Big Al – Conversation

Alec Soth photographed in San Antonio , Texas by Panos Skoulidas , April 6, 2011

 

On Apr 6, 2011, at 3:04 PM, David Alan Harvey wrote: 

many thanks for the transcribe anna…pictures? d

 

On 4/6/11 2:49 PM, anna maria barry-jester wrote:

Here you go…
There seems to be a little missing in the middle of the interview…I think a sentence cut off between clips you sent me…you should be able to fill it in very easily from the original file….I noted in bold where I think something is missing below.
xo
a

Here’s the transcript of the Soth interview….this is unedited…this is a FOR REAL CONVERSATION

DAH – Alec Soth Interview

Nat sound (ringing)
(banter)

DAH: Let me start with the most recent thing that I found out about, and that is Big Al’s printing. The thing that’s always fascinated me about you, other than your photography which of course is how I knew you in the beginning, is your versatility. I mean I knew your work only with Mississippi of course, Sleeping by the Mississippi, before having met you in person. And then very quickly you became a very popular blog person and you’re involved in a lot of stuff- soft industries as I like to call it. And then we’ve got Big Al’s printing. Tell me about this multiplicity of ventures for you, besides your photography.

ALEC SOTH: Well first of all, I mean, I’m talking to you from Minnesota, and I have this sort of midwestern sensibility in which I think everything is always going to come to an end, and I’m gonna fail. And I feel a need for job security. So the most secure thing has been diversifying everything so I don’t have all my eggs in one basket. So that’s where Big Al’s comes in. But I’ll tell you what led up to that is that I was in Alex Majoli’s place in Italy, and he’s got this set up where he’s got a studio, and then there’s this Chesura lab, which is this group of people that use his equipment, but have their own little printing operation as well as all sorts of other stuff that they do. And I thought that was really fantastic, and so I came back home, and I thought, this has always been an issue, where we have all of this stuff, all of this equipment, um, but it just sits there a lot of the time when I’m not using it, so it just seemed like it makes sense. I mean, the people who work for me use it, but why not have them expand that and let other people, charge other people to use it, you know, make a little bit of money. But also there’s this one guy, his name’s Eric, who wanted to do some work with me or whatever, so he can run that thing, it’s not really my business, I’m not that involved with it, a little bit involved with it, but it just made sense. But I’m not like Mr. entrepreneur, you know.

DAH : Well, you’ve definitely diversified, and of course I’m going to copy you on every single thing. Of course I’ve hated every minute of copying you.

ALEC: But that’s what it is, I’m copying Alex. (laughter)

DAH: I know, I know, he’s got an empire there. But it’s a very interesting model for all of us. So you’re main person I guess who was your printer for your shows ended up sort of creating his business through Big Al’s operation.

ALEC: …A little bit, we had a printer that worked up to a certain size, and then we had to outsource a bigger size. and so, at a certain point, it’s just like “I’m going to buy that printer, it doesn’t make any more sense.” But if i’m going to buy the printer we might as well use it, you know, that kind of stuff.
But the thing is, it was being exposed to Majoli’s way of doing things, which isn’t for me, I mean, I’m not gonna have…it’s like a commune out there. You know, they’re all sleeping in rooms above the studio, I don’t want to do that. I just want to pool our resources. I mean, that’s what it’s about, and when you talk about Magnum, that’s what it’s about. It’s pooling resources.

DAH: Right, is that the modus operandi for Little Brown Mushroom as well, is that the same kind of thing?

ALEC: That’s a little bit different. I mean, Little Brown Mushroom is about having fun. So, and, Big Al’s is, well, who knows what it is, it’s about we’ve got some equipment lets use it. Little Brown Mushroom is about having fun, and making cool things. And it’s not about the art world, it’s not about getting caught up in that, it’s not about trying to make money, and if it makes money fine, if not that’s ok, you know, I just want to break even ideally. But it’s about that spirit of when you’re a teenager and you’re just making stuff because you love it. It’s just remembering that feeling you know. When you get caught up in the professionalism of everything, you can forget about it.

DAH: Oh yeah, it ruins everything, right?

ALEC: Well, it’s a danger, and that’s what I would say about the blog. You know, I started the blog as a retreat from the art world, as a place to just talk about issues, and then all of a sudden it turned into another business, and so I dropped it. Little Brown Mushroom hasn’t yet, it’s still, it’s like we’re just having a lot of fun with it.

DAH: Yeah, it looks like it. Yeah, it’s great. Who did the design work, did you do that or did you have a designer do that?

ALEC: It started off, I mean, I don’t know anything about design. You know, I don’t know cmyk from… I’m an RGB, photoshop, that’s all I know. But I wanted to make little things, so I just started making little zines. you know, the kind of thing where you go to Kinkos, you know, staple-bound little things. And then one thing led to another and I met a designer named Hans Sieger, who lives in Wisconsin, and uh, it all kind of came together in my head. Little Golden Books was something I was interested in, do you remember those children books? They were published out of Wisconsin, and it just felt like something that was meant to be. And so here’s this really cool designer, who happens to live there, you know, he does most of his work in New York, really high end, but he lives in Wisconsin. And here’s Little Golden Books, and merging these ideas. And he works unpaid, he just works just for the fun of it too, he’s just into it, and so we collaborate on it, we print it in Wisconsin which is great. It’s a little cottage industry.

DAH: Yeah, well, that really is cool. That’s interesting. You say that you’re, that this was one of the things, Big Al’s, and then just your mentality in general is kind of a midwestern job security thing, which you know, I understand that. And the other thing is just to have fun and a little bit of an escape from the art world. On the other hand, you’ve busted your ass to make it in the art world. So is it just because…you don’t really want to escape the art world do you? I mean, isn’t that your mainstay?

ALEC: Yeah, that’s how i make a living. Um, it’s not that I want to escape the art world, but I have to keep it fresh, and it’s kind of like, uh, to use a music analogy, it’s like. Ok. Maybe I’m not playing arenas now, but I’m playing big venues. And sometimes you have to just go down to the club, and just play, and play some new stuff for a real audience. That’s what I mean, it’s just like keeping it fresh, you know, and also keeping the experimentalism alive so that you can try things. So maybe you can screw up at the little club with 30 people, it’s not that big of a deal.

DAH: Yeah, everybody loves the garage band. The garage band stage of anybody’s career is THE stage.

ALEC: Absolutely, right. Its just keeping some of that alive is all.

DAH: I understand that completely. That’s a pretty good analogy.

ALEC: You know, I want to play arenas, I mean, don’t get me wrong I want the big audience still, I just want to keep it fresh.

DAH: Now, you’re in the art world, you’re selling prints, you played the arenas so to speak. At the same time, you’re doing some editorial work. That certainly isn’t for the money, that editorial work. So is that just part of the fun thing? Or keeping yourself fresh? Or where does that come in? That’s more of the, why would you be in Magnum in the first place since you’re so successful in the art world?

ALEC: (audio missing between clips???) one iota. And if you think about what that collective artist could be, it’s gigantic. The thing is, I started big al’s last week, and I email some people or whatever and it goes around the little blogosphere. But I ask Magnum to put it on their facebook, and to do a tweet about it, and that’s a lot of people. And, we can access just a much larger audience as a group.

DAH: So distribution is still important, it’s just a different kind of distribution. It’s a twitter, facebook fanclub thing. Plus we bring our own audiences in there too.

ALEC: Yeah, absolutely. And bringing our own audiences into that is something that we haven’t really done, or figured out how to do. Um, but we’re working towards it.

DAH: Yeah, well, that’s what you and I are supposed to do. We’re on the committee. I’m a little bit out of the loop. I saw the note from Jonas this morning, but it’s the first time I’ve heard from him, so. There are a lot of reasons for that. I do wish we were a little more coordinated with those kinds of ideas and thinking, cause I think that if we actually really did get you and jonas and chris and I in the same room, even for a short time, we might be able to come up with a bunch of good ideas that could push us forward. Unfortunately we don’t really have the mechanism for that because we’re all out in different places all the time. That’s the bad part about Magnum. The good part is that when we’re together there’s magic often times. But then we go off in separate directions, it’s very hard for us to stay coordinated.

ALEC: For me, I mean, and I talked about this, I don’t know what’s
(rambling about what part of this conversation will be used)
2:45

ALEC: This is a real taboo, but it’s something I wanted to talk about…it’s the club element of it. And I hate the word club, but, I think it’s a significant part of what it is for people. You have this brand, you’re attached to this thing, and these other people, and I think so much of the business stuff, which actually doesn’t work, just gets in the way of all that.
(laughing)

ALEC: The retreat was really successful. And it was like, wow.

DAH: Well, I can see, I mean I couldn’t even be there but I was all over that psychologically from the very beginning because I thought, if I can have the Magnum crowd down here like where I’m sitting right now. I mean, I’ve got dunes, I’ve got water, and I’ve got a great front porch. I’ll just show you (sounds of david picking up computer and walking away). This is where I want to hang out with you guys. I’d like to invite a bunch of you down here, you know (sound of creeky screen door opening), and uh sit on my porch right, and look out at the sand dunes over there.
(sound too faint to hear). I would love it if you guys were sitting down here by the fire, and it would be a great meeting of the minds. The truth is that when I do meet Magnum photographers, like one on one, and on assignment, we really do have a lot of good stuff in common, and I’m sure you found that out on the retreat.

ALEC: The business stuff comes out of it too. I mean, like I said, just going to Majoli’s place, suddenly Al’s opens up 3 weeks later just from that experience. And it’s that kind of pooling of resources, which we don’t even have time for, and that’s how the retreat came about is my frustration that the AGM (??), at least for the younger generation, cause we used to not have to be involved, and now we have to be involved, and it’s just ruined it, where we don’t get to hang out.

DAH: It’s a slug, you never get to go out and just have a beer, and somehow you don’t even end up talking about the business stuff. You end up getting into spreadsheets instead of the business, and there’s a difference. Now listen, I know you have to go, and I think we probably have enough…
…wait, but I have to show you my window, just to see where you don’t want to visit. Let’s see if we can get the exposure right (laughing).

ALEC: I have this feeling that Magnum’s just going to turn into BURN.

DAH; No! I don’t mean…

ALEC: No, I mean it in a good way.

DAH: No, to be honest with you, what I really really want to do is probably quit burn in June, or have it evolve into something else, or have somebody else run it or,

ALEC: I know what you mean, but it’s just that the spirit of it, it’s just like funding Paolo’s thing..No, but it’s just like, that’s the kind of energy that we so badly need.

DAH: I know it, but the thing is what I don’t want to do, and I’m sure that you of all people can totally appreciate this, I don’t want to get so involved in minutia and local politics that it just burns up all of the energy. There’s x amount of stuff that we’ve all gotta do in our lives, we’ve all gotta pay taxes, you need to get your kids off to school, you need to fix the garage door. We’ve already got lots of stuff. And I can’t take on a whole other thing with Magnum beyond a certain point. Anyway, many thanks amigo..

Postcards from America

Little Brown Mushroom

Big Al’s

Alec Soth

 

423 Responses to “Big Al – Conversation”


  • a civilian-mass audience

    I feel like ALEC,the ALEC today…

    “I want to play arenas…”

    can I sing now?

  • mw: I appreciate the link to your flashwork and I share your excitement for strobes. Sometimes I think added light is half of photography; the extra illumination allows one to photograph anywhere, anything, anytime.

    You use it as a whisper rather than a breeze…still not freezing motion due to shutter lag…and I have to look hard to see proof of its presence. Seamless for sure. The picnic table shot is great, as is the seated woman with the black and white skirt. Personal preference would have had me add a few more lumens so as to freeze motion on the clarinetist’s head, but as you say this is how you desire your images to be rendered, so be it.

    —————————

    Excuse me everyone, but has “Big Al” become our new dialogue and party centre? Has “Hot Paper” been deep-freezed? Just wondering…..

  • MW…

    As I wrote last night I’m liking more and more these photos, good to see some extra ones…can’t study them too well as I’m viewing them on my mobile at a local park…so you mentioned these images are shot on manual flash so I suppose you just play about with the power rating on the flash? I can’t see very well but this is ”on camera” flash isn’t it and some are direct and others bounced?

  • Framers Intent…
    Thanks for the explanation about the bus photo…you’re doing very well in your first year…don’t ever lose the sense of fun you’re having now…it’s easier to say than do and sometimes one doesn’t realize you’ve lost it until you well and truly bogged down.
    On the subject of your guitar shoulder injury try slowly playing in front of a mirror…i’m sure you will be surprised to see how tense you are when playing above your physical and technical ability…my guess! So the moment you notice the slightest change in your correct position you are starting problems…normally one tends to look odd and ugly but in you case I’m sure we can leave the ugly out :). I had been playing 25 years daily anf in the last 5 years round about a minimum of 6 hours when i gave up and never ever had the slightest injury…it’s all about not running before you can walk.

  • Justin, no I didn’t know that guy was the star of that show, but in retrospect it’s not at all surprising. The woman with her arms crossed next to the sarcophagus owns some kind of oddities shop on the lower east side. I was mainly there for the free buckets of gin, but after the fourth Martini or so, the people started looking interesting so I took a few photos. Kinda shows how I have it backwards from most people, that I have to be drunk before I find wealthy, beautiful people interesting. Still, I ended up spending most of the time viewing it through the fun house mirrors.

    Regarding the flash, yea, I wrote a bit overconfident last night. More accurately, I understand what I need to do to achieve much better control and have come a long, long way since attending David’s class. Can still use a lot of practice. I like the shutter lag though, the sense of motion it can give when done right. And Paul, some was bounce, most direct, none on camera.

  • MW…
    When I mean on camera I mean sticking a strobe on the camera…so that means you held camera in one hand flash in the other with a cable or some kind of radio or infrared on the camera right? Thats how I shoot flash…

  • Mw…
    Are you using one of the Canon strobes? Want to complicate it more? Start playing with zoom setting on the flash…it’s quite cool :)

  • Paul and Gordon – many thanks for the comments. I do hope to add to the series, but I’ve spent so much time away from Liverpool of late, travelling to Derby and London and whatnot, and I printed up a stack of work prints for it too, and am thinking about what it needs to make it “complete” as a project. So I’ve had a little bit of time-off. The weather has changed drastically, so I’m going to experiment with some new ideas, but it might just have to wait until next winter to finish off fully. I learned so much from doing it tho – all one lens, one space, and no place to hide. Great for growth. :-)

    Long-term, I hope to mix doing longer projects like that with regular one-day projects or other smaller sets. I was really pleased with my Roller Derby stuff for that reason – given the basic kit and the amount of other photogs around on that day, I felt my images came out much more interestingly composed than theirs (if that doesn’t sound arrogant, but the mix of basic kit and inexperience didn’t show through in my work, I felt – I got some unique images).

    I love working up new project ideas, and going out and shooting them, but I also love that process of making stuff work together well. It’s all just part of the process. I don’t think my enjoyment of that will go anywhere soon. ;-)

    Paul – my injury wasn’t guitar-related, I was just stupid about returning to playing standing up and carrying heavy stuff regularly and whatnot. Turns out my torn neck/shoulder muscles didn’t heal up properly and the knots in those muscles have caused a trapped nerve. :-( But I’ll definitely be following your tip when I can get back to playing, and will be careful not to jump straight in with long sessions straight away – work up to that instead!

    mw – overconfidence is sometimes for the best. Certainly a lot better than too much self-doubt, anyway. Without ambition, we’ll get nowhere. I only browsed your images briefly last night, but I could see it seemed more natural (not that the lighting was “natural light” but that it didn’t look forced, contrived, or over-powering) than a lot of strobe work. That’s great. Keep working on it. This is a fantastic foundation for your next shoot, and thre are some seriously cool images in there.

  • John Gladdy…

    Grinning! “Robert Petway – Catfish Blues”…Trust you to link some Blues guy I’ve never heard of!
    Thanks.

  • London Burnians!
    Kurt Rosenwinkel, the mighty, the awesome, is playing Ronnie Scotts April 18th. I would go, were I able to, but I can’t. You, however, should not miss this night of harmonic amazingness! (Yes, that is a word).

  • A few more x100 pictures.
    http://www.pbase.com/glafleur/fuji_x100&page=all
    These are full resolution. If you want to see them full size, click “original” underneath the photo.

    After a week of frustration with the quirks of this camera, Im loving it. The image quality is astounding.

    Also check out Paul Treacy’s “x100 files”

  • Gordon…

    The noise in the image of the lady playing the violin is beautiful reminds me of the kind of texture ancient oil paintings possess.

  • Hi Paul

    That image is a bit noisier than the other high ISO images because I brightened it a bunch with curves. Check out the noise in the church shot, which is ISO 3200.

    These images were all shot JPG. Fuji’s in cameral processors have a lovely way of dealing with noise. My little fuji f30 point and shoot produces delightful files at ISO 1600

  • Gordon, are you “the Gordon” quoted by Michael Reichmann in his X100 review on the Luminous Landscape? He seems to think that much of the interface problems with the camera can be fixed by a firmware update. Nice photos; glad you are enjoying the camera!

    Mike.

  • Jeff yes:)

    Gordon, Paul thank u for the Fuji camera files.. They seem as good as they can be:)

  • Gordon , u mentioned quirks… anything extraordinary?

  • Hey Gordon, anyone? Is that Fuji really any better than the competing small cameras from Panasonic and Sony? Where are Canon and Nikon in this?

    It’s weird, I’ve been in this happy place where I just don’t crave any new equipment. Though summer’s coming and I’m thinking I may need a strong ND filter. I re-watched the documentary about Leni Reifenstahl the other day and she said something that made me think that might be a good idea for my type of photography. So many photographers get discussed here yet no one ever mentions Reifenstahl. I’m a little curious why that is? She was a true pioneer in the field, in ways both good and bad, and her life is fascinating.

  • Meh. I was supposed to do organising work and laundry today. I have thus far done nothing. Meh.

    Gordon, Paul – I’m very interested in the x100, so do keep those reports coming!

  • GORDON tht looks pretty kool @ 3200 many thanks fr sharing

  • David B., thanks man, i’m lucky to be in with just a great group of folks.

  • Editing process. …
    day one: holy crap, that’s brilliant.
    day two: omg, what was I thinking, it’s crap.
    day three: I can’t look.
    day four: maybe
    Day five: no it’s crap. Suffering in silence.
    Day fifteen: no, no, it’s good.
    day thirty: I just don’t know, such a departure. Too far?
    day forty-four: derivative crap!
    Day fifty-five: cliche! That’s out.
    day seventy-five: well, at least there’s one from that batch, and one from that one …. Maybe.
    day three-hundred-and-sixty-five: to submit, or not to submit?
    day three-hundred-and-sixty-six: what the hell, submit. What’s a little humiliation between friends? Everything is about risk.

  • MW…

    There is a Spanish saying which says…

    “Dime con quíen vas y te diré quíen eres.”
    Pretty apt for Leni Reifenstahl.

  • Paper definitely IS HOT!!!

    Assisting as I speak.. ermm.. write to the last minutes of labour, tomorrow birth will be given to ‘AL CAMPO’, Ernesto Bazan’s colour book about Cuba.. I even have pics, but stupid phone won’t let me upload them.. you can watch a little presentation here, longer video in the making as well:

    http://www.bazanphotospublishing.com/

    and here:

    http://www.kickstarter.com/projects/1570935781/al-campo-an-intimate-visual-look-at-cuban-rural-li

    DAVID… if you’re reading, Ernesto says back hi to you too!

  • Oh, I dunno, is that your way of saying you haven’t seen the documentary? I wouldn’t say it’s apt at all. More like something counterproductive a bad parent would tell a child. You like movies about photography, you really should check it out.

  • tom hyde ……..

    day 367 u realize u need an artist statement …… repeat process from day 1 this time write it ……….. ;-)

  • Tom, Vivek..u guys stressing me out…i need to thing of something uplifting…like , a Brazilian beach or something like that ;)

  • panos u r only allowed to think of how to make it multimedia …………….. ;-|)

  • speaking of Brazil…

    “…With the seductive sounds of samba as their rallying cry, Rio’s residents, known as cariocas, have perfected the art of living well. From the world-famous beaches of Copacabana and Ipanema to the tops of scenic outlooks of Corcovado and Pão de Açúcar to the dance halls, bars and open-air cafes that proliferate the city, cariocas live for the moment without a care in the world…”

    http://www.lonelyplanet.com/brazil/rio-de-janeiro

    have perfected the art of living well.
    have perfected the art of living well.
    have perfected the art of living well.

    I think Brazil should do some “Art of Living” Workshops for Americans….
    or a book (“Art of Living Well for Dummies!;)

  • “Dont be afraid of the rain , its just water…why being complicated?”
    as Alex Majoli’s Brazilian driver/assistant once quoted…:)

  • multimedia?
    Viky , u just served me another “panic attack”…;)

  • Thanks for the heads up, Panos; that’s what I figured. I visited last night – the lights were on, but nobody home. I tried to turn them off, but damned if the empties were piled shoulder high. Who’s gonna clean up that mess? It sure ain’t me!

    Does Big Al know what he got himself into, being host and all? RULE #1 at Al’s arena: No ankle-biting!!! (‘Nads Ok if you’re short, but please try to thrust and parry to the chin…unless made of glass. Who’d clean up that mess? It sure ain’t me.)

    Also, please spit olive pits up to the cheap seats; empties to gen admish. Rave pit must remain dry, and obstruction-free; we may be asked to rush the stage as back-up…does everyone know the lyrics to “We Are The World”?

  • MW,

    there is a direct link from Leni Riefenstahl (ie not ei) to Adolf Hitler. She perfected the “hero style”, in taking a low camera position to show specific people to be greater, higher. Her career was very much influenced by the Nazis, and since that, at least in Germany, nobody would really want to mention her.

  • Thomas, yet somehow a German made the documentary and it’s received almost universally powerful reviews.

    And you know what they say about those who fail to learn from history… Stick your head up your ass at your own peril.

  • Thomas…
    Thank you! She does everything she can to deny the direct links with the nazis but …
    Yes I’m sure it’s a great documetary but I’ve always disliked the woman and her work…sorry.

  • MW…
    We’re talking about someone who helped promote all the nazi propaganda for gods sake!!

  • Well Paul, that’s far from an accurate statement. It’s a great documentary on many levels. Photo wise, political, and the intersection of the two. Like I said to Thomas, those who fail to learn from history… and I see the Riefenstahlian repetitions every day on the photo wire, or at least every campaign season… Why fear knowledge?

  • does everyone know the lyrics to “We Are The World”?
    —————————————————-

    http://www.youtube.com/watch?v=J_FvbgUpxq4&feature=related

    (unedited version-very rare;)

  • Helene Bertha Amalie “Leni” Riefenstahl (German pronunciation: [ˈʁiːfənʃtaːl]; 22 August 1902 – 8 September 2003) was a German film director, actress and dancer widely noted for her aesthetics and innovations as a filmmaker. Her most famous film was Triumph des Willens (Triumph of the Will), a propaganda film made at the 1934 Nuremberg congress of the Nazi Party. Riefenstahl’s prominence in the Third Reich along with her personal friendship with Adolf Hitler thwarted her film career following Germany’s defeat in World War II, after which she was arrested but released without any charges…

    After her death, the Associated Press described Riefenstahl as an “acclaimed pioneer of film and photographic techniques”. Der Tagesspiegel newspaper in Berlin noted, “Leni Riefenstahl conquered new ground in the cinema”. The BBC said her documentaries “were hailed as groundbreaking film-making, pioneering techniques involving cranes, tracking rails, and many cameras working at the same time”.

    (i dont want to get into the nazi-or not propaganda making, but (except from that) she sounds like a great tech-guru kinda person…not my cup of tea….i prefer artists than mechanics:)

  • …but who doesnt need a great mechanic ? from time s to times?

  • MW,

    I am German, and I guess we learned much from our history. And documentaries like the one you saw also help to understand that more and better. However to reference the person Leni Riefenstahl would imply for many people to give the Nazis a positive image. Her dealing in the way she did damaged her own reputation.
    I think the perception is – referencing her brings oneself closer to the Nazis. – I guess, this is why not many people reference her.

    I tried to explain why people are not referencing the person. There are other Germans who could be positively famous for their achievements, if they weren’t done in that context.

    I’m not sure, if I understand your quote with the learning from history completely, but I think I should not feel offended, should I?

  • In 1936, Hitler invited Riefenstahl to film the Olympic Games in Berlin, a film which Riefenstahl claimed had been commissioned by the International Olympic Committee. She also went to Greece to take footage of the games’ original site at Olympia, where she was aided

    by Greek photographer Nelly.

    This material became Olympia, a successful film which has since been widely noted for its technical and aesthetic achievements. She was one of the first filmmakers to use tracking shots in a documentary, placing a camera on rails to follow the athletes’ movement, and she is noted for the slow motion shots included in the film. Riefenstahl’s work on Olympia has been cited as a major influence in modern sports photography. Riefenstahl filmed competitors of all races, including African-American Jesse Owens in what would later become famous footage.

    (anyone heard of Nelly before? She is amazing imho)

  • Vivek, :)) Yes, on day 367 right now.

    Panos, so sorry, did not mean to depress. Did I mention we’ve had 120 inches of rain since Sept. 1? Cannot fear the rain, too true, must embrace it. Strange, that is what I am writing about right now.
    Quick, who said this?:

    Wandering, wandering in hopless night
    Out here in the perimeter there are no stars
    Out here we is stoned
    Immaculate.

  • well..im taking the “mechanic” comment back..Obviously if Great Nelly “liked/helped” her , then she must have been way more than just a “mechanic”…An Artist!

  • Tom, ..wild guess..Bob Black?
    :)

  • Even in a controversial way like above i wanna thank you guys, Paul, MW, Thomas for making me search and find more about this ground breaking artist (although not easy to pronounce her name)…
    And not that i put all my faith in any court to be honest…but the truth that she was never “charged” with anything makes me wanna assume..that she is innocent till proven guilty (although i understand very well what Paul and Thomas , and MW trying to say!)

  • damn it Tom;) i thought i knew everything about Lizards and Kings..what the hell happened to me?

  • Maybe too much sunshine, and immaculate. :))

  • MW…
    I’ve no fear of knowledge quite the contrary. But these sort of subjects on the web are very delicate. I’m sure probably Thomas has family who just like mine found themselves stuck in the middle of a six year nightmare. I think the Germans have had enough stick in the last sixty years and it’s time to turn over a new page. The problem i have with LR is thd fact she got away scott-free without any punishment having fimed very well the nazi propaganda which invariably helped begin all that happened afterwards. So if she is sort of ignored i think it is a very just punishment…

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