24548895082/in/dateposted...
7/9
www.flickr.com/photos/stealaway/24594603711/in/dateposted...
8/9
www.flickr.com/photos/stealaway/24588215562/in/dateposted...
9/9
www.flickr.com/photos/stealaway/24100804163/in/dateposted...
Fin.
images.
U2 - No Line On The Horizon Live in Dublin
www.youtube.com/watch?v=_oKwnkYFsiE&feature=related
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Title of my book : unforgettable'
Author : Mitsushiro Nakagawa
Out Now.
ISBN978-4-86264-866-2
in Amazon.
Unforgettable’ amzn.asia/d/eG1wNc5
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僕の作品。
1 www.flickr.com/photos/stealaway/48072442376/in/dateposted...
2 www.flickr.com/photos/stealaway/48078949821/in/dateposted...
3 www.flickr.com/photos/stealaway/48085863356/in/dateposted...
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あなたは僕の声を聞きたいですか？
:)
1
フリッカーへ投稿した写真の構図について。１種類目。
2
フリッカーへ投稿した写真の構図について。２種類目。
3
Fotologを始めた時について。 建築家の視点。
4
なぜ、今までカメラを手にしなかったのか？
5
何が一番かっこいいのか？ 写真はありのままに。
6
現在のユーチューバーについて。僕も伝え、残したい。
7
日本人の写真家について。日本のユーチューバーはピストルズ。
8
写真の構図は、感性。ミラノのデザイナーに会って。二つの質問。
9
良い構図とは？ 悪い構図とは？
10
カメラを向ける時とは？ ファインダーやディスプレイを覗いていては遅い。
11
家族写真。他人では撮れない。被写体の内面。
12
ユーチューブの写真家について。カメラの技術等。感性は、本を読むことで磨く。
13
日本の新聞について。良い新聞の写真はロイター。ダメな写真を見続けるとダメになる。
14
日本の写真家について。その展示について。
まとめ。僕が書いた小説など。僕が最も伝えたいこと。
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作品制作について 1/2
作品制作について 2/2
１ それまでの写真展。自分は行きたいと思ったか？
２ じゃ、自分が足を運んででも行きたい展示とは何か？
３ 原宿デザインフェスタで個展を開くまでに、毎月ひとつの作品を展示することにチャレンジ。
４ 作品とは、素材とシルエット。ファッションと似ている。
５ 自分が好きなアーティストは誰か？ どんなものなのか？ そこをはっきりさせる。
６ コラージュの作成も写真の撮り方と全く同じ。インタビューに書いたように小説の書き方とも同じ。
７ 誰かに見せたい、見せるがために作品は作らない。写真と同じように自分の部屋に飾りたい作品を目指す。
８ パクリとは何か？ 昨今、叩かれるパクリ疑惑。ミメーシスとは？
https://ja.wikipedia.org/wiki/ミメーシス
https://kotobank.jp/word/ミメーシス-139464
９ 個性とはなにか？ オリジナリティってなに？
おまけ 眞子さまについて
という流れです。
お時間がある方は是非聴いてください。
:)
www.youtube.com/user/mitsushiro/
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構図の解説２
1.構図の解説２ ... 1/4
2.構図の解説２ ... 2/4
3.構図の解説２ ... 3/4
4.構図の解説２ ... 4/4
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僕のシャッター感覚
In the Eurostar to Venice . 2005. shot ... 1 / 2
www.flickr.com/photos/stealaway/49127115021/in/dateposted...
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Miles Davis sheet 1955-1976.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
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flickr.
www.flickr.com/photos/stealaway/
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YouTube.
www.youtube.com/user/mitsushiro/
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instagram.
www.instagram.com/mitsushiro_nakagawa/
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Pinterest.
www.pinterest.jp/MitsushiroNakagawa/
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YouPic
youpic.com/photographer/mitsushironakagawa/
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fotolog
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twitter.
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facebook.
www.facebook.com/mitsushiro.nakagawa
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threads.
www.threads.net/@mitsushiro_nakagawa
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Blue sky.
bsky.app/profile/mitsushironakagawa.bsky.social
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Amazon.
www.amazon.co.jp/gp/profile/amzn1.account.AHSKI3YMYPYE5UE...
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僕の統計。（2024年2月7日現在）
フリッカー、ユーピクのアクセス数は？
Flickr 21,694,434 View
Youpic 7,003,230 View
僕の統計。（2023年11月13日現在）
フリッカー、ユーピクのアクセス数は？
Flickr 20,852,872 View
Youpic 6,671,486 View
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Japanese is the following.
drive.google.com/drive/folders/1vBRMWGk29EmsoBV2o9NM1LIVi...
Title of my book unforgettable' Mitsushiro Nakagawa Out Now. ISBN978-4-86264-866-2
Mitsushiro Nakagawa belong to Lot no.204_ . Copyright©︎2020 Lot no.204_ All rights reserved.
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” Lot No.402_ ” に関するお知らせ。
今後、僕は、” Lot No.402_ ”を主催します。
このロットナンバーは、眠っていたレオナルドダヴィンチの作品がオークションにかけらた際に付されたものです。
作品にはサインなどがいっさい記されていなかったため、彼の作品だと断定できませんでした。
しかし、様々な鑑定の結果、陽の光を浴びました。
誰にも気づかれない作品。肩書がなくとも静かに語りかける作品。
僕はこれから様々な形で、多くの皆様に提供できるよう努めてゆきます。
2020年10月24日 by Mitsushiro - Nakagawa.
Copyright©︎2024 Lot No.402_ All rights reserved.
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Governor Hogan Speaks with MPT on Sine Die by Patrick Siebert at 110 State Circle, Annapolis, MD 21401
I am delighted to be featured in a French blog of Ben, which you can read via the links below. Both French and English versions are available.
English version:
www.tudiscaparcequetesfache.com/james-yeung-2/
French version:
www.tudiscaparcequetesfache.com/james-yeung/
Again thank you for all the inspirations from you guys!
Just opened my Interviewer doll from JHD and I am happy with her.
The box design and quality is superb. Her outfit is fantastic as is her face paint and hair. Love that they have improved the hands. They are still a bit soft but far from the earlier rubber feel. She comes with earrings, a bracelet, a nice folder with inserts of the models' bio, and a stand. And an extra set of hands (BOTH pairs of hands have long nails. No cheapness there!)
At $130, she is amazing. I wish JHD could keep their dolls around the $150 mark. I'd buy more of them and look back even less at others.
am Marx-Engels-Denkmal, Berlin - Marx-Engels-Forum
Wegen der U-Bahn-Baustelle mussten die beiden an die Nordwestecke des Forums umziehen
An interview by Steve Turner 1971
We came together to talk about Grapefruit, Yoko's book of poems, and ended up talking about Jesus. Somewhere in between, we mentioned the Beatles. John and Yoko are currently facing the plight of 'super-stardom'. Within two weeks they had become the third set of artists I had met who were complaining of being sold as people rather then for their art or for their music. James Taylor was the first, complaining of being used only as a headline or a photograph to sell more newspapers, and Pete Townsend was equally determined that "he won't get fooled again" into being a "superstar".
"Being misunderstood", John explained, "is being treated as if I'd won the pools and married an Hawaiian dancer. In any other country we're treated with respect as artists, which we are. If I hadn't bought a house in Ascot I'd leave because I'm sick of it. It's only because it's such a nice house that I'm staying. I'm a fantastic patriot for Britain. Ask Yoko - I never stop selling it! But she finds it hard to love England when they never stop shitting on her."
Yoko feels very much the same way and is waiting rather apprehensively for the response to the paperback edition of Grapefruit. She's been feeling misunderstood for the past fifteen years and has come to the conclusion that she must be the supreme optimist to ever carry on. "I just get this feeling that it's going to be the same thing again, but I have to go on knocking on the door."
John says: "An artist is not usually respected in his own village, so he has to go to the next town. It's a bit of that with us really. I think it's also like Dylan Thomas and Brendan Behan - they both died of drink. Artists always die of drugs, drink and all that. Like Jimi and Janis -it's just that they're so misunderstood and tortured that they kill themselves. I refuse to do that. I've found the way out. You are here, live for the day, minute by minute. That's the essential way."
"You are here", meaning that this is all we can know of life's purpose, is the pervading message behind the art of both John and Yoko, The message is short but conclusive. In his song God, John lists fifteen people and philosophies that he no longer believes in and claims that he has now arrived at a position where he only believes in, "Yoko and me/that's reality". When I asked him what he considered reality to be, he answered, "Reality is living, breathing, eating and dying". So, outside of the undeniable fact of our own existence they claim that there is no need for questions or answers. As far as any ultimate reason, purpose or meaning to this life is concerned, John states, "There isn't an end product to life or a reason for it, it just is, It's not a game, though," he assured me, "it's very serious."
"You are here", is the statement they offer, and "what you can do while you are here" seems to be the message behind Yoko's poetry. They all take the form of a simple instruction, often of a single line and are divided into sections titled Painting, Event, Dance, Film, Object etc. When life itself has no meaning, there is no reason why the activities we perform during that life should have any ultimate meaning either. This would seem to be the philosophy behind the poem Line Piece, which says "Draw a line/Erase a line" or Map Piece - "Draw a map to get lost". Probably the best poem in this line, once you have an understanding of the underlying philosophy, is the one line ‘Lighting Piece‘. Here it is important to see both the meaninglessness inherent and the allegory between the match and our lives. The poem says simply "Light a match and watch till it goes out" Without purpose we seem to have been brought down to the level of a matchstick, and our lives are as a flame which burns awhile and then extinguishes. The matchstick is then discarded.
Yoko of course, is no newcomer to the art world having been associated with such avant-garde artists and musicians as Andy Warhol and John Cage. Warhol has explained his own art as being, "to stop you thinking about things". Francis Bacon, another contemporary artist who shares the same philosophy, has said, "Man now realises that he is an accident, a completely futile being and that he can only attempt to beguile himself for a time. Art has become a game by which man distracts himself."
In these cases, art has lost its power of Man communicating ideas and emotions to Man. It merely becomes a game to amuse ourselves with while in death's absurd waiting rooms. I feel that it is absolutely necessary to understand the thoughts of John and Yoko before their art becomes understandable.
"People seem to be scared of being put on", says John, commenting on a recent review of Grapefruit."I don't understand people who say they don't understand it because even a seven year old can understand it,"says Yoko. I commented that it's not the how of the instructions that were misunderstood but the why? Yoko explained: "You see, we live and we die. In between that we eat and sleep and walk around - but that's not enough for us. We have to act out our madness in order to be sane."
I asked John whether he'd been influenced a lot by Yoko's ideas. "Yeah, it's great, It's amazing that we think so alike coming from different ends of the earth. She's come from a very upper class scene, going to school with the prince and all that shit, and I'm from wherever! It just shows that colour, class and creed don't come in the way of communication. You don't even have to speak the same language. We made a calendar with some Grapefruit quotes on and some from my books. The ideas behind it were quite similar. Yoko was a bit further out than me when we met - and I was pretty far out, you know - but she really opened my head up with all her work."
I wondered whether he found a great difference between the poetry that he puts into his songs and the poetry that Yoko writes. "The last album I made was very much the same as Yoko's poetry, There weren't many words to it. It was pretty simple and so is the one I've just made which is called Imagine. We work well together in music too, except when I'm doing completely straight rock. But things like Revolution Number 9 would make a good background for her voice." John reminded me that his meeting with Yoko hadn't been the factor that made him write his songs of personal statement. He was writing the same kind of song back in his days as a Beatle, but again he was famed for just 'being a Beatle' rather than for the content of his work. "Help was a personal statement, In My Life was a personal statement and so was I'm A Loser. I was always on that kick but they were just considered to be 'pop' songs at that time. That's why I gave it up. It was all Beatles."
Halfway through our interview, John went out of the room for a few minutes and returned with a magazine which had been sent into the Apple offices for him, the cover contained his picture and the inscription 'Dear John', indicating an open letter to him which was inside. "You ought to see this, This is a message to me from the Jesus people. This is the Jesus freaks in America." He then sat down again and began reading aloud:
"Dear John, I've been through a lot of trips with you. When I was down I put your records on and you'd bring me back to life. We've been up mountains together and I know you know where it's at. But the main reason I'm writing to you is to tell you of a friend I met last June. He said that he is the way, the truth and the life. I believed him and gave my life to him. I can see now how he can boast such a claim. Since then I've heard that you don't believe in him, but you can see in your eyes that you need him. Come on home Johnny, Love a friend."
"I think they've got a damn cheek, I think they're madmen. They need looking after." I reminded him that this same suggestion had often been levelled at himself and Yoko. "That's my opinion you know, You asked me what I thought and I think they're crackpots."
As our earlier conversation had been on the topic of prejudice and how to remove it from society, I asked John whether he wasn't himself guilty of prejudice here. "I don't think it's a prejudice I just think it's a lot of bullshit, I think it's the biggest joke on earth that everyone's talking about some imaginary thing in the sky that's going to save you and talking about life after death which nobody has ever proved or shown to be feasible. Why should we follow Jesus? I'll follow Yoko, I'll follow myself." John's opinion of the Jesus Freak cult, is that they are following in the same tradition that he and the rest of the Beatles followed when they enlisted with the Maharishi. "It's the same as I did when I went looking for gurus, It's because you're looking for the answer which everybody is supposedly looking for. You're looking for some kind of super-daddy. The reason for this is because we're never given enough love and touch as children."
On another subject John very much sympathised with the attitude that Spike Milligan had presented when he ended his TV documentary with the question of whether it was he that was insane or the man who drills holes in pieces of wood for fifty years. "That is complete insanity....Don't you see that the society creates insane people to do their insane work, so that they can wank each other off on fucking yachts. That's what it's all about. And everybody's screwing holes in and going to school and going to work so that fifty people in Britain can fuck about on yachts."
After these comments, and as a leg-pull, I suggested to John that he ought to have his very own political TV show. Taking it rather more seriously than I had intended, he stated With firmness, "I am a revolutionary artist, not a politician". At least it gave me an extra understanding of what John Lennon thought about John Lennon rather than what critic and journalist number 5739 thought about John Lennon. It is precisely this assertion that he is an artist, which is the difference between Beatle John and the post-dream John, ("The dream is over... Yesterday I was the walrus/but now I'm John").
Song writing is now just one of his arts as he dabbles further into the field of film, sculpture and happening. Yoko is certainly the person who harnessed and directed the Lennon potential but his talent has been evident for years. His anti-organised religion attitude was evident from his early books and as he himself said, the personal songs go back as early as I'm A Loser on the Beatles For Sale album. Previous to meeting Yoko he seemed to be a philosopher in search of a philosophy and an artist in search of something to say. Now with Yoko, he sings the songs explaining the philosophy which has made Yoko's poetry a possible and indeed valid art form.
John and Yoko are two very warming people to be with. They both speak as if draining knowledge from the same mind, feeding each other with ideas. John hasn't lost the humour which was enjoyed so much in the Beatle days and he pounces on any opportunity to make a crack. When you see a copy of Grapefruit, only laugh at it if you feel that what you are doing that day has more meaning to it than Yoko's instructions. When you get John's albums, use them as reference works to gain an understanding of his wife's poems. And then next time someone tells you that John and Yoko are a couple of crackpots who could do with two years in the army, tell them that they're a couple of misinterpreted but nevertheless brilliant artists who are honest to their beliefs, and tell them that it was I who said so.
Lianne Dalziel Christchurch's mayor being intervened about the event.
It was Five years today September 4, 2015 that Canterbury was first shaken by a major quake, the people of Christchurch gathered on New Brighton beach this morning to mark the anniversary. I went with a friend but she didn't want to get up so early so we missed part of it. New Brighton Christchurch New Zealand at dawn.
There was a person from Radio News interviewing people there about their experiences of the earthquake five years ago and I was on the Radio News and also in a article.
This the link to me on the News www.radionz.co.nz/national/programmes/checkpoint/audio/20...
And this is the article: www.radionz.co.nz/news/national/283264/christchurch-marks...
Today we're interviewing Oky, a talented builder, reviewer, funny maker, and fellow blogger.
Read more: eurobricksstarwarsforum.com/2016/08/15/ebswf-blog-intervi...
www.recyclart.org/2016/01/recycled-art-interview-9-gabrie...
We continue our series of posts interviewing "recycled art" crafters & artists. This week, we interviewed Gabriel Dishaw, a sculptor we follow since a long time as we love his works mainly made from recycled computer & typewriter parts. If you think you deserve to be featured in the next interview, please, drop us an email.
Tell us a little more about you? Who you are? Where are you from?
My passion for working with metal and mechanical objects has been essential in the evolution of my art. It provides me an avenue to express myself in a way that brings new life to materials such as typewriters, adding machines and old computers – technology that would normally end up in a landfill. My mission is to create dialogue and help find creative, environmentally sound ways of re-purposing e-waste. I was born and raised in Michigan, but now live in Indianapolis, Indiana.
How did you become an Upcycled Artist?
I’ve always been an artistic individual and was enrolled in advanced art classes in school, but I truly found my passion for this particular art form in 9th Grade. My teacher posted 30 art project ideas on the chalk board for us to choose from and make it our own. One of the items listed was “Junk Art.” To be honest, I had no idea what that was so I did a bit of research then went into my dad’s garage and began to tinker. That’s one of those moments you look back on and think had the art teacher not offered that particular project, I don’t know I would have emerged an artist in this genre.
Since when are you working with junk materials and in upcycling in general?
It started in 9th grade so that would be 19 years I have been refining my process. Wow how time fly’s.
Your works are mainly done with recycled electronics & typewriter parts. Could you tell us from where come this choice of materials?
I find adding machines and typewriters to be the most useful when sourcing parts for projects. They have similar elements such as striker keys and gears in duplicate quantities, which makes it easier to create symmetrical designs. Beyond that, I often go to antique shops looking for unique items – something no one in their right mind would buy. As the saying goes, "One man's trash is another man's treasure."
Where did you find your raw materials for your sculptures, are you searching for them or are there coming to you as you are now well known in the recycled art world?
I get them from all over but, mostly from Family/Friends and my local antique/flee markets. I have even had instances where people have dropped stuff off at my door step knowing that I will put good use to some they don't want to see end up in a landfill.
Your pieces of art are very complexes, how long does it take to create one?
Much of that depends on the scale and complexity of the sculpture – and a bit of luck finding the right pieces to the puzzle. Some of my smaller projects can take approximately 40 hours to complete, however, I might have spent several hours simply digging through my bins to locate the hundreds of parts needed to construct it. I pride myself in adding hidden details to each art piece which takes time and is not easily translated through pictures.
On your website, you sell your pieces of art, are you able to live with your recycling art?
I do have a day job, but the plan is to gain financial independence and create fulltime. To me my craft is not work it’s my true passion.
What are your can’t-live-without essentials?
These are in no particular order: Instagram, foredom drill, my I-phone, star wars, audible.com (I really enjoy listening to audio books when I sculpt.), Netflix.
How is your workspace, how do you make it inspiring?
My work space is my converted 2 car garage. Which I have created into a very nice work space with heaters TV, speakers all the amenities I need to stay comfortable and creative. When I get my hands on my supplies (junk) I work to disassemble the piece down to its smallest components I then sort those items with in plastic bins. Just image hundreds of plastic shoe bins filled with electronic parts that my work space.
What sorts of things are inspiring you right now? Where do you look for inspiration?
I get a ton of my inspiration from Instagram there are so many talented people that I follow. Generally I begin a project without any defined plan. Instead, I look for how well pieces work together or how they move and then let those materials drive the color scheme or overall endpoint of where an idea will land, what it will turn into. For instance, the inspiration for one of my horse sculptures, “Rearing Horse,” came to me while taking apart an old adding machine. Some of the pieces reminded me of a horse’s head. The rest just fell into place. For a commissioned pieces, it’s a bit of a different story. The theme is very much inspired by the client, their history and the story to be told through my art.
What is your guilty pleasure?
Craft Beer! I really enjoy an Indiana beer call Gumball Head by Three Floyds Brewery.
What is your favorite thing to do (other than art)?
Playing my Xbox1… I’m really into Fallout4 right now.
What are your tips for people who'd like to start recycling art?
The materials aren’t very hard to find, they are all around us… I would start with just taking things apart and trying to reimagine the parts and pieces as something different. This is a skill you must practice but I get a lot of enjoyment out of the taking things apart. I think it helps to satisfy my curious nature.
To finish, your art clearly show that you’re a big fan of Star Wars, did you liked the last opus?
I loved the new movie it was great! In fact I saw it twice. They definitely made this movie for the fans.
Thanks a lot Gabriel for this interview! :)
To find more about Gabriel:
"I've just got back from a University interview, it was for a course to study song writing and contemporary composing. I got the place so I'm pretty chuffed. I like the idea of spending my days writing and composing, it's about getting your feelings out. At the moment all I'm feeling is teenage angst, but maybe in a few years, after a hair cut, I'll feel some real emotions"
"Is the hair holding you back?"
"Yeah, it's dragging me down"
"There's an emotion...What do you want to accomplish with this course?"
"I just want my work, in whatever form it takes, to be out there really. It must be a satisfying but surreal feeling, giving something to others simply from a song. I'm fully aware that there's a better chance that it's not going to happen rather than becoming hugely successful from it. Music is such an accessible medium these days and there's more and more people doing it. I've seen people become conceited over it. I just think that it's important to not kid yourself, there's always going to be someone who's going to be equally good or better at than you so it's about being grounded and working on those things which make you happy and you enjoy.”
Jetzt, wo du endlich die Universität absolviert hast, ist es an der Zeit, dir einen anständigen Job zu verschaffen, damit du die volle Unabhängigkeit genießen kannst. Eine unabhängige Frau ist doch eine sexy Frau, oder? Mit diesem gesagt, Sie werden jedes Interview, das Sie gehen, ass, so d...
coolideen.com/2018/08/14/was-man-zu-einem-job-interview-t...
COOKIE DOLLS ON BIZARRE MAGAZINE
ENTREVISTA / INTERVIEW
www.bizzarre.co.uk/#!rebeca-cano/cqyz
Thank you very much to Desi for this fantastic article.
Rebeca Cano - Cookie dolls
© All rights reserved
www.recyclart.org/2015/10/recycled-art-interview-2-sophie...
We continue our series of posts interviewing "recycled art" crafters & artists. This week, we interviewed Sophie Marsham, a well-known sculptor in the community of Recycled Art. If you think you deserve to be featured in the next interview, please, drop us an email.
Tell us a little more about you? Who you are? Where are you from?
I am Sophie Marsham, a sculptor, from London, working in reclaimed and found objects.
How did you become a "Recycled Art" artist?
I became a recycled art artist 25 years ago when I was at Chelsea Art School.
Since when are you working with recycled & upcycled materials and more general since when are you in the world of "Recycled Art"?
I partly used reclaimed materials in the beginning as it was a cheap resource as a student.
What are your can’t-live-without essentials?
My can't live with essentials are wire, glue, nuts and bolts and tools.
How would you describe your style? Are there any crafters/artists/designers that you particularly look up to?
I make thought provoking, often humorous pieces from found objects. I love Joseph Cornell, Cornelia Parker, Haroshi and Kendra Haste.
How is your workspace, how do you make it inspiring?
My workspace is in the garden and full of inspiring objects, clock faces, springs, beads, glass, printing blocks, old tools, chocolate moulds etc...
What sorts of things are inspiring you right now? Where do you look for inspiration?
I am inspired by objects that I find in vintage fairs/carboot sales, especially if it's multiples of the same object, such as pen nibs, clock hands, teddy bear eyes... I am mostly inspired by nature, repeated patterns found in nature, bird feathers, snowflakes, shells, stones...
When do you feel the most creative?
I feel pretty creative all the time, as I'm constantly finding new objects to inspire me.
We live in such a mass-produced, buy-it-now society. Why should people continue to make things by hand?
Making things by hand is the most rewarding and making one off art from something that has been previously used and discarded is the most exciting aspect of the work. I love it when the viewer works out what has been used for a certain sculpture, I love the intrigue. I believe in breathing new life into discarded objects.
What is your favorite medium to work in?
I mainly work in metal but also use wood, glass, resin...
What is your guilty pleasure?
My guilty pleasure is good coffee and great cake.
What is your favorite thing to do (other than crafting)?
My favourite thing apart from art is art house independent films. I would love one day to make an animation film with some of my objects.
You have been involved in a lot of artistic projects, are you a full-time artist or is it just a hobby?
I am a full time artist, it's not a hobby and have been working for 22 years. I make tiny hand held pieces and have made many large scale installations up to 6 meters. I love to vary the scale.
Any websites that our readers should not miss?
Not a website to recommend as such, apart from my own of course www.sophiemarsham.com, but a great book called RAW + MATERIAL = ART.
Anything else you would like to tell to the « recycling community »?
Keep up with recycling, it will become even more vital for our kids and their kids.
Thanks a lot Sophie for this interview! :)
To see all the posts by Sophie, it's here.
Japan Camera Hunter - Jesse's Visual Interviews: www.japancamerahunter.com/2019/12/jesses-visual-interview...
JOHN LENNON and YOKO ONO (talk to Robin Blackburn and Tariq Ali)
Tariq Ali: Your latest record and your recent public statements, especially the interviews in Rolling Stone magazine, suggest that your views are becoming increasingly radical and political. When did this start to happen?
John Lennon: I've always been politically minded, you know, and against the status quo. It's pretty basic when you're brought up, like I was, to hate and fear the police as a natural enemy and to despise the army as something that takes everybody away and leaves them dead somewhere. I mean, it's just a basic working class thing, though it begins to wear off when you get older, get a family and get swallowed up in the system. In my case I've never not been political, though religion tended to overshadow it in my acid days; that would be around '65 or '66. And that religion was directly the result of all that superstar shit--religion was an outlet for my repression. I thought, 'Well, there's something else to life, isn't there? This isn't it, surely?' But I was always political in a way, you know. In the two books I wrote, even though they were written in a sort of Joycean gobbledegook, there's many knocks at religion and there is a play about a worker and a capitalist. I've been satirising the system since my childhood. I used to write magazines in school and hand them around. I was very conscious of class, they would say with a chip on my shoulder, because I knew what happened to me and I knew about the class repression coming down on us--it was a fucking fact but in the hurricane Beatle world it got left out, I got farther away from reality for a time.
TA: What did you think was the reason for the success of your sort of music?
JL: Well, at the time it was thought that the workers had broken through, but I realise in retrospect that it's the same phoney deal they gave the blacks, it was just like they allowed blacks to be runners or boxers or entertainers. That's the choice they allow you--now the outlet is being a pop star, which is really what I'm saying on the album in 'Working class hero'. As I told Rolling Stone, it's the same people who have the power, the class system didn't change one little bit. Of course, there are a lot of people walking around with long hair now and some trendy middle class kids in pretty clothes. But nothing changed except that we all dressed up a bit, leaving the same bastards running everything.
Robin Blackburn: Of course, class is something the American rock groups haven't tackled yet.
JL: Because they're all middle class and bourgeois and they don't want to show it. They're scared of the workers, actually, because the workers seem mainly right-wing in America, clinging on to their goods. But if these middle class groups realise what's happening, and what the class system has done, it's up to them to repatriate the people and to get out of all that bourgeois shit.
TA: When did you start breaking out of the role imposed on you as a Beatle?
JL: Even during the Beatle heyday I tried to go against it, so did George. We went to America a few times and Epstein always tried to waffle on at us about saying nothing about Vietnam. So there came a time when George and I said 'Listen, when they ask next time, we're going to say we don't like that war and we think they should get right out.' That's what we did. At that time this was a pretty radical thing to do, especially for the 'Fab Four'. It was the first opportunity I personally took to wave the flag a bit. But you've got to remember that I'd always felt repressed. We were all so pressurised that there was hardly any chance of expressing ourselves, especially working at that rate, touring continually and always kept in a cocoon of myths and dreams. It's pretty hard when you are Caesar and everyone is saying how wonderful you are and they are giving you all the goodies and the girls, it's pretty hard to break out of that, to say 'Well, I don't want to be king, I want to be real.' So in its way the second political thing I did was to say 'The Beatles are bigger than Jesus.' That really broke the scene, I nearly got shot in America for that. It was a big trauma for all the kids that were following us. Up to then there was this unspoken policy of not answering delicate questions, though I always read the papers, you know, the political bits. The continual awareness of what was going on made me feel ashamed I wasn't saying anything. I burst out because I could no longer play that game any more, it was just too much for me. Of course, going to America increased the build up on me, especially as the war was going on there. In a way we'd turned out to be a Trojan horse. The 'Fab Four' moved right to the top and then sang about drugs and sex and then I got into more and more heavy stuff and that's when they started dropping us.
RB: Wasn't there a double charge to what you were doing right from the beginning?
Yoko Ono: You were always very direct.
JL: Yes, well, the first thing we did was to proclaim our Liverpoolness to the world, and say 'It's all right to come from Liverpool and talk like this'. Before, anybody from Liverpool who made it, like Ted Ray, Tommy Handley, Arthur Askey, had to lose their accent to get on the BBC. They were only comedians but that's what came out of Liverpool before us. We refused to play that game. After The Beatles came on the scene everyone started putting on a Liverpudlian accent.
TA: In a way you were even thinking about politics when you seemed to be knocking revolution?
JL: Ah, sure, 'Revolution' . There were two versions of that song but the underground left only picked up on the one that said 'count me out'. The original version which ends up on the LP said 'count me in' too; I put in both because I wasn't sure. There was a third version that was just abstract, musique concrete, kind of loops and that, people screaming. I thought I was painting in sound a picture of revolution--but I made a mistake, you know. The mistake was that it was anti-revolution. On the version released as a single I said 'when you talk about destruction you can count me out'. I didn't want to get killed. I didn't really know that much about the Maoists, but I just knew that they seemed to be so few and yet they painted themselves green and stood in front of the police waiting to get picked off. I just thought it was unsubtle, you know. I thought the original Communist revolutionaries coordinated themselves a bit better and didn't go around shouting about it. That was how I felt--I was really asking a question. As someone from the working class I was always interested in Russia and China and everything that related to the working class, even though I was playing the capitalist game. At one time I was so much involved in the religious bullshit that I used to go around calling myself a Christian Communist, but as Janov says, religion is legalised madness. It was therapy that stripped away all that and made me feel my own pain.
RB: This analyst you went to, what's his name. ..
JL: Janov ...
RB: His ideas seem to have something in common with Laing in that he doesn't want to reconcile people to their misery, to adjust them to the world but rather to make them face up to its causes?
JL: Well, his thing is to feel the pain that's accumulated inside you ever since your childhood. I had to do it to really kill off all the religious myths. In the therapy you really feel every painful moment of your life--it's excruciating, you are forced to realise that your pain, the kind that makes you wake up afraid with your heart pounding, is really yours and not the result of somebody up in the sky. It's the result of your parents and your environment. As I realised this it all started to fall into place. This therapy forced me to have done with all the God shit. All of us growing up have come to terms with too much pain. Although we repress it, it's still there. The worst pain is that of not being wanted, of realising your parents do not need you in the way you need them. When I was a child I experienced moments of not wanting to see the ugliness, not wanting to see not being wanted. This lack of love went into my eyes and into my mind. Janov doesn't just talk to you about this but makes you feel it--once you've allowed yourself to feel again, you do most of the work yourself. When you wake up and your heart is going like the clappers or your back feels strained, or you develop some other hang-up, you should let your mind go to the pain and the pain itself will regurgitate the memory which originally caused you to suppress it in your body. In this way the pain goes to the right channel instead of being repressed again, as it is if you take a pill or a bath, saying 'Well, I'll get over it'. Most people channel their pain into God or masturbation or some dream of making it. The therapy is like a very slow acid trip which happens naturally in your body. It is hard to talk about, you know, because--you feel 'I am pain' and it sounds sort of arbitrary, but pain to me now has a different meaning because of having physically felt all these extraordinary repressions. It was like taking gloves off, and feeling your own skin for the first time. It's a bit of a drag to say so, but I don't think you can understand this unless you've gone through it--though I try to put some of it over on the album. But for me at any rate it was all part of dissolving the God trip or father-figure trip. Facing up to reality instead of always looking for some kind of heaven.
RB: Do you see the family in general as the source of these repressions?
JL: Mine is an extreme case, you know. My father and mother split and I never saw my father until I was 20, nor did I see much more of my mother. But Yoko had her parents there and it was the same....
YO: Perhaps one feels more pain when parents are there. It's like when you're hungry, you know, it's worse to get a symbol of a cheeseburger than no cheeseburger at all. It doesn't do you any good, you know. I often wish my mother had died so that at least I could get some people's sympathy. But there she was, a perfectly beautiful mother.
JL: And Yoko's family were middle-class Japanese but it's all the same repression. Though I think middle-class people have the biggest trauma if they have nice imagey parents, all smiling and dolled up. They are the ones who have the biggest struggle to say, 'Goodbye mummy, goodbye daddy'.
TA: What relation to your music has all this got?
JL: Art is only a way of expressing pain. I mean the reason Yoko does such far out stuff is that it's a far out kind of pain she went through.
RB: A lot of Beatle songs used to be about childhood...
JL: Yeah, that would mostly be me...
RB: Though they were very good there was always a missing element...
JL: That would be reality, that would be the missing element. Because I was never really wanted. The only reason I am a star is because of my repression. Nothing else would have driven me through all that if I was 'normal'...
YO: ... and happy ...
JL: The only reason I went for that goal is that I wanted to say: 'Now, mummydaddy, will you love me?'
TA: But then you had success beyond most people's wildest dreams...
JL: Oh, Jesus Christ, it was a complete oppression. I mean we had to go through humiliation upon humiliation with the middle classes and showbiz and Lord Mayors and all that. They were so condescending and stupid. Everybody trying to use us. It was a special humiliation for me because I could never keep my mouth shut and I'd always have to be drunk or pilled to counteract this pressure. It was really hell ...
YO: It was depriving him of any real experience, you know...
JL: It was very miserable. I mean apart from the first flush of making it--the thrill of the first number one record, the first trip to America. At first we had some sort of objective like being as big as Elvis--moving forward was the great thing, but actually attaining it was the big let-down. I found I was having continually to please the sort of people I'd always hated when I was a child. This began to bring me back to reality. I began to realise that we are all oppressed which is why I would like to do something about it, though I'm not sure where my place is.
RB: Well, in any case, politics and culture are linked, aren't they? I mean, workers are repressed by culture not guns at the moment ...
JL: ... they're doped ...
RB: And the culture that's doping them is one the artist can make or break...
JL: That's what I'm trying to do on my albums and in these interviews. What I'm trying to do is to influence all the people I can influence. All those who are still under the dream and just put a big question mark in their mind. The acid dream is over, that is what I'm trying to tell them.
RB: Even in the past, you know, people would use Beatle songs and give them new words. 'Yellow submarine' , for instance, had a number of versions. One that strikers used to sing began 'We all live on bread and margarine' ; at LSE we had a version that began 'We all live in a Red LSE'.
JL: I like that. And I enjoyed it when football crowds in the early days would sing 'All together now'--that was another one. I was also pleased when the movement in America took up 'Give peace a chance' because I had written it with that in mind really. I hoped that instead of singing 'We shall overcome' from 1800 or something, they would have something contemporary. I felt an obligation even then to write a song that people would sing in the pub or on a demonstration. That is why I would like to compose songs for the revolution now ...
RB: We only have a few revolutionary songs and they were composed in the 19th century. Do you find anything in our musical traditions which could be used for revolutionary songs?
JL: When I started, rock and roll itself was the basic revolution to people of my age and situation. We needed something loud and clear to break through all the unfeeling and repression that had been coming down on us kids. We were a bit conscious to begin with of being imitation Americans. But we delved into the music and found that it was half white country and western and half black rhythm and blues. Most of the songs came from Europe and Africa and now they were coming back to us. Many of Dylan's best songs came from Scotland, Ireland or England. It was a sort of cultural exchange. Though I must say the more interesting songs to me were the black ones because they were more simple. They sort of saidshake your arse, or your prick, which was an innovation really. And then there were the field songs mainly expressing the pain they were in. They couldn't express themselves intellectually so they had to say in a very few words what was happening to them. And then there was the city blues and a lot of that was about sex and fighting. A lot of this was self-expression but only in the last few years have they expressed themselves completely with Black Power, like Edwin Starr making war records. Before that many black singers were still labouring under that problem of God; it was often 'God will save us'. But right through the blacks were singing directly and immediately about their pain and also about sex, which is why I like it.
RB: You say country and western music derived from European folk songs. Aren't these folk songs sometimes pretty dreadful stuff, all about losing and being defeated?
JL: As kids we were all opposed to folk songs because they were so middle-class. It was all college students with big scarfs and a pint of beer in their hands singing folk songs in what we call la-di-da voices-'I worked in a mine in New-cast-le' and all that shit. There were very few real folk singers you know, though I liked Dominic Behan a bit and there was some good stuff to be heard in Liverpool. Just occasionally you hear very old records on the radio or TV of real workers in Ireland or somewhere singing these songs and the power of them is fantastic. But mostly folk music is people with fruity voices trying to keep alive something old and dead. It's all a bit boring, like ballet: a minority thing kept going by a minority group. Today's folk song is rock and roll. Although it happened to emanate from America, that's not really important in the end because we wrote our own music and that changed everything.
RB: Your album, Yoko, seems to fuse avant-garde modern music with rock. I'd like to put an idea to you I got from listening to it. You integrate everyday sounds, like that of a train, into a musical pattern. This seems to demand an aesthetic measure of everyday life, to insist that art should not be imprisoned in the museums and galleries, doesn't it?
YO: Exactly. I want to incite people to loosen their oppression by giving them something to work with, to build on. They shouldn't be frightened of creating themselves--that's why I make things very open, with things for people to do, like in my book [Grapefruit]. Because basically there are two types of people in the world: people who are confident because they know they have the ability to create, and then people who have been demoralised, who have no confidence in themselves because they have been told they have no creative ability, but must just take orders. The Establishment likes people who take no responsibility and cannot respect themselves.
RB: I suppose workers' control is about that...
JL: Haven't they tried out something like that in Yugoslavia; they are free of the Russians. I'd like to go there and see how it works.
TA: Well, they have; they did try to break with the Stalinist pattern. But instead of allowing uninhibited workers' control, they added a strong dose of political bureaucracy. It tended to smother the initiative of the workers and they also regulated the whole system by a market mechanism which bred new inequalities between one region and another.
JL: It seems that all revolutions end up with a personality cult--even the Chinese seem to need a father-figure. I expect this happens in Cuba too, with Che and Fidel. In Western-style Communism we would have to create an almost imaginary workers' image of themselves as the father-figure.
RB: That's a pretty cool idea--the Working Class becomes its own Hero. As long as it was not a new comforting illusion, as long as there was a real workers' power. If a capitalist or bureaucrat is running your life then you need to compensate with illusions.
YO: The people have got to trust in themselves.
TA: That's the vital point. The working class must be instilled with a feeling of confidence in itself. This can't be done just by propaganda--the workers must move, take over their own factories and tell the capitalists to bugger off. This is what began to happen in May 1968 in France...the workers began to feel their own strength.
JL: But the Communist Party wasn't up to that, was it?
RB: No, they weren't. With 10 million workers on strike they could have led one of those huge demonstrations that occurred in the centre of Paris into a massive occupation of all government buildings and installations, replacing de Gaulle with a new institution of popular power like the Commune or the original Soviets--that would have begun a real revolution but the French C.P. was scared of it. They preferred to deal at the top instead of encouraging the workers to take the initiative themselves...
JL: Great, but there's a problem about that here you know. All the revolutions have happened when a Fidel or Marx or Lenin or whatever, who were intellectuals, were able to get through to the workers. They got a good pocket of people together and the workers seemed to understand that they were in a repressed state. They haven't woken up yet here, they still believe that cars and tellies are the answer. You should get these left-wing students out to talk with the workers, you should get the schoolkids involved with The Red Mole.
TA: You're quite right, we have been trying to do that and we should do more. This new Industrial Relations Bill the Government is trying to introduce is making more and more workers realise what is happening...
JL: I don't think that Bill can work. I don't think they can enforce it. I don't think the workers will co-operate with it. I thought the Wilson Government was a big let-down but this Heath lot are worse. The underground is being harrassed, the black militants can't even live in their own homes now, and they're selling more arms to the South Africans. Like Richard Neville said, there may be only an inch of difference between Wilson and Heath but it's in that inch that we live....
TA: I don't know about that; Labour brought in racialist immigration policies, supported the Vietnam war and were hoping to bring in new legislation against the unions.
RB: It may be true that we live in the Inch of difference between Labour and Conservative but so long as we do we'll be impotent and unable to change anything. If Heath is forcing us out of that inch maybe he's doing us a good turn without meaning to...
JL: Yes, I've thought about that, too. This putting us in a corner so we have to find out what is coming down on other people. I keep on reading the Morning Star [the Communist newspaper] to see if there's any hope, but it seems to be in the 19th century; it seems to be written for dropped-out, middle-aged liberals. We should be trying to reach the young workers because that's when you're most idealistic and have least fear. Somehow the revolutionaries must approach the workers because the workers won't approach them. But it's difficult to know where to start; we've all got a finger in the dam. The problem for me is that as I have become more real, I've grown away from most working-class people--you know what they like is Engelbert Humperdinck. It's the students who are buying us now, and that's the problem. Now The Beatles are four separate people, we don't have the impact we had when we were together...
RB: Now you're trying to swim against the stream of bourgeois society, which is much more difficult.
JL: Yes, they own all the newspapers and they control all distribution and promotion. When we came along there was only Decca, Philips and EMI who could really produce a record for you. You had to go through the whole bureaucracy to get into the recording studio. You were in such a humble position, you didn't have more than 12 hours to make a whole album, which is what we did in the early days. Even now it's the same; if you're an unknown artist you're lucky to get an hour in a studio--it's a hierarchy and if you don't have hits, you don't get recorded again. And they control distribution. We tried to change that with Apple but in the end we were defeated. They still control everything. EMI killed our album Two Virgins because they didn't like it. With the last record they've censored the words of the songs printed on the record sleeve. Fucking ridiculous and hypocritical--they have to let me sing it but they don't dare let you read it. Insanity.
RB: Though you reach fewer people now, perhaps the effect can be more concentrated.
JL: Yes, I think that could be true. To begin with, working class people reacted against our openness about sex. They are frightened of nudity, they're repressed in that way as well as others. Perhaps they thought 'Paul is a good lad, he doesn't make trouble'. Also when Yoko and I got married, we got terrible racialist letters--you know, warning me that she would slit my throat. Those mainly came from Army people living in Aldershot. Officers. Now workers are more friendly to us, so perhaps it's changing. It seems to me that the students are now half-awake enough to try and wake up their brother workers. If you don't pass on your own awareness then it closes down again. That is why the basic need is for the students to get in with the workers and convince them that they are not talking gobbledegook. And of course it's difficult to know what the workers are really thinking because the capitalist press always only quotes mouthpieces like Vic Feather* anyway. [Ed. Note: Vic Feather 1908-76 was General Secretary of the TUC from 1969-73.] So the only thing is to talk to them directly, especially the young workers. We've got to start with them because they know they're up against it. That's why I talk about school on the album. I'd like to incite people to break the framework, to be disobedient in school, to stick their tongues out, to keep insulting authority.
YO: We are very lucky really, because we can create our own reality, John and me, but we know the important thing is to communicate with other people.
JL: The more reality we face, the more we realise that unreality is the main programme of the day. The more real we become, the more abuse we take, so it does radicalise us in a way, like being put in a corner. But it would be better if there were more of us.
YO: We mustn't be traditional in the way we communicate with people--especially with the Establishment. We should surprise people by saying new things in an entirely new way. Communication of that sort can have a fantastic power so long as you don't do only what they expect you to do.
RB: Communication is vital for building a movement, but in the end it's powerless unless you also develop popular force.
YO: I get very sad when I think about Vietnam where there seems to be no choice but violence. This violence goes on for centuries perpetuating itself. In the present age when communication is so rapid, we should create a different tradition, traditions are created everyday. Five years now is like 100 years before. We are living in a society that has no history. There's no precedent for this kind of society so we can break the old patterns.
TA: No ruling class in the whole of history has given up power voluntarily and I don't see that changing.
YO: But violence isn't just a conceptual thing, you know. I saw a programme about this kid who had come back from Vietnam--he'd lost his body from the waist down. He was just a lump of meat, and he said, 'Well, I guess it was a good experience.'
JL: He didn't want to face the truth, he didn't want to think it had all been a waste...
YO: But think of the violence, it could happen to your kids ...
RB: But Yoko, people who struggle against oppression find themselves attacked by those who have a vested interest in nothing changing, those who want to protect their power and wealth. Look at the people in Bogside and Falls Road in Northern Ireland; they were mercilessly attacked by the special police because they began demonstrating for their rights. On one night in August 1969, seven people were shot and thousands driven from their homes. Didn't they have a right to defend themselves?
YO: That's why one should try to tackle these problems before a situation like that happens.
JL: Yes, but what do you do when it does happen, what do you do?
RB: Popular violence against their oppressors is always justified. It cannot be avoided.
YO: But in a way the new music showed things could be transformed by new channels of communication.
JL: Yes, but as I said, nothing really changed.
YO: Well, something changed and it was for the better. All I'm saying is that perhaps we can make a revolution without violence.
JL: But you can't take power without a struggle...
TA: That's the crucial thing.
JL: Because, when it comes to the nitty-gritty, they won't let the people have any power; they'll give all the rights to perform and to dance for them, but no real power...
YO: The thing is, even after the revolution, if people don't have any trust in themselves, they'll get new problems.
JL: After the revolution you have the problem of keeping things going, of sorting out all the different views. It's quite natural that revolutionaries should have different solutions, that they should split into different groups and then reform, that's the dialectic, isn't it--but at the same time they need to be united against the enemy, to solidify a new order. I don't know what the answer is; obviously Mao is aware of this problem and keeps the ball moving.
RB: The danger is that once a revolutionary state has been created, a new conservative bureaucracy tends to form around it. This danger tends to increase if the revolution is isolated by imperialism and there is material scarcity.
JL: Once the new power has taken over they have to establish a new status quo just to keep the factories and trains running.
RB: Yes, but a repressive bureaucracy doesn't necessarily run the factories or trains any better than the workers could under a system of revolutionary democracy.
JL: Yes, but we all have bourgeois instincts within us, we all get tired and feel the need to relax a bit. How do you keep everything going and keep up revolutionary fervour after you've achieved what you set out to achieve? Of course Mao has kept them up to it in China, but what happens after Mao goes? Also he uses a personality cult. Perhaps that's necessary; like I said, everybody seems to need a father figure. But I've been reading Khrushchev Remembers. I know he's a bit of a lad himself--but he seemed to think that making a religion out of an individual was bad; that doesn't seem to be part of the basic Communist idea. Still people are people, that's the difficulty. If we took over Britain, then we'd have the job of cleaning up the bourgeoisie and keeping people in a revolutionary state of mind.
RB: ...In Britain unless we can create a new popular power-and here that would basically mean workers' power--really controlled by, and answerable to, the masses, then we couldn't make the revolution in the first place. Only a really deep-rooted workers' power could destroy the bourgeois state.
YO: That's why it will be different when the younger generation takes over.
JL: I think it wouldn't take much to get the youth here really going. You'd have to give them free rein to attack the local councils or to destroy the school authorities, like the students who break up the repression in the universities. It's already happening, though people have got to get together more. And the women are very important too, we can't have a revolution that doesn't involve and liberate women. It's so subtle the way you're taught male superiority. It took me quite a long time to realise that my maleness was cutting off certain areas for Yoko. She's a red hot liberationistand was quick to show me where I was going wrong, even though it seemed to me that I was just acting naturally. That's why I'm always interested to know how people who claim to be radical treat women.
RB: There's always been at least as much male chauvinism on the left as anywhere else--though the rise of women's liberation is helping to sort that out.
JL: It's ridiculous. How can you talk about power to the people unless you realise the people is both sexes.
YO: You can't love someone unless you are in an equal position with them. A lot of women have to cling to men out of fear or insecurity, and that's not love--basically that's why women hate men...
JL: ... and vice versa ...
YO: So if you have a slave around the house how can you expect to make a revolution outside it? The problem for women is that if we try to be free, then we naturally become lonely, because so many women are willing to become slaves, and men usually prefer that. So you always have to take the chance: 'Am I going to lose my man?' It's very sad.
JL: Of course, Yoko was well into liberation before I met her. She'd had to fight her way through a man's world--the art world is completely dominated by men--so she was full of revolutionary zeal when we met. There was never any question about it: we had to have a 50-50 relationship or there was no relationship, I was quick to learn. She did an article about women in Nova more than two years back in which she said, 'Woman is the nigger of the world' .
RB: Of course we all live in an imperialist country that is exploiting the Third World, and even our culture is involved in this. There was a time when Beatle music was plugged on Voice of America....
JL: The Russians put it out that we were capitalist robots, which we were I suppose...
RB: They were pretty stupid not to see it was something different.
YO: Let' s face it, Beatles was 20th-century folksong in the framework of capitalism; they couldn't do anything different if they wanted to communicate within that framework.
RB: I was working in Cuba when Sgt Pepper was released and that's when they first started playing rock music on the radio.
JL: Well hope they see that rock and roll is not the same as Coca-Cola. As we get beyond the dream this should be easier: that's why I'm putting out more heavy statements now and trying to shake off the teeny-bopper image. I want to get through to the right people, and I want to make what I have to say very simple and direct.
RB: Your latest album sounds very simple to begin with, but the lyrics, tempo and melody build up into a complexity one only gradually becomes aware of. Like the track 'My mummy's dead' echoes the nursery song 'Three blind mice' and it's about a childhood trauma.
JL: The tune does; it was that sort of feeling, almost like a Haiku poem. I recently got into Haiku in Japan and I just think it's fantastic. Obviously, when you get rid of a whole section of illusion in your mind you're left with great precision. Yoko was showing me some of these Haiku in the original. The difference between them and Longfellow is immense. Instead of a long flowery poem the Haiku would say 'Yellow flower in white bowl on wooden table' which gives you the whole picture, really....
TA: How do you think we can destroy the capitalist system here in Britain, John?
JL: I think only by making the workers aware of the really unhappy position they are in, breaking the dream they are surrounded by. They think they are in a wonderful, free-speaking country. They've got cars and tellies and they don't want to think there's anything more to life. They are prepared to let the bosses run them, to see their children fucked up in school. They're dreaming someone else's dream, it's not even their own. They should realise that the blacks and the Irish are being harassed and repressed and that they will be next. As soon as they start being aware of all that, we can really begin to do something. The workers can start to take over. Like Marx said: 'To each according to his need'. I think that would work well here. But we'd also have to infiltrate the army too, because they are well trained to kill us all. We've got to start all this from where we ourselves are oppressed. I think it's false, shallow, to be giving to others when your own need is great. The idea is not to comfort people, not to make them feel better but to make them feel worse, to constantly put before them the degradations and humiliations they go through to get what they call a living wage.
Tariq Ali is editor of London's New Left Review, a filmmaker and novelist, and has written more than a dozen books on world history and politics, including 1968 and After: Inside the Revolution (1978) and the 1987 Street Fighting Years: An Autobiography of the Sixties. He was prominently involved in 60s antiwar and radical politics; Jagger, a personal friend, is said to have written "Street Fighting Man" in his honor.
Our daughter is a reporter for the wonderful TIME For Kids publication. Talk about a plum assignment--interviewing Zac Efron on the heels of HSM3...
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Location
Vienna (Austria): U-Bahn [Subway].
Subject
In a subway station of Vienna I found the man you see on the right, standing still in the middle of a lane, wearing headphones and holding an humongous microphone in his hands. I was ambushing him along the wall, when the second man came into the frame: it seemed like Big Mike was asking for an interview. Actually, I think that Big Mike was a technician measuring the level of noise in the subway.
Related posts: Images from Vienna
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Gianluca Vecchi
Web, Digital Marketing and Communication Consultant – Italy www.gnetwork.it ● www.gianlucavecchi.it
For more information ⇒ Check my profile
License my pictures ⇒ 500Prime
Tim Armstrong, CEO of AOL, is interviewed on-stage as part of the company's presentation about content and online strategy during Advertising Week. Taken on September 29, 2010 in The Times Center.
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