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Hosted by Eugene Smith
11 episodes with Eugene Smith
3 episodes with Eugene Smith
2 episodes with Eugene Smith
4 episodes with Eugene Smith
4 episodes with Eugene Smith
3 episodes with Eugene Smith
2 episodes with Eugene Smith
2 episodes with Eugene Smith
Leaning heavily into "the music made and played by your neighbours right here in GreyBruce". Tune in to hear, in order of appearance: Sons of Ishmael, Louis Rankin, Chegahno, Hallucination feat. Chippewa Travellers & Reverse, Beverly Glenn Copeland (Song for Elizabeth Glenn-Copeland), BA Johnston, Rich Laviolette, The Sadies, JD Crosstown, Eugene Smith, String Driven Thing, Bill Monahan, Kuips and Andy Elliott and David Chevalier's Lakewater!
This episode looks at two films that examine the environmental disaster in Minamata, Japan: Noriaki Tsuchimoto's documentary, Minamata: The Victims and the World (1971), and Andre Levitas's Minamata (2020), a Hollywood feature film that tells the story through the famous American photographer, W. Eugene Smith. From 1932 to 1968, the Chisso Corporation, a local petrochemical and plastics maker, dumped approximately 27 tons of mercury into Minamata bay, poisoning fish and, ultimately, the people who ate them. Several thousand people died and many more suffered crippling injuries, with often severe mental and physical effects. The corporation's environmental pollution sparked legal and political battles that would last decades and reverberate throughout Japan. Joining me to discuss the films and the insights they provide into Japanese law and society, is Professor Darryl Flaherty. Darryl is a historian of law and social change in early modern and modern Japan. He has published work on the emergence of Japan's legal profession during the nineteenth century, the Meiji Restoration in world history, and the twentieth century history of the jury in Japan. He is an associate professor in the Department of History at the University of Delaware, where he teaches courses on Japanese, Asian, and world history. Timestamps: 0:00 Introduction2:13 The Chisso Chemical Corporation 4:58 The fishing life in Minamata 7:30 The discovery of methylmercury poisoning12:20 Movement politics and environmental protest in Japan16:44 The debilitating Minamata disease18:59 The Minamata pollution litigation22:03 Denial and violence by the Chisso Corporation 24:08 Government complicity 29:26 Discrimination and pushback against victims of Minamata pollution30:51 Strategies and challenges in obtaining compensation38:28 Noriaki Tsuchimoto, W. Eugene Smith, and the notoriety of Minamata44:51 A history of direct action in Japan and the importance of an apology48:30 Environmental reform and its limits in Japan52:14 A lens into the 2011 Fukushima disaster54:39 The limited role of lawyers in the films57:21 Minamata today59:07 The decline of political activism in Japan102:02 Take-aways and stories about storytellingFurther reading: Flaherty, Darryl, Public Law, Private Practice Politics, Profit, and the Legal Profession in Nineteenth-Century Japan (Harvard Univ. Asia Center, 2013)George, Timothy S., Minamata: Pollution and the Struggle for Democracy in Postwar Japan (Harvard Univ. Press, 2002) Smith, Eugene W. & Aileen M. Smith, Minamata: The Story of the Poisoning of a City, and of the People Who Chose to Carry the Burden of Courage (Holt, Rinehart, 1975)Upham, Frank K., Law and Social Change in Postwar Japan (Harvard Univ. Press, 1989)Law on Film is created and produced by Jonathan Hafetz. Jonathan is a professor at Seton Hall Law School. He has written many books and articles about the law. He has litigated important cases to protect civil liberties and human rights while working at the ACLU and other organizations. Jonathan is a huge film buff and has been watching, studying, and talking about movies for as long as he can remember. For more information about Jonathan, here's a link to his bio: https://law.shu.edu/profiles/hafetzjo.htmlYou can contact him at jonathanhafetz@gmail.comYou can follow him on X (Twitter) @jonathanhafetz You can follow the podcast on X (Twitter) @LawOnFilmYou can follow the podcast on Instagram @lawonfilmpodcast
In episode 315 UNP founder and curator Grant Scott is in his shed reflecting on the small and big things that impact on the everyday engagement we all have with photography. Dr.Grant Scott After fifteen years art directing photography books and magazines such as Elle and Tatler, Scott began to work as a photographer for a number of advertising and editorial clients in 2000. Alongside his photographic career Scott has art directed numerous advertising campaigns, worked as a creative director at Sotheby's, art directed foto8 magazine, founded his own photographic gallery, edited Professional Photographer magazine and launched his own title for photographers and filmmakers Hungry Eye. He founded the United Nations of Photography in 2012, and is now a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, and a BBC Radio contributor. Scott is the author of Professional Photography: The New Global Landscape Explained (Routledge 2014), The Essential Student Guide to Professional Photography (Routledge 2015), New Ways of Seeing: The Democratic Language of Photography (Routledge 2019), and What Does Photography Mean To You? (Bluecoat Press 2020). His photography has been published in At Home With The Makers of Style (Thames & Hudson 2006) and Crash Happy: A Night at The Bangers (Cafe Royal Books 2012). His film Do Not Bend: The Photographic Life of Bill Jay was premiered in 2018. Scott's book Inside Vogue House: One building, seven magazines, sixty years of stories, Orphans Publishing, is now on sale. © Grant Scott 2024
En exposiciones, hay visitas guiadas, como es la colección 'Vulnerable', el 17 y 18 de mayo en los Molinos del Río, que se podría prolongar hasta finales de mayo. La exposición de la alumna Roxana López, 'Fotografía Estenopeica', cuya pregunta de presentación dice así: «Si necesitases 50 minutos para captar una imagen, ¿qué fotografía harías?». Esta exposición ha sido preparada con la participación de la Facultad de Comunicación y Documentación de la Universidad de Murcia.La frase de esta semana es del fotógrafo estadounidense Eugene Smith que pasó de utilizar una iluminación plana a una más barroca, y la frase dice así, «Si yo no escribí las reglas, ¿ por qué tengo que seguirlas?».¿Educar la creatividad?, Fructu dice que sí se puede. Recomienda obligar cambiar de acción, es decir, si se cree ya haber visto una imagen similar, hacerla de otra forma o desde otra perspectiva, de esta forma se estará trabajando la creatividad. La clave estaría en elaborar fórmulas que haga tener visiones diferentes.En cuanto a fotos de comunión, nuestro fotógrafo recomienda para hacer fotos con el teléfono móvil, intentar buscar sombras o fotografiar en un atardeceres, en el hora dorada. También recomienda fotografiar momentos espontáneos, hacer muchas imágenes. La aplicación de esta semana es Clip Drop, con muchas posibilidades y con una combinación para poder crear efectos, acabados, etc.Finalmente terminamos con el reto semanal, el de fotografiar agua (fuentes, piscinas, mar, ríos, el grifo...) así como inentar conseguir en una semana 100 fotografías. Pueden remitirnos sus imágenes a plazapublica@rtrm.es
The dictionary defines culture as “the way of life for an entire society.” But sometimes larger forces create rifts within the whole, inevitably leading to a confrontation between factions. A prime example of this cultural struggle is playing out today within the cities and villages of Ukraine, the focus of today's episode. Above photograph © Maxim Dondyuk In this sixth installment of our monthly series, Picturing World Cultures, we speak with Ukrainian photographer and visual artist Maxim Dondyuk, and his wife and artistic manager, Irina. Our conversation stretches beyond the current conflict, to encompass other aspects of Ukrainian society. From Maxim's early series on a country doctor's final visits with patients (which drew inspiration from the work of W. Eugene Smith) to his in-depth coverage of Ukraine's TB epidemic, we witness the evolution of his working methods and his dedication to long term documentary projects. Step behind the scenes of a military camp for children run by Cossacks, and gain insight into the cultural split between pro-Russian and pro-European factions, which Maxim photographed for his book Culture of Confrontation. As he writes in this book, “One culture tried to cling to old times, old ways of living. They were nostalgic for a past that meant a lot to them, to their parents, and grandparents. Yet there was another culture that felt completely differently. They looked ahead to forging something new, a different country.” Join us for this frank discussion about how such conflicting forces take visual form in Maxim's powerfully arresting images. If you haven't already listened, check out all the episodes of our Picturing World Cultures podcast series here. Guests: Maxim & Irina Dondyuk Stay Connected: Maxim Dondyuk Website: https://maximdondyuk.com/ Maxim Dondyuk Instagram: https://www.instagram.com/maximdondyuk/ Maxim Dondyuk Facebook: https://www.facebook.com/maximdondyuk Maxim Dondyuk Twitter: https://www.twitter.com/maximdondyuk Maxim Dondyuk Wikipedia: https://en.wikipedia.org/wiki/Maxim_Dondyuk Maxim Dondyuk‘s W. Eugene Smith Grant: https://www.smithfund.org/2022-maxim-dondyuk
"The instance of photographing, instead of creating a distance, is a moment of clarity and emotional connection for me." -- Nan Goldin "I've never made any picture, good or bad, without paying for it in emotional turmoil." -- W. Eugene Smith In this episode, Antonio and Ward kick things off with some easygoing chat about history and pop culture, setting a laid-back vibe. Things quickly get more personal as Antonio opens up about dealing with his sick cat, which smoothly segues into the episode's deeper themes of coping with loss and navigating grief. They also chat about how the pandemic's been a real game-changer for content creators, especially YouTubers, sparking a lot of soul-searching about work-life balance and finding genuine fulfillment in their creations. But the real meat of the conversation is all about empathy in photography. Antonio and Ward dive into how photos can capture and share the raw emotions and stories of life, using their own experiences and nodding to legends like W. Eugene Smith to paint a picture of what empathy looks like through the lens. They mull over the responsibilities of photographers in telling true stories without exploiting their subjects, blending personal tales with broader reflections on photography's role in connecting us to each other's experiences. Subscribe to our Substack Newsletter Help out the show by buying us a coffee! Support the show by purchasing Antonio's Zines. Send us a voice message, comment or question. Show Links: Antonio M. Rosario's Website, Vero, Instagram and Facebook page Ward Rosin's Website, Vero, Instagram and Facebook page. Ornis Photo Website The Unusual Collective Street Shots Facebook Page Street Shots Instagram Subscribe to us on: Apple Podcasts Google Podcasts Spotify Amazon Music iHeart Radio
At the end of the show a question from Andy McNeil Our apologies for the sound issues we encountered on this episode. Recommendations Paddy Jon Stone There's been a reassessment of the Blair/Brown government on the Left in recent years: you hear more about its achievements than you used you. that's good, but it's also important not to forget that it regularly did things a Tory government would be criticised for https://twitter.com/joncstone/status/1231543272943898626?lang=en Putin Vs The West- Norma Percy A new three-part series from award-winning film-maker Norma Percy tells the inside story of how, through a decade of clashes, the West has struggled to deal with Vladimir Putin as he tries to exert his power on the world stage. https://www.bbc.com/mediacentre/proginfo/2023/05/putin-vs-the-west The Fifty Years War- Norma Percy The main decision-makers from Israel, the Arab states, Russia and the US tell the inside story of the Arab-Israel conflict. Made in 1998. https://www.bbc.co.uk/iplayer/episodes/p0glc7yp/the-fifty-years-war-israel-and-the-arabs Elusive Peace- Norma Percy As today's headlines continue to be dominated by the latest news from Israel and Gaza, award-winning film-maker Norma Percy looks back on her 2005 series Elusive Peace, sharing memories of her encounters with key players like Bill Clinton, Ariel Sharon and Yasser Arafat as she explored the story behind the efforts to end the conflict made around the start of the new millennium. Norma also talks about her experiences securing rare interviews with those behind some of the suicide bombings that destroyed lives and also the chances of peace. https://www.bbc.co.uk/programmes/m001swsb David The Jazz Loft Project- W Eugene Smith Smith's Jazz Loft Project has been legendary in the worlds of art, photography, and music for more than forty years, but until the publication of this book, no one had seen his extraordinary photographs or read any of the firsthand accounts of those who were there and lived to tell the tales. https://www.waterstones.com/book/the-jazz-loft-project/w-eugene-smith/sam-stephenson/9780226824840 W. Eugene Smith's Warning to the World The Magnum photographer made his last photo essay about industrial mercury poisoning in the Japanese city of Minamata, helping to bring justice and visibility to the victims https://www.magnumphotos.com/arts-culture/society-arts-culture/w-eugene-smith-minamata-warning-to-the-world/ Minimata- Film Revered photojournalist W. Eugene Smith (Johnny Depp) is coaxed out of retirement by a commission from Life magazine editor Robert Hayes (Bill Nighy). He is sent to Minamata, a Japanese city ravaged by mercury poisoning, the result of decades of gross corporate negligence. There, Smith documents the people living with Minamata Disease, the assignment quickly turning into a life-changing experience https://www.amazon.co.uk/Minamata-Johnny-Depp/dp/B099NBF5H3 Eamonn Slow Horses- Season 3 Spy drama following a dysfunctional team of M15 agent - and their obnoxious boss Jack Lamb - as they navigate the espionage world's smoke and mirrors to defend England from sinister forces. https://tv.apple.com/gb/show/slow-horses/umc.cmc.2szz3fdt71tl1ulnbp8utgq5o?ctx_brand=tvs.sbd.4000&mttn3pid=Google%20AdWords&mttnagencyid=a5e&mttncc=UK&mttnsiteid=143238&mttnsubad=OUK2019944_1-684757160536-c&mttnsubkw=136907710791__RTZ7DK1w_&mttnsubplmnt=_adext_
I dag snakker Per og Henrik om Kenneth Eugene Smith (1965-2024). Han var en leiemorder som ble hyret til å drepe kona til en kamerat i Alabama i 1988. Han overlevde et henrettelsesforsøk i november 2022. Dette la grunnlaget for at en ny henrettelsesmetode som innebærer at den dømte puster inn ren nitrogen for så å kveles av mangel på oksygen skal testes på han den 25. januar 2024. Kenneth Eugene Smith erklært død klokken 20:25 lokal tid. Det er også duket for NRK-hjørnet. God lytting! —------ Today, Per and Henrik talk about Kenneth Eugene Smith (1965-2024). He was an hitman who was hired to kill a friend's wife in Alabama in 1988. He survived an execution attempt in November 2022. This laid the groundwork for a new method of execution that involves the condemned man breathing in pure nitrogen and then suffocating from lack of oxygen to be tested on him on January 25, 2024. Kenneth Eugene Smith was pronounced dead at 8:25 PM local time. The stage is also set for the NRK corner. Good listening!
Questo e gli altri podcast gratuiti del Post sono possibili grazie a chi si abbona al Post e ne sostiene il lavoro. Se vuoi fare la tua parte, abbonati al Post. È prevista in queste ore in Alabama la seconda esecuzione della condanna a morte di Eugene Smith, dopo che il primo tentativo non è riuscito. Per l'occasione farà da cavia a una nuova tecnica di asfissia. Si può tornare a pensare e discutere l'atrocità di una pena simile, mentre nel mondo i casi tornano ad aumentare? Riflessioni sulla pena di morte di Albert Camus, Se Learn more about your ad choices. Visit megaphone.fm/adchoices
Mark and Jeff explore the famous photo essayist W. Eugene Smith and his life, particularly when he went to Japan to cover something called Minamata disease. One of his most famous images was taken there and there was a feature film based upon his life and travels to Minamata starring Johnny Depp. The movie is excellent but did not do well at the box office and is a little harder to find. Worth your time as Johnny Depp does an excellent job portraying the difficult photographer that was Eugene Smith.
Every golfer knows that the journey from the first swing to the greens is never a straight shot. That's precisely what Caolan Rafferty, our guest this week, proves as he recounts the swings and roundabouts of his golfing career. From flipping his stance at eleven to stepping away from the sport, only to return with a rejuvenated love for the game, Caolan's story is a testament to resilience. We delve into the pressures that once pushed him away from golf and the mindset shift that would bring him back to the Irish amateur scene with a flourish. Caolan's narrative isn't just about overcoming obstacles; it's about rediscovering joy amidst competition and the transformative power of finding your passion.Imagine balancing a business management degree with reviving a near-professional golf career. This episode peels back the curtain on how Caolan did just that, thanks to a scholarship at Maynooth University and the mentorship of Eugene Smith and Barry Fenley. The collegiate greens provided more than just an education; they offered a sandbox for perfecting chip shots and indulging in trick shot challenges. Even amidst the pandemic, Caolan drive led him to play in the Palmer Cup, a reminder that opportunities can still bloom in the face of adversity. His experiences show us the lighter side of training and the importance of mentors in guiding us through the rough.Wrapping up our roundtable, we tackle the complexities of balancing personal life with professional ambition, a dance familiar to many high-level athletes. Caolan shares insights on the selection process for prestigious teams, the electrifying thrill of a Walker Cup nod, and how life's milestones, like marriage, can redefine one's trajectory on the fairway. His journey illuminates the tightrope walk between golf and life, the joy of the sport, and the friendships forged along the fairways. It's a conversation that celebrates the birdies and bogeys of a golfer's life, offering a front-row seat to the heart of what makes golf such an enrapturing pursuit.Follow amateur info https://instagram.com/irish_amateur_golf_info?igshid=OGQ5ZDc2ODk2ZA==
It's time for the (whopping) second half of our 2023 gift guide! We tackle dads, sisters, in-laws, friends, coworkers, and some ideas for presents to ask for yourself when that feels like a necessary thing. For the full link-rich rundown, you're best off heading over to our site: athingortwohq.com/gift-guide-episodesIf there's someone on your list that we didn't get to this year, let us know who you're shopping for in our Geneva! And share more gift ideas with us at 833-632-5463, podcast@athingortwohq.com, and @athingortwohq.Tackle all that holiday shopping at MoMA Design Store and take 10% off your purchase when you use or mention promo code ATHINGORTWO online and in US MoMA Design Stores through November 23, 2023. Give your hair the gift of Nutrafol. Take $10 off your first month's subscription with the code ATHINGORTWO.YAY.Gifts for YOU!My in laws are great people who will buy exactly what ask for as long as it's 1) not personal care or appearance-related AT ALL, 2) not a ""luxury item"" or a splurge version of something (ie no fancy candles), and 3) under $100. I'm a dedicated audiobook listener and | don't need any more cookbooks or board games. They won't do a donation in lieu of gift. Gift giving is their love language but only if the gift is very practical or they got it on a significant discount. We're fortunate to be in a financial position where I'm generally able to buy practical as they're needed, but my in laws hear ""I don't need anything!"" as a snub. Help!"Uniqlo HeattechSomething YamazakiCookbooks (like The Lula Cafe one!)A traditional restock (plants, PJs, etc.)Directing them to a go-tostore like MoMA Design Store and Zingerman'sDinnerware/cookware to build on every yea—Le Creuset, vintage Fiestaware, Dansk, Heath, etc., etc.Charms for a charm bracelet/necklace like Jet Set Candy passport stamp charms (+ their NYPL card one is also very good)Dads & Fathers-in-LawMy Dad sounds more like a brand persona than a real person. He's very cosmopolitan/urbane, lives in the city center even though he's 60, takes public transit, legitimately does his weekly grocery shopping at boutique cheese/bread/specialty food stores, always dressed impeccably. OWNS a beautiful specialty meat slicer that he has in his kitchen and uses for fresh/thinly sliced prosciutto (before you go there I've done ham hocks more than once). Interests: art, food and entertaining, culture. Loves to read, usually big sweeping historical books. Always the hardest person to shop for on my list because his taste level is very out of my price range and I'm tapped out on the specialty food theme. Dad recently become a grandfather (2 grandsons and one more coming in Jan) and it was a little weird for him - he loves my sons but the image of an old guy in a rocking chair teaching kids how to whittle didn't jive with his understanding of himself. He's starting to settle in. Has a very unique grandpa name with many indecipherable layers of historical context and family history that the grandkids will probably never understand. Buys them beautifully made clothes that they would immediately ruin. Talks to them about their shared interests: boats, planes, and other well-designed machines.Hoste Bottled Cocktails Regalis Black Truffle Microwaveable PopcornNordic Ware Indoor/Outdoor Kettle Smoker Custom OpinelBerea College Intersections Charcuterie BoardBig Nights PlannerSuzanne Sullivan Porcelain Playing Cards or Bone Inlay Domino SetBlackwater & Sons Return Address StampBillion Oyster Project donationRex Design Oyster PlateMy dad. 82 years old. Loves to read serious nonfiction but bus all the books he wants. Loves French and Italian wine but his taste is too expensive for me and he has all the gadgets. Generally expensive taste that's above my pay grade. He dresses pretty dapper and lives in NYC. Gets lots of compliments on his glasses and clothes. Grills meat for dinner nearly every night but stuck in his ways when it comes to cooking. Very much a creature of habit. Likes jazz and classic rock. Best gifts I've gotten for him are interesting casual clothes he wouldn't find himself, a dapper custom English umbrella, taking him to see live jazz…Campo GrandeThe Durand - bottle opener for old bottles/corksRalph Lauren custom stuff! Hello, cashmere sweater.Vintage tie clip or cuff links from TRRVinyl Me, Please subscriptionThe Jazz Loft Project: Photographs and Tapes of W. Eugene Smith from 821 Sixth Avenue, 1957–1965Preservation Hall Drum Ornament or TambourineBlue Note merchOkay, now that I've seen this I feel okay sending a description of my dad. He's a 67-year-old workaholic lawyer many have described as "quite the character, huh?" He takes himself very seriously, though he also can be quite mischievous and loves to stir the pot. His interests include fishing, geopolitics, and monologuing. I truly feel like I've explored all gifting avenues already with him: consumables for his major sweet tooth, outdoorsy gear that he already buys himself, political or economic books that won't lead to arguments (he's conservative, I'm liberal), and seemingly every dog toy or black Labrador art print under the sun. He doesn't drink and mostly sticks to heart-healthy food. While he has many entertaining childhood stories, it seems unlikely he will set aside time for something activity-based like StoryWorth, as he spends most of his at-home free time watching YouTube videos about things like beekeeping (yes, I've gotten him multiple artisanal honeys that had little impact). I'm at my wits' end with this conundrum of a father, please help!Unexpected: 30 Years of Patagonia Outdoor PhotographyCustom Smathers & Branson BeltsPort Bait Co. Bait/LuresreMarkableNorth Spore Mushroom-Growing KitsPack of AvecMerippa House ShoesFather-in-law is the definition of introverted, deeply obsessed with cars (has several classic ones), and model trains (legit has an entire room for trains that has like, an actual functional drawbridge for the trains). Also loves good food and good tequila!“Rod Stewart's ideal Christmas present? Brushes for his model railway”Dining by Rail: The History and Recipes of America's Golden Age of Railroad Cuisine by James D. PorterfieldCharles Ro Supply Co. gift certificateToyo Toolbox Chevrolet Corvette 1961 Lego SetMajor Minis Alessi The Tending BoxSisters & Sisters-in-LawPresent for woo-woo disorganized sister who holds a grudge & has two adorable kidsHouse of Intuition CandlesA Daily Cloud CalendarHightide DTLA Moon CalendarHa Ko Incense LeavesGolde Superfoods Mask KitEsker Bodycare Discovery SetJulia Elsas Wiggle Wall HooksOk this one is may be a doozy. New SIL: she describes herself as an author but will never discuss her writing, we've never seen anything, nothing published (she is 40, we had a running theory maybe her "writing" was OnlyFans? It's unclear.) She loves Disney (I have secured Hanna Anderson Disney Christmas PJs), Rudy Giuliani (!!!), and believes enough conspiracy theories that we had to change our will about w hich uncle would get our kids if we died. Zola was "too downmarket" for their wedding registry but she doesn't know which fork to use (to be clear, both of these things are fine, just incongruent, right?). So I need something that feels sophisticated but maybe...isn't.Ami Ami Mulled Wine KitGentlewoman Modern Manners Postcard SetAnya Hindmarch Bespoke Passport WalletMadewell Disney Mickey Mouse-Embroidered Cardigan Sweater in (Re)sponsible CashmereKitsch & Disney Satin Pillowcase - Desert CrownBird by Bird by Anne LamottBlack Women Writers at Work How to Write an Autobiographical Novel: Essays by Alexander CheeCultish by Amanda MontellFour Seasons Total Landscaping HatBoyfriend's sister: 29, children's librarian and loves children's books/ movies. Pretty much hates everything I've ever given her and doesn't really have any taste that isn't just stuff her 63 y/o mother likes... when I try to get her clothes that are more age-appropriate (read: no for a woman in her 60s), she never wears them. She's not materialistic BUT loves going to Home Goods just to get stuff? Also has a New Year's Day bday so I need two things. And this is a big bday (30!)! My boyfriend got her a big set of glass Tupperware which was a huge hit, but then got her a nutri bullet (the mom loves hers) and she hated that. HELP!!!Book of the Month subscriptionPersephone GiftsTortuga or Schoolhouse or Justina Blakeney bookendsBrooklyn Public Library Books Unbanned donationVintage READ Posters from American Library AssociationRalph & James - framed children's picture book art printsFilm Art Gallery - classic children's movie posters Yellow Paper House Junque JournalOur Place Wonder OvenSIL Trying to be an influencer and posts sporadic videos on THIS APP about a home design of a suburban cookie-cutter house. Always mansplains the littlest things. Snobby but for no reason. But also probably a nice person to people she likes? Probably!Fiona's Pasta Gift BoxMaria Ida DesignsMadre Linen NapkinsBig Night or The Six Bells depending on her vibe—anything from either feels safe!Canva subscriptionAllison Bornstein or Lakyn Carlton styling sessionLivable Luxe by Brigette RomanekArranging Things by Colin King Beata Heuman: Every Room Should SingSister-in-law: she is a corporate lawyer and very much a Dallas girly (lives in Dallas but also embodies the Dallas vibes with beach blonde hair, very fancy car to drive 5 minutes to work, has a texting relationship with sales associates at various designer stores). If you read the NYTimes article from a few months ago explaining the Dallas food scene, she embodies the Dallas consumer exactly. She is a bit of a Broadway nerd. She is basically the opposite of me in almost every possible way, and I'm always afraid to shop for her. Last year I got her a gift set from The Crown Affair and I don't think she knew a thing about it. Would like to stay
"I take photographs in my neighborhood. I think that mysterious things happen in familiar places. We don't always need to run to the other end of the world." -- Saul Leiter “Photos are a return ticket to a moment otherwise gone.” -- Katie Thurmes In this episode, Antonio and Ward delve into the nuances of capturing their local neighborhoods, with Ward sharing his outing in downtown Calgary and Antonio discussing his artist talk at the Blue Star Parlor Cafe in Flatbush, Brooklyn. Antonio emphasizes the significance of observing and photographing everyday surroundings, advocating for mindfulness in photography and the creation of a historical record through images. Their conversation also touches on the influence of famous photographers like Bernice Abbott and Eugene Smith, and their impact on Antonio's work. They explore themes such as the transience of urban landscapes, the role of street art and murals, and the emotional response to neighborhood changes. Both offer advice on capturing the essence of one's surroundings, underscoring the importance of recording even mundane aspects of daily life. Finally, Antonio shares his experience of being featured in a local news segment about his photography exhibition, reflecting on the joy of inspiring others through his work. He introduces the idea of starting a "Coffee and Cameras" group to foster community engagement through photography, similar to Ward's "Beers and Cameras" gatherings. Image Gallery: https://streetshots.photography/2023/11/15/street-shots-195-neighborhood-watch/ ----more---- Show Links: "Revitalizing Spaces and Building Community Through Public Art" Antonio M Rosario on News12 Subscribe to our Substack Newsletter Help out the show by buying us a coffee! Support the show by purchasing Antonio's Zines. Send us a voice message, comment or question. Antonio M. Rosario's Website, Vero, Instagram and Facebook page Ward Rosin's Website, Vero, Instagram and Facebook page. Ornis Photo Website The Unusual Collective Street Shots Facebook Page Street Shots Instagram Subscribe to us on: Apple Podcasts Google Podcasts Spotify Amazon Music iHeart Radio
Entrevista al fotógrafo José Manuel Navia en el primer episodio de la 2ª temporada del podcast de fotografía "El espejo de Vivian y Francesca". Con Navia hablamos de nuevos documentalismos, del color, de cómo ser fotógrafo, de las nuevas tendencias en fotografía, los nuevos retos y de toda una carrera, la suya, que es una de las más valoradas y admiradas en la fotografía española. Navia es uno de los fotógrafos que más y mejor hablan de fotografía y de su "oficio", como a él le gusta llamarlo. Escucharle es enamorarse aún más de ella. Además nos contó anécdotas y curiosidades, e incluso nos hizo una confesión muy personal y sorprendente que jamás antes había hecho en público. ¡Gracias, Jose, por tu complicidad y tu sabiduría! Foto: Pedro María Higueras.
In this special compilation episode, Josh Cohen of Eyewitness History shares his favorite interview moments and stories from people who witnessed some of history's most extraordinary events.First up, revisit his conversation with Frank DeAngelis, former principal of Columbine High School, recounting the harrowing events of the 1999 massacre.Apple Podcasts: https://apple.co/3Ow8UF0 / Spotify: https://sptfy.com/OWMr Next, dive into the world of podcasting with the podfather himself, Adam Curry. Discover the fascinating tale of his MTV days and presenting an award to Michael Jackson.Apple Podcasts: https://apple.co/3Df7jgn / Spotify: https://sptfy.com/OWMt CIA Agent Valerie Plame takes the spotlight in the next segment, shedding light on the notorious 'Plame Affair' of 2003.Apple Podcasts: https://apple.co/48gSyYx / Spotify: https://sptfy.com/OWMw Sports enthusiasts, get ready! HBO Boxing legend Jim Lampley shares his experiences covering the 1980 Winter Olympics in Lake Placid, including the unforgettable 'Miracle on Ice.'Apple Podcasts: https://apple.co/3YeyxNZ / Spotify: https://sptfy.com/OWMx Jonestown cult survivor and writer Eugene Smith takes a solemn turn as he revisits his journey through tragedy and survival.Apple Podcasts: https://apple.co/451VIgu / Spotify: https://sptfy.com/OWMz Rock music lovers, stay tuned for insights from Ken Caillat, the record producer behind Fleetwood Mac's iconic albums, including the Emmy-winning 'Rumors.'Apple Podcasts: https://apple.co/3rhuyEb / Spotify: https://sptfy.com/OWMB Hear from DEA Agents Steve Murphy and Javier Peña, the real-life heroes who took down Pablo Escobar, inspiring the hit Netflix series 'Narcos.'Apple Podcasts: https://apple.co/3r5Cf0h / Spotify: https://sptfy.com/OWMD Podcasting sensation Jordan Harbinger shares his adventures and observations in North Korea.Apple Podcasts: https://apple.co/3JXYmfe / Spotify: https://sptfy.com/OWMF And finally, wrap up with a legendary performance – an interview with Queen's keyboardist, Spike Edney, discussing their iconic set at Live Aid in 1985.Apple Podcasts: https://apple.co/3Roxxp6 / Spotify: https://sptfy.com/OWMH This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5220935/advertisement
In this special compilation episode, Josh Cohen of Eyewitness History shares his favorite interview moments and stories from people who witnessed some of history's most extraordinary events.First up, revisit his conversation with Frank DeAngelis, former principal of Columbine High School, recounting the harrowing events of the 1999 massacre.Apple Podcasts: https://apple.co/3Ow8UF0 / Spotify: https://sptfy.com/OWMr Next, dive into the world of podcasting with the podfather himself, Adam Curry. Discover the fascinating tale of his MTV days and presenting an award to Michael Jackson.Apple Podcasts: https://apple.co/3Df7jgn / Spotify: https://sptfy.com/OWMt CIA Agent Valerie Plame takes the spotlight in the next segment, shedding light on the notorious 'Plame Affair' of 2003.Apple Podcasts: https://apple.co/48gSyYx / Spotify: https://sptfy.com/OWMw Sports enthusiasts, get ready! HBO Boxing legend Jim Lampley shares his experiences covering the 1980 Winter Olympics in Lake Placid, including the unforgettable 'Miracle on Ice.'Apple Podcasts: https://apple.co/3YeyxNZ / Spotify: https://sptfy.com/OWMx Jonestown cult survivor and writer Eugene Smith takes a solemn turn as he revisits his journey through tragedy and survival.Apple Podcasts: https://apple.co/451VIgu / Spotify: https://sptfy.com/OWMz Rock music lovers, stay tuned for insights from Ken Caillat, the record producer behind Fleetwood Mac's iconic albums, including the Emmy-winning 'Rumors.'Apple Podcasts: https://apple.co/3rhuyEb / Spotify: https://sptfy.com/OWMB Hear from DEA Agents Steve Murphy and Javier Peña, the real-life heroes who took down Pablo Escobar, inspiring the hit Netflix series 'Narcos.'Apple Podcasts: https://apple.co/3r5Cf0h / Spotify: https://sptfy.com/OWMD Podcasting sensation Jordan Harbinger shares his adventures and observations in North Korea.Apple Podcasts: https://apple.co/3JXYmfe / Spotify: https://sptfy.com/OWMF And finally, wrap up with a legendary performance – an interview with Queen's keyboardist, Spike Edney, discussing their iconic set at Live Aid in 1985.Apple Podcasts: https://apple.co/3Roxxp6 / Spotify: https://sptfy.com/OWMH This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4899207/advertisement
In this special compilation episode, Josh Cohen of Eyewitness History shares his favorite interview moments and stories from people who witnessed some of history's most extraordinary events.First up, revisit his conversation with Frank DeAngelis, former principal of Columbine High School, recounting the harrowing events of the 1999 massacre.Apple Podcasts: https://apple.co/3Ow8UF0 / Spotify: https://sptfy.com/OWMr Next, dive into the world of podcasting with the podfather himself, Adam Curry. Discover the fascinating tale of his MTV days and presenting an award to Michael Jackson.Apple Podcasts: https://apple.co/3Df7jgn / Spotify: https://sptfy.com/OWMt CIA Agent Valerie Plame takes the spotlight in the next segment, shedding light on the notorious 'Plame Affair' of 2003.Apple Podcasts: https://apple.co/48gSyYx / Spotify: https://sptfy.com/OWMw Sports enthusiasts, get ready! HBO Boxing legend Jim Lampley shares his experiences covering the 1980 Winter Olympics in Lake Placid, including the unforgettable 'Miracle on Ice.'Apple Podcasts: https://apple.co/3YeyxNZ / Spotify: https://sptfy.com/OWMx Jonestown cult survivor and writer Eugene Smith takes a solemn turn as he revisits his journey through tragedy and survival.Apple Podcasts: https://apple.co/451VIgu / Spotify: https://sptfy.com/OWMz Rock music lovers, stay tuned for insights from Ken Caillat, the record producer behind Fleetwood Mac's iconic albums, including the Emmy-winning 'Rumors.'Apple Podcasts: https://apple.co/3rhuyEb / Spotify: https://sptfy.com/OWMB Hear from DEA Agents Steve Murphy and Javier Peña, the real-life heroes who took down Pablo Escobar, inspiring the hit Netflix series 'Narcos.'Apple Podcasts: https://apple.co/3r5Cf0h / Spotify: https://sptfy.com/OWMD Podcasting sensation Jordan Harbinger shares his adventures and observations in North Korea.Apple Podcasts: https://apple.co/3JXYmfe / Spotify: https://sptfy.com/OWMF And finally, wrap up with a legendary performance – an interview with Queen's keyboardist, Spike Edney, discussing their iconic set at Live Aid in 1985.Apple Podcasts: https://apple.co/3Roxxp6 / Spotify: https://sptfy.com/OWMH This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4926576/advertisement
In this special compilation episode, Josh Cohen of Eyewitness History shares his favorite interview moments and stories from people who witnessed some of history's most extraordinary events.First up, revisit his conversation with Frank DeAngelis, former principal of Columbine High School, recounting the harrowing events of the 1999 massacre.Apple Podcasts: https://apple.co/3Ow8UF0 / Spotify: https://sptfy.com/OWMr Next, dive into the world of podcasting with the podfather himself, Adam Curry. Discover the fascinating tale of his MTV days and presenting an award to Michael Jackson.Apple Podcasts: https://apple.co/3Df7jgn / Spotify: https://sptfy.com/OWMt CIA Agent Valerie Plame takes the spotlight in the next segment, shedding light on the notorious 'Plame Affair' of 2003.Apple Podcasts: https://apple.co/48gSyYx / Spotify: https://sptfy.com/OWMw Sports enthusiasts, get ready! HBO Boxing legend Jim Lampley shares his experiences covering the 1980 Winter Olympics in Lake Placid, including the unforgettable 'Miracle on Ice.'Apple Podcasts: https://apple.co/3YeyxNZ / Spotify: https://sptfy.com/OWMx Jonestown cult survivor and writer Eugene Smith takes a solemn turn as he revisits his journey through tragedy and survival.Apple Podcasts: https://apple.co/451VIgu / Spotify: https://sptfy.com/OWMz Rock music lovers, stay tuned for insights from Ken Caillat, the record producer behind Fleetwood Mac's iconic albums, including the Emmy-winning 'Rumors.'Apple Podcasts: https://apple.co/3rhuyEb / Spotify: https://sptfy.com/OWMB Hear from DEA Agents Steve Murphy and Javier Peña, the real-life heroes who took down Pablo Escobar, inspiring the hit Netflix series 'Narcos.'Apple Podcasts: https://apple.co/3r5Cf0h / Spotify: https://sptfy.com/OWMD Podcasting sensation Jordan Harbinger shares his adventures and observations in North Korea.Apple Podcasts: https://apple.co/3JXYmfe / Spotify: https://sptfy.com/OWMF And finally, wrap up with a legendary performance – an interview with Queen's keyboardist, Spike Edney, discussing their iconic set at Live Aid in 1985.Apple Podcasts: https://apple.co/3Roxxp6 / Spotify: https://sptfy.com/OWMHThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/3101278/advertisement
This image is of the amazingly obsessed photographer W. Eugene Smith, from the amazingly obsessable book The Jazz Loft Project. Subscribing Apple Podcasts| RSS Other Places This Is Bandcamp | YouTube| Spotify| Apple Music | I'd love to hear what you think of this podcast. I really enjoy doing it, but it'd be great to hear about what you like and don't like. Let me know by leaving a review on Apple Podcasts. If you want to support the podcast, you can at Patreon or by purchasing albums on Bandcamp Thanks.
WARBIRD RADIO - The late Eugene Smith was a big band musician, who flew P-47's during WWII, and was instrumental in discovering the German forces ahead of the Battle of the Bulge.He sat down with Matt Jolley around 2009, and not only shared his flying stories, but he also played his ukulele, the one he took with him during WWII. For more on the unbelievable story of the P-47, and the men who flew them, check out Hell Hawks by friend of Warbird Radio, the late Robert. F. Dorr. Link for the book is below.QUICK LINK: https://a.co/d/iKMHGkM[Image for illustration only, from of Hell Hawks by Robert F. Dorr]#warbirdradio #p47 #thunderbolt #battleofthebulge
We're digging into the archives. Deep down into the wells…for a collection of rhythm & blues, country, gospel, and tradition with performances from Patsy Cline, Sonny Boy Williamson, Marty Stuart, Dinah Washington and nearly three dozen others. Friday morning inspiration from the courtroom bench, the gospel pew, and from the piano bench…as we bring you another episode of the very best of the past 100 years to the stream. There's trouble and some double entendre from Julia Lee, some rousing sanctified call and response from Eugene Smith and The Roberta Martin Singers, as well as a bootleg Dylan piece that we'll share with you. Join Dave Stroud this coming Friday morning for the very best of America's music from the past century.
Eugene Smith joined Peoples Temple in 1973 and lived in the Temple's San Francisco commune before leaving for Jonestown in fall 1977. He was in Georgetown on November 18 clearing items from customs. Numerous members of his family – including his mother, wife, and infant son – died in Jonestown. Eugene is the author of the 2021 book, Back to the World: A Life after Jonestown.Source: https://jonestown.sdsu.edu/?page_id=17033Buy a copy of Eugene's book here: https://www.amazon.com/Back-World-Life-after-Jonestown/dp/0875657788This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5351305/advertisement
It was W. Eugene Smith who asked, “What use is having a great depth of field if there is not an adequate depth of feeling?” In a sense, Smith was right. Without emotion, a photograph is a stale thing. However, the depth of field is one of the photographer's most important tools for creating emotion. By understanding how to adjust the aperture, I can isolate my subject or capture the entire scene with rich detail. The question becomes, “How do I use the aperture to achieve the greatest emotional effect?” Show Notes: https://moneymakerphotography.com/photography-fundamentals-mastering-aperture/
This episode of the Foto Podcast is from a podcast I recorded with Rodney in 2012. I've re-edited this conversation to improve the sound quality from its original recording and reworked the audio presentation. I feel very fortunate that Rodney took the time to chat with me over ten years ago. When he unexpectedly passed in 2016, I realized how lucky I was to be able to spend a brief amount of time with him.Rodney was incredibly kind to me through our email exchanges, this recording, and a short 2-hour personal visit to his house in New York in the Spring of 2013. I probably spent 4 hours conversing with him in some form or another, but he left an unforgettable impression on me. I respect his work and artistic vision, but I will never forget him for his grace, openness, and thoughtfulness. We live in a boisterous and fast-moving world, but this conversation with Rodney always reminds me to slow down and turn down the noise in my life. He lived at his own pace, and what you see in his images reflects Rodney's personality. I hope this audio recording will give you a glimpse into his motivations, creative process, and the deep critical thinking he put into everything. Learn more about Rodney Smith at rodneysmith.comThe Rodney Smith Estate has released a new book entitled Rodney Smith: A Leap of Faith.“The first retrospective on the work of Rodney Smith weaves together a bio-critical essay by Getty Museum curator Paul Martineau and an assessment of Smith's technique by the Center for Creative Photography's chief curator, Rebecca A. Senf. Introduction by Graydon Carter. It maps Smith's creative trajectory—including his introduction to photography, early personal projects, teaching, commissioned pieces, and career in fashion—and provides insight into his personal life and character, contextualizing his work and creative tendencies within his complex emotional and psychological makeup. Rodney Smith is the definitive record of the life's work and worldview of a truly original artist.”I recently received a copy of A Leap of Faith, and it's an incredible book that is printed beautifully. This is not a paid sponsorship of any kind. I'm genuinely grateful for Rodney Smith taking the time to chat with me 11 years ago, and I think you'll appreciate his work and his approach to life and art. Rodney Smith Podcast Transcription:I'm 65 years old, so I've been a photographer for 45 years. I guess there's a fair amount of experience with that. And, um, and I've gone through quite a bit, um, as far as the changes in photography. but going all the way back, probably the very first, I don't know, maybe a slightly unconscious inclination that I wanted to be a photographer started when I was 16 years old and my father gave me a camera.I took a teen tour. That's what kind of popular when I was a young boy. with oth with other students my age, and we went around the United States and then we went into Mexico my father gave me a camera for that trip. on the, the, the Mexican part of the trip, we took a train from New Villa Laredo, Texas to Mexico City.I remember this actually quite well. And [00:05:00] the train, there was a landslide across the tracks on the train. And the train stopped and it was sort of took about four days for them to clear the rocks from the tracks. And during those four days, we would get out off the train or there were many young children from Mayville Villages who would come by the train trying to sell everybody something.And And it was their faces that really, um, appealed to me.And I remember when I got back after the tours all over, my father looked at these pictures and, uh, there were no pictures of my contemporaries on the trip who were my, you know, people from all over the country were my age. But there were all these pictures of Mexican children. And, um, I remember my father being kind of discouraged and saying, why aren't there any pictures of you're contemporaries, that was probably the very first, and I guess somewhat unconsciously, I said inclination. The main kind of epiphany when I actually knew I said this, I want to be a photographer, was much later [00:06:00] when I was in college, probably my senior junior, I can't remember exactly whether it was my junior or senior year in college.And I was home for the holidays, just around this time, actually, probably a little later in, in December. But, I remember I went to the Museum of Modern Art, um, which had a permanent collection of photography. Um, I'm a New Yorker and so I was home in Manhattan. and I'd been there many times before and I don't know exactly what initiated me to go to this collection of pictures I had seen before, but I did.And I think the important part of this was that Edward Steon was still the curator of photography at that point, and I think his sensibilities were much closer to Toine, than maybe more contemporary curators. the permanent collection was composed of pictures of Gene Smith, Arthur Lang, Margaret Burke, white Stieglitz, and Steon.And I remember walking through this, gallery and thinking, having an epiphany. And I remember basically having it in front of Eugene Smith picture, and thinking, oh my [00:07:00] God, I can do this. , and this is what I want to do. And I think it's a, that's a fairly simplistic response to a very complicated question.But from that moment on, I knew that this is what I was going to do with my life. Now, I don't think it meant to me that I was gonna copy the work of these people. I think what I realized at that moment was I, I could take my feelings and put them on a piece of paper.And I think that's what the revelation was to me. That I had all these anxieties and these fears and all these feelings, tremendously powerful feelings inside me without an outlet to express them. And I realized that photography was the perfect medium for me to do this. And from that moment on, and it was a number of years.Afterwards that I actually became a photographer. But from that moment on, I knew I wanted to be a photographer.[00:08:00] in college I was an English major and then I became a religious studies major and I, um, was sort of both. I graduated with both and then I went on to graduate school to study theology actually, and, but also with the intention of taking half my credits in the photography program.I wanted my degree to be in [00:09:00] theology, not photography. but I did, while I was in graduate school, singularly learn my craft, I spent a great deal of time and the program at that time was really quite wonderful. Learning, the craft of photography. We learned the Z Zone system photography.One you had to use a large format camera. And it was a really great discipline. So I learned the craft, but I also learned what I, I, I developed a vision, or I nurtured a vision of what I wanted to say is about studying theology. unfortunately, and I probably, somewhat uncomfortable for a lot of people.I think, and I, I don't wanna say this unequivocally, that I think this is the case in most time, but it's very hard to nurture a vision studying the craft of photography. I think that the, one of the last places one would really learn to be a photographer is in an art school, just studying photography.Now I know that's probably not a popular thing, but that's sort of how, what I believe, I think one has to have a vision and how [00:10:00] one nurtures and develops that vision, I think is by, doing something quite contradictory to the physical craft of making a picture.I didn't study theology with any intention for looking for any answers to questions. I, I studied theology to, to sort of initiate the questions. Um, from 40 years later, I still don't have any answers. And, and I'm not sure I actually believe I could have them, but, but what I really did love was learning how to ask the right questions.And that's, that's what studying theology did, did for me. Now, what, what do I mean by that? Asking the right questions. Well, I think theology or some of the issues that really were important to me were questions about human [00:11:00] existence. Who are we? What do we stand for? How do we fit into this world around us?What is the nature of evil? What is the nature of good? What is the nature of man? And so it's all these questions about how the human being fits into the world and the surroundings around him. And those are still some of the prevalent themes I think, that are really important in my work. So, While I was studying the craft of photography, I was sort of, I was hope anyway.And I, I think it, I think correctly I was nurturing this vision about, or learning for how to perform to my feelings intellectually so that I could sort of integrate the two when I actually began to make pictures. And I think it worked out during the time of me doing this. I mean, I had tremendous disapproval and, um, I don't know, people were kind of a guess, why are you doing this?Why are you wasting your time studying theology? You know, I was in my [00:12:00] family, I was expected to do something more business-like, or do something. They're quite different. and nobody, except for my wife or the done, no one who gave me any support, they all thought I was totally crazy. But I actually. And I probably couldn't articulate it exactly why I thought it was really important to do it.I just intuitively knew in my heart that this is what I wanted to do and um, I'm actually very happy I did it. I don't have any regretsI'm definitely of the school of thought that you sort of, your present is definitely formed from your past. Um, and so I I I, I would definitely think that probably a, a great deal of it is not, I don't know all of it, but a great deal of it derived from my upbringing. Um, my, my mother and father who are now both dead close to 40 years.Um, my mother 30 and my father 40 would be kind of shocking that they're still still such a prevalent and powerful force in my life. But they [00:13:00] are. And um, you know, I was, my parents were very, my father was very affluent. He was a CEO in, uh, some fashion companies and I grew up sort of in a 19th century.lifestyle and existence. Um, when I look what it, what seemed quite normal and natural to me as a young boy. Now when I look back on it seems, you know, really from the 19th century. there was this kind of real love of refined things.Things were always beautifully done. Everything was perfectly in its place. There was an order to everything. There were many people who taken care of, you know, servants who made things perfect and beautiful. And even though part of me was rebellious against that, I always loved it. I mean, quite honestly, I did, I, not that I loved some of the accoutrements of it, but the, if you looked at it physically, I loved it.And it definitely had an effect on me. And I think my pictures represent the [00:14:00] more positive aspects. Of my life. I don't think they, my upbringing, I mean they, um, I'm not saying that at all. They are. That's the way it was. Cause there was a lot of negative things to it. Many negative things. Perhaps even more negative things than positive things.But, the pictures are represent that world at its very finest. It's sort of like an affirmation of what can be, what a gentleman really, what the word gentleman, if you define it and you just dissect it, you know, to a gentle man or a nobleman. It, it's sort of those things, if they really existed in the world, if there really were gentlemen and if they really were nobleman, it's not that it's impossible, but it's slightly out of reach.that's sort of what I think my pictures are about. Sort of how does one sort of aspire to greatness? What you have this potential inside you and how do you realize this? I think that's sort of what the pictures are. one last thing about that, now [00:15:00] I'm, as I said, 65. So one in the sixties, the very early sixties when Kennedy was president.I was in high school. I was I think a junior in high school. And, um, that era was, you know, there was like the last feig of sort of, uh, what I would refer to as elegance and grace and beauty in, in a lot of things. Not just fashion, which my father was very much a part of, but many things was still, there was a world was holding onto it.And then the hippie movement, the anti-war movement in the sixties, it all sort of tore all that apart. But the early sixties, maybe up to 65 or something like that, 64, 65 were the last remnants. Of an error, like was when Carrie Grant and, um, and Audrey Hepburn and Leslie Caron and all were still really popular.It was, it was a slightly different era and then everything changed in the, by the, by the 1970s and the world became a different place.[00:16:00] I hear that comment, something like that quite often. Um, that, that you could tell a story from the pictures that you were sort of caught in the middle of the story and you're curious about what happened prior and afterwards. I have to tell you consciously anyway, when I'm taking the pictures, I'm not aware of that at all.but I am kind of a literary soul. I've al in every book I've ever done, there's always been writing. I've done four books and that every book has writing and photographs in it in one form or another. I always been around writers. I, when I was very young in college, before I decided I wanted to be a photographer, I thought I was gonna be a novel.But I, I, I had the sentiment but not the skill, and I quickly realized that. So, but I guess [00:17:00] writing has always, um, been a part of me. So when you say that about the pictures, that's actually quite a compliment to me because I'm not aware of it. But if they do tell a story, uh, or there's like a fragment of the story, that would be kind of a wonderful thing and I would really like that.Although when I'm taking it, I'm not aware of that.the pictures are taken completely spontaneously. I know this is one of the ironies to me of, of a lot of, sort of sets off a whole discrepancy about photography in general and modern photography, but all the pictures was referred to as the lifestyle pictures of the last 10 years or 15 years are much more controlled and created.even though they look like they're spontaneous and of the moment, they're much more created pictures than mine, which look very serene, controlled. My pictures five seconds before I took the picture, I didn't know I was gonna take that picture. And not in a hundred percent of the instances, but at least 60, [00:18:00] 70 or 80% of the time, the picture is completely spontaneous and I may have set something up and so, but I don't know what the, what the end product's gonna look like.And then all of a sudden something, somebody does something or something happens, or the light changes, or it can be many things. And all of a sudden I say, take the picture and I take the picture. And I didn't know I was gonna take that exact picture five seconds before I took it. so I think that's kind of always been kind of interesting to me that although my pictures look quite serene and controlled and um, like they were art, art directed, um, or created under sort of very sort of, um, Rigid requirements.Totally the opposite.I'm definitely always first looking for the location, which would be the landscape or the environment. Once, once I've found the environment, I can always make the pictures. you know, I was, when I was very young, I was a landscape photographer, um, as well as shooting portraits. And [00:19:00] then I think one of the great things that happened to me was, , I began to integrate the two together.I began to put people into the landscape, which is a very different thing than placing somebody in front of something. I think most people take pictures in an environment and they stick a figure or a person or a thing in front of something and they refer to that. You know, as, I don't know that term.I can't stand environmental portraits or whatever that is. I the term I really do not like. But that, that's not the way I would operate. The person has to be sort of placed in an environment as part of it. And actually it goes back to the previous question about the spontaneity of the, of the pictures.The reason why I can shoot these pictures so quickly is because I can very quickly get to this place where I think everything is right. I mean, almost instantaneously I will know this is the place I need to make this picture. Now, there may be a few other places too, but I'll start at this place that feels absolutely right to me.but for me, the pictures are, are totally [00:20:00] controlled or by the environment. That's why the location work for me is by far the hardest part of making pictures is finding a location I like. and then once I've found, , which is a really rigorous and very exhausting process. but once I found this, this location, I don't want to know what the picture's gonna look like.I, you know, when I'm scouting it, it may be gray or rainy, or it may be it's sunny and then the day of the shoot it's raining. Or I may look at it in the morning and I may be there in the afternoon and the light's totally different. So I never know what the picture is I'm gonna make there, nor do I want to.I've never shot Polaroids in my life. I don't want to do any of that things. I just want to trust my instincts. And once I've found a place that seems appropriate or great, I'll say I can make pictures here and that's all I want to know. And then I'll go away until the, until the time I physically shoot the.there are sometimes requirements about what I, I need to find, but the, probably it's the same thing no matter what I'm looking for. And that [00:21:00] is a place that has a sense of history to it, which is hard for me in America. , I, it's gotta have a certain Betina to it and character to it.Um, sometimes it's the question of the light in the place, but it's, it's, it's a whole thing, a landscape. It's just gotta feel ex eccentric or original or special. To me. It's definitely my vision. but I think like if I'm looking for an interior place, There's kind of a characteristic that's involved that's in all the pictures, and that is, it's got a certain history to it and depth has been sort of aged nicely.I rarely would shoot in a brand new location that, that hasn't aged or settled into its environment. I sort of like how things fit into a place and if, unless the location does that on some level, there isn't a history there, I probably wouldn't be interested in it. you know, I was once doing a shoot in Phoenix, Arizona, you know, and I remember scouting the city of Phoenix and I [00:22:00] couldn't find anything that I really felt worked.I mean, it was to do it more hotel and a few other things I thought were great. But what I found really great was the landscape around Phoenix. I mean the part that was untouched. and that's where I ended up shooting the picture. Sometimes, often if I'm in Paris or in London, I can find hundreds of locations that appeal to me.because they have this history to them. The man or somebody has interacted with this location for, for quite a while, and it, and that you can feel the patina of the interaction of the two. and that's what, that's what really I like.And also, you know, American cities, um, they build these skyscrapers and they tint the glass to keep the light out. in Europe, luckily still, the older buildings are all oriented and, and the windows are such to let the light in. that's a, that's a huge distinction. You know, they act in European buildings, least, you know, the ones that are, I'm attracted to.The light is like a portico. [00:23:00] It's like this entryway. um, and really wonderful things happen with the light. Well, in most new American cities, it's, again, it's to keep all the light out and to keep the temperature and the humidity and the light all controlled from the inside.I teach a workshop, infrequently, but every once in a while and all these photographers come to the workshop and they do not have a voice at all. well, some of them do, but it's pretty minor. Um, and, you know, there's this discussion about whether it's a question of talent, or do you have a question that everyone has their own voice, they just can't express it.And I'm definitely of the school that everyone does have a voice. They just don't know how to express it or expose it. This pops a better word. because this enormous fear is preventing them [00:24:00] from doing it, I mean, you have to tap into the part of yourself that goes really deep.And most people don't know how to do that. Sometimes by a gift of God, somebody has that intuitively or naturally, but that's a very rare gift and I've actually never seen it. most often, people foil themselves, you know, they, they have all these fears and anxieties and frustrations, whether it be dealing with other people or their own fears, their anxieties, and they never get to the level that's required to.Really have a singular voice. I mean, that's the difference between the hundreds of thousands, if not millions of people who take pictures and the few who, who actually are photographers. And it's not so much that I, from my point of view, that one has an innately more talent than the others. Now, a lot of people would argue with that, but I don't think they do.I just think they're able to tap into the deepest, part of their emotional being. And let that part out. And then you never have to worry about being a second rate somebody else. You can much more be a frustrate yourself because no one has your life experiences.No one has your feelings, no one has your thoughts. All those things are unique and special to you. So if you can reach this level they can begin to express the things that reside deep within them, and then all of a sudden their pictures take on a special characteristic that is unique to them and they begin to develop a voice.I think people are, are sort of copying everybody and mimicking everybody and running around buying the right equipment and doing everything that's completely unnecessary to develop a voice. They think that's what they need to do, but it's the last thing that they need to do. If anything, they need to step back and let something begin to emerge from deep within them.That's what will create this special voice. And it's a very hard thing to do. And I think Chuck Close's comment is right. I think photography is particularly through the digital age, much more than even prior when there was a real craft to printing. that there is the most sort of facile of mediums that one can learn even through by taking with a, telephone.You can take a pretty competent picture, but what I mean, but, but what distinguishes one picture from another is the kind of the emotional content of that picture.I've been doing this for 45 years and I still use the same camera that I did when I started 40 years ago. I'm very, very rigorous with my craft. I mean, I'm extremely rigorous. Um, you know, I expose the film very properly and, and so when the day, and I went through a many years of really learning how to expose my film and make prints that represented [00:27:00] my emotional psyche.I mean, I really like dark sh shadow detail and differentiation between that. And my prince used to represent that. And if I was much more interested in highlights, I would've done things quite differently anyway. Anyway, I really loved and grew to really know film. And then when the digital world came along, um, I, there's, there's a great aphorism, but changes, not necessarily an improvement.And I've been watching the digital world very closely and we know I'm kind of a consultant to Epson and we produce digital prints as well as prints that are done in the dark room. You know, we scan the film and then, Make really beautiful, large mural prints, so I, I definitely in it and everybody works for me, is very digitally competent.For myself personally, I haven't seen any reason to change. Personally, I don't really like the digital cameras. Um, I don't like seeing the picture immediately. As I said, I never shot Polaroids. I like the experience. I like to focus on the [00:28:00] experience of making the picture not on what the pic. Every single time everyone stops and looks at the picture, you've interrupted the whole process of making the picture.That would be a terrible thing for me. I like to just to go through the whole process, focus on the thing I am doing, and I like the mystery of not knowing exactly what's on the film. Um, I, I, I don't really like the digital process that much. Now, it may get to a point where I can't get film, which is sort of beginning to happen already, or I can't do the thing and I may have to make that change.But at this point, I would hope actually I have so many people, young people coming to me who say that they really love film much better than digital and they, they shoot on film. So there seems to be a kind of a minor resurgence in film. And it's not that I'm just, you know, such a recluse that I don't engage in the world.I mean, I live in New York, so I'm pretty much so on some level, you know, engaged with what's going on. And if I ever felt that the digital thing was so [00:29:00] much better than what I'm doing, I would change. But so far, most people seem to really love the pictures I make on film. And when we blow them up really big, there's a certain quality to them that people really love.Like I've had many shows at very, you know, at Brooks or um, all the technical schools and all the students who are really technically minded, love the Prince. They keep saying, how did you do this print? No. So, um, for me it's just that there's really no reason to change and of anything, I was kind of in shock that just because something became new, that everyone immediately embraced it.I, I think they must have felt they had to, that, you know, art directors required it or, uh, the world required or, or whatever. And quite honestly, I've never, no art directors ever required me ever that I shoot digitally and they actually kind of like that I shoot on film. They all say, oh my God, this is great. I, I like the fact that, you know, I'm gonna get contact sheets. I really like this. [00:30:00] You know, so, um, I'm sure that there are constraints put on people that they want this, they want that, but I think it's more important for you to tell them what you like best.my previous father-in-law was a really wonderful playwright and, um, very well known American playwright. And over his desk, he used to have this little sign that said, no one asked you to, no one ever asked you to be a playwright. and I think that that's really true. I mean, you, I could wallpaper my walls with rejections.I mean, I've, over my life I've had 50 to one rejection, um, maybe a hundred to one rejection. Um, and since it's such a personal medium, um, for me, this is not a job. This is my exposing my life and my soul and my [00:31:00] pictures. There's no way one can take it personally. It is personal. and I've had many high points.I've had really good years and really, really terrible years, both from financial points of view, from creative points of view, from everything. , but I just, must have something in the way down deep inside me, this knowledge that this is what I chose to do. No one put a gun to my head and said, this is what you must do.And so I chose this, you know, freely and when I'm really down, I just say, you know, you've gotta stick with it. And there have been hundreds of times I thought, I don't want to do this anymore. Um, um, either I have nothing more to say or I don't want to do it, or financially it's been so difficult in my early years it was so difficult and it's still, there was terrible years.I mean, like after nine 11, it was really, I mean, there's been many, many years when things were really terrible from a financial point of view and a creative point of view, or the job, everything. And so [00:32:00] there's like, at times 45% of me that doesn't ever want to take a picture again, that I'm done. And, but there's, luckily there's 55% of me that wants to keep on doing it.that just sort of gets me through it. You know, Hemingway used to always talk about that he would always stop writing the day before and someplace that he wanted to continue because if he didn't have that place the next day to go to, he is not sure he'd ever pick up a pen again. But he looked, had this place where he looked forward to going forward.And, um, I'm not sure I have that. I mean, I definitely can get kind of burnt out and I think the environment or the location or the model sometimes, but, um, many times it's the sense of place around me is what motivates me to take, make pictures. And so that sometimes has to be in a new place and so I can get kind of stuck like everybody else and then I just, um, have to force myself to keep on on going., after 45 years, [00:33:00] I've kind of, um, got this regimen that I. It's not perfect by any means. There's definitely problems with it, but I kind of like, you know, I'm, I don't shoot, you know, I probably only shoot, you know, 30, 40, 50 days a year. which is plenty, which provides me with a lot of, and then, you know, I work on exhibitions or I do all kinds of other things as well.I'm always working around photography, I mean, all the time, but I don't have to be physically shooting to do that. when I was very young, I used to collect, like convince people to buy photography and when nobody wanted to, and this is in the seventies, and I once went to Andre Cortez's apartment and I was talking to him when I was buying a print for somebody.He told me that he would go six months or a year without ever taking a picture. I could understand that perfectly. I could go six months or a year without taking a picture yet. I'd still always be a photographer. for other people I know they have to shoot every day or all the time, or they feel that they're gonna lose it or they're not a [00:34:00] photographer, but that's not the way I work.I think most fashion photography today is pretty mediocre. I think it's all about celebrity and status and they all have the right lunch and the right, they know they date the right models and they all meet the, you know, the right art directors and it's just like in a group that just supports itself, but it's all very mediocre.I don't think that there's this great vision that drives the photographs. Okay. Now having said that, that's just one thing. And I think there have been, I think fashion photography's had its periods where it was the mo really distinguished in the world of photography. I think, you know, in the forties and fifties and perhaps in the sixties, I think Irving Penn.and Norman Parkinson and a few other people were incredible photographers, had a great vision and were quite extraordinary. I think today there's all this celebrity about around these photographers, but I think it's what you do about nothing. And I think the models are the same way. but I do think what is lacking in photo, in fashion photography is not something that, that's, it's actually that hard to find.Again, I find, I, I guess [00:35:00] I have to digress for a second and tell you a story. I probably wrote this once in a blog many years ago. This wasn't quite a fashion shoot. I did, but it was close to it in the sense of the, what, what I thought was wonderful about fashion. I did, I used to God, oh, 20 years ago, 25 years ago, coach Leather had a campaign called Descendants of Famous People, and they photographed all the grandchildren or the daughters or the aunts or whatever of well-known people.And I did about four or five of them. I, I remember the Nathan Daniel Boone's nephew, and I did, the one I'm talk, gonna talk about was Babe Ruth's niece. I photographed her at Yankee Stadium in, um, New York, which is kind of the appropriate place to do it.And I didn't have a chance. Usually I, sometimes I, sometimes I have a chance to meet the person I'm gonna photograph. Um, prior to, but in this case, she lived, I think in Maryland or Virginia, I'm not sure. And they had a flyer up for the shoot. [00:36:00] And I meet her the morning of the shoot in a, you know, in a location van, um, outside the stadium.And I meet her and, you know, I could tell that she feels really terrible about herself. She's looking down, she's kind of forlorned. She, I can just feel like she wants to just disappear. in, into the background, I understood that she was raised in a small trailer, um, in, in Virginia, wherever. And she had really no relation to Babe Ruth other than the fact that she was his niece.But she came from very humble means and was really kind of almost embarrassed about this whole. Thing of taking a picture and just pushed the whole thing would go away. I could feel all this in her presence. So I introduced myself. I tell her, I'm the photographer who's gonna take your picture and if we're gonna take you into this location van, and there's gonna be a woman who's gonna do your hair and another woman's gonna do your makeup and we're gonna style you and dress you and all that.And, and I said, while, while they're doing all that, I'm gonna go away for an hour and go look and find the right location to make the picture of you. [00:37:00] So I go away for an hour and I come back, and I go into the location van and there's this totally different person than the person I had first met before she went into the van.She was standing upright. She looked really beautiful. She became. I saw what a little bit of hair, makeup and new clothes and being pampered, what it could really do to, not just the physical look of this person, but the whole internal emotional sense of who she was. She was transformed and I thought, oh my God, this is an incredible experience.This is a wonderful look. Look, look what fashion can do. Instead of making people feel intimidated or that they're unattractive or something like that, it can make them feel empowered and beautiful and wonderful. This is like a Cinderella story, so I take her for a few hours, I make her portrait. She's looking really beautiful and you know, she, she just looked content and happy and I [00:38:00] think really enjoyed the experience.Goes back to the location. Van takes off all the clothes, you know, goes back to her original clothes and walks out of the van exactly who the person was when she first entered the van with her head down and she goes back to the person she was. Now, I think the important thing of this story for me, it's not really a fashion story, but it is what fashion can do.It is about style and grace and elegance and feeling beautiful and wonderful and special. And it's not about being intimidated because you don't have the money to buy these clothes or you have to have this closed, or you have to have the hottest, newest, ugliest thing imaginable in order to be valuable and worthwhile, that you can have a sense of style and grace intrinsic to yourself.That it comes from inside you, not from the outside. the outside stuff. The accoutrements can help you realize who you really are. So that's again, another place where a personal style is very [00:39:00] helpful I do, I do, I love shooting fashion. It's actually really fits me. and I like the big production of it.I like I'm the kind of photographer that can work with 20 people around me and it. It doesn't bother me in the slightest. I sort of like it. I like the collaboration of everybody, the stylists I've worked with for years. And she'll say, you know, look at this, or This person looks like great here. Or my assistant will say, oh, you should look over there.It looks really great. I love when people do that. I feel it's like this collaborative effort. I like the whole experience of it. I do think that women, this is, you know, I think the world is kind of, so particularly now our soul full of ironies.I think, you know, that most women would not agree with me about this at all, but I think it's been a real give and take before women in the last 25 years, and I'm not sure that they've been given more than, than they. Wanted, yes, they've achieved incredible power to be sort of equal to men. They, you know, they're now working on getting the same rewards as men.Financially [00:40:00] they've achieved great. And I think all that's wonderful. But I always thought, even though my father was a very powerful person, you, you know, as I mentioned, he was the CEO of many companies, and he was, people were really intimidating him. I always thought my mother was the real power in the family.He would never, she in her own private way, controlled everything and got exactly what she wanted. It was a, it wasn't as overt as it is today. It wa it was more subtle, but there was this kind of wonderful thing, quality about her. And she had this incredible life and my father worked very hard to support her.Um, and so she could do what she wanted to do. So, I am not sure what we've gained is better than what we lost. Uh, maybe it is. Probably it is. And anyway, it's not going backwards. That's the way it is. But there is something really wonderful about, um, a kind of more graceful or a delicate, maybe understated power, like that quote you gave of me, [00:41:00] rather than the more overt one.Like when I shot Elizabeth Hurley, who is all about give it, give it to me baby. I mean, she was, um, you know, um, and versus a woman who has a real sense of herself and walks more delicately and quietly,I think, you know, one of the things was, I sort of animated or discussed slightly before was when I was very young, I didn't have a penny. Um, and I was really struggling. One of the ways I was able, I taught a great deal, but one of the other ways I was able to at least make a living pay my mortgage was I convinced people that photography was a really good investment and I would make a small commission.I would buy photographs for people. And one of the things I learned was how little, the curators of photography and the art gallery directors and all these people who were sort of the professionals and experts in [00:42:00] photography knew about photography.They basically knew nothing. They knew how to sell it, , they knew how to talk about it, but they really had not a clue about really what it meant to be a photographer or what the struggles that somebody like Stieglitz or Strand or anybody who's really first grade would go through to really distinguish themselves photographically.Um, it's not so much the financial hardships or meeting the right people or getting the right equipment or all the things on the surface. Those things everybody has in whatever work they do. And there's really no difference. It's just a different set of rules.And what the struggle really comes down to is the emotional struggle. And that is knowing that, you know, the all Socratic oath of no thy self. And learning how to come to grips and deal with the emo your emotional [00:43:00] core, and being able to express and expose that onto a two-dimensional flat piece of paper, is a very, very difficult thing.And then asking people who have not had your experiences, who do not care about you, who do not even know, like people in Russia who don't even know anything about you or the place you live or your experiences, and say, look at this picture and think it's worthwhile. The only way you can really do that on a consistent basis.Yes, you can do something kind of titillating or interesting or on a few pictures, but over a whole body of work. The only way you can really do that is if you are touching something universal. If you are speaking from your heart in a language that everyone can understand because the human psyche and spirit goes way deeper than the culture.And so if you are able to transcend or translate your own personal feelings and put them onto a piece of paper that is a very rigorous [00:44:00] and difficult thing to do and, and requires enormous struggle and turmoil on your part, that's why living kind of the artistic life is not something to be denigrated.It is a very, very difficult and very rare process that very few people, not that they're not capable of doing it, but are willing to take the risks. That that involves 99% of people are not capable or able or knowledgeable enough to do it. It's not that they can't, it's just that they won.um, I have a got a good fortune to be an intern for. Ansel Adams for a week in Carmel when I was in my twenties. And I noticed, you know, he used to meet people and I, I noticed, first of all, I went there. My photographs when I was very young, looked absolutely nothing like his, but I learned all my [00:45:00] technique from him within his own system.So I was really very anxious to have a chance to meet him and work with him. And it was great. Um, and I learned every time when I would go in the dark room with him or when I was sitting around talking to him, I would, he, I would ask him every technical question I could think of that I wanted resolved.And he was very generous and would answer me. But, and what I learned after this week of sort of probing and listening and having him listening sometimes talk to other people and stuff, was that he would tell you exactly what was necessary in order to do something. And basically, just generally what he'd be saying was like, if you want to be a classic scholar, you gotta learn German, you have to learn Latin, you have to read, you have to study, you have to pay your dues, you have to do all these things.and that's how you really get to a place through experience, through testing, through knowledge, through all these different things that will get you to this place where you can be really competent and capable. And I found that nobody, although they all listened to him, [00:46:00] And they nodded their head in agreement.In the end, nobody wanted to pay any attention to 'em. They went off and go, they really, what they really wanted from Ansel Adams was tell me this pill, give me this pill I can take so I can make my pictures look like yours or tell me the quick answer so I can learn how to do something as well as you do it.I want this in five minutes or less, you know? But I really don't wanna spend all the time that's required and all the effort and work you've put into it to do this. And unfortunately, that's not the way the world is. You know, you, you, you sort of get what you pay for, kind of metaphorically speaking about your craft, your technique, your vision, everything.It's not something that you can just, you know, meet the right person, do all this, take a pill, wear the right clothes, be in the right place, whatever it is, have the right camera, have the right, you know, equipment, whatever that is also beside the point. The point is [00:47:00] nurturing and learning and developing a vision that is special and unique to you.Learning what equipment that best represents that vision. Developing it, nurturing it, working on it, reflecting on it, struggling with it. That's what's required to do it, and it's not easy. Takes years. I've never, and I've had the good opportunity to meet many, many well-known people that I really care about, whether mostly writers or playwrights or painters or people of, of great esteem, and not one of them, at least in my, my personal experience, I've never met anybody who was instantaneously successful in my experience.Every one, oh, I totally respect, has worked years to get to that place.I mean, it's, it's, it's, but it's fun to do this. That's, you see, the thing is nobody wants to do it, but when they get immersed in it, it's part of the adventure. the best part of being a photographer is going out, engaging the world, meeting people. And taking, and making the picture, [00:48:00] the actual product, the end result, the artifact is never as good as the experience of making the picture.To me, it's always a disappointment. Now, for other people, like if I mess my wife, she would say that the, the artifact is much better than the experience. And I think many people have said that I can make the world look perhaps slightly better than it was right in front of me. So for many people, the observer, the, the photograph is even better than the experience.But for me, person who's taking the picture or making the picture, the experience of making the picture is the reason why I'm a photographer. I love the interaction with the world, meeting people, engaging people, being a part of the world, having it being sunny, rainy, cloudy, overcast.and somehow having something wonderful immersed from it. That's what I love about being a photographer. that's why being in the studio, all of that has no appeal to me. It's, it's engaging the world we live in. Having an [00:49:00] excuse to participate in it, in a kind of really positive and wonderful way.Saying yes to life over and over again, despite how many hardships you may have. That's the part that I really love. Get full access to Foto at fotoapp.substack.com/subscribe
As a belated celebration of Black History month the show howls to life with a deep dive into the music of a big musician with local ties: Eugene Smith. Tune in to hear a deep cut from the '64 CHUM charts with Jay & the Majestics, a scorcher from Ronnie Hawkins and the Hawks in '65 (the year Eugene joined the band), one from his '81 album Warmin' Up, with the Warm Up Band, on Pickering Ontario's Warm Up Records (inner sleeve printed at Bennett Press, Collingwood), a jam of Eugene's that found its way onto an episode of Miami Vice starring Phil Collins and, to wrap up the segment on Eugene and this celebration of Black History month, a Black power anthem from the hardest working man in show business himself, featuring Eugene's dad on bass! The rest of the show is comprised of a nod to two exemplary humans, one of which who lives in Grey County, that will be receiving honorary degrees from UofT, a digression into a little Southern Ontario queer history centered around a woman named Sara Ellen Dunlop and transmuted through the music of All We Can Give and Mamaquilla II, before wrapping up with a look ahead to Mariposa 2023 (Rufus Wainwright!) and Hackedepicciotto at the upcoming Electric Eclectics takeover of Heartwood in April. Listen and enjoy!
Hello and welcome to The Rob Burgess Show. I am, of course, your host, Rob Burgess. On this our 227th episode, our guest is Jeff Guinn. Jeff Guinn is the bestselling author of numerous books, including Go Down Together, The Last Gunfight, Manson, The Road to Jonestown, War on the Border and Waco. He lives in Fort Worth, Texas, and is a member of the Texas Literary Hall of Fame. A quick programming note: During the episode, I mentioned my interview with Jonestown survivor Eugene Smith, which was Episode 199 of the podcast: http://www.therobburgessshow.com/2021/08/ep-199-eugene-smith.html And here is my Ukiah Daily Journal story about fellow Jonestown survivor Tracy Diaz: https://www.ukiahdailyjournal.com/2008/11/02/survivor-recalls-the-horror-of-jonestown-ukiahan-travels-back-to-guyana/ Subscribe to my newsletter: http://tinyletter.com/therobburgessshow Follow on Mastodon: https://newsie.social/@therobburgessshow Check out my Linktree: https://linktr.ee/therobburgessshow
Much of Dan's current creative output can be found at https://shifter.media/ His YouTube films are at https://www.youtube.com/@DANIELMILNOR505 Listen to his podcasts, including his "Dispatches" series of interviews with creatives at https://soundcloud.com/shiftermedia Some of the photographers that were mentioned in our conversation: Jim Nachtwey, Sebastião Salgado, Anthony Suau ("Beyond the Fall"), W. Eugene Smith, Maggie Steber ("Dancing on Fire"), Mark Henle, Michael Ging, Alessandro Cinque, Glen Wexler, Douglas Kirkland, William Claxton, Jim Marshall, Annie Leibovitz and Herman Leonard. Some of the organizations doing documentary work: Magnum, VII Agency, Agence VU, Noor (Amsterdam), CatchLight (Bay Area) AG23 (https://www.ag23mag.com/) and some of the contributors that were discussed: Zoe Sadokierski, Frank Jackson, Jan Butchofsky and Hannah Kozak Theme song "Timeless" from Mike Gutterman at mikegutterman.bandcamp.com Get in touch with Sunny 16 at sunny16presents@gmail.com The show on IG: @musicandphotographypodcast The show on Twitter: @musicnphotopod
Originally from Philadelphia, David attended that city's “Fame” high school, Creative And Performing Arts, where his classmates included QuestLove and Boyz II Men. He then graduated from Parsons School of Design in New York, and worked as a graphic designer for ad agencies, designed book covers, movie posters, and indie film titles. He impulsively moved to Los Angeles in 2000 and became a stand-up comic for a while, performing at The Improv, The Vancouver Comedy Festival, and in sketches on “The Late Late Show With Craig Ferguson” and “The Showbiz Show with David Spade”. But he tired of comedy clubs after a few years and focused on writing instead. In 2006, his “Will & Grace” spec made it to the semi-finals of the Warner Bros. Comedy Workshop. Switching to drama, he optioned the book “Minamata” (and the life rights of the author), about the experiences of journalist W. Eugene Smith photographing mercury poisoning victims in Japan. He wrote the screenplay in six weeks, and it got him a literary manager. Then Johnny Depp's company came on board to produce with Depp himself as the star. “Minamata” premiered at the Berlin Film Festival in 2020 and is now an Oscar favorite, streaming on HULU, Amazon Prime, and iTunes. It also stars Bill Nighy, Hiroyuki Sanada, Tadanobu Asano. His follow up, DREAMERS (based on the book “John Lennon Vs. The US”), is about John Lennon's immigration battle with the Nixon administration which legally set the stage (many years later) for DACA/The Dream Act. David was recently hired by the director of “Minamata”, Andrew Levitas, to rewrite a script about the two brothers who owned Adidas and Puma and who battled each other for decades. That project, “Adidas V Puma”, is currently out to actors and mentioned in “The Hollywood Reporter” in early March 2021. https://scriptanatomy.com/david-kessler/ @EvrythngGldnBks Connect with your host Kaia Alexander: https://entertainmentbusinessleague.com/ https://twitter.com/thisiskaia Produced by Stuart W. Volkow P.G.A.
The aperture is one of your most essential tools in photography. In today's episode, we'll learn how masters such as W. Eugene Smith and Ansel Adams used aperture settings to create their art… Podcast Show Notes: https://moneymakerphotography.com/photography-fundamentals-mastering-aperture/ #Podcast #PhotographyClips #Photography
Diversas son las problemáticas que padecen las comunidades mexicanas pues día tras día se enfrentan a la migración de familias, la corrupción, escenarios de violencia y enfrentamientos por parte de la delincuencia organizada. Visibilizar estos temas y los estragos que se generan ha sido posible gracias a la fotografía documental.En este episodio conversamos con el fotógrafo documental Yael Martínez, ganador de la beca Eugene Smith, quién explica en qué consiste su labor. Hosted on Acast. See acast.com/privacy for more information.
NFL Senior reporter Will Brinson recapped week 8, a broken Packers offense, what's gone wrong for the Raiders, if Vikings are legit, CMC's Jimmy G impact & why Geno Smith & Seahawks are the real deal.
País Reino Unido Dirección Andrew Levitas Guion David Kessler, Andrew Levitas Música Ryuichi Sakamoto Fotografía Benoît Delhomme Reparto Johnny Depp, Bill Nighy, Hiroyuki Sanada, Tadanobu Asano, Katherine Jenkins, Jun Kunimura, Lily Robinson, Ryo Kase, Masayoshi Haneda, Yosuke Hosoi Sinopsis Nueva York, 1971. Tras sus celebrados días como uno de los fotoperiodistas más venerados de la II Guerra Mundial, W. Eugene Smith se siente desconectado de la sociedad y de su carrera. La revista Life lo envía a la ciudad costera japonesa de Minamata, cuya población ha sido devastada por el envenenamiento por mercurio, resultado de décadas de negligencia industrial. Smith se sumerge en la comunidad y sus imágenes le dan al desastre una dimensión humana desgarradora.
Originally from Philadelphia, David attended that city's “Fame” high school, Creative And Performing Arts, where his classmates included QuestLove and Boyz II Men. He then graduated from Parsons School of Design in New York, and worked as a graphic designer for ad agencies, designed book covers, movie posters, and indie film titles.He impulsively moved to Los Angeles in 2000 and became a stand-up comic for a while, performing at The Improv, The Vancouver Comedy Festival, and in sketches on “The Late Late Show With Craig Ferguson” and “The Showbiz Show with David Spade”. But he tired of comedy clubs after a few years and focused on writing instead. In 2006, his “Will & Grace” spec made it to the semi-finals of the Warner Bros. Comedy Workshop.Switching to drama, he optioned the book “Minamata” (and the life rights of the author), about the experiences of journalist W. Eugene Smith photographing mercury poisoning victims in Japan. He wrote the screenplay in six weeks, and it got him a literary manager. Then Johnny Depp's company came on board to produce with Depp himself as the star. Filming on MINAMATA completed in the Spring of '19, with an expected release in Fall 2021. “Minamata” premiered at the Berlin Film Festival in 2020 and has since been picked up by Samuel Goldwyn Films for domestic distribution. It also stars Bill Nighy, Hiroyuki Sanada, Tadanobu Asano, and the singer Katherine Jenkins.His follow up, DREAMERS (based on the book John Lennon Vs. The US), is about John Lennon's immigration battle with the Nixon administration which legally set the stage (many years later) for DACA/The Dream Act. David was recently hired by the director of “Minamata”, Andrew Levitas, to rewrite a script about the two brothers who owned Adidas and Puma and who battled each other for decades. That project, “Adidas V Puma”, is currently out to actors and mentioned in “The Hollywood Reporter” in early March 2021.
This week we'll hear from David Kessler, writer & producer of the docu-drama Minamata starring Johnny Depp. David Kessler began his career as a stand-up comedian in the early 2000s before quickly deciding to focus on writing. After penning a spec script for Will & Grace, he switched over to drama, and optioned the life rights and book titled Minamata, written by Aileen Mioko Smith and W. Eugene Smith. The film stars Johnny Depp as W. Eugene Smith, an American photographer who documented the effects of mercury poisoning on the citizens of Minamata, Kumamoto, Japan in the early 1970s. The film went through various stages of development over many years before finally getting picked up by Johnny Depp's production company. I recently had the pleasure of speaking with David about the film's journey to the big screen following it's US release. Clips of Minamata courtesy of Minamata Film, LLC
Subscribe to NOW Charleston on Apple Podcasts, Spotify or via RSS.Follow the podcast on Twitter and Instagram.SC Republicans are set to further restrict abortion post Roe - APAbortion is now banned in these states. Others will follow. - The Washington PostLindsey Graham downplays likelihood of court action on gay marriage and contraception - Axios6 protesters arrested during Roe v. Wade rally in downtown Greenville - WLOS-TVSC's strongest earthquake in 8 years rocks Columbia area - P&C"Angel in Twilight" Maude Callen - SC ETV via YouTubeW. Eugene Smith's Landmark Photo Essay, 'Nurse Midwife' - Time.comQuote from Smith memoir - ICPThe Fight for Repro. Justice/Maude Callen's Legacy! - Charleston Activist NetworkFOLLOW:twitter.com/nowcharlestoninstagram.com/nowcharlestonWE WANT YOUR FEEDBACK:sam@nowchs.com843-474-1319INFO AND SHOW NOTES:nowchs.com
Eugene Smith is the Owner and Founder of EAS Roofing. Eugene was born and raised in Pittsburgh Pennsylvania in Lawrenceville, he graduated from North Catholic High School in 2006. He got into construction straight out of high school and shortly after found roofing. Eugene started EAS Roofing in 2010, and since then he has made strides in the industry. EAS Roofing is a locally operated, family-focused business that operates on strong core values of trust, communication, and integrity. From start to finish, homeowners have a great experience with friendly and responsible crews. EAS has been certified with CertainTeed since 2013, Velux since 2015, and Owens Corning since 2021. Eugene has served on the CertainTeed Advisory Council two times, has been featured on Roofing Insights, and has appeared on The Roofing Success Podcast! Eugene has been an annual attendee of the International Roofing Expo for eight years and the International Builders Show for three years. Since EAS Roofing's beginning, it was always most important to go above and beyond homeowners' expectations. Eugene also goes above and beyond for his community. He is the Vice President of Hampton Junior Football Association, a sponsor of the Warm-A-Thon, a vendor at Shaler ‘Lite'Up Night, and a proud participant and sponsor of the Children's Radiothon!
George Schaub is a photographer's photographer, and that may be the best compliment I can give anyone. George has a been a professional photographer since 1966, when he was the House photographer for promotion, brochures, and events at International House, NYC - and he's been a writer for almost as long. From the 1970s through the 2000s his career took off, with articles published in Studio Photography magazine, followed by articles and illustrations in the New York Times Sunday Arts and Leisure section, Video Photography, Lens Magazine, Lens on Campus, Photographer's Forum, Camera Arts, Photo District News, and a monthly column in Darkroom Photography magazine. George was a regular contributor to Travel Holiday magazine and he had photo and technology related articles in consumer magazines such as Popular Mechanics, Travel & Leisure, Men's Journal, and American Photographer. After covering the L.A. olympics, George was hired as an Assistant Editor at popular Photography magazine, and later became a writer and copy editor, before eventually becoming the Executive Editor. With all of that experience, George has also been heavily involved on the education side of photography, through his writing, and his workshops through a number of educational outlets, including the famed Santa Fe Photo Workshops. He was an Adjunct Professor at New School University/Parsons School of Design, teaching courses that included a General Intro lecture course, a Masters Class in Black and White Printing, Digital Camera intro; Advanced Photo Techniques; Digital Photo Processing, and Digital Printing. He has also been an Adjunct Professor at Sitka University for online critiques and assignments. His body of work is extensive, and after a number of photo and illustration books, some of which have been self-published, George's latest book is In Public, which covers his street photography from 1970 through 2020. Join author, educator, and photographer George Schaub and me as we explore his approach to Street Photography, his new book In Public, and his photo Illusion Realite, on this episode of Behind the Shot. Connect with George Portfolio: gschaub.zenfolio.com Instagram: @gschaubphoto Facebook: facebook.com EBay: ebay.com George's Book In Public: blurb.com George's Photographer Pick W. Eugene Smith: magnumphotos.com
Originally from Philadelphia, David attended that city's “Fame” high school, Creative And Performing Arts, where his classmates included QuestLove and Boyz II Men. He then graduated from Parsons School of Design in New York, and worked as a graphic designer for ad agencies, designed book covers, movie posters, and indie film titles.He impulsively moved to Los Angeles in 2000 and became a stand-up comic for a while, performing at The Improv, The Vancouver Comedy Festival, and in sketches on “The Late Late Show With Craig Ferguson” and “The Showbiz Show with David Spade”. But he tired of comedy clubs after a few years and focused on writing instead. In 2006, his “Will & Grace” spec made it to the semi-finals of the Warner Bros. Comedy Workshop.Switching to drama, he optioned the book “Minamata” (and the life rights of the author), about the experiences of journalist W. Eugene Smith photographing mercury poisoning victims in Japan. He wrote the screenplay in six weeks, and it got him a literary manager. Then Johnny Depp's company came on board to produce with Depp himself as the star. Filming on MINAMATA completed in the Spring of '19, with an expected release in Fall 2021. “Minamata” premiered at the Berlin Film Festival in 2020 and has since been picked up by Samuel Goldwyn Films for domestic distribution. It also stars Bill Nighy, Hiroyuki Sanada, Tadanobu Asano, and the singer Katherine Jenkins.His follow up, DREAMERS (based on the book John Lennon Vs. The US), is about John Lennon's immigration battle with the Nixon administration which legally set the stage (many years later) for DACA/The Dream Act. David was recently hired by the director of “Minamata”, Andrew Levitas, to rewrite a script about the two brothers who owned Adidas and Puma and who battled each other for decades. That project, “Adidas V Puma”, is currently out to actors and mentioned in “The Hollywood Reporter” in early March 2021.
Coal + Ice, a powerful global exhibition of photographs, videos, and immersive imagery that focuses on the climate crisis and provokes action is now on display in Washington DC through April 22, 2022. Coal + Ice began in Beijing in 2011 with the unprecedented showing of images of Chinese coal miners taken by Chinese photographers. It has now now expanded to the work of 50 photographers from around the world, capturing images of the climate catastrophe as it unfolds around the globe. Photographers and video artists include: Jimmy Chin, David Breashears, Song Chao, Camille Seaman, Gideon Mendel, Meredith Kohut, Jamey Stillings, Matt Black, Barbara Kopple, Dana Lixenberg and historical work from Robert Capa, Lewis Hine, Gordon Parks, Eugene Smith, Bruce Davidson and others. Coal + Ice also features installations, panels, music, conversations, cash awards to young artists weaving climate into their work and more. For over a decade the exhibit has traveled the world evolving and expanding as the climate crisis unfolds. First Beijing, then Delhi, then Paris, Shanghai, San Francisco and now in Washington DC at the Kennedy Center through April 22, 2022. Before the Pandemic, when Coal + Ice came to a massive exhibition hall on a pier in San Francisco, we traveled through the exhibit with our microphone. Special thanks to Susan Meiseles, Orville Schell, Geng Yunsheng, …. Michael Tilson Thomas, Joshua Robison, Gideon Mendel and Jeroen de Vries. Coal + Ice was produced by The Kitchen Sisters (Davia Nelson & Nikki Silva) and Evan Jacoby with help from Brandi Howell and Nathan Dalton. Mixed by Jim McKee at Earwax Productions.
Rob Maaddi, Associated Press Pro Football writer checks in regarding being on the receiving end of nasty & unpleasant messages on social media (most recently revolving around comments made by former Eagles & Colts quarterback Carson Wentz shared about being traded that Maaddi simply reposted). Maaddi, who is also host of the "Faith on the Field" radio show (www.faithonthefieldshow.com) emphasizes the need to love your enemy (and at times, use the "block" button on social media :)). We're also joined by Andrew Levitas, director of the new film "Minamata." From the press release: "Inspired by a true story, Minamata stars Johnny Depp playing celebrated photojournalist Eugene Smith. The film takes place in 1971 when we find Smith as a recluse and disconnected from the world he once shot. After receiving one final assignment from Life Magazine editor Robert Hayes (Bill Nighy), Eugene must travel to the Japanese coastal city of Minamata, which has been ravaged by mercury poisoning. Ushered by an impassioned Japanese translator, Aileen (Minami) and encouraged by local villagers (Hiroyuki Sanada), Eugene's powerful images expose decades of gross negligence by the country's Chisso Corporation." Smith is a heavy drinker, smoker, swearer, and broke...and is not a particularly good father. Yet there are flashes of compassion (grizzled as it might be) in his character as Smith perseveres in documenting the story. "Minamata" is edgy in its language at times, with a storyline that's sad, emotional, powerful, and redemptive (at least in part). One key scene revolves around one of the most famous photos in the past 60 years, "Tomoko In Her Bath" (it is also known by several other names). See omnystudio.com/listener for privacy information.
La gran fotógrafa mexicana es objeto de una vasta retrospectiva en la Fundación Cartier de la capital francesa. “Heliotropo 37” reúne más de 200 imágenes tomadas no solo en México sino en diversos países, sobre las temáticas que han puntuado su trabajo: los pueblos indígenas, las mujeres de Juchitán, las tradiciones de México, o la fantasía en torno a la muerte. El blanco y negro que ha propulsado a Graciela Iturbide acapara los vastos espacios de la Fundación Cartier de París. La reconocida fotógrafa mexicana es la invitada de honor de este centro cultural en el marco de “Heliotropo 37”, la primera retrospectiva en Francia sobre su obra, que reúne las imágenes más impactantes de Iturbide en sus 50 años de trayectoria. Desde sus fotos de los pueblos indígenas de México, en los años 70, hasta sus clichés más recientes, pasando por su exploración de las tradiciones mexicanas o de otros países como India o Madagascar, la muestra es una oportunidad única para descubrir a esta artista de 78 años que se inició en la fotografía de la mano de otra figura mundialmente conocida, Manuel Álvarez Bravo (1902 – 2002). “Para mí la fotografía es una búsqueda de la sorpresa”, comentó Iturbide ante nuestros micrófonos. En esta entrevista repasamos con ella algunos de los mementos estelares de su carrera, como ha sido “Nuestra señora de las iguanas”, una foto que se volvió un ícono para los pueblos indígenas y que se muestra en París. Graciela Iturbide también ha trabajado los paisajes y los objetos, en una búsqueda casi espiritual, simbólica o mítica a través de la fotografía. Además de ser una figura mayor de la fotografía latinoamericana, la obra de Graciela Iturbide ha sido galardonada con el premio W. Eugene Smith en 1987 y luego con el premio Hasselblad en 2008 La exposición puede verse hasta el 29 de mayo en la Fundación Cartier de París para el arte contemporáneo.
Director Andrew Levitas joins Matthew Pejkovic on the Matt's Movie Reviews Podcast to talk about his new film 'Mitamata', creating a movie about W. Eugene Smith and his experience documenting those afflicted with Minamata disease, working with Johnny Depp, and more! Support Matt's Movie Reviews 80s Tees: https://www.shareasale.com/r.cfm?b=119192&u=2900540&m=16934 Loot Crate: https://www.tkqlhce.com/click-100442585-13901976 Vudu: https://www.jdoqocy.com/click-100442585-14486018 Patreon: https://www.patreon.com/user?u=33903624 Follow Matt's Movie Reviews! Website: http://mattsmoviereviews.net Facebook: http://www.facebook.com/pages/Matts-Movie-Reviewsnet/151059409963 YouTube: https://www.youtube.com/user/MattsMovieReviews LinkedIn: https://www.linkedin.com/company/1036986/admin/ Reddit: https://www.reddit.com/user/mattsmovierev MeWe: https://mewe.com/p/mattsmoviereviews Instagram: https://www.instagram.com/mattsmoviereviews/ Rotten Tomatoes: http://www.rottentomatoes.com/critic/matthew-pejkovic/movies
Chris Facey is a documentary and portrait photographer. We talk about his three current projects, #DadDutyProject, which focuses on debunking the myth of absentee fathers in the Black and Brown community, Being Careful: Carrying More Than A Burden, where he hopes to bring awareness and change to the safety concerns of women, and Tale of Two Pandemics: Racism and Covid-19 which has been published in different forms in The New Yorker, New York Magazine, and The New York Times. Chris and I also talk about how he started photographing while serving in the army at Fort Drum, his decision to attend the School of Visual Arts, and how almost all of his decisions revolve around being a role model for his children. https://www.cocobuttershutter.com This episode is sponsored by the Charcoal Book Club, a monthly subscription service for photobook enthusiasts. Working with the most respected names in contemporary photography, Charcoal selects and delivers essential photobooks to a worldwide community of collectors. Each month, members receive a signed, first-edition monograph and an exclusive print to add to their collections. www.charcoalbookclub.com About Chris Facey Chris Facey (b.1990) is a photojournalist and portrait photographer raised in Brooklyn, NY and currently resides in Raleigh, NC. Chris has the ability to create images that are powerful yet tender. Inspired by the works of Gordon Parks and W. Eugene Smith, he documents communities with a softness and allows space for emotional depth, while still covering hard hitting issues such as the racial injustices in civil rights to Women's Safety in New York City. With both vigor and a trained eye, Chris has been making work centering around the Black community throughout his career. Being a father himself, Chris has been working on his #DadDutyProject, which focuses on debunking the myth of absentee fathers in the Black and Brown community as well as his " Being Careful: Carrying More Than A Burden" project, where he hopes to bring awareness and change to the lack of Women Safety. A School of Visual Arts BFA graduate and an Army veteran, Chris is on a strong path to success with his photo documentary projects which has landed him opportunities to be featured in publications such as The New Yorker, New York Magazine , The Cut & The New York Times. He is currently available for assignments
Chris and Sridhar discuss the documentary “The Jazz Loft According to W. Eugene Smith.” They also discuss the musical scenes and cultures of various cities and their orchestras. Tweet us @impolitelisten Episode clips on Instagram @impolitelisten Useful Links: W. Eugene Smith - Profile (with lots of his photos!) W. Eugene Smith - Master of the Photo Essay W. Eugene Smith - Wikipedia The Picture He Took When He Stood Up - Blast photo Soldier from the Battle of Saipan Train tracks from Smith's Pittsburgh essay Eugene Smith portrait Dali at the Jazz Loft Thelonious Monk at the Jazz Loft Zoot Sims at the Jazz Loft Thelonious Monk with Hall Overton at the Jazz Loft Another of Monk and Overton Vincent Lucas recital - professor at the Paris Conservatory Jean-Pierre Rampal - Marseilles style Petrouchka with Abbado and London Symphony Orchestra Rite of Spring with Abbado and London Symphony Orchestra Mitsuko Uchida - Chopin Chromatic Étude Op. 10/2 Gustav Leonhardt - Bach English Suite no. 1 Bach - Musical Offering with the Kuijken Brothers Ton Koopman and the Amsterdam Baroque Orchestra - Bach Orchestral Suite no. 2 Pierre Hantaï on Gustav Leonhardt - All of Bach Project George Balanchine and New York City Ballet We do not endorse Peter Martins Analysis of Mikhail Baryshnikov's dancing Mikhail Baryshnikov and Elaine Kudo dance Sinatra
Chris and Sridhar discuss some behind the scenes for Sridhar's recently released solo flute album, recording techniques, the merits of recording, and solo music in general. They also set "The Jazz Loft According to W. Eugene Smith" as homework and finish by veering into a vexillological tangent. If you enjoy the show, tell your friends about us or help spread the word on social media. We appreciate your support! Email us your feedback: impolitetolisten@gmail.com Tweet us @impolitelisten Episode clips on Instagram @impolitelisten Useful Links: Check out Sridhar's album "The Quarantine Tapes" on: Bandcamp (buy it here if you wish to support him) Spotify Apple Music ...and on all good streaming platforms. Ben Johnson (audio engineer) Libby Danforth (photographer) Glenn Gould records & edits Sarabande from Bach English Suite no. 1 Glenn Gould records & edits Bourrées from Bach English Suite no. 1 Leonard Bernstein conducts Tchaikovsky 5 at Tanglewood Emmanuel Pahud plays Mozart Flute Concerto in G Major (disappearing flutists at 3:00) Netherlands Bach Society play Bach solo works: Six Sonatas & Partitas for Solo Violin Six Suites for Solo Cello Partita for Solo Flute The Jazz Loft According to W. Eugene Smith: Watch on Tubi Watch on Amazon Look at these if you want to follow along with the flag talk: Flags of the U.S. States & Territories Indianapolis' great flag Tennessee flag inexplicably flying in Juneau Betsy Ross flag U.S. State flag redesigns Roman Mars' TED Talk on flags North American Vexillological Association's report on American city flags Madison flag San Francisco's awful flag SF rebel flag flying in the wild Japanese prefecture flags (great example of a cohesive, yet unique set of designs) Flags of the Union Jack Paris' boring flag Ann Arbor's awful flag Phoenix's awesome flag
Another stroll through Green-Wood with my camera, a Lensbaby, and my microphone. On this walk, I ruminate on some "deep dives" I've taken recently, studying some of the famous photographers such as W. Eugene Smith and Irving Penn. Also, some encounters with geese.
Humor lays the groundwork for a hard truth and, for poet Tommy Pico, that hard truth is about living as an indigenous person in occupied America. "Alien invasion overlord movies / r cute in a Monet way,” he writes. “I survive seven generations into a post-apocalyptic America / that started 1492. Maybe / you'll live too?" There are, he says, just a few images of Native Americans that have filtered into mainstream culture: the noble savage, the squaw, the horseback warrior, and the sad Indian, “whose religion and spirituality and land and resources and livelihood have been taken away from them. I want to write in defiance of the sad Indian.” Pico's poetry builds a contemporary Native American persona, one that occupies multiple spaces simultaneously: New York City, the internet, pop music, and Grindr. It's an identity that's determined to be heard by the culture at large. Tellingly, Pico's first book, IRL, is both in the form of a single epic text — maybe even a sext — and inspired by Kumeyaay “bird songs,” some of the last surviving remnants of the Kumeyaay tribe's long-form poetry tradition. In this episode, you'll also hear Organist fan fiction from Jimmy Chen, performed by the legendary Edgar Oliver, as well as a series of “verbal selfies” from artist Robyn O'Neil. Feature image of Tommy Pico by Eugene Smith for Poets & Writers Magazine. Robyn O'Neil, "The Everywhere Citadel", 2016. Graphite on paper 60 1/4 x 38 1/4 inches Robyn O'Neil, "Ascension", 2016. Graphite on paper 22 3/4 x 30 inches Robyn O'Neil, "Suffocation Bed", 2013. Graphite on paper 23 x 30 inches Robyn O'Neil, "Inflation Drill (after Guston)", 2016. Graphite on paper 22 3/4 x 30 inches Robyn O'Neil, "The Husband Cathedral", 2016. Graphite on paper 34 1/8 x 60 1/4 inches Robyn O'Neil, "The Mercy Quartet", 2016. Graphite on paper 34 1/8 x 60 inches Robyn O'Neil, "Studies in Suffocation I", 2016. Graphite on paper 60 1/4 x 66 inches Robyn O'Neil, "Studies in Suffocation II", 2016. Graphite on paper 60 1/4 x 66 3/16 inches Robyn O'Neil, "Government Bureau (after Tooker)", 2016. Graphite on paper 22 3/4 x 30 inches Robyn O'Neil, "These Moments", 2016. Graphite on paper 10 1/2 x 16 1/2 inches Robyn O'Neil, "The Five Echoes", 2016. Graphite on paper 15" x 12 1/8 inches Robyn O'Neil, "Ultralight Beam Terzetto", 2016. Graphite on paper 41 1⁄2 x 63 inches
In this episode, thanks to W. Eugene Smith's tape recorders, we get to experience something audiences rarely hear - the unrehearsed, imperfect, open-ended, overlong, rough-around-the-edges music that jazz players made when they got together to jam at 821 Sixth Avenue. No audience present. Just the musicians playing. The late vibes player Teddy Charles said it best in an interview: When nobody's around, and you're just by yourself, that's when the best jazz happens. Really incredible stuff. You take chances on things. The real excitement of jazz is taking chances. Whether you make it or not. You try for something even if it doesn't happen. And that's what makes Jazz really exciting. Featured in this episode are jam sessions with: 1 - Dave McKenna, piano; Fred Greenwell, sax; Bill Takas, bass; Ron Free, drums2 - Bill Potts, piano; Zoot Sims, tenor sax; Ron Free, drums3 - Paul Bley, piano; Jimmy Stevenson, bass; Roland Alexander, tenor sax; Eddie Listengart, trumpet; Lex Humphries, drums4 - Sonny Clarke, piano; other unidentified players5 - Chick Corea, piano; Jimmy Stevenson, bass; Joe Hunt, drums This is a slightly updated version of The Jazz Loft Radio Series, which first aired on WNYC in November in 2009, in conjunction with Sam Stephenson's book “The Jazz Loft Project." We are re-distributing the entire series now on the occasion of the release of Sara Fishko's documentary, "The Jazz Loft According to W. Eugene Smith," which debuted at the New Orleans Film Festival in October of 2015. Thanks to the Center for Documentary Studies at Duke University, our original partner in the production of The Jazz Loft Radio Series. The Jazz Loft Radio Series was supported in part by a grant from The National Endowment for the Humanities; and by an award from The National Endowment for the Arts.
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