art vs artist 2023

💰 💡

Thank for the ask! Apologies in advance for one the replies becoming very um... something (what it says isn’t anywhere near as bad as the tags make it look, but it still, you know, warrents a warning).

💰 What’s one trope you wouldn’t write, except for money?

Fake dating? I'm not really a fan of it, but I don't hate it either. I think it's because most of the time it's really difficult to pull off a situation where the characters must pretend that they're dating without it seeming really contrived. It often takes me out of the story because it's like you can feel the hand of the author making the characters have to do x y and z because they want it to happen rather than because it's logical and makes sense in the context of that scenario.

Sometimes I like figuring out how I'd go about writing a trope I generally don't gel with though. So with fake dating I'd probably go much darker with it and make it so there are severe consequences for what happens if people find out the characters aren't genuinely dating. As in the main characters could legitimately die because of it for Complicated Plot Reasons. Sometimes it's fun to take what are usually light and fluffy tropes and just make everyone have a terrible time ¯\_(ツ)_/¯

💡 What’s the weirdest thing you’ve been inspired by?

Oh boy. I’m lucky I’ve only got a small number of followers, because this is exactly the kind of thing that certain types of people would take entirely out of context and lock me in tumblr jail for. Sorry, but I’m going to go off on a long tangent, and I’ve had to add a content warning tag to this post because of it.

While I was writing a long Rockstar AU fic featuring various MCU characters (not sure if I’ll ever finish it, but that’s another story), there was one thing that was unpredictably influential to its development. And that was falling into the rabbit hole of the allegations against Michael Jackson. The sheer muddiness of the cases, me being unable to come to a definitive conclusion, my opinion on the probability of what might’ve happened shifting from day to day, getting a look in hindsight at the utter media shitstorm and how that affected the actual trials, seeing people’s reactions to it and the lack of critical thinking coming from both pro and anti MJ sides, how western cultures respond to celebrities... And most importantly, the idea that there were really only two possibilities: either he used his wealth and influence to do horrific things that would’ve left a tremendous amount of psychological damage, or he was falsely accused and had to deal with millions of people believing he was guilty of that. Because whichever way around it was, what happened was ultimately a tragedy.

Then I learned some of the people behind the biopic of Bohemian Rhapsody were(/are?) thinking of developing a Michael Jackson biopic covering his whole life and I had a lot of thoughts on that. The makers would need to carefully balance so many elements in order to still make profits and not piss off millions of people. If you present him as completely innocent, you’re going to be accused of dismissing the claims of victims and being against #believeallvictims. If you present him as guilty, you’re going against someone being innocent until proven guilty and are potentially tarnishing the legacy of someone who might not have done it, while probably erasing any rights the owners of his music would’ve granted you to use and deterring your primary paying audience (i.e. his fans) at the same time. So what other options do you have? Present the artist as an unreliable narrator? Leave it open ended? Leave out mentioning the whole thing entirely? Would that be fair either to the potential victims or to the artist? Is there any option that, without definite proof either way, could ever be fair?

And – I’m aware this is probably a very unpopular opinion on this site – but I think his story is a story worth telling because not only was he massively influential on the world of music and popular culture and to erase that would be to erase history, but there’s also so much to learn from it. Whether or not we ever find conclusively find out if he was guilty or innocent. That, in particular, uh, made me think a lot, basically.

I wanted to write something that would make people think a lot about those themes too, but I was having a hard time trying to figure out how to do it without, you know, making a character get accused of something along the same lines that he did, which obviously wouldn’t go down well.

Great Albums is back! This week, we’ll take a look at one of the greatest electronic albums of all time, Kraftwerk’s The Man-Machine, and try to avoid getting sued by Ralf Huetter! Full transcript for the video can be found below the break. Enjoy!

Growing up, my main genre of choice was 80s synth-pop, and while the deep influence of Kraftwerk is as significant there as it is everywhere else in electronic music, I was one of those people who initially saw them as somewhat "intimidating." Today, moreso than ever, Kraftwerk are held up as one of those more high-brow or cerebral groups with a philosophy that transcends mere pop or dance music, which makes them seem respectable, a kind of “model minority” in the world of music outside rock. While I don’t buy into the judgmental quality of that sort of praise, which damns so many of Kraftwerk’s greatest fans and imitators, I did get the sense, as a child, that these hoity-toity Germans, working with primitive equipment way back in the 1970s, might not be what I was looking for in a new favourite band. That was before I heard The Man-Machine.

While it’s certainly true that Kraftwerk were a highly experimental band in their own time, they’re one of those acts whose ideas have deeply permeated contemporary music, to the point where their actual work is extremely approachable and listenable to today’s ears. Of all the fairly early electronic acts, who started making this kind of music before it began to become mainstream in the late 70s, Kraftwerk are almost certainly the ones people nowadays listen to for pleasure the most, and that’s no accident. While their earlier albums like Trans-Europe Express took more overt inspiration from classical music, The Man-Machine was their first great foray into the arena of pop, which I think is key to why it resonates with people. For evidence of that, look no further than the biggest mainstream hit of Kraftwerk’s career, “The Model.”

I think it’s easy to see why “The Model'' became a hit single. Sure, it may not have the most traditional pop song structure, let alone instrumentation, but unlike a lot of what Kraftwerk had done before, it’s got a lot of lyrics and a real sense of narrative. Plus, that narrative we get is about a person and not a machine--a good-looking person, in whom the narrator is sexually interested. It’s the perfect pop material. Of course, I would be remiss to mention that “The Model” didn’t achieve all of its success until the single was re-released in many markets in 1981, and in those few years, the idea of “synth-pop” advanced significantly in the charts and popular consciousness. By the time “The Model” was a hit, Kraftwerk admirers were already taking over: look no further than Gary Numan’s "Cars” or OMD’s "Enola Gay,” two synth-pop classics that, it must be said, are still about vehicles!

That aside, though, not everything on The Man-Machine sounds like “The Model”--in fact, it’s surrounded by tracks that have much more in common with Kraftwerk’s earlier LPs. Literally surrounded, in the track listing. I think that adds to this album’s appeal as an ideal entry point into their catalogue: it has some things that sound familiar, while also preparing you for what else you’ll encounter if you choose to probe deeper into the band. The Man-Machine has the least homogeneous profile of any Kraftwerk album. While most of their other classic albums are highly cohesive “song cycles” that almost blend into one long song when you listen to them in full, The Man-Machine doesn’t really have those repeated melodies and motifs that tie its tracks together. While many people, especially fans of psychedelic and progressive rock, really like those cohesive albums, I think this change is a welcome one. It gives the individual tracks a bit more room to breathe and express distinctive identities, and makes the album feel a bit more pop, even if the material itself isn’t always all that poppy. *The Man-Machine* actually only has six individual tracks; they range in length from the three-minute pop stylings of “The Model” to the urban sprawl of “Neon Lights,” which luxuriates in an almost nine-minute runtime.

Given that the average track length is around six minutes, I’m almost tempted to think of The Man-Machine as six tiny Kraftwerk albums, or at least, musical ideas that could have been expanded into full LPs in another universe. “Neon Lights” and “Spacelab” feel dreamy and easy-going, with floating melodies that draw from the “cosmic music” scene, one of the many emergent styles that began as something uniquely German and spread throughout the world--in this case, becoming an important forerunner to ambient electronic music through acts like Tangerine Dream. Meanwhile, the hard, tick-tocking rhythms of “Metropolis” and the title track point to the newfound focus on rhythm and the so-called motorik beat that made the music of Neu! so compelling.

The Man-Machine can serve not only as an introduction to Kraftwerk, but also as a sort of crash course in this entire period of electronic music, showcasing some of the most distinctive and influential features of the German scene, as well as the shape of synth-pop to come. It’s a complex and busy historical moment with huge ramifications for almost all of subsequent electronic music, and The Man-Machine really creates a microcosm of that whole environment. There’s also the fact that each side of the record has one track from each of my three broad groups, like an expertly-designed sushi platter or charcuterie board for us to sample from, and they both follow the same formula: a pop appetizer, a cosmic *entree,* and motorik for dessert.

*The Man-Machine* also has what is almost certainly the most iconic cover of any of Kraftwerk’s LPs. This is how lots of us still picture them in our minds, and it’s inspired tons of parodies and riffs over the years. I think all of that acclaim is deserved! Emil Schult’s graphic design for the album was heavily inspired by avant-garde Soviet artists of the 10s and 20s, chiefly El Lissitzky. These visual artists used their art to express their hope for a new world, defined by the promise of technology, and their literally revolutionary philosophy--so what could be a better match for Kraftwerk’s electronic revolution in music? Lissitzky used bright, primary colours, straight lines, and geometric shapes to convey the “built environment” of modern cities and man-made architecture, and you’ve got all the same sentiment on display here. The use of strong diagonals really draws the eye and lends this image a lot of continued visual interest. It’s also worth noting the extent to which Kraftwerk’s aesthetics inspired later electronic acts almost as powerfully as their sound. When you picture an electronic band, and get a mental image of stiff and stone-faced musicians behind synthesisers wearing shirts and ties, you can certainly thank Kraftwerk for that, as well.

I also love the title of The Man-Machine! The relationship between people and technology is one of, if not the, most central themes in Kraftwerk’s entire discography, which is full of references to anthropomorphic machines as well as mechanically-mediated humans. The particular choice of the phrase “man-machine,” as opposed to words like “android,” has a fun vintage flair to it, which matches the use of early 20th Century visual art quite nicely.

As might be expected from the album’s stylistic diversity, *The Man-Machine* would prove to be something of a transition point in Kraftwerk’s career. Their 1981 follow-up, Computer World, would return to the song cycle format, but with increasing emphasis on ideas from the pop sphere, championed by percussionist Karl Bartos. By the time of the last classic-lineup Kraftwerk LP, 1986’s Electric Cafe, they had not only amped up the pop, but also incorporated influence from the electronic dance music of the time. Ultimately, Bartos would leave the group, chiefly due to discontent with his treatment by founding members Ralf Huetter and Florian Schneider-Esleben, and their persistent lack of musical productivity.

On a somewhat lighter note, my personal favourite track on this album is its opener, “The Robots.” Per my typology from earlier, I classified this as a pop-oriented song, and it certainly is an approachable one that’s proven to be quite popular. But it’s got just enough more experimental touches to keep things quite interesting. From an ominous, dissonant intro, a slightly more pop form, hinting at a verse/chorus structure, soon emerges and contrasts. I love the groove of the rhythm and percussion here, as well as the very heavy vocoder, rich in texture and certainly a Kraftwerk staple.

While the lyrics can be read as sort of light and silly, I like to think that the robots in question might also be dangerous. The track “Metropolis” seems to reference the seminal 1927 silent film of the same name, which is famous for its portrayal of an evil, mechanical doppelganger. Likewise, the choice to translate the lyrics of the song’s interlude into Russian is likely inspired by another great work of art from this era: the stage play R.U.R.--Rossum’s Universal Robots. Written by Karel Čapek in 1922, it’s the progenitor of the “robot revolution” trope in science fiction, the source of the word “robot” for autonomous machines in almost every human language, and one of the first entries in the illustrious career of an author who helped make Czech a true literary language. While the titular robots take time to assure us that they’re programmed to do what we humans want, should we really trust them...?

༺ ⁝ 𝑳𝒊𝒌𝒆 𝒕𝒉𝒆 𝒟𝑒𝓋𝒾𝓁,  𝒔𝒉𝒆 𝒘𝒊𝒍𝒍 𝒇𝒊𝒈𝒉𝒕. ⁝ ༻ Shades upon shades of pastel pink passed by my eyes in multiple different fabrics. Lace? Overused, still sexy, but overused. Velvet? Perhaps but it would need to be [real] if [I] was going to place this piece in my line. Felt? Fuck no. God, what a travesty that shit would be. Leather? There were two competitors, that I knew of, who were planning to incorporate leather into their “signature” lines, and if anyone knew me? They knew I was bound to blow their lines out of the water, and drown them. Not to say it wasn’t a difficult task; I wouldn’t be sweating over it. Deep blue eyes wandered over all of the fabrics that were sitting right at my fingertips, and slowly I let that gaze rise up to each person that held these panels. With a swift flick of the wrist I dismissed two fabrics from the room, and nodded to the remaining four. A smile of absolute certainty casted in against my features, and I nodded the four of them to take their seat at the designing table for this morning’s meeting with Christian Dior. “Go. Now. I want each of you seated at that table in [ten] minutes. Fabrics and swatches, no exceptions. You mess this up — even the [slightest] mistake? You can gather your belongings and leave,” I called out over my slender, black-clad shoulder. Of course, everyone knew how I operated by now, and if they didn’t? There would be someone in this studio that would brief them before I laid eyes on them. That’s the way I liked it. When you’re at the top of the hill, you get other people to do the minuscule things for you, and Lord knows I wasn’t one to train a rookie. Not in this lifetime, at least. Those days were long gone, and I would rather be shot square in the temple than to backslide into that pathetic existence, again. The familiar sound of their feet shuffling behind me, making their way to gather all of what was needed, caused a knowing smirk to form in where the smile had once been. Time to get this year’s line underway, and ready to go for the September release. For years now, I had been in close cahoots with Mister Dior, and I wasn’t about to waste that type of talent, or let some other company attempt to yank at his sketchbook. That was [my] job. In an ease of motion I began to thumb through my mother’s old sketches before I settled at the one I’d been saving for the right time. For the right artist. Dior was my prized penny in a stack of bent up nickels and dimes. Gentle fingers swept against the old tattered pages of this book for a moment as I thanked my mother for this gift I’d been given twelve years prior. Eyes fell closed for this second in time before I nodded, folding the book back to hide this page even though I knew it would open right back up. Perhaps with old wounds. Perhaps with a whole lot of hate. Who knew? Ringlets of Chestnut and Dark Chocolate locks framed my shoulders, and fell against my back as I made my way towards the room surrounded with glass walls, and a priceless view of Seattle. I could feel the eyes of all those who sat in the studio focus on me, and instead of acknowledging their angst, I simply flashed a brief smirk. Some young girl held the door open for me as I entered the room and an immediate smile washed into play as Christian stood to hug me. Small embrace, and that was it. Nodding, I stood at the head of the table, setting the book on the table and turning my attention to all who sat before me. “This year I want things to change. I want to create a line that screams to be pleased. That begs those who wear it to be taken at their weaknesses, but in that, to be [used] but only if [they] say to do so. Now, you all probably assume that will have to follow suit with bondage, submission, and dominance. To that I say — you are [wrong]. This has to do with vulnerability, and you might wonder what in the hell does that have to do with lingerie? Everything. You have to open a new side of you to place these clothes on you. To present yourself as a present for whomever, and that is our ticket in. That is how we are going to wipe our competitors off the slate. This is the year of Provocation by Pistol. Welcome Mr. Dior, and feel free to take a look at everything we’ve got in store for you. There are fabrics there that many wouldn’t dare to place in a lingerie line, much less as a primary focus, but I would. I want to see Velvet made completely of Silk, Dupioni Silk, Lamé, and Embroidered Organza. I want [you] to incorporate each of these into my line this year, and I want you to do so making new renditions of my mother’s sketches. Make them your own, but more importantly, darlin’ — Make me love them.” 𝑶𝒉, 𝒚𝒆𝒔. I could tell by the way he raised a brow towards me that his interest had been piqued, and I had ultimately won signing Christian Dior onto this year’s line. Too bad Daddy was wrong when he told me a, “bullshit little lingerie line won’t get you anywhere big.” I loved him, but he underestimated the power of a woman’s sex appeal far too much. Though I supposed it had to be hard for such an ‘upstanding, tight-lipped’ man such as himself to ever think of his daughter in that dedication. Shame. He could’ve had a hand in being a partner, but he’d lost that right many years back. Perfectly manicured fingers used the glass table as leverage as I pushed myself back, coming to stand just as I flashed Dior with a sardonic little smile. Nodding once towards him as to let him know I would see him in my office as soon as he had briefed my team on what he would like to do. I wasn’t about to show my entire team the works of my mother; too many eyes are too many chances to be betrayed. Christian stood just as I made my way from the room, and sauntered up the nearing stairs to my office. The only room on the entire top floor of my studio, though there were many upon many floors beneath. Twenty, to be exact. I bought this building on my nineteenth birthday, my third year of unrivaled success as a model in New York City. Coincidentally; my first year as a designer was my last year as a model, though I could easily reclaim my spot on the runway if I wished. I decided long ago that I wanted to be the name on the clothes rather than the name in the clothes. By trade, this is how I came to know [many] of the talented and entitled designers, artists, and models. So I used my time on the runway to aide into my own fashion empire. Much as I had used my father’s colleagues, friends, and social tree to find all of those to invest not only in my company but in me. To believe in [me.] Worked like a charm. Daddy, on the other hand, was a completely different story. Being a model was one thing, but being the face and name behind a billion dollar luxury lingerie line? Fuck me, I might as well have become a prostitute on the corner of Monterrey Square in Historic Savannah. That would’ve been less disgraceful to my father’s eyes than what I was currently becoming. What I was [creating] for the whole world to view, and part of me hated his self-righteous bullshit. Mama never would have done that. She wouldn’t have done all to me as he had; she wouldn’t have allowed her friends to lay their hands against her only child. Her only [daughter]. These thoughts echoed throughout my mind as I felt my fingertips dig down into the denim fabric of my Marc Jacobs denim jacket, almost far enough to pierce through the mastered stitches. Anger didn’t begin to cover the searing pain that etched in against my heart. This was why I worked so goddamn hard. To be able to say I had become more than John Hale. The most influential man to walk the streets of Savannah since Jim Williams. A man who took the world for granted, and treated people like disposable resources. Yes, Daddy, use everyone who ever loved you, and throw caution to the wind when it comes to their feelings. How smart. Ocean inspired eyes rolled back at the thought alone, and I tilted my head to the side just as I opened the leather bound sketchbook. A small, subdued smile coming into play as I let my fingers glide in against the drawing. It was almost as if my eyes had glazed over in a daze as I felt the familiar strokes of my mother’s pencil, and I simply sat back in my seat. Wonder filled my mind as I let my mind drift off to the thought of where she was. Where my father had placed her when I was twelve years old. The year he found out that I was ‘afflicted’ with lusting for others. That I wanted to be in an industry so highly controversial, and that his little girl wanted to walk the runway. He saw it as my mother’s fault since she spent most of her days that turned into nights, and back to day, piecing together her drawings. Making them come to life in her tiny ass attic apartment that was our secret. He knew of her dream to become a designer. What he didn’t know was that she had found the little silver key to the attic the same year I was born, and from then on? That was where she went to find solace. To comfort herself in her darkest days, and where she taught me how to be something he never could —ｓｔｒｏｎｇ. “𝙰 𝚖𝚊𝚗 𝚒𝚜 𝐧𝐨𝐭𝐡𝐢𝐧𝐠 𝚝𝚘 𝚋𝚎 𝐟𝐞𝐚𝐫𝐞𝐝, 𝚏𝚘𝚛 𝙷𝚎𝚕𝚕 𝚑𝚊𝚝𝚑 𝚗𝚘 𝚏𝚞𝚛𝚢 𝚕𝚒𝚔𝚎 𝚊 𝚠𝚘𝚖𝚊𝚗 𝚜𝚌𝚘𝚛𝚗𝚎𝚍.” I could still hear her sweet voice speaking to me from behind her wire mannequin as she pinned the dress in place. She would always make sure to peek around whatever masterpiece she had been working on, just to make sure I heard her quote Congreve but with her own touch. Maybe she didn’t realize it then, but I always paid attention when she spoke. Little did I know then, but I would always wonder if I subconsciously knew Daddy was going to throw her away the moment he found out. I did always have a knack for being able to predict certain outcomes, and perhaps a piece of me did know that particular fact of life. After all, by the age of fifteen I knew all the plays in my father’s playbook. 𝑺𝒕𝒆𝒑 𝑶𝒏𝒆: Create a “lasting” relationship. 𝑺𝒕𝒆𝒑 𝑻𝒘𝒐: Mind fuck them to the best of your abilities. Find out their weaknesses and their quirks. Figure out why they are in their position of power, and [how] they got there — that’s arguably the most important piece of information you can have against someone you plan to overcome. Once you know how they built themselves up to where they now stand; you’ll be able to see how to tear them down. Stone by stone. 𝑺𝒕𝒆𝒑 𝑻𝒉𝒓𝒆𝒆: Take your time throwing the stones of their lives away. You do [not] want to rush this, if you do they will catch on. They will see that you aren’t a friend after all, and that you are only in this for yourself. You are using them as your next step in the game. 𝑺𝒕𝒆𝒑 𝑭𝒐𝒖𝒓: Keep a distance, but not too much of a distance to raise suspicion. Make sure they know you “care” about what they’re going through. Hell, even offer your help if you feel it’ll help you step up your game. Build trust quicker than you tear it down. 𝑺𝒕𝒆𝒑 𝑭𝒊𝒗𝒆: Be still and know. Make moves behind closed doors. Nothing leaks to the press. Nothing leaves the table of which pages are signed [until] whomever you are fucking is already too far buried to fight back. Make sure anything you have done has been covered. There are no tracks. Be still in what you have finalizing. Know that there is nothing to unravel your own work. 𝑺𝒕𝒆𝒑 𝑺𝒊𝒙: Bury that motherfucker quicker than a lawyer who has something to hide. These are the six quintessential steps to overcoming [anyone] who dares to challenge a Hale. Especially if there is a threat involved. My father instilled these rules of the game from the time I was old enough to play a decent game of chess, with the logic that if I could outsmart a grown man at the age of thirteen; I could overcome any business tactic with a little grit and grace. Too bad I never liked to follow the rules. I play at my own expense, with my own rules, and at the hands of no mercy — for a mercy rule is a weak man’s way out. ⁝༺༻⁝ The familiar sound of knuckles against my office door quickly grasped my attention from the previous thoughts, and snatched me back to reality. It took a moment to fully refocus myself on the task at hand, and I nodded to the man who stood six foot three in the doorway. “C’mon in, Dior. I’ve got somethin’ to show you,” I called out in a clear, concise southern draw. Letting my gaze settle against him as he made his way over, straightening out his suit as seen fit. Once he had taken a seat across from me, and I flashed a small but noticed smile in his direction before I turned my mother’s sketchbook towards him. Taking a moment before I thumbed through to fourteen different designs. All a completely different style; all equally as challenging as anything else he had ever created. After I let him take the book into his own hands, to study the drawings, I began to speak once again. “What I want [you] to do is to take these and make them your own, but with remnants of her. My mother. She was quite the artist, without a platform, without a voice into the world of fashion alike. It’s time to break the ice. I want you to use only four fabrics to create something unimaginable. Bear in mind, every one of these looks will have to be transformed into lingerie, and every look will pair with leather boots made by Christian Louboutin; you’re free to contact him to work amongst yourselves on the scheme. However, I will want restraints to match, and perhaps whips. Something to keep the edge alive, to fight the competitors on their ‘love me leather’ pursuit. Like I said — make me love them.” His emerald eyes stayed fixated on me for nearly five minutes before he nodded a very slow nod of understanding. Perplexed; to say the least, I’m sure. Though his smile lead me to believe he was more than happy to do as I had demanded, and instead of speaking he began in against the sketches once more. Studying each detail in their design just to look back up at me, and finally he broke the silence, “These are beautiful. Such a elegant touch she had to the designs; I wouldn’t touch that. There are things I will refuse to change, and others you will never recognize as your mother’s — they will be my own. You will be proud Miss Alice, and you [will] love them. I am a man of my word.” The certainty of his voice made a smirk creep in against my lips despite the satisfaction I got out of knowing he was pleased with my idea. Then and again; who wouldn’t be? With a nod to him, I moved to my feet to shake his hand as if to non-verbally seal the deal, and just as he went to tuck my mother’s sketchbook beneath his arm, I shook my head. “I think not. Her book stays in the studio. It does not leave the premises; there will be no exceptions. However, my assistant can and will make any and all accommodations you need to be comfortable here. There is a whole extension to this studio that comes off the fifteenth floor — in the back. It should be big enough to fit your needs, and if not? You come to me. We will work something out.” With that in the air, he smiled rather warmly towards me before sliding the book back onto my desk. Without a word he stepped into me, gracing my cheek with a gentle peck to show respect for my wishes, and as a friendly goodbye before stepping away. I waited until he had made his exit to slip my mother’s most prized work into my locked drawer, though once secure I made my way from the office. Smiling at the familiar clink of my heels against the marble floors — Oh how I loved that sound. I waved a hand in the direction of those who were still at work on the floor before thanking them briefly, and explained deadlines to the few who were in the meeting. For a moment I had to double check myself to make sure there was nothing I was forgetting to say or do, but ultimately I turned on my heel and headed for the elevator. Tucking my phone into my purse as I walked, a somber smile came into sight as I stepped onto the glass box, pressing in the ground level button, and once the doors slid closed? I ran a hand back through my thick locks, nodding to myself as I knew where I had to go next. What I had to do. Who I had to go see. Ding! The doors slid open in what seemed like no time, and I sauntered through the lobby and directly for the car that awaited my arrival just to dismiss my driver instead of taking my usual ride to my temporary home on Bainbridge Island. With a heavy breath falling from my lips, I followed back to retrieve my Bentley where I slipped comfortably in against the leather seats before bringing the car to life. It only took a few seconds before I was pulling away from my studio and heading to the outskirts of Seattle to Northern State Sanatorium. After an hour and a half later, I found myself pulling into the dreary confines of this institution’s parking lot, and for a moment? I couldn’t help but to wonder what kind of horrific shit might linger deep within the walls of this building. There wasn’t a smile to be had here, and that much was evident. Nodding to myself, a silent confirmation that I needed to do this because if I didn’t do it now? I never would. Minutes passed as I sat in the car, breathing...just breathing before I slipped away from the car. My purse hung from the crook of my elbow just as I sauntered towards the door, and much to my surprise? It was a mechanical door instead of something wretched as I assumed it would be. That’s reassuring, at least I noted to myself just as I made my way to the front desk where a sliding window opened and a blonde woman of about sixty years sat. She looked over me for awhile before finally asking for my name and for the name of whom I was coming to see. 𝑯𝒆𝒓𝒆 𝒈𝒐𝒆𝒔 𝒏𝒐𝒕𝒉𝒊𝒏𝒈. “Alice Katherine Hale, I’m here to see my mother; Josephine Alice Hale.”

Herbie Hancock

Herbert Jeffrey Hancock (born April 12, 1940) is an American pianist, keyboardist, bandleader, composer and actor. Hancock started his career with Donald Byrd. He shortly thereafter joined the Miles Davis Quintet, where he helped to redefine the role of a jazz rhythm section and was one of the primary architects of the post-bop sound. In the 1970s, Hancock experimented with jazz fusion, funk, and electro styles.

Hancock's best-known compositions include the jazz standards "Cantaloupe Island", "Watermelon Man", "Maiden Voyage", and "Chameleon", as well as the hit singles "I Thought It Was You" and "Rockit". His 2007 tribute album River: The Joni Letters won the 2008 Grammy Award for Album of the Year, only the second jazz album to win the award, after Getz/Gilberto in 1965.

Early life

Hancock was born in Chicago, Illinois, the son of Winnie Belle (Griffin), a secretary, and Wayman Edward Hancock, a government meat inspector. His parents named him after the singer and actor Herb Jeffries. He attended Hyde Park High School. Like many jazz pianists, Hancock started with a classical music education. He studied from age seven, and his talent was recognized early. Considered a child prodigy, he played the first movement of Mozart's Piano Concerto No. 26 in D Major, K. 537 (Coronation) at a young people's concert on February 5, 1952, with the Chicago Symphony Orchestra (led by CSO assistant conductor George Schick) at the age of 11.

Through his teens, Hancock never had a jazz teacher, but developed his ear and sense of harmony. He was also influenced by records of the vocal group the Hi-Lo's. He reported that:

"...by the time I actually heard the Hi-Lo's, I started picking that stuff out; my ear was happening. I could hear stuff and that's when I really learned some much farther-out voicings – like the harmonies I used on Speak Like a Child – just being able to do that. I really got that from Clare Fischer's arrangements for the Hi-Lo's. Clare Fischer was a major influence on my harmonic concept...he and Bill Evans, and Ravel and Gil Evans, finally. You know, that's where it came from."

In 1960, he heard Chris Anderson play just once, and begged him to accept him as a student. Hancock often mentions Anderson as his harmonic guru. Hancock left Grinnell College, moved to Chicago and began working with Donald Byrd and Coleman Hawkins, during which period he also took courses at Roosevelt University (he later graduated from Grinnell with degrees in electrical engineering and music. Grinnell also awarded him an honorary Doctor of Fine Arts degree in 1972). Byrd was attending the Manhattan School of Music in New York at the time and suggested that Hancock study composition with Vittorio Giannini, which he did for a short time in 1960. The pianist quickly earned a reputation, and played subsequent sessions with Oliver Nelson and Phil Woods. He recorded his first solo album Takin' Off for Blue Note Records in 1962. "Watermelon Man" (from Takin' Off) was to provide Mongo Santamaría with a hit single, but more importantly for Hancock, Takin' Off caught the attention of Miles Davis, who was at that time assembling a new band. Hancock was introduced to Davis by the young drummer Tony Williams, a member of the new band.

Career

Miles Davis Quintet (1963–68) and Blue Note Records (1962–69)

Hancock received considerable attention when, in May 1963, he joined Davis's Second Great Quintet. Davis personally sought out Hancock, whom he saw as one of the most promising talents in jazz. The rhythm section Davis organized was young but effective, comprising bassist Ron Carter, 17-year-old drummer Williams, and Hancock on piano. After George Coleman and Sam Rivers each took a turn at the saxophone spot, the quintet gelled with Wayne Shorter on tenor saxophone. This quintet is often regarded as one of the finest jazz ensembles yet.

While in Davis's band, Hancock also found time to record dozens of sessions for the Blue Note label, both under his own name and as a sideman with other musicians such as Shorter, Williams, Grant Green, Bobby Hutcherson, Rivers, Byrd, Kenny Dorham, Hank Mobley, Lee Morgan and Freddie Hubbard.

Hancock also recorded several less-well-known but still critically acclaimed albums with larger ensembles – My Point of View (1963), Speak Like a Child (1968) and The Prisoner (1969) featured flugelhorn, alto flute and bass trombone. 1963's Inventions and Dimensions was an album of almost entirely improvised music, teaming Hancock with bassist Paul Chambers and two Latin percussionists, Willie Bobo and Osvaldo "Chihuahua" Martinez.

During this period, Hancock also composed the score to Michelangelo Antonioni's film Blowup (1966), the first of many film soundtracks he recorded in his career. As well as feature film soundtracks, Hancock recorded a number of musical themes used on American television commercials for such then well known products as Pillsbury's Space Food Sticks, Standard Oil, Tab diet cola and Virginia Slims cigarettes. Hancock also wrote, arranged and conducted a spy type theme for a series of F. William Free commercials for Silva Thins cigarettes. Hancock liked it so much he wished to record it as a song but the ad agency would not let him. He rewrote the harmony, tempo and tone and recorded the piece as the track "He Who Lives in Fear" from his The Prisoner album of 1969.

Davis had begun incorporating elements of rock and popular music into his recordings by the end of Hancock's tenure with the band. Despite some initial reluctance, Hancock began doubling on electric keyboards including the Fender Rhodes electric piano at Davis's insistence. Hancock adapted quickly to the new instruments, which proved to be important in his future artistic endeavors.

Under the pretext that he had returned late from a honeymoon in Brazil, Hancock was dismissed from Davis's band. In the summer of 1968 Hancock formed his own sextet. However, although Davis soon disbanded his quintet to search for a new sound, Hancock, despite his departure from the working band, continued to appear on Davis records for the next few years. Appearances included In a Silent Way, A Tribute to Jack Johnson and On the Corner.

Fat Albert (1969) and Mwandishi (1971)

Hancock left Blue Note in 1969, signing with Warner Bros. Records. In 1969, Hancock composed the soundtrack for Bill Cosby's animated prime-time television special Hey, Hey, Hey, It's Fat Albert. Music from the soundtrack was later included on Fat Albert Rotunda (1969), an R&B-inspired album with strong jazz overtones. One of the jazzier songs on the record, the moody ballad "Tell Me a Bedtime Story", was later re-worked as a more electronic sounding song for the Quincy Jones album Sounds...and Stuff Like That!! (1978).

Hancock became fascinated with electronic musical instruments. Together with the profound influence of Davis's Bitches Brew (1970), this fascination culminated in a series of albums in which electronic instruments were coupled with acoustic instruments.

Hancock's first ventures into electronic music started with a sextet comprising Hancock, bassist Buster Williams and drummer Billy Hart, and a trio of horn players: Eddie Henderson (trumpet), Julian Priester (trombone), and multireedist Bennie Maupin. Patrick Gleeson was eventually added to the mix to play and program the synthesizers.

The sextet, later a septet with the addition of Gleeson, made three albums under Hancock's name: Mwandishi (1971), Crossings (1972) (both on Warner Bros. Records), and Sextant (1973) (released on Columbia Records); two more, Realization and Inside Out, were recorded under Henderson's name with essentially the same personnel. The music exhibited strong improvisational aspect beyond the confines of jazz mainstream and showed influence from the electronic music of contemporary classical composers.

Hancock's three records released in 1971–73 later became known as the "Mwandishi" albums, so-called after a Swahili name Hancock sometimes used during this era ("Mwandishi" is Swahili for "writer"). The first two, including Fat Albert Rotunda were made available on the 2-CD set Mwandishi: the Complete Warner Bros. Recordings, released in 1994. "Hornets" was later revised on the 2001 album Future2Future as "Virtual Hornets".

Among the instruments Hancock and Gleeson used were Fender Rhodes piano, ARP Odyssey, ARP 2600, ARP Pro Soloist Synthesizer, a Mellotron and the Moog synthesizer III.

From Head Hunters (1973) to Secrets (1976)

Hancock formed The Headhunters, keeping only Maupin from the sextet and adding bassist Paul Jackson, percussionist Bill Summers, and drummer Harvey Mason. The album Head Hunters (1973) was a hit, crossing over to pop audiences but criticized within his jazz audience. Stephen Erlewine, in a retrospective summary for AllMusic, said, "Head Hunters still sounds fresh and vital three decades after its initial release, and its genre-bending proved vastly influential on not only jazz, but funk, soul, and hip-hop."

Drummer Mason was replaced by Mike Clark, and the band released a second album, Thrust, the following year, 1974. (A live album from a Japan performance, consisting of compositions from those first two Head Hunters releases was released in 1975 as Flood.) This was almost as well received as its predecessor, if not attaining the same level of commercial success. The Headhunters made another successful album called Survival of the Fittest in 1975 without Hancock, while Hancock himself started to make even more commercial albums, often featuring members of the band, but no longer billed as The Headhunters. The Headhunters reunited with Hancock in 1998 for Return of the Headhunters, and a version of the band (featuring Jackson and Clark) continues to play and record.

In 1973, Hancock composed his soundtrack to the controversial film The Spook Who Sat by the Door. Then in 1974, he composed the soundtrack to the first Death Wish film. One of his memorable songs, "Joanna's Theme", was re-recorded in 1997 on his duet album with Shorter, 1+1.

Hancock's next jazz-funk albums of the 1970s were Man-Child (1975), and Secrets (1976), which point toward the more commercial direction Hancock would take over the next decade. These albums feature the members of the Headhunters band, but also a variety of other musicians in important roles.

From V.S.O.P. (1976) to Future Shock (1983)

In 1978, Hancock recorded a duet with Chick Corea, who had replaced him in the Davis band a decade earlier. Hancock also released a solo acoustic piano album, The Piano (1979), which was released only in Japan. (It was released in the US in 2004.) Other Japan-only albums include Dedication (1974), V.S.O.P.'s Tempest in the Colosseum (1977), and Direct Step (1978). VSOP: Live Under the Sky was a VSOP album remastered for the US in 2004 and included a second concert from the tour in July 1979.

From 1978 to 1982, Hancock recorded many albums of jazz-inflected disco and pop music, beginning with Sunlight (featuring guest musicians including Williams and Pastorius on the last track) (1978). Singing through a vocoder, he earned a British hit, "I Thought It Was You", although critics were unimpressed. This led to more vocoder on his next album, Feets, Don't Fail Me Now (1979), which gave him another UK hit in "You Bet Your Love".

Hancock toured with Williams and Carter in 1981, recording Herbie Hancock Trio, a five-track live album released only in Japan. A month later, he recorded Quartet with trumpeter Wynton Marsalis, released in the US the following year. Hancock, Williams, and Carter toured internationally with Wynton Marsalis and his brother, saxophonist Branford Marsalis, in what was known as "VSOP II". This quintet can be heard on Wynton Marsalis's debut album on Columbia (1981). In 1984 VSOP II performed at the Playboy Jazz Festival as a sextet with Hancock, Williams, Carter, the Marsalis Brothers, and Bobby McFerrin.

In 1982 Hancock contributed to the album New Gold Dream (81,82,83,84) by Simple Minds, playing a synthesizer solo on the track "Hunter and the Hunted".

In 1983, Hancock had a pop hit with the Grammy-award-winning single "Rockit" from the album Future Shock. It was the first jazz hip-hop song and became a worldwide anthem for breakdancers and for hip-hop in the 1980s. It was the first mainstream single to feature scratching, and also featured an innovative animated music video, which was directed by Godley and Creme and showed several robot-like artworks by Jim Whiting. The video was a hit on MTV and reached No. 8 in the UK. The video won in five categories at the inaugural MTV Video Music Awards. This single ushered in a collaboration with noted bassist and producer Bill Laswell. Hancock experimented with electronic music on a string of three LPs produced by Laswell: Future Shock (1983), the Grammy Award-winning Sound-System (1984), and Perfect Machine (1988).

During this period, he appeared onstage at the Grammy Awards with Stevie Wonder, Howard Jones, and Thomas Dolby, in a synthesizer jam. Lesser known works from the 1980s are the live album Jazz Africa (1987) and the studio album Village Life (1984), which were recorded with Gambian kora player Foday Musa Suso. Also, in 1985 Hancock performed as a guest on the album So Red the Rose (1985) by the Duran Duran spinoff group Arcadia. He also provided introductory and closing comments for the PBS rebroadcast in the United States of the BBC educational series from the mid-1980s, Rockschool (not to be confused with the most recent Gene Simmons' Rock School series).

In 1986 Hancock performed and acted in the film 'Round Midnight. He also wrote the score/soundtrack, for which he won an Academy Award for Original Music Score. His film work was prolific during the 1980s, and included the scores to A Soldier's Story (1984), Jo Jo Dancer, Your Life Is Calling (1986), Action Jackson (1988, with Michael Kamen), Colors (1988), and the Eddie Murphy comedy Harlem Nights (1989). Often he would also write music for TV commercials. "Maiden Voyage", in fact, started out as a cologne advertisement. At the end of the Perfect Machine tour, Hancock decided to leave Columbia Records after a 15-plus-year relationship.

1990s to 2000

After a break following his departure from Columbia, Hancock, together with Carter, Williams, Shorter, and Davis admirer Wallace Roney, recorded A Tribute to Miles, which was released in 1994. The album contained two live recordings and studio recording songs, with Roney playing Davis's part as trumpet player. The album won a Grammy for best group album. Hancock also toured with Jack DeJohnette, Dave Holland and Pat Metheny in 1990 on their Parallel Realities tour, which included a performance at the Montreux Jazz Festival in July 1990, and scored the 1991 comedy film Livin' Large, which starred Terrence C. Carson.

Hancock's next album, Dis Is da Drum, released in 1994, saw him return to acid jazz. Also in 1994, he appeared on the Red Hot Organization's compilation album Stolen Moments: Red Hot + Cool. The album, meant to raise awareness and funds in support of the AIDS epidemic in relation to the African-American community, was heralded as "Album of the Year" by Time Magazine.

1995's The New Standard found Hancock and an all-star band including John Scofield, DeJohnette and Michael Brecker, interpreting pop songs by Nirvana, Stevie Wonder, the Beatles, Prince, Peter Gabriel and others.

A 1997 duet album with Shorter, entitled 1+1, was successful; the song "Aung San Suu Kyi" winning the Grammy Award for Best Instrumental Composition. Hancock also achieved great success in 1998 with his album Gershwin's World, which featured readings of George and Ira Gershwin standards by Hancock and a plethora of guest stars, including Wonder, Joni Mitchell and Shorter. Hancock toured the world in support of Gershwin's World with a sextet that featured Cyro Baptista, Terri Lynne Carrington, Ira Coleman, Eli Degibri and Eddie Henderson.

2000 to 2009

In 2001 Hancock recorded Future2Future, which reunited Hancock with Laswell and featured doses of electronica as well as turntablist Rob Swift of The X-Ecutioners. Hancock later toured with the band, and released a concert DVD with a different lineup, which also included the "Rockit" music video. Also in 2001 Hancock partnered with Brecker and Roy Hargrove to record a live concert album saluting Davis and John Coltrane, entitled Directions in Music: Live at Massey Hall, recorded live in Toronto. The threesome toured to support the album, and toured on-and-off through 2005.

The year 2005 saw the release of a duet album called Possibilities. It featured duets with Carlos Santana, Paul Simon, Annie Lennox, John Mayer, Christina Aguilera, Sting and others. In 2006 Possibilities was nominated for Grammy Awards in two categories: "A Song for You" (featuring Aguilera) was nominated for a Grammy Award for Best Pop Instrumental Performance, and "Gelo No Montanha" (featuring Trey Anastasio on guitar) was nominated for a Grammy Award for Best Instrumental Performance, although neither nomination resulted in an award.

Also in 2005 Hancock toured Europe with a new quartet that included Beninese guitarist Lionel Loueke, and explored textures ranging from ambient to straight jazz to African music. Plus, during the summer of 2005, Hancock re-staffed the Headhunters and went on tour with them, including a performance at The Bonnaroo Music & Arts Festival. This lineup did not consist of any of the original Headhunters musicians. The group included Marcus Miller, Carrington, Loueke and Mayer. Hancock also served as the first artist in residence for Bonnaroo that summer.

Also in 2006 Sony BMG Music Entertainment (which bought out Hancock's old label, Columbia Records) released the two-disc retrospective The Essential Herbie Hancock. This set was the first compilation of his work at Warner Bros., Blue Note, Columbia and Verve/Polygram. This became Hancock's second major compilation of work since the 2002 Columbia-only The Herbie Hancock Box, which was released at first in a plastic 4 × 4 cube then re-released in 2004 in a long box set. Also in 2006, Hancock recorded a new song with Josh Groban and Eric Mouquet (co-founder of Deep Forest), entitled "Machine". It is featured on Groban's CD Awake. Hancock also recorded and improvised with guitarist Loueke on Loueke's 1996 debut album Virgin Forest, on the ObliqSound label, resulting in two improvisational tracks – "Le Réveil des agneaux (The Awakening of the Lambs)" and "La Poursuite du lion (The Lion's Pursuit)".

Hancock, a longtime associate and friend of Mitchell, released a 2007 album, River: The Joni Letters, that paid tribute to her work, with Norah Jones and Tina Turner adding vocals to the album, as did Corinne Bailey Rae. Leonard Cohen contributed a spoken piece set to Hancock's piano. Mitchell herself also made an appearance. The album was released on September 25, 2007, simultaneously with the release of Mitchell's newest album at that time: Shine. River won the 2008 Album of the Year Grammy Award. The album also won a Grammy for Best Contemporary Jazz Album, and the song "Both Sides Now" was nominated for Best Instrumental Jazz Solo. That was only the second time in history that a jazz album had both those Grammys.

On June 14, 2008 Hancock performed with others at Rhythm on the Vine at the South Coast Winery in Temecula, California, for Shriners Hospitals for Children. The event raised $515,000 for Shriners Hospital.

On January 18, 2009, Hancock performed at the We Are One concert, marking the start of inaugural celebrations for American President Barack Obama. Hancock also performed Rhapsody in Blue at the 2009 Classical BRIT Awards with classical pianist Lang Lang. Hancock was named as the Los Angeles Philharmonic's creative chair for jazz for 2010–12.

2010 to present

In June 2010, Hancock released The Imagine Project.

On June 5, 2010, he received an Alumni Award from his alma mater, Grinnell College. On July 22, 2011, at a ceremony in Paris, he was named UNESCO Goodwill Ambassador for the promotion of Intercultural Dialogue. In 2013 Hancock joined the University of California, Los Angeles faculty as a professor in the UCLA music department where he will teach jazz music.

In a June 2010 interview with Michael Gallant of Keyboard magazine, Hancock talks about his Fazioli giving him inspiration to do things.

On December 8, 2013, he was given the Kennedy Center Honors Award for achievement in the performing arts with artists like Snoop Dogg and Mixmaster Mike from the Beastie Boys performing his music.

He appeared on the album You're Dead by Flying Lotus, released in October 2014.

Hancock is the 2014 Charles Eliot Norton Professor of Poetry at Harvard University. Holders of the chair deliver a series of six lectures on poetry, "The Norton Lectures", poetry being "interpreted in the broadest sense, including all poetic expression in language, music, or fine arts." Previous Norton lecturers include musicians Leonard Bernstein, Igor Stravinsky and John Cage. Hancock's theme is "The Ethics of Jazz."

Hancock's next album is being produced by Terrace Martin, and will feature a broad variety of jazz and hip-hop artists including Wayne Shorter, Kendrick Lamar, Kamasi Washington, Thundercat, Flying Lotus, Lionel Loueke, Zakir Hussein and Snoop Dogg.

On May 19, 2018, Hancock received an honorary degree from Rensselaer Polytechnic Institute.

Personal life

Nichiren Buddhism

Since 1972, Hancock has practiced Nichiren Buddhism as a member of the Buddhist association Soka Gakkai International. As part of Hancock's spiritual practice, he recites the Buddhist chant Nam Myoho Renge Kyo each day. In 2013, Hancock's dialogue with musician Wayne Shorter and Soka Gakkai International president Daisaku Ikeda on jazz, Buddhism and life was published in Japanese and English.

Project proposal.

1.  Review.

So far this year I have learnt to expand my creative in how I can include art techniques into my project. Therefore, this means that I will have to have to be open minded towards art techniques. Although I do find this hard because I see myself as a photographer and therefore not in touch with my creative art side because I was never good at art or drawing so I decided to channel all my creativity into my photography. when I have an idea on a shoot, I know exactly how I want it to be created and the amount of experiment ideas I can try along the way.

The research focus that I have developed this year is primary research. I have learnt this by being involved with class discussions asking questions and understanding their reasoning. Also, I have learnt that I will need to interview people to gain primary research to progress my further knowledge into my researched topic. Although the technique I am still progressing is giving other people feedback on their work.

The reason I have decided to choose 'structure of a psychopaths mind' is because I want to try something different to what I think most people will be looking too. Although, I have always been interested in all types of psychology and using my photography skills I want to show all the stereotypes and behaviours of a psychopath. Although, I am fully aware that not all psychopaths are mass killers but my side to this project is that I want to show the dark side of them and what dark thoughts they get inside their heads. I want to look into ‘psychopath’ killers around the world on what goes through their heads and behaviour traits that they display. I have always loved psychology trying to understand people’s actions and feelings. When I first came up with the idea of psychopaths I had ideas of photo shoots running through my head and this got me excited which gave me drive to carry on this idea for my project. My angle to this project is that I want to educate people on the meaning on each subject because it’s easy to throw around the words and not fully understand. I also think that dark stuff interests me and many others people because it’s the fear of the unknown and things that we are scared of that makes us more interested in them.

What I am hoping to achieve at the end of this course would to achieve a respectable grade so that I will be able to peruse my dream of working in a photography studio creating endless photoshoots for clients. Also, at the moment I am doing day events for the council and a charity that is based in London where I travel around the South East. This is something that I would really love to carry on after college and looking into creating my own business from this where I doing photoshoots and day events for charities etc.

 2. Project Concept.

The inspiration for my project idea came from growing up watching serial killer tv shows with my nan and mum. The inspiration also came from always wanting to understand psychology which is something big for me because I have always wanted to understand what goes through people’s minds and why this happening. I also want to look into how they disguise themselves as ‘normal’ and how they manipulate people around them and how they learn how to express certain feelings even though they cannot feel this they can act it but they will never be able to feel this. Cults manipulate people into joining their organisation by grooming them by making the world is a bad place and everyone is against them but if they belong to this club then there is some be good in the world and they make them feel belonged to the group. After making them feel wanted they then groom them by slowly changing their views on things and slowly change their behaviour and making them do things they normally wouldn’t by saying they can get revenge by doing rituals and releasing demons and spirits into the world to torture and haunt people. The inspiration also came from wanting to do something different and I wanted to follow other artist who risen above others by creating something that stands out and I aspire to be like that. The inspiration came from the amount of ideas of shoots that came to mind and how playful I could be with it. I have also like creating dark stuff or things that maybe a little touchy to talk about but I want to express my ideas with it and the inspiration I get is inspiring others to create things. I will also be looking into cults and how this may influence people to do bad things and look into things such as rituals. As some killers follow Satanism religion and they kill people in rituals or they follow a certain way to kill people to use them as a sacrifice. Although I do feel people are quick to throw around the word and call people psychopaths but not understanding the meaning behind it and this is what I want to do is show people the real meaning of a psychopath. Although in my opinion psychopaths join cults so they can take their urge to hurt people out on animals in rituals by harming them and sacrificing them. Dark matters interest me but it kind of scares me because it’s a higher power that is dangerous to be a part of or be around where some dark rituals have happen. It’s a part of something I have grown up with learning about psychopaths, ghosts and cults so it has always interested me especially the psychology side of it.

The techniques I’m going to use to gain research, will be looking into documentaries on serial killers and structures of cults. I will also be using questionnaires and interviews to gain an insight to what people think about psychopaths and cults. I’m going to use documentaries as research because I will be looking to cases of killers and how they made people around them seem that they were ‘normal’ and not a suspect to any kind of danger from them. Also, this will give me an insight of what goes through people’s mind when they are psychotic. I will also use websites as well as documentaries so that I can research history on Satanism and cults and how they have rituals and how they influence people to be bad and committing crimes because I feel psychopaths are associated with cults as I know that the organisation have an influence on people to commit bad things.

The techniques I will need to use is the photography studio because I will be needing to use the space to create test shoots and experiments of ideas I have gathered throughout my project. Although, I may need to use the art studio to create art-based experiments that will be carried out in the art studio. I will also need the techniques on how to create the correct set up when creating a dark low-key photoshoot that includes lots of shadows as well as light.

I hope that my photography gives the message of what goes through the mind of a psychopath and an insight of the structure of Satanism/cults. I hope my work shows people what the true definition of what a psychopath is and what need to make one and the murder side of it. I want to show the structure of a cult and how it can take over your life and make you into someone that you are not and do things that a ‘normal’ person would never think about doing which links to my psychotic side of this project because it’s about how ‘these people’ act and how they don’t feel anything and they try to fit in by acting way by learning from people and this what a cult makes you do it makes you don’t feel anything but what you’re doing it right and I want to show how the structure of a psychopath and a cult organisation can be influential and how psychopaths blend in with everyone because they are intelligent on how to feel and show what goes through their minds.

The target audience that I have in mind is young people aged between 16-25 because I feel that young people don’t understand what a true psychopath is and that they don’t understand the traits of what one is. Also, a lot of people don’t realise that they might be in a cult and need something to tell them what it is but also I want to show the structure and give people a true understanding of what goes through a psychopaths mind or the structure of what a cult is and how to identify it and have a true understanding what a psychopath is and not so quick to throw the word around and easily accuse someone of something so easily. The reason I have chosen a young age range because I feel that young people may know about these things but they don’t understand them fully and don’t understand the full story of what a psychopath feels or doesn’t feel. Also, I think it might help to realise that they might be in a cult and not realise it but I want to spread the message of what goes through the mind of a psychopath and what a cult really is and how it works. I feel when people are young they don’t understand what words mean and they just call people it but don’t understand what really means and the other side to this. This is for a target audience who doesn’t have much knowledge on this area of subject because it’s all about the structure of a psychopath’s head and the structure and history of cults and Satanism. I want to express how cults manipulate and groom people inside of cults and how people easily fall for this.

 3. Evaluation.

The techniques I will use to evaluate my work is by self-reflecting by making weekly reviews on my work and setting targets for myself to complete for the week commencing which I will be making into my journal. Also, I will be gaining feedback from my tutors on latest artist researches and outcomes that I have created throughout the week/project. I will also be giving feedback by my piers where I will be taking notes on how I can improve and add it to future outcomes. Also, I may get feedback from unknown people where my work is being displayed in my blog and people are open to comment what they think of my work and what they don’t like. I feel this is an advantage to me because I may get feedback from the public who can express themselves and I will take this as feedback and try to improve my work.

I will be using my journal as a place where I gather my ideas, list artist and store feedback such. I will also be using it to make a weekly feedback where I’ll be evaluating myself on how I can improve. I will be also using it as place to store quotes and thoughts that I have thought throughout my project which will be put onto my blog at the end of my project to show my progression of thinking. My journal will help me reflect and manage my targets to make sure that I am keeping up with set tasks.

Evaluation and reflection is vital because it helps with time management it helps you asses where you are in your project also it helps you look back at your work and look at areas where you might need improvement. I also think that this is vital because it allows you to get help and feedback from piers which could be helpful towards photoshoot ideas and possible artist research.

The Byrds - Fifth Dimension

The album Fifth Dimension took flight following two ground-breaking albums that had melded the innovative essentials of the British Invasion with the burgeoning folk-pop music scene happening in the U.S. With the release of their first album The Byrds blended those styles into what came to be known as folk-rock. Although they may not have been the only ones to do this, nor the actual first to produce it, they became the most influential artists to do so. With Fifth Dimension, things took a left turn straight into the stratosphere of psychedelia and toward Raga as well, plus a bit of a right turn toward country music. The album contained all that, although it was perhaps not so well executed as their first record.

In March 1966 the single Eight Miles High b/w Why was released for take off. It turned people, as the saying goes, on their ears. The band and their manager Jim Dickson recorded the two songs at RCA Studios in December 1965, and those songs were a creative leap for them. According to Columbia all recording had to take place at the label’s studios and, with their house producers. The re-recording took place in January. The bulk of the song was written by band member Gene Clark, who had become the band’s primary songwriter, but Roger (Jim) McGuinn and David Crosby were co-writers. By the time the song came out Clark had departed. The “official reason given for his departure was it was due to his fear of flying which prevented “him from fulfilling his obligations with the group”, according to Johnny Rogan in his book, The Byrds: Timeless Flight Revisited. The reality was that it also had something to do with general anxiety issues. Of course, there was that little affair with a certain “Mama” in another up and coming band as the year progressed.

The remaining quartet, McGuinn, Crosby, Chris Hillman and Michael Clarke were left to complete the album which was recorded over the next three months and released in July. The other single that was released, 5D (Fifth Dimension) b/w the instrumental, Captain Soul, came out one month before the album. The two singles were victims of being banned due to alleged drug references by certain stations and markets. This, in part at least, helped prevent them from going higher on the charts than they did. Eight Miles High, which topped out at No.14 on Billboard and 24 on UK Singles, was also cited for being comparably noncommercial and complex for the average listener. 5D (Fifth Dimension) was another, perhaps even more psychedelic track, that only reached 44 on Billboard and never charted in the U.K. The composer, Jim McGuinn, was being cerebral and metaphysical in his approach to the song, trying to explain Einstein’s theory of relativity while also citing Don Landis’ book 1-2-3-4 More, More, More, More as inspiration. Yet a large amount of the audience was interpreting the abstract lyrics as relating to an LSD trip. The other songs written by McGuinn for the album were also eclectic. Mr. Spaceman, which got some radio airplay in some areas, was definitely a lean into country music with by no means typical country style lyrics. 2-4-2 Fox Trot (The Lear Jet Song) was novelty song. The main characters of the song were a Lear jet and a pilot preparing to take off in it while the band sang a ten-word phrase repeatedly throughout the entire song. The next song on the album, I See You, co-written by McGuinn and David Crosby, has a jazzy feel and contains some effective 12-string guitar solos. What’s Happening!? is David Crosby’s lone solo composition on the album and presaged his hippie ethos rants to come. Crosby was also the catalyst for including his version of the garage rock song Hey Joe that The Leaves made into a Top 40 hit. The Leaves version came after hearing both The Byrds and Love play it at shows in the LA area. It is a song that is said to have been written by Billy Roberts. There are other claims to its’ authorship as well, but Roberts holds the copyright. Crosby brought it to the band in the first place and wanted to record it before they had gone into the studio. The rest of the band was not excited about it, but by the time they were in the Fifth Dimension session Crosby was was so angry because The Leaves already had a hit and Love had also recorded it, that they agreed to let him sing it on the album. Wild Mountain Thyme, credited as a traditional song, is more directly associated with the song adapted by Belfast musician Francis McPeake and first recorded by his family in the 1950s. The source was an Irish/Scottish folk song, the lyrics and melody being a variant of  Robert Tannahill and Robert Archibald Smith’ The Braes of Balquhither. The McPeake basis of this was related to me by Belfast musician, and former band member with Van Morrison, Kevin Brennan, who had personally known the McPeakes. All four band members were responsible for the instrumental Captain Soul, and they are also credited for arranging the other traditional song on the album, John Riley, which is derived from Homer’s Odyssey and interpreted through 17th century English folk ballad tradition. It was recorded by Peter Seeger in 1950. I Come and Stand at Every Door is the closing song on the first side. It originated as a 1955 poem by Turkish poet Nâzım Hikmet (Ran), called Kız Çocuğu (The Girl Child). It was a plea for peace from a seven-year old girl who had died in the atomic bomb explosion in Hiroshima and has, of course, an anti-war message. The only composer in the album credits is Çocuğu, but he was only responsible for the Turkish poem he had written. The roots of the American song version emanate from a non-traditional melody composed by Jim Waters in 1954 to fit the lyrics of Child 113 ballad The Great Silkie of Sule Skerry. Pete Seeger describes the story behind his version of the song in his Where Have All the Flowers Gone: A Singer's Stories, Songs, Seeds, Robberies (A Musical Autobiography) (1993):: “Jeanette Turner did a loose English "singable translation" of the poem under a different title, I Come And Stand At Every Door, and sent a note to Seeger asking "Do you think you could make a tune for it?" in the late 1950s. After a week of trial and failure, this English translation was used by Seeger in 1962 with an adaptation of "an extraordinary melody put together by a Massachusetts Institute of Technology student James Waters, who had put a new tune to a mystical ballad The Great Silkie which he couldn't get out of his head, without permission." Seeger wrote in his Where Have All the Flowers Gone: A Singer's Stories, Songs, Seeds, Robberies (A Musical Autobiography) (1993), ”It was wrong of me. I should have gotten his permission. But it worked. The Byrds made a good recording of it, electric guitars and all.” Tom Clark, a poet who had a blog called Beyond the Pale, posted the poem with photos referencing Hiroshima and further discussion. Per his response further down in the comments 7 August 2015 at 03:32, “…… rest assured the credit situation had long since been settled up fair and square by the time Pete Seeger, at 90, did that amazing a capella version for Democracy Now. The song is now and forever copy(r)ighted c: Nazim Hikmet/James W. Waters.”

Eight Miles High was the last piece in the puzzle which determined if I was finally going to accept rock and roll as my musical lord and savior. Well at least one of my musical saviors anyway, jazz was already in my head. It came on the heals of music I was listening to in 1966 from the Animals, Outsiders, Young Rascals, Troggs, Syndicate of Sound, Kinks, Paul Revere & The Raiders and particularly The Yardbirds, with Shapes of Things. When I first heard Shapes of Things I knew I was hooked, and Eight Miles High confirmed it. Looking back, it appears I was wide open to the ideas of psychedelic music because both these songs have been identified as pioneers in that genre. My true turning point came when a classmate of mine and I were hanging out at school and he started asking me about my musical likes. This was not long after I had started hearing Eight Miles High on the radio and I finally admitted that I was getting hooked on rock music. I had that undeniable "gotta have it" experience going on, but I wasn't into buying 45s at that point and frankly thought it surely must be on an album. It turned out that album took an another four months from the single release to be issued. It felt like an eternity, especially since it still took me a few more months to finally buy Fifth Dimension. It is generally recognized that the Yardbirds’ song, with Jeff Beck’s Asian/Indian-Raga feedback-laden guitar solo, and the anti-war/pro-environmental lyrics, was the first popular psychedelic song. Eight Miles High, is likewise considered the first American popular psychedelic song, with The Byrds next single, 5D (Fifth Dimension), following up a few months later. What followed was a two to three-year period in which the new psychedelic music scene was explored from top to bottom, and sideways. Psychedelic music incorporated new playing techniques, use of unusual or unexpected instruments, new ideas in thought and expression. It most certainly was influenced by the growing use of drugs, particularly those labeled as psychedelics such as LSD. As was mentioned, both Eight Miles High and 5D failed to reach higher chart plateaus, at least at part, because of what was alleged to be drug references in the songs. Eight Miles High approximates the height at which jet airliners fly and was a reference to that experience. Latently both Roger McGuinn and David Crosby admitted that their own drug use had influenced their contributions to the song. McGuinn however, who wrote 5D (Fifth Dimension) as a reference to Einstein’s Theory of Relativity, was disappointed by much of the listening audience assuming it was about drugs. What did he expect? It was 1966 after all, and perhaps that’s what they wanted it to be. Despite the psychedelic feel and abstract lyrics of 5D, McQuinn still somehow managed to make it sound country as well. The album ended up being a continuation of the folk-rock sound that The Byrds had helped pioneer with their first two albums. It also found them exploring what came to be known as country-rock.

A notable difference between Fifth Dimension and The Byrds’ first albums is that the band had five original compositions with four by Bob Dylan in each of them while Fifth Dimension contained eight by The Byrds and none by Dylan. The reviews of the album have been mixed, with some, such as New Express Magazine calling it "faultless" and a work that "heralds a newly psychedelic Byrds hung up on the archetypal acid-fixation with the unknown”, while others were disparaging. The general direction of criticism of the album was that it fell below the standards set by their first two albums, that it lacked energy, that it was “wildly uneven” per Richie Unterberger, or as Barney Hoskins in Mojo put it, "can't quite decide what sort of album it is”. On the other hand Billboard Magazine, later called it “their most under-rated album”. I, for one, was quite happy to not be some jaded critic. My mind was being opened up by new music, new ideas, and I could not get enough. Since I hadn’t obtained the first two albums, Fifth Dimension became my compass point for the Byrds, even though I had heard and enjoyed their first two hit songs. Fifth Dimension, with its’ various styles, was perfect for me and I listened to it repeatedly for quite a long time. It still remains one of my favorite albums. I even found a way to enjoy 2-4-2 Foxtrot (The Lear Jet Song) when I finally listened to it from the perspective of someone sitting in the co-pilot seat. Must have been at LAX.

One cut on the album had a resounding affect on me, "I Come and Stand at Every Door". I was still developing my own perspective on what was going on in the world and this song helped me look at many things differently.

https://en.wikipedia.org/wiki/The_Byrds

https://en.wikipedia.org/wiki/Fifth_Dimension_(album)

https://www.allmusic.com/artist/the-byrds-mn0000631774/biography

https://www.allmusic.com/album/fifth-dimension-mw0000200612

https://www.britannica.com/topic/the-Byrds

https://www.discogs.com/artist/215471-The-Byrds

https://en.wikipedia.org/wiki/Wild_Mountain_Thyme

http://tomclarkblog.blogspot.com/2015/08/nazm-hikmet-ran-i-come-and-stand-at.html?m=1

Pete Seeger Aug. 9, 2013 https://www.youtube.com/watch?v=C9qzZ0-qkac

https://www.youtube.com/watch?v=o1ql_ADlWoY

LP15

Melbourne project, unit 10

The pathway I was working at during the Melbourne project was graphic design. However, this project was a short group work exercise and did not require pathway specialities. The project boosted my model making skills regardless. This project also doubled up as work experience.

We produced a large model of a giraffe riding a bike in attempts for our project to fit in with existing street art culture and our influential designers and artists we researched before returning to college to build our model.

I learnt mainly model making in this project. During my time researching, I learnt how designers use graphics to display a thought, idea or statement to protest something or publicly express their viewpoints. I have also discovered how designers use items within a public space to appropriate something into their own work including grates, lamp posts and pedestrian crossings being some of many.

I was required to use my model making skills to help build the model. I had to also work well in the team to make sure everything we did went towards the final model. There was a lot of group decision making that put my communication skills to good use.

My model making was one of the most developed skill in this project. I used this skill to make clever decisions on how the whole model would come together to create a final model with help from other team members. This led to the use of my problem-solving skills which was another skill I developed further. To throw another factor into the list, we had to finish the model in three days in the studio space we had to work in, making time keeping the fourth skill I used for this short project.

The most influential research sources came from secondary imagery throughout group members discoveries. There were a lot of interesting examples which we took ideas from. These included brightly coloured graphics and clever appropriations towards public areas and abandoned buildings.

The artists we were inspired by where Shepard Fairey and ROA. These artists influenced us to create the plan and theme we started to work towards. Fairey’s style is to use bright colours to gain the viewers’ attention, followed up with a quote or viewpoint to communicate with the viewer. ROA was our inspiration for animals in street art, creating huge wall murals with usually rodent creatures in urbanized areas to tie together the creature and its habitat within its real environment.

The processes we used in the group project consisted of teamwork related efforts. The main process we used was model making (for the giraffe), weaving (for the bike wheels) and restoration (modifying the bike to mount the giraffe to).

We used cardboard for the main body of the giraffe. We used string to keep the neck in the position we wanted and stitched the gaps up with triangular pieces in a low poly like fashion. We used an old bike to recycle into our model.

My experiments where different compared to previous projects. This was due to the timescale and the team effort. All the experiments carried out were directly on the outcome compared to a moquette/rough version. If something didn’t work, we’d have to modify it, so it did rather than start from scratch.

There were a few malfunctions whist constructing the final model, with some parts collapsing. This was usually down to the rationed amount of hot glue added to certain areas. With cardboard as the primary medium, there was only so many forms you could turn it into with folding the medium proven awkward.

With the giraffe idea in place, we had multiple difficulties with the neck piece including it falling off and being unbalanced with the rest of the outcome due to the centre of balance difficult to get right. We overcame this by mounting the giraffe to the bike then adding the neck last, in a modular like fashion.

Working in a group might have been the most enjoyable thing, having multiple people generating ideas and negotiating which ideas are best to go ahead with. Model making is also my favourite stage of a project, so I liked the project being primarily based on the model making process.

On the way to the college car park, we came across a few obstacles including doors and stairs. Manoeuvring three days of work down multiple flights of stairs and pushing the awkward shape through doors, we are lucky to get it to the basement in one piece. A lot of the parts had become loose and we were unsure if it was safe/possible to have the model on show. Luckily, this minor disaster was okay as the model was zip tied to a set of railings during the display for support.

Overall, I feel this project went well and was successful. The model was shown at the Melbourne festival the following week. It claimed to be one of the favourites and was featured in a Derbyshire live online post. I was proud for how far our model that only took three days got.

 Research

I feel I did enough research due to using it collectively with other members of the group to help generate and create and find an idea we could all agree on. This proved to have worked as we started the process of making in the morning of the first day.

Context

I gained a clearer understanding on street art during this project and how different artists use different techniques and skills to create their outcomes. I also investigated 3D street art due to our outcome being a model opposed toa flat art installation.

Problem solving

I feel we successfully found solutions for all our problems that cropped up, sometimes unexpectedly. As a group, we did a really good job making sure it was completed and stable enough to be able to be put on display.

Practical skills

My practical skills benefited in the model making side of things. I gained confidence to work on larger scale models and come up with ideas to make it work and stick to the time frame. I learnt the productivity and potential of the cardboard we were working with to balance the weight and highlight our limitations.

Planning and production

Planning the model was rushed due to the timeframe but we still had a plan on how to complete and what needed doing to fit in the deadline. The production process was split evenly between members of the group including the bike repair, body parts and assembly. The little assembly chain worked well with our timescale and proved to be effective with our overall production.

Evaluation

Due to the speed we had to work at, we only took a few pictures. The ones we took included the assembly and the outcome itself. It was mainly a hands-on project that gave us little to no time to reflect on our work throughout the project.

 Presentation

The presentation of the model was outside on the corner of a mini roundabout. The angle was designed to make it look as if the giraffe was riding the bike round the corner, followed up by another groups bike design. I felt a sense of achievement what our group managed to create in such a small space of time.

Playlist & Analysis

I have created a playlist consisting of ten songs for a journey to Mars.  There is a link at the bottom to listen to this playlist but this is my in-depth analysis of each of the ten. 

My first song on the playlist Space Oddity by David Bowie. This song not only fits the theme of our cosmic journey but also takes listeners on an individual journey of their own. Space Oddity an influential song which has been used in the media landscape of today and past decades, causing a timeless renown reputation. The production on this song features fascinating panning effects, which make the listening experience “out of this world”. 

Following Space Oddity, I have chosen My Way by Frank Sinatra. This song is notably bold in its lyrics and speaks to me in a very meaningful way. In this song, Sinatra takes a retrospective look at his life, recognizing his regrets and losses, not everything he did was right, but through it all, he did it his way, and he was proud of that. This is a true song to the legacy Frank Sinatra left on the music industry because following his death no one could quite do it “his way”. Recently, my good friend’s mother passed away after fighting a courageous battle against cancer. The thing that stuck with me after her untimely death was that as she passed, her last wish was to hear My Way. For the length of time that I knew her, she had always had cancer, but lived such a bold and exciting life that you forgot she even had it. Through it all, I truly believe she lived this song to Sinatra’s intentions. In the face of great sickness, she lived her life her way, and that is something I will always remember.

Next in the queue is Tiny Dancer by Elton John, a classic anthem that I believe will never grow old.  Growing up in Los Angeles, this song always spoke to me. I thought it was the vague mention of “LA Lady”, or the fact that my mom always played it in her car, I couldn’t figure out why I loved this song so much. Earlier this year, Elton John released a music video 45 years after the release of Tiny Dancer. The music video depicted individuals living very different LA lifestyles, but all singing along to Tiny Dancer as they crossed paths. The music video captured the beauty of both LA culture and the song itself, and most importantly it captured what the song meant to me. No matter who you are, where you are, or what you are doing, this song has the power to unify a set of complete strangers because everyone knows the lyrics. While it isn’t Rocket Man, I believe my fellow astronauts and I could benefit from blasting this one together.

Next up is If You Want To Sing Out, Sing Out by Cat Stevens. When I was younger, my father used to drive me to my soccer games, and we listened to an eclectic set of tunes, ranging from Garth Brooks to Weird Al Yankovic. If You Want To Sing Out, Sing Out stuck to me as a track I particularly enjoyed my Father’s unique playlist. But the significance and beauty of this song is the lyrics.  I always found that my Father emphasized these lyrics in his parenting, allowing me to “sing out” and do whatever I put my mind to.  Both he and my Mom have always been there to support and encourage me throughout every step of my life. I need this song as a reminder that I have the loving support of my parents wherever I travel.

Taking a break from the classics, my next song choice is from my favorite rock and roll artist, Jack White. Jack White is behind so many influential songs and bands and to choose just one song to represent his repertoire is a challenging task. I have chosen one of my favorites, You’ve Got Her In Your Pocket from The White Stripes early album, Elephant. Jack White has always fascinated me as an artist because of his distinct branding. For each band he is in, as well as his solo career, there is a different color scheme and a new persona presented which allows the listener to understand Jack in a different aspect each time. The White Stripes had a color scheme of red, white, and black and played bold inspirational ballads. Jack White’s current solo career has a color scheme of blue and black, representing the change in his style of music to somber rock songs centering around the challenges of love. It is very important for music to be both seen and heard. White’s attention to design and branding adds a vibrant concept to his artistry and shows his anthology of sound through brands he has crafted over the years.  I love and respect Jack White as an artist greatly and cannot live without at least one of his songs. 

Another musician who I draw inspiration from is John Bonham, the drummer for Led Zepplin; he was truly was the backbone of the band and created a unique sound from jazz but applied it to a rock aspect, thus changing the possibilities for rock as it had not been seen before.  The band captured this interesting drum beat by using the Glyn Johns recording method which had not been seen before but after, was widely used by most bands because they loved the amazing quality and simplicity of the technique, consisting of 4 microphones.  But the band was able to work so well because Bonham was able to get in sync with the guitar player; typically, the drummer gets in sync with the bass player to get the best rhythmic feel but Bonham got in sync with the guitar player and if you listen to Fool in the Rain, you can see the tightness between the guitar and drums as they change constantly through the phrases.  Within Fool in the Rain, the drumbeat is absolutely insane!  Bonham plays a steady polyrhythmic 4/4 beat, meaning that he is playing two beats simultaneously; the first beat is executed through the triplet high hats which are accented by opening and closing them and adding ghost notes on snare in between; yet Bonham adds a twist by doing a swung half-time shuffle with his bass and snare drum which is difficult on its own.  Although the beat is challenging on its own, he adds more difficulty by play with the piano and guitar which are a 12/8 time signature which adds a syncopated triplet feel to the song that anyone can groove to.  To me, Bonham is what made Zepplin great and in totality, it was his drumming within this song that truly allows an audience to groove to.

The next song chosen has a lot of sentimental value as a musician; Nights & Weekends by Cold War Kids was the first song that I ever recorded. It was the song that motivated me to expand my skills and learn about production. I began by listening to every individual instrument track and was amazed by the production quality, with the smooth transition from electronic type drums to an ambient acoustic sound that comes in strong for the chorus.  I was truly inspired by the album as a whole because it was a different direction that Cold War Kids portrayed; originally being a band that produced songs focusing on the problems of and containing an instrumentation of a rock band, Cold War Kids tried a different approach, adding electronic samples on top of the live drums into the piano and guitar heavy tracks.  I was motivated to make my rendition of this song because I loved the vibe of the entirety of the album but this song in specific stuck out because of the catchy chorus and interesting transition from electronic to acoustic drums.  I also really love the organ and feel that it should be used as a staple for their sound.  My initial recording was very poor in quality being that it was my first recording ever and I was using a single microphone for everything, yet I recently redid it to show how I have evolved as an artist and I find that there is still room for improvement, though it is decent. 

Transitioning from this, I Sumatran Tiger by Portugal. the man which is also known as the endangered song.  Interestingly enough, there were no digital copies of this song but instead 400 copies of the hard copy record were produced and eventually the record, made out of polycarbonate material, would stop playing and become extinct.  The message clear, if we do not do anything, then the species will go extinct.  Portugal. the man created this song with the intent of the song becoming extinct unless reproduced.  But this exclusivity tactic is very fascinating and has been practiced by many artists such as Jay Z and Beyoncé, ultimately it doesn’t work because eventually it will go to other streaming services but this concept of extinction unless shared within the community is like no other.  Not only is this a genius tactic to promote the preventing from extinction but it is also an amazing song.  Sadly, it will be overlooked by their one hit wonder Feel it Still but the endangered song will forever hold a place in my heart being that it is a masterful medley of instrumentation, high pitched male vocals, and a message like no other. 

Directly after this, I have chosen Alright by Talk.  Talk is a band I was honored to become apart of during my time at the Clive Davis Institute of Recorded Music at NYU this past summer. I chose to put this song on my playlist as a reminder that you can accomplish great things if you work hard. As a band, we wanted to create a song that encapsulated all of our diverse musical talents. I am very proud of our band’s hard work on this track. My primary role was as a drummer, but we all worked hard on co-producing, branding, and managing to create a cohesive end product, that sounds pretty good.  But taking leadership for this band, we produced a book that is like no other, which gives the consumer a visual representation to enjoy as they listen to the song. 

To close out the playlist, I have selected Do You Realize?? by The Flaming Lips. I honestly love everything about this song form the beautiful instrumentation to the incredibly powerful and realistic lyrics. The Flaming Lips adds tasteful elements to transform the track to a galactic melody by using robot generated noise, crazy synth sounds, and random church bells.  Wayne Coin, the lead singer of the Flaming Lips, inspires me as an artist through his authenticity and creativity. This is one song I cannot live without.

Check out the playlist on youtube!

Rock On, 

Justin Mandel

Follow me on Instagram @mandelsmusic

An Introduction to Orson Welles - The (Belated) 2018 Director’s Marathon

Authors Note: The following novella-length essay on the history of Orson Welles was written to be the December 2018 Directors Marathon as is a tradition for this blog. It was submitted to Geeks Under Grace wherein it was rejected for its excessive length. After several months of consideration as to how to rework the piece into something publishable within the website’s requirements, it is being published now as was initially intended at the AntiSocialCritic Blog. 

"I started at the top and I've been working my way down ever since."

- Orson Welles F for Fake

In the early morning of October 10, 1985, Orson Welles suffered a heart attack and died at his desk. He departed the world he had left such a massive impact upon as quietly and mundanely as a great man could. Just hours before the once superstar artist made his final public appearance on The Merv Griffon Show where he talked about his life. Prior to that in the weeks before he had starred in his final cinematic role while providing the voice of Unicron for Transformers: The Movie. His funeral was a quiet affair at a local hotel, surrounded by his surviving close friends and estranged family members from multiple marriages. You might view this humble affair and fail to understand that the man being eulogized was, in fact, one of the greatest artists of the 20th century. Across his massive career, Orson Welles became a pioneer of theater, radio, and film that pushed forward and challenged those art forms radically. He was intelligent, charismatic, well-read and alluring with an ability to command an audience through his words and presence. He was a showman, an actor as well as a magician but also a creative mind with a unique understanding and love for art.

Yet for all of his creativity across a half-century of output he's almost entirely remembered solely for two major events early in his career. In 1938, he performed a radio rendition of H.G. Welles' War of the Worlds that supposedly ginned up a massive panic on the East Coast of the United States. Then in 1941, he directed Citizen Kane for RKO Radio Productions which would eventually go on to become the most acclaimed film in the history of cinema. As a result, his public image rapidly declined. He became recognized as a washed up, unreliable filmmaker with obesity problems and a bombastic personality. This version of Welles would become the stereotype so brutally mocked by comedians on television shows like The Simpsons, The Critic and Pinky and the Brain. Despite being pigeon-holed and written off within a decade of the peak of his career he continued to work as a filmmaker and an actor across North America and Europe for decades until his death. As excellent as his inaugural effort was his career has dozens of excellent films and performances that are well worth revisiting. Thankfully there has never been a better time to go back and review the works of Orson Welles than right now.

On November 2nd, 2018, Netflix published what will likely be the last of his posthumous works with The Other Side of the Wind. I reviewed the film for Geeks Under Grace at the time it released and have spent the last month reflecting on the experience of seeing such a culturally significant film. It's not every day that a lost piece of art is drudged up and rebuilt from the ground up. Beyond that, the film carries with it so many beautiful reflections, moments of brilliant and visual poetry. Knowing that it's the inheritor of such a vital legacy adds a great deal of weight to the film.

When I started writing publicly one of the first major article series I worked on was a project I called the Director Marathons. From 2014-2017 I did a yearly dive every December into the full filmography of a famous acclaimed director. Over the first four marathons, I dug through the collective works of Quentin Tarantino, Christopher Nolan, Guillermo Del Toro, and The Coen Brothers. I also did an additional six-month breakdown on the entire filmography of Steven Spielberg. Now that Geeks Under Grace is my home for writing I want to continue that tradition here. I considered several major filmmakers including Sam Raimi, John Carpenter, George Romero, and Martin Scorsese but with the release of The Other Side of the Wind, it became clear to me that no director more deserve the attention afforded by a total viewing of their body of work than Orson Welles.

What follows are a series of brief historical retrospectives and film analysis's meant to offer a brief look into the seventy-year life of the man of the hour. For every analysis I offer there is a greater and deeper discussion that every subject of his life I bring up can be made. In the name of brevity, I want this series to be largely introductory (12.5 thousand words of introduction...). The secret of great art is that there are always depths to be plumed within it, nuances to observe and details to be discussed. With Welles part of the appeal beyond his incredible eye for detail is his desire to push the boundaries of the art forms he tackled. Every project and chapter of his life could fill a thick book with all the details that go into them. Film improved as an art form because of his embrace of expressionism and innovative use of technology. Filmmakers as vital as Steven Spielberg and Martin Scorsese regularly host his works among the most influential and beloved of the movies that inspired theirs. There is so much immense history and artistry that can be delved into across the full career of Orson Welles.

That being said, as we learn in his inaugural film Citizen Kane, this can be something of a fruitless endeavor. You can never fully know the full life of a man based on what he leaves behind. Much like Charles Foster Kane's home Xanadu, his works stand as an eternal memorial to Welles' incredible creativity. Lost in the ruins of his career is the man that can only be remembered. These works aren't him. They're all we have left of him. There will never be a Rosebud moment where we understand the inner life of Orson Welles. Even so, the life of Welles is a grand one of ups and downs. In spite of the challenges, we shall do our best to look through the art to see the man.

1. The Young Orson Welles

Orson Welles's early life was faced with much splendor and difficulty. Born to Richard and Beatrice Welles in Kenosha, Wisconsin on May 6, 1915, his family was at one point very affluent and wealthy as his father invented a bicycle lamp that allowed the family to move to Chicago. He eventually stopped working and subsumed to alcoholism. Richard and Beatrice would separate in 1919. Orson's mother found work at the Art Institute of Chicago as a pianist performing for lectures. On May 10, 1924, Beatrice would die of Hepatitis, leaving the nine-year-old Welles without a proper family.

Welles lived with his alcoholic father for three years, traveling the world and attending multiple schools. He would eventually settle himself at the Todd Seminary School for Boys in Woodstock, IL where he would set his roots. Later in this life, Welles revealed that Woodstock was the closest thing he had to a home. "Where is home?" Welles replied, "I suppose it's Woodstock, Illinois if it's anywhere. I went to school there for four years. If I try to think of a home, it's that."

The Todd School for Boys ended up being the catalyst for much of Welles intellectual development. His teachers fostered his fascination with acting and the arts and gave the incredibly intelligent young man free rein to expand himself. At age 15, Orson's father passed away from heart and kidney failure. Following High School, the young man found himself awash with opportunities including a scholarship to Harvard University which he declined. After a brief multi-week flirtation with the Art Institute of Chicago, the adventurous young Welles sought a life of travel.

2. Man of the Stage

Welles gallivanted across Europe using the remains of his inheritance. During a stay in Dublin, Ireland the young man approached the manager of the Gate Theater claiming he was a famous Broadway actor that ought to have a position on the stage. The manager didn't believe him yet gave him the job anyway based on his charisma and bravery. His stage debut was on October 13, 1931, in the role of Duke Karl Alexander of Wurttemberg in the play Jew Suss. He would act in several more Dublin productions including an adaptation of W. Somerset Maugham's The Circle at the Abbey Theater. He would try and seek further work in London but failed to acquire a work permit and thus returned to the United States.

Upon his return, Welles made his American debut as a man of the stage at the Woodstock Operahouse in Woodstock, IL. Welles immediately sought out his Irish compatriots from the Gate Theater to stage a drama festival in Woodstock consisting of Trilby, Hamlet, The Drunkard, and Tsar Paul. During this time he also got his first radio gig working on The American School of the Air and shot his first short film.

After marrying Chicago socialite Virginia Nicholas in 1934, Welles moved to New York City where he performed the role of Tybalt in an adaptation of Romeo and Juliet. On March 22, 1935, Orson made his radio premiere on the CBS Radio series The March of Time doing a scene from the 1935 Archibald MacLeish play Panic. Radio would become his primary income as the money he immediately started making with CBS was significant. Welles had moved to New York at the height of the Great Depression and ended up being in exactly the right place to benefit. The Federal Theater Project had been crafted by the Works Progress Administration as a method of helping to bring economic relief to struggling artists. Welles jumped on the opportunity and began funneling money from his incredibly lucrative $1,500/week Radio work into the theater project. President Roosevelt would quip that Orson Welles was the only person in history to illegally siphon money into a government project. The arrangement suited most everyone however and was looked the other way on. Famously Welles became so busy during this time in his life that he hired an ambulance to transport him back and forth across New York City at full speed between his radio performances and his theater directing jobs.

His first work became the incredibly famous and then wildly transgressive production of Voodoo Macbeth. The all-black production recast the traditionally Scottish play and set in against the backdrop of Haiti's court of King Henri Christophe. The production became a nationally recognized and hailed play that toured the country and skyrocketed Welles' name into the spotlight at the ripe age of twenty. The next several years of Welles life became dedicated to this grind of different theatrical productions and radio gigs, culminating his 1937 departure from the Federal Theater Project to create his own theatrical troupe. What would become known as the Mercury Theater opened on November 11, 1937, with an acclaimed restaging of Shakespeare's Julius Caesar set against the background of fascist Europe with himself in the role of Brutus. Here Welles would create many of the lasting relationships and raise multiple actors would follow him through his journey in Hollywood including Joseph Cotton, Everett Sloane and Vincent Price.

3. Voice on the Radio

Though famously a devotee of the Baird, Welles' recognition was earned by his incredible command of the airwaves. Welles' famous baritone voice became a regular mainstay across America as he became the regular voice for many of the country's most popular radio dramas of the time.

At the age of 21, Welles produced an acclaimed and often criticized version of Hamlet he did for the Colombia Workshop that shaved the four-hour play into a two-part 59-minute audio drama that cut the story of the Shakespearean tragedy to the bone. His presentation was noticeably more emotive than most presentations of Shakespeare at the time which set him apart. The bread and butter of his work throughout the 1930s was his work on pulps and radio dramas. Throughout 1937 over the course of a year, Welles provided the voice for the pulp icon The Shadow. At that point, the vigilante pulp hero in question was one of the largest entertainment properties of the time with novellas and regular radio dramas dedicated to him every week. Having Welles take up the mantle for a time put the fledgling star in the seat of a pop icon.

The moment that shot Welles into the spotlight came on October 30th, 1938 when Orson performed what would become the greatest media scandal of his career with the infamous War of the Worlds broadcast. The adaptation he conceived was fascinating. He took the broad events of H.G. Welles famous science fiction novel and interpreted them in the form of a series News broadcasts as though the events of the book were happening in rural New Jersey and New York City. The following events aren't clear. Welles himself inflated the reaction to the broadcast as though hundreds of screaming civilians scurried across New York City and attempted to flee head first into the Hudson River. More than likely the reaction caused nothing more than a minor stir compared to the massive nationwide reaction that the broadcast was implied to have caused. The broadcast itself did advertise itself on the pretense that it was a radio drama so any disturbed civilians would've tuned in later into the broadcast without the knowledge that it was a radio play. The incident was taken seriously by the United States government and Welles was forced to own up to the brief chaos. Next to his first film, this incident would become the most widely remembered moment of his career and one he took a perverse pride in. Beyond the angry government officials, it caught many an important eye of the day. Among the people who took interest in Welles were the producers at RKO Radio Productions in Hollywood.

4. Sought by Hollywood

Welles initially had no interest in film or Hollywood. Hollywood wanted Welles because he was an exploding star with exactly the sort of talents and celebrity that could transition into a film career. RKO Radio Pictures approached him with enormous monetary offers but the disinterested Welles was already wealthy. Money was no object to him. If he was going to be dragged into the film industry he was going to do it on his own terms. Thus he sent RKO an over the top ridiculous offer demanding full creative control over whatever he produced with them. To his surprise and the surprise of the enter Hollywood establishment, RKO accepted. He was offered a multi-picture deal with full creative control, upto and including hundreds of thousands of dollars to spend on each film and the right to reserve showing the picture to the studio executives until it was completed.

This has to understood in context. The late 1930s was the height of the studio system in Hollywood. Filmmakers worked at the behest of cutthroat corporate masters who had the right and gumption to control every facet of a film. They frequently re-shot segments from acclaimed films before they're released on a whim based on what they thought worked/didn't work/was marketable by their standards. Even industry greats like John Ford and Frank Capra didn't get to control this much of their films. Given that creatives had so many restrictions the results were stunning. This was the moment in cinematic history when films like Casablanca, The Wizard of Oz and Gone With the Wind were emerging and defining the Golden Age of Hollywood as a time when storytelling and craft were at their creative peaks. For Welles to gallivant into Hollywood and take over the town single-handedly was unheard of. To paraphrase Welles, he had been given the greatest train set a kid ever received and he was looking to use it.

Without knowledge of what he was even doing Welles immediately turned to the greats of the industry of the time to start building his team. His two most important collaborators would be screenwriter Herman Mankiewicz and cinematography Gregg Toland. Mankiewicz was a veteran screenwriter who had had his hand in writing and producing dozens of films since 1926. Toland was fresh off of working on multiple critically acclaimed films like The Long Voyage Home and The Grapes of Wrath, both of which he shot with John Ford.

Welles had the best talent Hollywood had to offer at his fingertips and near infinite power to do as he pleased and began working on different pitches for ideas for his first film. The first idea he conceived was ultimately too ambitious to achieve. He considered shooting an adaptation of Joseph Conrad's Heart of Darkness done in the first person perspective. The project ultimately fell apart as Welles eventually couldn't make his vision work on RKO's budget. Decades later there was a proper if highly altered adaptation of the book with Francis Ford Coppola's Apocalypse Now.

Heart of Darkness would be the first of three pitches Welles initially made to RKO to fill his two film contract. His second idea was a political thriller/comedy called The Smiler With a Knife based on a novel by Cecil Day-Lewis. This project stalled by December of 1939. Welles was uncertain of a plan and didn't want to drag starting production on something indefinitely. He was already behind schedule. Welles and Mankiewicz began brainstorming and eventually, the two started on an idea for a film titled American. Welles approached Mankiewicz during the writing to find that the script he'd written out was hundreds of pages of messy but serviceable ideas. Taking his excellent ability to cut down stories to the bone that he had used on Hamlet, Orson crafted what would come to be known as his first masterpiece Citizen Kane.

5. Citizen Kane (1941)

I recently did a full-length breakdown of Citizen Kane for Geeks Under Grace and don't wish to relitigate much of what I produced for that article here. What I do think is necessary is understanding how the world reacted to and would ultimately go onto understand the film.

The reaction to the film was both immediate and faltering. The film was met initially by mixed reviews that sited the film's awkward structure as a fault. It wouldn't be years before the film would be released after it's initial run that the film would be subsequently analyzed and relitigated as one of the greatest films of all time.

Well before it's release, the film's satirical target William Randolph Hearst heard the wind that the film was a rather overt critique of his person and attempted to buy the film outright from RKO Radio Pictures to prevent it from seeing the light of day. When that didn't work, he turned to his newspaper network which proceeded to lambast the film in the public eye. The film's release was delayed and by the time it released to the public the reaction was nothing more than a whimper. Citizen Kane bombed in the box office.

The half-century of after it's release brought much rabid discussion and reevaluation of the film into mainstream discussion. In a famed piece of now hotly disregarded film criticism, New Yorker Film Critic Paeline Kael wrote Raising Kane. The essay lambasted Orson Welles, the film in question and called into question the very authorship of the film, claiming that screenwriter Herman Manchowitz deserved more credit for his role in writing the film.

Mind you Pauline Kael's criticism wasn't totally irrational. Kael is one of the most influential critics in history and tends only to be remembered nowadays by her gaffs like her public disdain for Clint Eastwood films like Dirty Harry. Her coming out against Orson Welles is remembered as an enormous artistic mistake on her part but people take the book-length essay she wrote very seriously. As a point, it's worth noting that Welles fundamentally agreed with her on many points. He felt that the director was an overrated position in filmmaking and that film was a collaborative process between the writers, actors and crew that the direct guided and oversaw. Even so, it's not surprising one of the antagonist characters in The Other Side of the Wind was a female film critic.

The most cynical read on Citizen Kane is that it's the film that introduced the concept of ceilings to the cinema. Prior to Citizen Kane, most film productions didn’t film ceilings because they needed open air sets to fit audio equipment. Many proclaimed fans of the film tend to adore it's superficiality more than it's actual storytelling chops as a film. As it stands the most remembered aspect of the film is the Rosebud twist at the end that Welles himself considered as gimmicky. Welles himself had a very conflicted relationship with the film. Welles disliked some of the films minor mistakes and ultimately came to consider the film a curse on his career that he could never live up to. How can anyone build a career off of an instant masterpiece? Even the man who made Citizen Kane couldn't manage to answer that question.

Yet in 1982, Steven Spielberg paid $55,000 for one of the surviving Sled props. Every filmmaker from Martin Scorsese, to Richard Linklater, to Tim Burton, to George Lucas and the aforementioned Steven Spielberg has sited Citizen Kane not only as one of their favorite films but as their inspiration for much of their work. In addition to most every respected film critic from Roger Ebert to Jonathon Rosenbaum has offered their endorsement of the film's strengths. Its legacy is undeniable. Is it overrated? Perhaps. While it's placement in the canon of Orson Welles is certainly hotly debated, there is no denying that Welles began his filmmaking career with a masterpiece for the history books.

6. The Magnificent Ambersons (1942)

There is a scene in Richard Linklater's Me and Orson Welles where the titular character and his apprenticing young actor Zac Effron that the Welles family was once close to Booth Tarkington. Though not widely remembered today, Tarkington would've been a huge deal to people at the time much how writers like Cormac McCarthy and David Foster Wallace are lionized today. His masterpiece The Magnificent Ambersons would go on to be the subject of Welles’ second major film for RKO. 

As Welles continued his work after the debacle of Citizen Kane's release he quickly moved on to fulfill the second film in his RKO contract. His team continued to dig through numerous options and ideas. The most notable idea he didn't end up going with was a pitch for an adaptation of the Bible called The Life of Christ which would've been a strictly adhered adaptation that ultimately fell through twice. Instead, Welles turned to the contemporary masterpiece that was close to his heart. Welles' initial cut of The Magnificent Ambersons is said to have been a masterpiece that rivaled Citizen Kane in quality. He translated the sad story of an old American family's decline into poverty and irrelevance to the cinema and delivered the second masterpiece RKO paid him to. Unfortunately for Welles, it wasn't the masterpiece RKO wanted. The studio shuttered at the bleak film Welles had produced and quickly began underhanded plans to change the film.

Welles was shipped off to Brazil as part of a US Government deal with their government. He was to shoot his third feature for RKO called It's All True which would've involved documentary footage from various festivals and events. While he was out of the country, RKO pulled all of the actors and crew back to the studio lot, cut out the third act of the film and reshot it with a happy ending that completely changed the story of The Magnificent Ambersons. Several cast and crew attempted to warn Welles but he didn't find out until it was too late. By the time he was back in Hollywood, he would lose his rights to change the film. Late in his life, Welles would find himself watching the theatrical cut of The Magnificent Ambersons late one night on television. His then mistress Oja Kodar recalled the experience of nearly walking into the room and catching a reflection of the late 60s Welles sobbing as the movie that clearly meant the most to him was presented on late night television. While the cut we have today is largely excellent, it's far from the vision that Welles had intended for it.

7. Fired from RKO

Welles had already been fired from RKO Radio Productions by the time he returned from Brazil. The studio that had once promised him free reign to produce masterpieces for them didn't like the controversy associated with his films and couldn't figure out how to market what he did film. For them, it was smarter to go into damage control mode and boot out the wunderkind to the streets. The cut of Magnificent Ambersons with the happy ending they did produce didn't do well in theaters and the preferred cut of the film was eventually destroyed. Thus began the air of bad luck that would surround Orson Welles' prolific career. Despite churning out two masterpieces, Hollywood now hated him. As time would go on he would become more and more of a pariah in filmmaking circles.

His last film for RKO which he was producing and directed several scenes for Journey into Fear ultimately saw him being stricken from the credits. His co-director Norman Foster would receive directing credit but later Welles scholars have often retroactively credited Welles as a director too. Welles immediately began damage control for his reputation by prostrating himself over the next several film projects he produced. He started taking acting jobs for films starting with an adaptation of Jane Eyre to try and repair his public image. Interestingly enough the latter film would end up being one of his only romantic performances as that film had been produced to capitalize off of the recent success of historical romances like Gone With The Wind.

8. The Stranger (1946)

Welles needed to jump back into Hollywood and prove that he was capable of producing something normal that he could sell. With that in mind, he conceived of The Stranger. The film would go on to be his least artistic and therefore most financially successful film. It had been four years since he'd been in the directing chair and he was desperate. He was approached by producer Sam Spiegel after director John Huston couldn't take the job. The result is easily the most Hollywoodish film of his filmography and the one that really represents the director at his most obedient. Despite the darker story, that being about a Nazi holocaust perpetuated being hunted by an investigator portrayed by Edward G. Robinson, the movie was a great deal less artistic and revolutionary by the standards of the time. It was merely a conventional noir thriller. To paraphrase Welles, he did the film with much stricter regulations as a means of proving to Hollywood that he wasn't a toxic director and that he could make money. While the film wouldn't succeed in fixing his reputation it at least made him slightly less toxic. Unfortunately, the film wouldn't lead to any additional career help for Orson. He originally signed with International Pictures to do a four-picture deal after the film as complete. The company backed out of the deal the just weeks after the premiere when it looked initially like the film wouldn't make it's money back.

9. The Lady from Shanghai (1947)

The life of Orson Welles has often been described as an illusion, an incestuous juggle between fact and fiction that the ever impressive Welles maintained as a kind false mysticism to increase his legend. While it did give his persona a larger than life appearance it's made tracking the history of Welles into a nightmare. This can be clearly seen in the case of Welles' third masterpiece The Lady from Shanghai. He's told the story of how he pitched the film to Hollywood producer Harry Cohn of Colombia Pictures. After his recent failures Welles turned back to his previous loves of radio and theater and began producing new shows and dramas. His biggest stage production at that point was a play version of Around the World in 80 Days which closed almost immediately within weeks after opening.

Supposedly, as the production was preparing for it's Boston premiere, Welles found himself strapped for cash and in desperate need for $50,000 to move the costumes from the train station to the theater. Desperately he pitched a fake book to the president of Colombia Pictures using the name of a paperback book a young woman was reading next to him, got the money, performed the show and then went back to Hollywood to write and direct the film. It's a great story but it likely isn't true. Whatever truth is in it is questionable as he's told different versions of the same story to different interviewers, each with a different amount of money and circumstance. It's likely that Welles just got called out of the blue by Harry Cohn to direct a thriller and he took the gig. Naturally of course half of the appeal of Orson Welles is the blur of fiction and reality the surrounds the myth of his life. It's fun to speculate but having a historically accurate read of Welles' history is a frustrating knot to untie for scholars.

That film he produced The Lady From Shanghai would become one of his most respected films and widely regarded as one of the weirdest movies. That's not hyperbole either as David Kehr of the Chicago Reader was quoted as saying it was one of the "weirdest great movies ever made". While more conventional by the standards of his previous two masterpieces, The Lady from Shanghai is far from your run of the mill Noir thriller. Welles had initially shot the film in the style of a documentary. That's a strange choice but it grounds the otherwise outlandish story of a sailor being asked to help fake the death of a wealthy man in a kind of distant visual style. Harry Cohn hated the result. Like his previous two films, large segments of the film were reshot to add traditional close-ups and conventional shooting. These shots clashed with the film's already strange visual style and made the film more surrealistic than it already was. The film's most notable contribution to cinema, of course, was the finale in the mirror maze. Without spoiling the story context, the final shootout is mesmerizing and visually bizarre and left an imprint on generations of filmmakers. The trope has returned in numerous forms from action films like Enter the Dragon and John Wick 2 to comics like The Dark Knight Returns. Yet again though, the film flopped in the box office.

As a quick aside, the film also stars his then second wife Rita Haworth with whom he divorced shortly after the film completed production.

10. Macbeth (1948)

It's strange that Welles' first attempt at a Shakespearian film would come about in such a modest fashion yet his selection wasn't surprising. Being that Voodoo Macbeth was the stage play that put his name on the map, a traditional Scottish production on film made sense to be his Shakespeare film.

Republic Pictures at the time was a subpar studio by the standards of the Big Three. It mostly produced B-Pictures and serials. For Herbert Yates, as the president of the studio, Welles' pitch for a Shakespeare adaption gave him high hopes that he might be able to make his fledgling Hollywood operation into a prestige studio with the right success and went all in on the idea. Welles produced the film on cheap sets and finished the film in just 19 days of production with two additional days of pick up shots. Yet despite being rushed and inexpensive, the film managed to produce something qualifying as a definitive vision of one of Shakespeare's most famous tragedies. That speaks highly of the production given that the play has been adapted dozens of times in cinematic history including versions by Roman Polanski, Akira Kurosawa and most recently Justin Kurzel. Yet Welles' film was benefitted by Welles' unique expressionist take on filmmaking. The cheap stagey sets were masked in beautiful black and white film stock, lit with precision to highlight it's character's emotional state and performed to perfection with Welles in the central role.

Welles had bet that the film would go a long way to repairing his reputation and unfortunately this wouldn't help it. The film was savaged by American critics who despised the over-the-top Scottish accents in the initial release. Welles rerecorded the dialog with American accents for a 1950 rerelease but that version didn't do well either. Both versions were flops and outside of Europe where the critics appreciated it more, there wasn't much support for it. It didn't help that the film was released in close proximity to Laurence Olivier's acclaimed Hamlet which became one of the most celebrated Shakespeare adaptations of all time. It would take years for critics to start appreciating its strengths.

11. The Third Man (1949)

Of all of the films in the Welles filmography, maybe none is more vital to understanding the Celebrity of Orson Welles than The Third Man. Like Jane Eyre, this wasn't a film that he produced or directed in so much as he is remembered for his excellent performance. At that, he's barely in the film at all. The leading man is his frequent collaborator Joseph Cotton. The film was directed by legendary director Carol Reed, famous for films like Odd Man Out, Night Train to Munich, The Fallen Idol, and Oliver! While somewhat obscure now, the director became famous for being one of the most skilled directors in British history. In addition, the film was produced by legendary golden age producer David O'Selznick (Gone With the Wind, King Kong). Welles was asked to play the role of Harry Lime in the film and was offered one of two options for payment for a small role. He had the option of reviewing a portion of the film's profits down the line or a lump sum of money immediately. In a moment of deprivation, he jumped on the money immediately in a financial decision he would come to regret. The Third Man would go on to become the most financially successful film he was ever associated with. Had he chosen profit sharing he would've become immensely wealthy as the film in question has remained one of the most popular noir thrillers of all time.

Welles would later go on to express his opinion that his performance was the greatest "Star" role an actor could've ever asked for. Harry Lime is mentioned dozens of times in the film prior to his first appearance so when Orson Welles finally makes his surprise splash of an appearance the film there is a great deal of weight to his screen presence. His few scenes in the film and his improvised line are usually sighted as the high points of an otherwise widely regarded film. In some ways, this is sadly prophetic of much of the way culture remembers Orson Welles. People think of him as a flash in the pan and we see this in the way culture idealizes individual moments from his films as opposed to his films overall. Most people don't remember the side characters in Citizen Kane but they remember Rosebud. The same is true of The Third Man. People remember Welles' few scenes but they frequently forget Joseph Cotton and Carol Reed's accomplishments with the film outside of Welles. The mere size of his personality creates expectations. First-time viewers familiar with Welles might be surprised to notice he doesn't appear until well after the first hour of the film. Welles is just one turning gear in a much larger story about post-war corruption and profiteering set against the hurt and ruin of Vienna, Austria. His chemistry with Joseph Cotton adds an air of history two the two characters whose lives were once tied together being torn apart by circumstance. His deep baritone voice exudes an air of malevolence as he stares contemptuously on the small people below him. It's a small but vital performance built up to by one of the greatest thriller stories of all time.

12. Othello (1951)

No film would come to break Orson Welles' reputation more than Othello. Despite earning the Grand Prix du Festival International du Film at the 1952 Cannes Film Festival, Othello would become a curse on his reputation that he would never overcome. Welles had conceived of doing an adaptation of Shakespeare's Othello prior to Macbeth but ultimately chose to go with that play when the concept seemed unfeasible. Welles was approached by an Italian film production company to star and direct a film version of the famed play based on his recent theatrical work which the production company thought would translate over well into the stage play. Welles quickly got to work assembling a team of European filmmakers and actors that he took to Italy. The production was immediately stymied by the surprise Bankruptcy of the production company meaning that the subsequent three years of production necessary to get the film finished had to be self-financed. Though not Orson's fault as the factors were out of his control, this would prove to be the final nail in the coffin of his public reputation. The fact that the film took three years to finish and went over budget put a stigma on his name that he never escaped.

The result was a convoluted production shot across multiple countries including Spain, Italy, Morocco and Turkey that created a mismatched pan-Mediterranean look to the film. The final cut was an atmospheric masterpiece. Welles scholar Jonathon Rosenbaum described the tone as almost that of a horror film more than anything else. There's is an immense dread hanging over the film as we see the unfolding story of interracial love and racial bigotry play out against the backdrop of war and political strife. While a clean cut is available today thanks to the Criterion Collection, early distribution of the film didn't go well. The film received several cuts in different countries and many of the versions distributed had massive audio problems including audio drops and syncing issues. The film was also distributed with multiple soundtracks. Once again the hard work that went into an Orson Welles film was lost to circumstance and failed to materialize until much later.

13. King Lear (1953)

In the second of Welles' exoduses to Europe, the director fled the United States for England following the McCarthy hearings and as a result put him on bad terms with the IRS. Orson Welles wasn't a communist but he was a Roosevelt Progressive democrat and disliked the air of paranoia in the United States during the Cold War. Welles was asked to perform the titular role in a CBS Omnibus production of King Lear for television in 1953 which he accepted the role of. The television film was a severely truncated 73-minute version of the play with most of the subplots and extraneous stories outside of the main plot cut out to focus on the main character's descent into madness. Though cheaply produced for television, his performance as Lear is the standout of the film. While he was in the United States to film the production, he was escorted every by the IRS who confiscated his earnings from the production to pay off outstanding taxes being sent back to England.

14. Mr. Arkadin (1955)

After the immense success of The Third Man, the movie that had taken Hollywood by storm became a hot ticket item and it's producers wanted to franchise it. Thus in 1951 was born The Lives of Harry Lime. The radio drama starred Welles in his most popular and deplorable character over the course of 52 episodes that represented a prequel to the film. Welles himself was involved in the process of developing the series given that the character was so directly tied to him. This included an episode called The Man of Mystery. This episode would go on to become the primary influence of Welles' newest thriller.

Though lower in budget, Mr. Arkadin was ambitious in its scope. The thriller sought to be a massive thriller set across multiple countries where the stakes of the questions it raised could change the fate of nations. In terms of story, this thriller was one of his most grand and globe-trotting adventures. Mr. Arkadin is a veritable tour de force of settings and European cultures.

Whereas Othello was shot over multiple countries meant to portray the same place, Mr. Arkadin was set across multiple countries in Europe and portrayed the variant beauty of many of it's finest interior sets. Cramped as much of the film looks from a visual standpoint the film did tour Europe across the scope of its production from London, Munich, to multiple places in France and to Switzerland. The story's central mystery involving the investigation of a man with no memory of his past can be difficult to follow but builts to an excellent final race wherein the lead character and the titular Mr. Arkadin must race to Spain to find the same person before the other.

Once again he lost control over the final cut. The postproduction became a trainwreck worthy of Orson Welles' reputation. As scholar Jonathon Rosenbaum discussed in his famous 1991 essay Seven Arkadins, there are no less than seven public cuts of Mr. Arkadin. Welles lost control of the editing process and rights to the film when he missed his deadline and as a result, the producer recut the film multiple times, novelized it, and gave it several releases across Europe in multiple languages. Welles had been reshaping the story and structure during the editing process to improve it and without his guiding hand, the final edits that made theaters were fare from his wishes. Welles would go on to consider the film the greatest disaster of his career. He was a man who suffered many indignities but the utter loss of Mr. Arkadin to multiple cuts was one of his most brutal defeats.

15. Touch of Evil (1958)

Welles had just finished acting in a thriller for Universal Pictures when he was asked by the producers to perform in another film for them as "the heavy" in a crime thriller. Universal was already far underway in developing the story concepts and casting but hadn't settled on a director or a script as of yet. Charlton Heston was already picked to play the lead role in the film. During a cross-country phone call, the film's producers mentioned the casting offer for Orson Welles when Heston made the offhand comment that Welles ought to be the one they sought out to direct the film based on the quality of his previous films. The line went dead for several seconds.

Welles was just getting back to Hollywood after a decade away in Europe. While he hadn't gotten over the pain of his bad breakup with RKO and his previous failures he was eager to direct a Hollywood picture again. Welles signed up to Touch of Evil at Heston's behest on the stipulation that he would get to rewrite the script. Over the course of several weeks of late nights, Welles and his secretary chugged out a new script based on the book Badge of Honor that Universal approved and set to work on.

As with many Welles films, Touch of Evil is rather depressingly remembered primarily for its opening shot. The several minutes long tracking shots at the beginning of the film is legitimately excellent in its pace and scope as we see several minutes of a car with a ticking time bomb in the back seat slowly drive across the US-Mexico border through crowded streets knowing the car could explode at any moment. Naturally of course when I was shown the film in Film School this is where the film was stopped. Many filmmakers worship the tracking shot and then forget to watch the remaining film. What they miss out on is a dark tragedy of corruption and falls from grace. The murder we see play out in real time at the beginning of the film is merely the beginning of a much larger conspiracy as the bombing rouses the attention of a Mexican police officer in the area at the time on his honeymoon and the local police legend Hank Quinlan. The film is one of the starkest examples of contemporary film noir, making the most out of Welles' expressionist love of shadow and darkness. While the opening shot is excellent it's not even the only tracking shot in the film. There are several long tracking shots, several of which we see during the investigation scenes that are just as technically impressive considering how deeply we follow the camera and swing in, out and around the conversations at play.

Universal had loved much of the footage that Welles was sending them at the end of every shooting day. Right up until they saw the rough cut of the film it seemed as though the two parties were on the same page. Alas, Universal Studios did what Hollywood always did to Orson Welles films. The final cut scared Universal with how dark it was. They cut out half an hour of footage and reshot segments of the plot to make it more palatable. By studio contracts, they had to present Welles with a cut of the film before the film went to print and shipped off to theaters. After seeing the new theatrical cut, Welles was distraught. The perturbed Welles skipped out on his daughter's wedding to write a 58-page memo to Universal Studios begging them to make needed changes to the film.

The film was released as the second billing of a double feature and subsequently bombed. In Europe, the film received a surprising level of acclaim, support from major film critics and won two awards at the 1958 Brussels World Film Festival but without American success the film as considered dead on arrival. This was the last straw for Orson Welles. Hollywood had betrayed him for the last time. With this last indignity dealt to his creative vision, Welles packed up and moved back to Europe again.

There would thankfully be something of a re-edit of the film. In 1998, acclaimed film editor and sound designer Walter Murch (Apocalypse Now, The Godfather Trilogy, American Graffiti, The Conversation, The English Patient, Jarhead) recreated a special cut of the film based on the Welles memo that represents the closest version of the film to Welles' vision that remains the definitive way to watch the movie today.

16. Exile to Europe

Immediately after the debacle of Touch of Evil, Welles began to work independently on one of his most ambitious and personal projects to date. Don Quixote would go on to become one of the great obsessions and failures of his life, never seeing a proper cut released. He started accruing footage immediately after finishing his work with Universal by doing some shooting in Mexico. He would continue this process over the course of the next two decades, doing what meager shooting he could across multiple countries in Europe. Unfortunately, time dragged on and the loss of actors to death dragged the film's post-production well into the 1980s without having completed principal photography.

As Don Quixote continued to meld and atrophy, Welles began the next stage of his life by beginning something of a new chapter in the history of cinema. Without the backing of Hollywood money or big investors behind him, Welles began a personal journey as what we would be known as the first truly independent filmmaker. His subsequent series of European films, though cheaper looking and rough around the edges, represented some of the only items of his career that he felt truly proud of in their totality. They were totally his films, unedited by intrusive producers seeking a buck and all celebrated across the European arthouse film scene. Of these, in his later years, he was the proudest of.

17. The Trial (1962)

Literature was, of course, the love of Welles' intellectual life. He was well read by anybody's standards by the time he reached New York City in his twenties and started adapting Shakespeare better than Broadway was at the time. He understood these great works of literature greater than almost anyone else that had the bravery to take a straight edge to them and crave new versions of them for viewing audiences. Often that meant that his versions diverged from the ideas inherent in the text while still staying true to the spirit of the literature. In the case of Franz Kafka's book The Trial, the story of an innocent man trapped in a bureaucratic cycle of hellish corruption and repetition becomes a different kind of nightmare. To borrow Welles' quote, "He's guilty as h***!"

Welles' monologue at the beginning of the film refers to the story as having the logic of a dream. Seeing the film one can recognize that immediately. The setting, production design and moment to moment logic of the story shifts with surreal precision from moment to moment as the lead character Joseph K. is dragged through a strange inquisition, blamed for a crime that is never explained to him bursting with fear and guilt the whole way through. The film looks and acts like a nightmare, as the scene to scene flow arbitrarily jumps from scenes of stark visuals, tense chases, and heavy shadows. Never before or after has Welles' overt love of expressionism been put to such beautiful use. Then again it's hard to tell where the movie begins and the budget ends. Much of the film is shot against industrial blight as we see buildings lined with electrical wires and technology. It's a strange look that contrasts with the sleek, fast-paced cinematography at times. It's never clear that Welles isn't just shooting this at the first industrial park he could find that was available or if these flourishes of ugly utilitarian electronics are part of the point. Maybe they're expressions of the bureaucratic machine that is chewing K alive.

Of all his successes, The Trial is the one that Welles has gone on record as saying was the greatest thing he ever created. Beyond the constraints of a low budget, everything we see on screen is Welles' vision. Given the years of hardships that incurred his previous productions, it's not surprising he'd hold a film that represented his own vision in such high esteem. That said, The Trial wasn't the film that he considered his favorite.

18. Chimes at Midnight (1965)

Welles once said in an interview that if he ever had to argue his way into heaven based on his work, he would try to do so with Chimes at Midnight. Originally titled Falstaff in some regions after the central character, Chimes at Midnight represented the most loyally produced and loving adaptation of Welles' own career. It was based primarily on William Shakespeare's Henry IV Parts 1 and 2 with elements of Henry V added. For Welles, the book's central character of Falstaff, the jolly, rotund and disgraced nobleman was one of Shakespeare's greatest creations. Naturally, Welles saw a great deal of himself in Falstaff. The character was by his nature a good man, albeit a lusty, cowardly slob and a liar with a heart of gold. He was innocent and naive in the manner of a child. To Welles, he was the representation of Merry Old England and the fictionalized nostalgia for the past that imbibed so much of English literature from Shakespeare to Chaucer. He was an implicit rejection of the notion of modernity. Welles had tried before to stage a version of what would become Chimes at Midnight earlier in his life called Five Kings that ultimately proved too technically complicated and slow-paced to work properly. With Chimes at Midnight, Welles finally achieved a lifelong dream in portraying his favorite Shakespeare character in all of his exhaustive glory.

Much like The Trial, there is much to be desired about Welles' vision for medieval England. The claustrophobia and tension of his previous film gave way to vast open spaces, joyous celebrations in wide open inns and regal grandeur of the Royalty. Henry IVth is the story of the aged father passing down his title to his namesake son and forcing him to grapple with leadership and responsibility. For the young Prince of Wales, King Henry and Falstaff are the literal representatives of his duality between responsibility and youth. It's a kind of tragedy of maturity wherein Henry must put aside Falstaff and grapple with the brutal realities of the real world. Naturally, Welles goes on in on that brutality. Chimes at Midnight comes with one of the most brutal and influential battle scenes in cinematic history. The carefully shot battle scene incorporated dozens of extras, horses, and grime to produce one of the least romantic depictions of battle yet put to film. Welles said the battle scene was meant to be intentionally brutal to emphasize the idea of the death of chivalry in battle. We see that clearly as swords clash and bodies pile up. Visually speaking it's hard to deny that the battle wasn't hugely influential on generations of filmmakers, being referenced in everything from Kenneth Branaugh's adaptation of Henry V to Mel Gibson's Braveheart and even in the Battle of the Bastards in Game of Thrones.

Naturally, a shoot of this size and scope proved to be greatly difficult on Welles' budget. Europe is naturally awash with castles so locations proved to be available for the film's striking scenes set against the Royalty. Most of the shooting in the Inn was done on a sound stage that Welles had built specifically for the production. Unfortunately, the film lacked proper audio recording technology requiring nearly all of the audio to be rerecorded in post-production. Despite the limitations, the final product is staggering to behold. It's a loud, boisterous and joyful tragedy right up until the bitter emotional end. Many critics consider Chimes at Midnight to be Welles' greatest achievement above and beyond Citizen Kane. Welles would be inclined to agree.

19. The Immortal Story (1968)

Of all the films in Welles' filmography, none represents quite as massive of a digression as The Immortal Story. Immediately the viewer notices that the film is his first film up until this point that was shot in color. As Welles discussed with his protege and biographer Peter Bogdonvich, he always preferred to shoot his films in black and white as he felt that the format did more to help present performances better than color did. With The Immortal Story, he seems to have broken his rule for reasons that aren't quite clear. The results offer some hints as to what was going through Welles' decision-making process. The film is bizarrely alluring to look at. Considering his visual style was more receptive to surrealism and stark visual symbolism, a cursory review shows the film to be one of the most luscious and beautifully shot films in his filmography.

With an understanding of the story, the logic of this seems to come into focus. The story follows the life of an ancient European nobleman who in his older years has sought to make a story that he once heard come true. In the story, an old man pays a sailor five guineas to have an affair with his life before sending him off to sea. Fulfilling the story and making it a true story becomes the old man's obsession. Paying an older fellow Noblewoman and a young sailor he meets on the street, the man observes from a distance as the scenario he contrived into reality forms as the Noblewoman and the sailor bond and intimately perform their task before they're forced to part ways.

While sexuality does technically exist in several of Welles' films like Citizen Kane and The Trial as plot points, The Immortal Story holds the bizarre position of being one of the only Welles projects wherein sexuality is a major theme of the story and one rooted in its story's ideas and anxieties. One can almost look through the allure of its technicolor dreamscape and intimacy to see a depiction of Welles' vision for what the very nature of storytelling is. Through the shrouds of more traditional filmmaking, Welles seems to be using this story as a kind of metaphor for the drive and anxiety that forms storytelling itself. At its core, Welles seems to suggest that the core of art is a perverse need to reproduce and express one's innermost anxieties on display. Though unconventional and likely overly sexualized for some viewers, The Immortal Story presents us with a disturbingly honest sort of autobiography of the artist's soul.

20. F for Fake (1974)

Orson Welles' final completed film represents one of the most avente-garde and experimental pieces of filmmaking in his filmography. F for Fake is technically a documentary but it's a very fast paced, tangential and esoteric piece of filmmaking that jumps across multiple boundaries and stories to explore multiple facets of a central theme. That theme is the idea of "fakeness". The central story follows a pair of famous frauds. The first is Elmyr de Hory, a Hungarian painter that made his living as an art forger recreating hundreds of the most popular pieces of contemporary artists including Pablo Picasso. The second is Clifford Irving, Elmyr's biographer who was caught forging an interview with the mysterious media mogul and recluse Howard Hughes.

While the story focuses primarily on their accomplishments and controversies the entirety of the piece is extremely tangential and jumps across the lives of dozens of people including Orson Welles himself. Welles takes time in the piece to discuss his history with lies, the War of the Worlds broadcast that he played up the legend of, how he got his first acting job by lying, and what the actual effect of lying means to the art world. Welles muses on the consequences of every one of the personalities he profiles and comes to many fascinating insights about the nature of their dishonesties. While he makes no bones about the fact that they were frauds, plagiarists and charlatans he also finds a great deal of sympathy to be found amongst the tragedies of their lives.

Then at the moment of most brutal honesty, he pulls back and asks what it all means in the scheme of things. Merely by observing a beautiful European church lined with hundreds of year old statues and garments of stone. He calls it a monument to human dignity and to God's grace and power. Yet this monument has no author or name to it. It merely stands the test of time as an expression of humanity's greatest desires and hopes. As essayist Kyle Kalgren noted in his excellent analysis of the film, Welles seems to come to the opposite conclusion of his seminal film Citizen Kane. "We'll always have Xanadu, so who cares about Rosebud?" Maybe the film's final conclusion is that art is greater than the individuals or money involved and that fake art is still art. Maybe a fake painting that matches the quality of the real thing is as valuable as the real thing. Then again maybe it doesn't. Welles ends the film with a beautiful story told by his then-mistress Oja Kodar detailing her family's lineage and the untold history of a great unknown art forger that represents one of the most exciting and beautiful moments of the film before Welles pulls the rug out on the audience with the film's final moments.

21. The Final Years and Unfinished Projects

The final years of Orson Welles' life can reasonably be described as a sad march into oblivion. Welles returned to the United States in 1970 hoping to find a home among the greats of New Hollywood and quickly set about trying to produce new films. What followed was fifteen years of financial breakdowns, gradual periods of acting in films for money and then turning around and investing it in his film productions. After 1978, Welles never completed a project for the final seven years of his life. Yet he still continued to work, taking acting and commercial jobs and desperately attempting to finishing his outstanding projects. His final completed projected was Filming Othello. The film is nothing more than a conversation of Orson Welles discussing the production history of his film Othello that he produced for German television. The film was included with the 2017 Criterion release of Othello and is well worth observation for fans of Orson Welles. If it impresses anything upon its viewer it would be Welles' strange sense of late-period melancholy and modesty. He states early in the film that nothing he's produced is worthy of the art that he's attempting to adapt and that he was merely a filmmaker. He would try to produce a second documentary called Filming The Trial but didn't complete it before his death.

He shot footage for multiple films in this time including an adaptation of The Merchant of Venice, a thriller called The Deep, segments of Don Quixote and finally his recently completed film The Other Side of the Wind. The latter of these he started on as early as 1970 and proceeded to shoot and editing throughout the remainder of his life. The film would go on to become the greatest legend of his filmmaking career. Despite six years of on and off production, nearly a decade of legal red tape following the Iranian Revolution (the film's financier was the brother in law of the Shaw of Iran) and years of faltering post-production, the film was never completed in Welles' lifetime. Prior to his death he discussed taking on directing several additional films including The Cradle Will rock, Ada or Ador: A Family Chronicle, Saint Jack (which his protégé Peter Bogdanovich would direct) and a full adaptation of King Lear.

There is a great deal of speculation about why many of these films never got done in the final seven years of Welles' life. Some consider Welles' final years to be too self-destructive and purposely unproductive but by all indications, Orson spent these years grappling with crippling financial troubles and red tape between his sparse moments of being able to film.

In a desperate move to try and garner sympathy and attention, Welles used an appearance during the AFI festival meant to offer the aged Welles with a lifetime achievement award for his work as a chance to promote his newest film. During the acceptance speech, he proceeded to show off footage from The Other Side of the Wind which was suffering from a lack of funding and wouldn't be finished and blatantly hinted that the film was short on funding. The incident was interpreted plainly as a moment of panhandling and desperation.

Welles wasn't a religious man and told two conflicting thoughts on his beliefs late in his life. On one occasion he stated that he was an atheist when asked to perform a prayer. On another occasion when asked he said that he believed in God but didn't think God would be interested in his prayers. In any case, Welles was apathetic to faith. His sole drive seemed to be his desire to create and act out the stories that inspired him and no one at this time wanted to respect or enable his talents. Unable to accomplish that which drove his life, his final years were spent in relative despair.

22. Transformers: The Movie (1986)

Orson Welles' final cinematic role was portraying Unicron in Transformers: The Movie. If there were any more of a modest place for the one time giant to descend, I cannot think of one. Granted this probably didn't represent his most serious compromise. During the production of The Other Side of the Wind, he spent several evenings with his cinematography editing softcore adult films so that the two of them could get back to work and keep him financially solvent. He recorded his audio for the film just five days before his death. Regardless of his opinion on working on the animated film, these final years of Orson Welles' life represent him at his lowest point. He was forced to take any gig he could book himself for. Famously he took an enormous amount of commercial work, which included an infamous Champaign commercial in which an inebriated Welles attempted to give an elegant speech about the mystique of Paul Masson wine only to slur his sentences to a depressingly hilarious degree. In his late period speeches, you really sense the desperation and melancholy of his station in life. As Welles performed his final voiceover on Transformers, his aged and decrepit voice proved too rough even to fill the role. The audio designers were forced to augment the voice-over performance to improve it.

Welles perished less than a week after performing his lines for the film from a heart attack at the age of seventy. He died at this desk while typing up stage directions for a project that he and his cinematographer Gary Graver were going to shoot the following day at UCLA. In a sense, he died doing what he loved. His body was cremated and a small funeral was held for him where in his closest friend and three daughters attended. This was the first instance that the three children of different marriages ever met. Two years after his death in 1987, his wishes were respected and his ashes were buried in Spain at the home of a friend and bullfighter Antonio Ordonez.

23. Don Quixote De Orson Welles (1992)

The years after Welles' death brought a great deal of pain and hardship for the people whose lives he most affected. It also brought a great deal of division and indecision. Depending on who you ask the following two decades after his death brought an enormous amount of hostility and contention between the inheritors of the Welles legacy. Multiple people sought claim to Welles' history and tried to make his works available. Since multiple studios owned the rights to his various films, rereleases of his movies became contentious. Universal was sued by Beatrice Welles when it attempted to reconstruct Touch of Evil only for his to settle out of court with the studio. She later claimed her suit was caused by a lack of communication that wouldn't have happened had she understood their plan to follow Welles' famous memo. Beatrice additionally caused a great deal of controversy in 1992 when she attempted to fiancé a restoration of Othello that many Welles scholars have come to scoff at for it's incompetent and sloppy restoration.

Cinematographer Gary Graver spent much of his life following Welles' death mourning the loss of his creative partner. Welles was his primary source of income and one of his closest work associates and friends for fifteen years. Graver would spend many of the final years of his life attempting to build a cut of The Other Side of the Wind that ultimately never came to fruition before his death in 2006.

Orson's mistress and creative partner Oja Kodar inherited the Welles estate and attempted to do everything in her power to preserve the memory and works of her lover. In 1995, she co-wrote/co-directed a documentary called Orson Welles: The One-Man Band. While she has settled into a comfortable life in Croatia working as an artist and an innkeeper, she's stayed notable through her association with her late lover. Depending on who you ask, she's responsible for some of the legal troubles that kept The Other Side of the Wind out of the spotlight, however, her role in preserving the later works of Welles is contentious. By any regards, Oja is a worthy inheritor of the estate and did everything she could to bring his films to the public light.

In 1990, she sold the rights to some of Welles' remaining footage from Don Quixote to Spanish producer Patxi Irigoyen, desiring to see some sort of version of the film come to fruition. Working with director Jesús Franco, the filmmakers stitched the decomposed footage shot across multiple formats into a semi-coherent two-hour film that they showed at the 1992 Cannes Film Festival under the title Don Quixote De Orson Welles. Without proper audio, the crew rerecorded dialog from new actors. The result is a rough looking, rough sounding and merely academic exercise that barely registers as a completed film. There was a rough cut that Orson Welles himself had finished that film critics Juan Cobos and Jonathon Rosenbaum have seen that according to them looks nothing like the hodgepodge of a film that Irigoyen and Franco assembled.

 24. The Other Side of the Wind (2018)

Like with Citizen Kane, I don't wish to relitigate the entire history of The Other Side of the Wind. Having already reviewed the film and shot a series of interviews with Welles scholars Josh Karp and Jonathon Rosenbaum, I've thoroughly discussed the history of Welles' so-called "final film". What I would like to emphasize is just how the film finally came to fruition after nearly fifty years of litigation, red tape, and creative challenges.

After Welles' death, the footage from his shooting was locked in a French vault awaiting decision making and legal red tape. Under French law, Welles still technically had the rights to the film but the Iranian government had a claim on it as financers. In addition, there was a great deal of contention as to how to move forward. The surviving legacy holders of Welles' work Oja Kodar, Beatrice Welles and Peter Bogdanovich all had differing desires that needed to be respected. In order to get finished the film would need an enormous amount of diplomacy and money.

Following several faltering offers to finance the film, polish filmmaker Filip Jan Rymsza stepped in with a bid to take over the film's post-production. Teaming with producers Jen Koethner Kaul and Frank Marshall, the team began to work on acquiring the film and by fall of 2014, the prep work had begun. By early 2015 the group had gained access to the workprint of the film and had gotten Peter Bogdanovich on board the project. They garnered enough money to get access to the film's workprint by selling distribution rights to the film. Filip began the careful dance of reaching an agreement between Beatrice and Oja and by spring of 2015, the gears were turning with the hope of turning the film around in time for Orson Welles' 100th birthday that year. On May 7th, the team began a forty-day Indiegogo campaign to attempt to raise the necessary funds to finish the film's postproduction. Despite extending the campaign an additional month and lowering the funding goals, the $406 thousand that was accumulated while inspiring wasn't enough to complete the film. Towards the end of 2015, it began clear the film was going to require additional help from a new distributor.

The campaign stayed quiet for nearly two years as behind the scenes discussions went underway until March 2017 when they finally announced that Netflix had purchased the distribution rights. Within weeks, the footage was moved from Paris to Los Angeles and the nearly year-long production process was underway. An enormous amount of work was needed to processing the hundreds of hours of footage into a manageable process. Editor Bob Murawski (The Hurt Locker) worked with a team to transfer the footage shot over multiple formats into digital, painstakingly matched the hours of audio to the footage and started slowly editing the film using Welles' mismatched notes and script. Welles problematically evolved his vision for the final film throughout the process of shooting the film. The result of this was that editing the film became a difficult process of making executive decisions as to what to keep and what to send to the cutting room floor.

By January 2018, a rough cut of the film had been finished. At this point, the producers held the first screening for the film to a group of Hollywood insiders including Paul Thomas Anderson, Quentin Tarantino, and Rian Johnson. The screening also included John Huston's son Danny Huston, Crispin Glover, Peter Bogdanovich and the surviving crew of the film. The next several months brought about the final aspects of post-production which included composing the film's original soundtrack. French composer and musician Michel Legrand, who had previously composed the soundtrack for F for Fake, was brought in and started recording the soundtrack in March 2018.

The film's initial premiere had been planned for the Cannes Film Festival however that festival changed the rules arbitrarily in regards to its willingness to premiere digital films from online distributors like Netflix. Subsequently, the premiere was pushed until August 31st at the 75th Venice International Film Festival. Naturally, the premiere that was most important was it's vaunted premiere on Netflix which was eventually announced for release on Friday, November 2nd, 2018. Generations of Welles supporters and fans finally were afforded the opportunity to view Welles' final theatrical premiere that day. Additionally, several movie theaters across the United States premiered the film the same weekend including the Music Box Theater in Chicago where I personally attended the Saturday morning premiere.

25. Conclusion: The Legacy of Orson Welles

We are now living in the greatest time to be an Orson Welles fan. The old truism is that artists are never appreciated until after they die but now in 2018 the full lot of his estranged filmography is finally starting to make its way into the public eye. Welles is beloved as one of the filmmakers in history and his work is regularly mentioned in the same breath as the masters like John Ford, Ingmar Bergman, Akira Kurosawa, and Jean Luc-Godard. 

Every year the studios that own the rights to Welles' films go out of their way to restore and re-release more of his films. Just in the past few years The Criterion Collection has gone back and released Chimes at Midnight, The Immortal Story, Othello, Filming Othello and The Magnificent Ambersons on Blu-ray. Chimes at Midnight's release on home video coincided with its first public touring in the United States in decades as the film's restoration was displayed on dozens of movie theaters across the country in 2016. Citizen Kane, The Third Man, Touch of Evil and Macbeth all have excellent Blu-ray transfers. His lesser known and regarded films like The Stranger and The Trial are in the public domain and are available for free online.

It's a shame that the late director's work has for long been relegated to the dustbins of history. Many of his best pieces of film were left to rot for decades in vaults with no public viewing or demand. Now almost all of his work is available to buy on the most up to date home viewing format. Fans of cinema ought to seek these films out. Though obscure and often rough around the edges, Orson Welles produced one of the finest outputs of work in the history of cinema. He persisted against a lifetime of odds and gave the world everything he had in him until there was nothing left to give. In the end, he was a more modest, fragile and melancholy soul than the bombast, ego and strength of his personality let on.

As Jonathon Rosenbaum discussed in during our FVTV interview this November, once he'd met Welles in person he no longer fanaticized the idea of wanting to be him. Even so, Welles was everything he was sold to be. He was kind, intelligent if a bit rude but he was always himself.

Resources/Sources:

Previous GUG Reviews: Citizen Kane, The Other Side of the Wind Documentaries: Magician: The Astonishing Life and Work of Orson Welles, The Battle Over Citizen Kane, They'll Love Me When I'm Dead, Filming Othello Books: Citizen Kane: A Filmmaker's Journey by Harlan Lebo, Orson Welles' Last Film by Josh Karp, The Encyclopedia of Orson Welles by Chuck Berg and Tom Erskine Video Essays: MovieBob: Citizen Unicron, Kyle Kalgreen: F for Fake, Kyle Kalgreen: Chimes at Midnight, Razorfist: The Third Man, Cinemologists: Mr. Arkadin Online Researches: Wikipedia, When Radio Was

Assignment three- the (in)decisive moment

‘The decisive moment is not a dramatic climax, but a visual one: the result is not a story but a picture.’ Swarkowski, 2007, p. 5 (1a)

‘You know it’s funny. You come to someplace new, and everything looks just the same.’ Eddie in Stranger Than Paradise, dir. Jim Jarmusch, 1984 (1b)

Contact Sheets:

My final edits:

ISO-100, f/6.3, 1/250 sec

ISO-100, f/22, 1/15 sec

ISO-100, f/7.1, 1/125 sec

ISO-100, f/20, 1/25 sec

ISO-250, f/3.5, 1/30 sec

ISO-100, f/18, 1/50 sec

Assignment Notes

For this project I decided to invert the concept and create a series under the theme of the indecisive moment. Instead of freezing time and capturing a specific moment I decided to look at an extended period of time spanning from the past to the present.

I saw my preparation for this shoot as the research and study I did on the decisive moment as a concept where I looked at artists and their work and explained my own opinions on this. Following this, my initial idea was inspired by Don McCullin (1). I wanted to bring the disasters of the world into a safe and stable place. I was going to use some influential pictures from some of the world’s biggest natural and physical disasters and place them in modern, relevant settings. I then did some research into copyright laws and decided that it would not be appropriate to use other people’s photographs in my work and so I changed my concept.

One of my ideas from the original concept was to have a photograph of some impoverished children and place it on a swing set. I intended to do this on a rainy day when the sky would be dull, and the metal would be wet to capture the sombre mood. Based off this idea, I thought more about capturing childhood. This is when I came up with my final concept which was to use past pictures of my friends and family.

I got my friends and family to share with me a picture from when they were young and then I scanned them all in and printed them the same size. I captured them holding their photograph in front of their face in an orchestrated setting, relevant to childhood. The thought behind this was to show the past in the present, the indecisive moment being the full length of time held onto between all the years it takes us to age. We as humans are impacted in our development when we are a child more than any other time and so this experience of childhood is a crucial part of our lives that stays with us.

An important part of this project was setting. Just like Francesca Woodman knew she needed to be in an empty room for Space² (2) to be effective and Wong Kar-Wai needed the bustling streets of Hong Kong to capture the manic atmosphere in his film Chungking Express (3),I knew that my shoot would not make sense without appropriate surroundings. Therefore, I took most of my photographs in the playground of a local primary school, which I was kindly given access to one Sunday afternoon. I spent the afternoon staging my figures against playground equipment and floor markings which all nicely divided up my frames with lines and contextualized the photographs. I took two of the pictures at home. This was because one of them involved a large number of toys which I was unable to take with me to the school and the other one was of me and my parents, so it made sense for this to be shot in the family home.

I loved the way that Jacques-Henri Lartigue captured childhood in such a simple way in the photo of his which I researched (Gerard Willemetz and Dani, 1926 (4)) and how the black and white photograph did not complicate their innocence. Don McCullin’s photograph of Hessel Street, Jewish district, East End, London, 1962 (5) also shows childhood in black and white in a very beautiful way. He manages to convey innocence and fragility in a striking way with his use of setting and his eye for capturing intimate moments successfully. As well as putting my photographs in black and white, I cropped them in, so I had control of my frame and applied adjustments on Photoshop such as brightness/contrast, levels, hue/saturation and colour balance. I edited my photos in this way to remove any distracting colours in the background and because I like the way it looks for its striking qualities and ability to make the images appear somewhat timeless. You can see the differences from the originals by observing my contact sheets.

In conclusion, I hope here that I have been able to show a development in my work of technique and thought process. I have tried to be creative with my idea as I am so bored of seeing the regular decisive moment in the urban landscape as I have previously discussed in my research point. I felt like inverting the concept and exploring what might be considered as the indecisive moment was a better way for me to express myself and paint a far more creative picture of time.

Reflection

Demonstration of tecnhical and visual skills - In this part of the course I have shown use of a fast and slow shutter speed to capture the decisive moment.

Quality of outcome - I thought long and hard about how I wanted my images to look in my edits in post production.

Demonstration of creativity - I have inverted the concept to show the indecisive moment to make a more interseting project.

Context - I have done ample research into the decisive moment and referenced this in my assignment notes.

Hand written notes and print-outs

Bibliography

1a. Szarkowski, J. (2007) The Photographer’s Eye. New York: MoMa Thompson, K. &

1b. Jarmusch, J. (Director). (1984). Stranger Than Paradise [Motion Picture].

1. Don McCullin. (2019). Retrieved from Tate: https://www.tate.org.uk/whats-on/tate-britain/exhibition/don-mccullin

2. Ateer, S. M. (2013, November). Francesca Woodman Space², Providence, Rhode Island 1976. Retrieved from Tate: https://www.tate.org.uk/art/artworks/woodman-space-providence-rhode-island-ar00350

3. Kar-Wai, W. (Director). (1994). Chungking Express [Motion Picture].

4. Jeffery, I. (2000). The Phototography Book. Phaidon Press.

5. McCullin, D. (1962). Hessel Street, Jewish district, East End, London. Tate, London.

Don Ed Hardy on The Evolution of Tattooing 

SFAI’s Alumni Exhibition, In A Flash, is opening this month and the illustrious tattoo artist and SFAI Alum Don Ed Hardy (BFA 1967) has agreed to participate! Last week SFAI’s Exhibitions Manager, Kat Trataris, and Librarian, Jeff Gunderson, headed to Hardy’s North Beach studio to talk Flash and select works for the show. (Im)Material tagged along, and we were lucky enough to get a real education in the history of tattooing in the West from one of the original masters of custom tattoo art in the United States. 

After exploring decades of highly organized early flash and custom designs, Hardy settled in among a tidy spread of artwork, books, and CDs to answer a few questions for (Im)Material. Read the interview below, and don’t forget to come see In A Flash at SFAI’s Diego Rivera Gallery, opening at 5pm on July 4! 

SFAI: Thank you so much for agreeing to do this! 

Don Ed Hardy: It’s no problem. How’s this? 

SFAI: This is perfect. Alright, so my first question is, How would you say that tattooing has evolved since you first got started?

DEH: It’s... it’s reached the potential that I think it always had. I got into it because I believed in it and it was my destiny and I just… I was obsessed with it. When I was a little kid I was like ten years old and I started drawing tattoos and I was drawing on people. And when I was getting ready to finish my undergraduate degree and was set to go to graduate school in Printmaking and probably teach and I reconnected with tattooing. And I met a guy that was another, the first—my favorite term—“renegate intellectual” that had been in tattooing. He was a published author, really intelligent guy and good tattooer, and the first day in his shop he showed me a book of Japanese tattoos.

Actually Donald Richie, he was the one who brought Japanese cinema to the west in the late 1940s, he along with a lot of conscientious objectors/pacifist people worked on merchant marine ships so that they had joined the military. He got to Japan and he fell in love with it there. He was a closeted guy and in Japan you could—especially in those days you could function as a gay person I think easier than you could in America. There’s a great tradition of it there, you know a different outlook of gender. So anyway, Donald was one of the people who brought Japanese cinema to the west because he went over there in the occupation forces after Japan lost the war and fell in love with the country and then became obsessed with the cinema, became fluent in Japanese and then he really brought that whole culture to the awareness of Western people. And he was fascinated with the whole tattoo thing and he had written a book about tattooing in Japan with photos of contemporary tattoo artists in the 60s.

So this guy Phil Sparrow that I met who was working in Oakland showed me that book that first day in his shop and when I saw it—because I was teetering and I was supposed to go to Yale and I was going to teach printmaking and you know, do that—and when I saw that I just immediately thought, if you can make tattoos look like that, you can...I can make, you can make them into anything. And I just abruptly decided I was going to take up tattooing. I thought it had great potential as just human expression. And I knew it was way deeper and way beyond people���s perceptions, you know. When I was younger when you had a tattoo it was like, “well were you drunk or were you in the military?”—it was like those two things, otherwise, why would you ever have one of these things? And mark yourself? And I just thought it was better to see if we could develop this as a medium. So that’s what I did. Obviously, you know I had to meet a lot of influential people and a lot of great artists and get their confidence and, you know, just open it up in the West. Mind you I just hated the fact that you couldn’t have a tattoo without it having that reputation, it just didn’t seem right. It was sort of the last thing in the liberation of… being able to live your own life.

Don Ed Hardy answering our questions in his studio.

SFAI: Why do you think tattooing got that reputation? And how do you think it got away from it? 

DEH:  I think it got that reputation basically because of the suffocating judeo-christian power structure that ran everything in the world. You know, shame and this is wrong and you shouldn’t mark this body that God gave you and all this bullshit — I mean I was force-marched through, you know, Christianity as a kid. My mother meant well but I wasn’t meant for it — and I think it was just looked down on. They thought it was like this savage, barbaric thing. But it really flowered in the West, which we’re going to talk about tomorrow—are you coming to that thing at the Asian Museum?

Jeff Gunderson: I’m hoping to, yeah...

DEH: Because it’s gonna be really a really good panel. We’re gonna get there early enough to see the show. It’s a show of ukiyo-e wood block prints on loan from the Boston Museum which is a fantastic collection of asian art from all the cutters and they’ve loaned all these really pristine prints that feature people in the mid-19th century. I think Japan got opened up maybe early 1860s/late 1850s and then people started going in there and seeing it and some of the things they saw were, you know, tattoos on all of these people. And there was no kind of [western] tradition of it then it was just with whalers and just seafaring types and they just had these spot tattoos, but in Japan it was a really highly developed art form. So... that had a big impact and that followed through to the 20th century. Some of the tattooists, the few tattooists who were really interested in and capable of doing unique work and had inherent art talent wanted to expand it and were trying to offer people more than just, you know, the recipe of imagery and sentiments and stuff that existed in American Flash. 

Among them was Sailor Jerry in Honolulu who was one of my primary mentors. He’d been tattooing a long time, since the, probably the 30s, but in the 60s he really got known for doing these large Japanese-inspired designs but with subject matter and more polychromatic treatment and… you know, he opened up the field as far as the kind of things you could do with the machines. But that’s when it started really was the 60s there were a few people that were pretty interested in that. 

I was able to go to Japan and work with a tattoo master and when I came back here I opened up the first private studio and the whole deal was to get—I would only do absolutely unique tattoos. So people would come in with their concepts and I could draw, so I could draw the concept, and that’s what started it more. And I began to get tattooers from all over the world as clients and they saw what I was doing and thought “well maybe I have the interest and the drawing ability to do that myself,” so that just kind of put the ripples right out. 

JG: I’m always interested in that History of Tattooing lecture you gave in Richard Shaw’s class at the Art Institute.

SFAI: On that note, how would you say your experience at SFAI impacted your art career and art practice? 

Drawing on a pizza box spotted in Ed Hardy’s studio. 

DEH: The experience was really good there because of the openness of it but the key thing really was the instructors I got to have which primarily were Joan Brown and Gordon Cook and… some other people I can’t remember some of their names but um… But the openness of it and of course just the setup of the school you know, because I was raised in this totally right-wing Orange County town in Southern California and the first time I came up with a buddy and we flew—I think it was the first time we’d flown as conscious adults—BANG we came up (it was like 11 bucks for a one way ticket) and we came up for the weekend because Richard Shaw and Martha Hall, who became his wife, and another guy had come up, Reggie Daniker. And they’d come up from Orange County. And I just couldn’t believe it, it was like… the city, the whole thing… I was very aware of beat culture and, you know, I was pretty well-steeped in alternative consciousnesses as had been exhibited earlier in the century. Anyway, I was here and I was like, “Oh I’ve found mecca!” And the school, even the setup of it was fantastic. But really, I think the people that affected me the most were really the people who didn’t teach here that long and they were able to just get away with their take on the whatever the current…   I mean, maybe the primary intent of the school is to have different voices and so it was good for that. It was definitely good for that. 

And then I was on a career track and working in the library and it was going well and I figured I was going to go to grad school because I was accepted to Yale. In those days you either figured out the… the question we always posed ourselves was: Would it be better… if we want to keep making our personal art, would it be better to have a job that doesn’t involve art at all and then do your art, or is it okay if you’re connected, teaching or doing something, is that going to leach away your energy that you would otherwise put into your personal work. You know, it’s all a psycho-drama and anyone that’s cursed with like a, you know, an “intention to make art” you’re like, how will I do this and make it fit into your life. Not even as a financial thing, just as a thing that… so you can live with yourself. So… and for me it really worked out well that I chose the tattoo thing. I’m so glad I did… because right then too the primary flavors that were popular in the world not only were the economic thing about art as a big money commodity which was sick enough in the 1960s now it’s through the roof, but the fact that you could be made totally independent of the institution. That’s what I was after. My buddy Mike Malone, who was from here too—he became a tattooer, he was a fine artist—and he basically just summed it up, he said, 

“We joined the pirates. We just decided we’re not going to be part of any kind of groups. We’re just… we’re gonna try this.”  

... Which in those days... it was very transgressive.

But yeah, I’m glad to see that tattooing has gotten popular. I mean, I didn’t try to proselytize it but for people that try to get them now there are all these incredibly talented tattooers with great careers and they’re free agents and they just go around the world and tattoo and they have people… they’re appreciated. It’s really, it’s great to have—it’s beyond anything we could have dreamed of. It’s very cool. I’m stoked that the museum is—or the school gonna do a show there. It’s natural ... it was a nice surprise to hear. There are probably way more people that I know that I didn’t realize existed that became tattoo artists that came out of there, so… it’s good! It’s a good career. It can be a positive career option. I’m glad I didn’t have to get into it today with the competition, I never would have been able to do it.

Don’t miss Don Ed Hardy’s work on view in  In A Flash opening July 4 in SFAI’s Diego Rivera Gallery! 

Evaluation

Olly Benson

Curiosities Evaluation

Introduction

This FMP ‘Curiosity’ is the first time that I have been presented a brief where I have been able to largely dictate pretty much every aspect leading up to an outcome as well as the outcome itself. This was an exciting challenge to me as it allows me to explore aspects of graphic design and 3D that interests me most, showcase my skills I have learnt throughout the past 2 years as well as continue to develop these skills even more. 

Given that the name of this brief is ‘Curiosities’, the only real guideline is that the project has to be based around something we are curious about. This guideline is very flexible as with the correct explanation in my blog I could have based my project around whatever I wanted.

While being able to work so loosely to no specific theme was seen as a exciting idea in my eyes, I did consider that there could be a number of negatives to working in this way. For example, I think  it would be very easy to lose the general sense of direction at any point throughout the project. I imagined that it could be very easy to get lost or confused leading onto more confusion and an eventual break down. Along with this, without the help of a tutor I felt as though it could be very easy to conduct the wrong/unnecessary research with no clear theme. 

My initial idea for this project was to base my theme around architecture. This is because I am strongly interested in architecture and it is the field of work that I desire to study at university. To explore this, I planned to create something 3D using at least 2 different materials such as wood, plastic or metals, as well as create some digital Illustrations to compliment my 3D outcome. I started to look at architects such as Malevich and Le Corbusier and this gave me the idea to create a modern 3D model of a building that had a removable roof and moveable modern furniture. However, this idea is very similar to my ‘Glitch’ project where I created a series or geometric, futuristic models of building along with some 2D digital Illustrations that showed a 360 degree view of one of the models. Whilst that project was probably my most successful one, in terms of what grade I got up to that point, I think it was important that I don’t just replicate it as it wouldn’t show that I am able to create work with a variety of approaches and styles, and would ultimately make my portfolio quite boring. Also looking at the timeframe I had, I think it was quite unrealistic that I would be able to create the model as well as the separate pieces of furniture to a high enough level.

Considering this, I wanted to focus my project on a certain field of architecture so that I could learn about new processes that I could eventually go on an use when I go into Foundation next year followed by university.

At our trip to the Design Museum, I got a collection of pictures of visually creative chairs each made with different materials; wood, plastic and cardboard. I was really interested in how these chairs were made and the thought process behind designing them. Additionally, we were asked in class to choose from our pictures of this trip and create some Illustrations in the style of Michael Craig-Martin. For this task I chose the picture I had taken of these chairs. This is what kickstarted my project ‘Graphic Chairs’.

Research and Influences

To generate some initial ideas, as a class we each collected 10 objects from a list of 30 given to us in a list. These were objects such as; something brand new, a house plant, 5 words to describe us. The reason behind this was to look at these objects and generate mind maps consisting of what ideas these objects gave us. For example I looked at an ice cream scoop shaped as a cow, this gave me the ideas of; children toys, looking at kitchen utensils in a graphically interesting way, dairy products (advertising, branding), infographics about food/sugar etc. Breaking down 10 different objects like this, creating mind maps and sketching, allowed me to generate loads of different ideas that I could have potentially explored for my FMP.

When we collected all the 10 objects, we inserted them into a display box that we had created ourselves that would be a visual representation of the contents within our proposal. I created my box mainly out of wood, but I also applied metal sheets around the outside of my box. These sheets I had tempered with before I applied them. This showcased that one of my strongest areas was in the RM/ WMP workshop. My box came across rather gothic as I added a chain and lock to the front of it, this gothic style wasn’t something I had initially aimed to go for as it isn’t my favourite styles. Despite this I think my box worked quite successfully. 

Along with this, I created a few different mood boards that visually explored graphics that interest me; Clothing/Street wear, Advertising, Architecture and Sports. While this didn’t necessarily generate loads of ideas, it allowed me to identify what styles interest me most and made me consider how I could use my personal styles and interests to adapt my developments and outcomes throughout ‘Curiosity’. 

As I was initially hoping to base my project on architecture, I went on to research renowned architects such as Malevich, Le Corbusier and Eliot Noyes. I looked at their different styles and approaches to architecture and asked myself questions such as; What Is more important; purpose or aesthetic? How can I combine both visuals an practicality to create something interesting? How can I use simple forms to create something visually complex?

What is more appealing; simplicity or complication? These are good questions to ask as even if my project change direction to something like advertising, these questions would still be just as relevant. 

After this, we went to the Design Museum in London. This trip opened my eyes to all the different types of design such as street signs, architecture (materials and styles), gadgets (phones, typewriters), chairs and furniture. Most noticeably, chairs. I gathered a collection of visually unique and interesting chairs. At this point, I knew I wanted to base my project around architecture but I wasn’t exactly sure what area specifically. I think this trip was the strongest influence on my project as it opened my eyes to chair design and how it can actually be quite interesting when you think creatively. Before when I thought of chairs, I would think of something very simple with four legs that looks very generic. However once I saw the chairs on display at the museum I thought about all the different ways you can make a chair look interesting. Chairs are a vital part of buildings as well as our every day lives, so they still link in with architecture and would still be viable to put in my portfolio when applying for architecture courses for university. 

Going to the museum was also important for my project as It was my first piece of primary research, as it was important that I hadn’t conducted all of my research over the internet using secondary sources. Once I had decided to base my project on chairs, I researched using books such as ‘Design as art’ by Bruno Munari that showed me a variety of sketches of chairs, exploring different shapes, lines and styles. Along with this, books such as ‘Design as architecture’ - Marcel Breuer, and ‘How to design a chair’. In previous projects I hadn’t used books for research as much as I should have and these books were very influential when I was sketching and designing my final chair, so in conclusion I think I am going to look to use books more than I have in previous projects.

When I was considering the composition of my chair, I researched famous chair designers such as Marcel Breuer and Charles and Ray Eames. Charles and Ray Eames were very influential on my project with their use of ply wood. Before when I would think of plywood I would think it was a very rough and messy looking wood. However if it is used correctly It can look very polished. Charles Eames used the process of moulding plywood using heat and moisture, however I didn’t have the equipment necessary to do this. Despite this, I still wanted to use plywood cause I liked the finish it gave. Along with this, plywood was a good option as the college have an abundance of it. Generally, plywood is quite cheap, so that means my chair would be very versatile and cost friendly.

To gather more ideas when I was designing my chair, I asked a number of students around class to simply ‘Draw me a chair’.That was my only instruction to them as I wanted them to draw their initial interpretation of a chair whether it be simple or complicated. This allowed me to compare the designs and analyse what styles and shapes people favour over others. This research was also vital as it was another piece of primary research.

Along with this, I looked online at unique chairs made from unorthodox materials such as rope, old cans or bottles and even full-sized chairs made from purely cardboard. This allowed me to consider the practicality of my chair but also how can I make it stand out? Could I realistically make it out of random materials? During this research, I messaged one of the designers on Instagram called Tom Price whom created a chair solely from rope that he had moulded a chair seat out of using a metal chair-shaped former which he heated with a combination of heaters and hot air guns. While I found out that It would not be possible for me to do this, It still inspired me to use a material like rope in my chair as it gave it a unique appearance.

Finally, during the construction of my chair I researched a number of processes of chair making. This includes different joining methods; What looks the best? What are the strongest? What is easiest to create? Along with this I researched different methods of wood sculpting and sanding; the artist Haroshi opened my eyes to a different type of sculpting that I had never thought of before. Additionally, I researched the different types of varnishes/finishing oils to eventually determine which one I would apply to my finished chair. 

Throughout the project my research was quite consistently evidenced on my blog complimented with mind maps breaking down different artists quotes, approaches to design and aspects of their work that I put into my production file. Along with this I had sheets that allowed me to compare the work of multiple chair designers, looking at what I think work well or not, allowing me to come to a conclusion on the design or my chair. 

I have been able to develop my critical thinking in all areas, but especially on the design of chairs which is an area of architecture that I hadn’t explored before. This will prove to be beneficial to me in the future where I will be able to showcase my skills in chair design in any job or course I do in years to come.

Experimentation and Development 

First of all, as a class we completed 3 workshops that allowed us to experiment with different areas of Graphic Design such as typography (using different materials), screen printing (Inspired by Robert Rauschenberg) and also letter press (Inspired by David Carson). These workshops were important as they ensured that our projects were open to a variety of processes and not just our one idea that we want to do. They also gave us a number of artists that we could research and look at their approaches to graphic design, even if it wasn’t relevant to our final idea, It was still important to have a open mind. 

When I decided to base my project on chairs I decided to create a variety of 3D experiments of models of chairs. To do this I used a large variety of materials such as cardboard, polystyrene, wood, metal and plastic. This allowed me to experiment with these materials and figure out which are most practical when creating a chair, but also which looks more effective than others. I went on to conclude that wood was the most practical material to use especially in the time line that I had. These experiments were also very important as they allowed me to explore different forms of chairs. 

Further developments of these chairs included spray painting one of the wooden models and one of the polystyrene models. This was very beneficial to me as I have never spray painted before so I have learnt a new process. But I have also learnt that It may not be the best type of paint to apply to my chair as it has quite a shiny un natural appearance. Along with this, I decided to slightly burn one of the wooden models so that It had black burn marks around it. I think this worked very successfully as it added character to the model and made it quite visually interesting to look at compared to before. However this is also a process that I would have to be careful with if I was applying it to my final piece as once you do it there is no going back.

One of the new skills I learnt during this project was using the Hot Wire Tool in the RM room that Is used to slice through polystyrene. I quite enjoyed using this tool and was happy that I was able to learn something new whilst also generating ideas. However my polystyrene models weren’t very good as I wasn’t very good at using this tool. It has given me room to expand and develop on though when I go onto foundation as I would be quite interested in exploring sculpting with polystyrene, eventually going onto sanding it down to create smooth but precise details. 

Alternatively, I created lots of sketches exploring different designs. I have a page consisting of simple geometric shapes, then a page consisting of generic chair forms. And then pages consisting of abstract shaped chairs using weird materials such as plastic tubes.  From simple forms using basic shapes to quite complex designs; I was able to think of an idea that was inspired by The Eames, Tom Price and my own ideas that I am very happy with and proud of.

In class we was introduced to Michael Craig Martin, an artist who creates loads of simple 

Illustrations exploring the shapes and lines of simple objects. This style interests me as I am intrigued by how he is able to make something so simple work so effectively.

At first, I wanted to also have a Illustration in the style of Michael Craig Martin that I could potentially install behind my chair in the exhibition that I would imagine would have complimented my chair quite nicely. However I did not have time to do this as I just about finished my chair on the day it was hand in, so I didn’t have time to take a picture of my chair then create a high quality digital illustration of it. 

Once I had created a couple sketches of my final design before I started reading it, I decided to create a accurate digital sketch of my idea to present to Dave and the technicians in the work shop. I had done this as I thought this would be a much clearer way to show people my idea where as a sketch has the potential to be confusing. I annotated it with measurements that I based on chairs within the college. I decided to make my chair slightly larger than normal to ensure comfort as if the base of the seat isn’t wide enough it could seem more narrow than normal considering it is made from rope.

I was initially told I could either use MDF, plywood or try buy some wood myself to bring in. However I was running out of time so was hoping to use a wood that the college already had. To buy my own wood could cost me a lot of money as well. So my choice was between plywood or MDF. To experiment, I created the base of my chair 2 times using either one of these woods. I concluded that plywood was far more attractive to the eye and it would require less cutting out of wood as MDF is a lot thinner. This means that it is less likely that I would make a mistake.

The development of my final piece took roughly 2-3 weeks to finish. This included cutting out all the the strips of wood using the chop saw, laminating the plywood together, inserting dowels to ensure strength, piecing the wood together to overlap the corners, then sanding each individual piece of wood using 6 different types of sandpaper to ensure a really smooth finish, piecing all the pieces together, painting over it with finishing oil with 2 layers and finally applying the rope. 

I thought that I used my time creating a body of work quite efficiently as I was able to create a wide variety of experimentations along with a refined outcome that is supported by the research and the development throughout the project. 

Solution

I think the message of my project is that although chairs are very often overlooked and considered mundane by most people, they have the potential to be very visually exciting and in my opinion can bring a whole room together in terms of appearance and function. Different aspect of chair design such as form, material and size can all come together to create something that can draw people in that originally may have no interest in them before. For instance, before this project I don’t think I had ever really looked at and considered the forms of different chairs. It wasn’t really an area that I had any interest in before. However, since I have done my research and thought of loads of different ideas and eventually created a refined outcome, chair design is something that I am now very interested in. Every time I look at a chair I will consider its practicality against its appearance/ function over form.

My initial curiosity into architecture has drawn me into a more specific area of architecture that I will now be able to say that I have experience with. Along with this once I had conducted my research on chairs, my curiosity into the use of different materials and styles has allowed me to create a design that I believe is unique. I feel as though the use of laminated ply wood has worked very effectively. When I was initially told that I could either use MDF of plywood I was quite disappointed as my impression of these woods were that they both looked quite messy and cheap. However plywood can look very good when sanded down and laminated. The appearance of my piece is very much catered towards my personal style. I also think the use of soft cotton rope as the base of the chair has worked quite successfully as this rope is very soft and stretchy. 

One of the negatives of my chair is that it rocks very slightly. If I had more time I would sand the bottom of the chair down so that It is all completely flat so that it wouldn’t rock. 

Another one of the negatives of my project is that I haven’t worked tightly to a plan. As I have been quite busy outside of college, I haven’t been able to create a strict time plan to allow me to consistently finish off my blog posts and experimentations. My blog posts have been something I have gone on to push aside as I have developed my final outcome. 

Along with this, I feel as though I could have generated more experimentations building up to deciding my decision on what I am going to base my FMP on. Apart from what we had done in workshops I feel as though there wasn’t much experimentations in my own time that explore different aspects of graphic design. 

Some of the successful part of my project are that I feel as though I have created a creative chair that could catch the eye of some people. Considering that I had no history with chair design before this project, I am quite proud of my outcome and the different processes that I have learnt throughout. Along with this, I have created something that I can put into my portfolio when applying for university or jobs in the future. 

To analyse the effectiveness of my chair, I plan to apply my chair in real life situations such as dining rooms, class rooms or offices to see what environments they fit in. From here I could give out a peer feedback sheet and ask my peers to choose which one works most effectively. Alternatively, I could email my chair to a professional architecture firm to get their feedback.

Overall, I think I can get more positives from this project than negatives. I have learnt a lot of new skills both technically and in terms of how to build and follow a project that I have largely created myself. I have really enjoyed this project and would probably consider it my favourite one during this course. 

Throughout the past 2 years I have learnt loads of new skills, both technical graphic skills as well as general life skills. These practical skills include; a strong understanding of the majority of tools on digital packages Photoshop and Illustrator. These are programmes that I had never used before and now I would say I would be able to teach someone quite a lot if I need to. Along with this, my confidence with my general sketching skills have improved greatly. Even before this project I would have said that my sketching was one of my weakest areas which is concerning considering sketching is a large part of architecture. Throughout this project I have taught myself to sketch freely without putting too much pressure on myself to make the sketch accurate. This had allowed me to create a large quantity of sketches that prove to be a great foundation the the planning of my chair and my project as a whole. Additionally, I have also improved a huge amount with my resistant materials skills. Before starting this graphics course, I had never really worked on materials such as woods or metals. Now I have created a fully functional chair that (to me) is aesthetically appealing and unique. 

Along with these technical skills, I would say that my general confidence has grown a huge amount over the past 2 years. I am now able to successfully hold group conversations with people, brainstorming ideas. This will prove to be hugely beneficial to me in the future as a huge part of being an architect is being able to discuss ideas with clients, responding to them and generating something that works with everyones best interests.

It is hard to say which one of these skills are most important as all sketching, resistant materials and confidence skills are a huge part of architecture. They will all prove to be very beneficial to me as I go on to develop and refine these skills next year on the foundation course, 4 years after that at university and then when I eventually go on to full time employment, hopefully as an architect.

Some Thoughts About Richard Serra and Martin Puryear (Part 2: Puryear)

Like Serra, Puryear went to Yale’s famed M.F.A. program (1969–71), but he attended five years after Serra had graduated. In fact, Serra and Robert Morris were visiting artists while he was a student there. During his time at Yale, he studied with the sculptor James Rosati and took a course on African art with Robert Farris Thompson and a course on pre-Columbian at with Michael Kampen. Before attending Yale, Puryear had studied at Catholic University of America, Washington D.C. (1959–63), where he got a B.A in Arts; worked in the Peace Corps (1964–66) in Sierra Leone in West Africa; attended the Swedish Royal Academy of Art (1966–68); and took a backpacking trip with his brother in Lapland, above the Arctic Circle. By the time he attended Yale, Puryear was what the poet Charles Baudelaire would have characterized as “a man of the world.”

From the outset of his career, Puryear refused to give up what he knew and studied in order to align his work with the prevailing aesthetic. Some people believe they should do whatever it takes to fit in, while others accept that they will never fit in and do not try. There is the assimilationist who wants to be loved by everyone, and there is the person who knows that this kind of acceptance comes with a price. In Michael Brenson’s article, “Maverick Sculptor Makes Good” (New York Times Magazine, November 1, 1987), this is how Puryear described his response to Minimalism:

I never did Minimalist art. I never did, but I got real close…. I looked at it, I tasted it and I spat it out. I said, this is not for me. I’m a worker. I’m not somebody who’s happy to let my work be made for me and I’ll pass on it, yes or no, after it’s done. I could never do that.

For me, what is interesting is the nimbleness, stubbornness, determination and intelligence with which Puryear negotiated the aesthetic choices available to him in the late 1960s, a veritable minefield that stretched between the entrepreneurial and the confessional, formalist purity and identity politics.

Historically speaking, Puryear studied art in America and Sweden, lived in and traveled through Scandinavia, Europe and Africa, and worked in the Peace Corps in Sierra Leone during the convulsive 1960s. Culturally speaking, during this tumultuous decade of war, assassinations, desegregation and race riots, America witnessed the rise of Pop Art, Minimalism, Color Field Painting, Painterly Realism, Land Art and the Black Arts Movement, which was started by LeRoi Jones in Harlem in 1965, after Malcolm X was assassinated. The Black Arts Movement advanced the view that a Black poet’s primary task was to produce an emotional lyric testimony of a personal experience that can be regarded as representative of Black culture — the “I” speaking for the “we.” I doubt any of this escaped Puryear’s attention. Faced with these choices, his decisions were bold, adamant and, to my mind, inspiring.

According to Robert Storr, in his 1991 essay, “Martin Puryear: The Hand’s Proportion”:

Of major sculptors active today, Puryear is, in fact, exceptional in the extremes to which he goes to remove the personal narrative from the aura of his pieces. Nevertheless, he succeeds in charging them with an intense and palpable necessity born of his absolute authority over and assiduous involvement in their execution. The desire for anonymity is akin to that of the traditional craftsman whose private identity is subsumed in the realized identity of his creations rather than being consumed in the pyrotechnic drama of the artistic ego. As embodied in Puryear’s sculpture, however, this workmanlike reticence allied to an utter stylistic clarity is as puzzling and as evocative as a Zen koan.

Given the choices open to him between 1960 and ‘70, I don’t find Puryear’s “workmanlike reticence” puzzling, but exceptional. Recognizing that neither skill nor ideas were enough, he rejected becoming a formalist using outside sources to make shiny objects, refused to rely purely on his skill, recognized that craft was a storehouse of cultural memory, and chose not to become an “I” speaking for a “we.” Choosing the latter would have likely required that he evoke his ancestry while making art that alleviated liberal guilt. Influenced by Minimalism’s emphasis on primary structures, which were supposedly objective and non-referential, Puryear inflected his pared-down forms with the possibility of a shared or communal state as well as with a marginalized history that is both haunted and haunting.

In Puryear’s work, it is not an “I” using the form to speak, but a diverse and complex “we” speaking through the form. I think that in his devotion to craft (or his “workmanlike reticence”), which he always puts at the service of his forms, Puryear is attempting to draw upon this storehouse of cultural memory, in order to channel all the anonymous workers and history that preceded him. It is their eloquence, tenderness and pain that he wants to tap into because he understands that he cannot speak for them. The work functions as testimony and homage whose meanings (or narratives) don’t necessarily fit neatly together.

I cannot stress this enough. Puryear goes beyond simply remembering those who are invisible or marginalized, a “we” that is pushed to the sidelines; he also enlarges the definition of “we” through his work. As underscored by such titles as “Some Lines for Jim Beckwourth” (1978), “Ladder for Booker T. Washington” (1996) and “Phrygian Plot” (2012), this “we” isn’t defined by a single race, culture or history. (Jim Beckwourth, 1798-1866, who was bi-racial, was freed by his father and master and became a renowned explorer and fur trader; later in his life, he was the author of an as-told-to autobiography (written down by Thomas D. Bonner) about his life among different cultures and races: The Life and Adventures of James P. Beckwourth: Mountaineer, Scout and Pioneer, and Chief of the Crow Nation of Indians [New York: Harper and Brothers; London: Sampson, Low, Son & Co., 1856].) In this regard, Puryear has never been an essentialist in his materials, approach to art, or subject matter. By not following in anyone’s footsteps, aligning himself with a pre-established aesthetic, or branding his work, Puryear has gained for himself what all artists and poets are said to desire most: artistic freedom.

With “Cedar Lodge” (1977), which Puryear built shortly after his studio in the Williamsburg area of Brooklyn burned down on February 1, 1977, he completed the first of what might be defined as a sanctified space. At the same time, “Cedar Lodge” feels temporary. In fact, the artist dismantled and destroyed the piece after it was exhibited at the Corcoran Gallery of Art, Washington D.C., perhaps because there was no place for him to store it.

In “Self” (1978), which Neal Benezra describes in his 1993 essay, “’The Thing Shines, Not the Maker’: The Sculpture of Martin Puryear” as “a dark monolithic form,” Puryear is able to convey the illusion of a solid, heavy form “planted firmly in the earth,” and therefore partially hidden. And yet, as one learns from looking at the sculpture, the self is not inherited, a byproduct of nature, but something that is made, created out of what is at hand. According to the artist:

It looks as though it might have been created by erosion, like a rock worn by sand and weather until the angles are all gone. Self is all curves except where it meets the floor at an abrupt angle. It’s meant to be a visual notion of the self, rather than any particular self–the self as a secret entity, as a secret hidden place.

In these early sculptures, Puryear began further defining a path that distinguished him from every movement as well as from his elders and peers; he was on his own path. Central to his decision is a belief in interiority; sacred spaces; a self-created private self; survival and temporariness. At the same time, knowledge of craft, which has cultural roots, and a study of history play a significant role in Puryear’s work. What is deemphasized in these works is the “I” or artistic ego.

Puryear’s philosophical position occupies the opposite end of the spectrum from the influential one taken by Andy Warhol: “If you want to know all about Andy Warhol, just look at the surface of my paintings and films and me, and there I am. There’s nothing behind it.”

Or, for that matter, Frank Stella: “What you see is what you see.”

In works such as “Bower” (1980) and “Where the Heart Is (Sleeping Mews)” (1981), which was inspired by a Mongolian yurt, the artist alludes to the movable house, a temporary sanctuary that can be quickly transported from one place to another. At the same time, as Elizabeth Reede notes in a footnote to her essay, “Jogs and Switchbacks” (2007):

"Puns are not uncommon in Puryear’s titles. A mews is a hawk house, and the title Sleeping Mews is a pun on Constantin Brancusi’s Sleeping Muse (1910)."

In using puns, Puryear recognizes that neither language nor meaning is fixed or stable, that everything is contingent. Seemingly mobile, Puryear’s sculptures both critique and share something with Serra’s take on the relationship between viewer and object, which I cited earlier:

"The historical purpose of placing sculpture on a pedestal was to establish a separation between the sculpture and the viewer. I am interested in creating a behavioral space in which the viewer interacts with the sculpture in its context."

Rejecting the pedestal, Puryear places his works directly on the floor. Often composed of both an exterior form, such as a sensual, layered skin or a skeletal, enclosing structure, and an inaccessible but visible interior space, the sculptures invite the viewer’s interaction; they evoke a behavioral space in which a possible intimacy can occur. Whereas Serra’s space tends to privilege an authoritarian shepherding of the viewer through a carefully designed, architectonic structure, Puryear’s work seems to invite the viewer’s speculation as it creates a space of reflection. Made at the beginning of a decade dominated by the “death of the author,” the denigration of craft and skill, the promotion of entrepreneurship, and the elevation of appropriation, Puryear’s “Bower” and “Where the Heart Is (Sleeping Mews)” represented a direct challenge to mainstream art and thinking.

Here, the difference between Serra’s site-specific installations and Puryear’s sculptures cannot be clearer or more telling. In sculptures such as “C.F.A.O. “(2006-2007), “Ad Astra” (2007), “Hominid” (2007-2011), “The Rest” (2009-2010) and “The Load” (2012), Puryear uses wheels he has had in his possession for many years as well as rounded posts and a wheelbarrow to convey the sculpture’s mobility; it is something that can be moved from one place to another, from an open public space to a hidden one, if necessary.

“Ad Astra” is a sculpture incorporating two wheels that the artist found fourteen years earlier on a farm in France. A crystal-like form defines the body of the wagon, which has been described as chariot-like. A tripod has been built into the axle; and from the tripod a stripped-down tree trunk rises more than sixty feet into the air.

In his 2007 retrospective at the Museum of Modern Art, New York, Puryear placed “Ad Astra” and “Ladder for Booker T. Washington” in the museum’s five-story-high Marron Atrium. It seems to me that Puryear placed these works there for a number of reasons, which have less to do with their size and more to do with the dialogue they uphold between history and aspiration, adaptability and inflexibility, particularly with regard to human rights and equality.

Booker T. Washington, who was bi-racial, is a complex figure in America, at once revered and reviled. Considered a racial accommodationist, he rejected the pursuit of racial equality in favor of vocational training. As the first principal of Tuskegee Institute, a school founded after the Civil War for African-Americans, he helped establish the reputation of the school as well as secured its financial stability. Meanwhile, the thirty-six-foot crooked ladder, which alludes to ambition, objectives, to what Washington called “racial uplift,” and to Jacob’s Ladder (or the staircase to heaven that Jacob dreams about in the Bible), is nearly a foot wide at the bottom and a little more than an inch wide at the top. At the Museum of Modern Art, “Ladder for Booker T. Washington” was suspended in the air by wires so that it hung three feet off the ground, becoming a doubly impossible ladder to climb.

By playing with the relationship between perspective and the actual physical length of the piece as it recedes into the distance, Puryear assembled a visual conundrum in which the viewer could not tell if the artist manipulated its rate of diminishment or if it was in fact naturally thinning into space. Instead of stripping all possible illusionism from the work, which, according to Krauss, is one of Serra’s highest achievements, Puryear employs illusionism to carefully orchestrate the misalignment of the visual and the physical, resulting in a perceptual paradox. In doing so, he synthesizes formal issues with his knowledge of history to create a form from which a variety of different and contradictory meanings can be teased out. In “Ladder for Booker T. Washington,” Puryear has used a simple, recognizable form to develop a prolonged mediation on American history and racial relationships. It is a piece that raises a multitude of questions rather than offers solutions.

By playing with the relationship between perspective and the actual physical length of the piece as it recedes into the distance, Puryear assembled a visual conundrum in which the viewer could not tell if the artist manipulated its rate of diminishment or if it was in fact naturally thinning into space. Instead of stripping all possible illusionism from the work, which, according to Krauss, is one of Serra’s highest achievements, Puryear employs illusionism to carefully orchestrate the misalignment of the visual and the physical, resulting in a perceptual paradox. In doing so, he synthesizes formal issues with his knowledge of history to create a form from which a variety of different and contradictory meanings can be teased out. In “Ladder for Booker T. Washington,” Puryear has used a simple, recognizable form to develop a prolonged mediation on American history and racial relationships. It is a piece that raises a multitude of questions rather than offers solutions.

In an interview in the Brooklyn Rail with David Levi Strauss, Puryear, speaking about “Ad Astra,” stated:

There are two Latin phrases the title derives from: Ad astra per ardua, meaning “to the stars through difficulty,” and Ad astra per aspera, which translates as “to the stars through rough things or dangers.”

The ungainly wagon, which is at rest, underscores that one must be prepared to undertake any journey toward fulfillment despite the obstacles. At the same time, there is something impractical about the wagon with this tree trunk rising into the air and seemingly vanishing into infinity. Meanwhile, the body of the wagon evokes a crystal, a form that is both organic and geometric. We think of it as transparent and, as the Greek root (krustallos) suggests, cold or made of rock. By making it out of wood, Puryear has undermined our associations with the crystal-like form, complicating any single or simple reading of the sculpture.

Along with such works as “C.F.A.O.,” “Hominid,“ “The Rest,” and “The Load,” all of which have wheels or rounded, post-like forms suggesting mobility, “Ad Astra” challenges the long held idea of a sculpture as a stationary form, pedestal or no pedestal. A stationary form (whether sculpture or monument) suggests a belief in stability and eternalness, ownership and entitlement. As Percy Bysshe Shelley ends his sonnet, “Ozymandias”:

And on the pedestal these words appear: My name is Ozymandias, king of kings: Look on my works, ye Mighty, and despair!’ Nothing beside remains. Round the decay Of that colossal wreck, boundless and bare The lone and level sands stretch far away.

Ozymandias, who possesses the giant artistic ego, commands others to do his work.

Like “Ad Astra,” Puryear’s bronze wagon, “The Rest,” with its nearly black patina, rests on its backside, its pull-bar jutting into the air. Has the journey come to a halt, been interrupted, or will this form of transportation, which evokes the wagons used to transport runaway slaves along the underground railroad, be needed again to carry something through enemy territory?

“The Load” is a two-wheeled wagon that holds a cage-like wooden cube made of an open-lattice grid. Inside the painstakingly constructed grid is a giant eyeball made of white glass with a black circle (or pupil) in one section. Is it an open box for prisoners? Viewers can peer into the black circle and discover their reflection in a mirror, which allows them to investigate the ribbed dome from inside, temporarily becoming a “prisoner.” In this case, it is as if the giant eyeball (or hapless witness) has entrapped us.

In his reversal of the viewer’s position (from witness to victim), his challenges to permanence, stability and ownership, his recurring evocations of mobility, migration and survival, his meditations upon history, particularly colonialism, his reminder that craft is a form of memory, Puryear effectively challenges the status quo that believes in sculpture as a stationary object (a sign of stability); the death of the author and craft; the primacy of entrepreneurship; and a euro-centric view of art history culminating in a celebration of the purely formal. More than continuing a tradition of sculpture, Puryear effectively re-imagines it. In doing so he asks us to examine what we take for granted and why. This is the lively and heated conversation that Puryear and Serra are having through their work. Perhaps it is time to begin weighing in.

  Source: Hyperallergic / John Yau. Link: Some Thoughts About Martin Puryear Illustration: Martin Puryear [USA] (b 1941) ~ 'Untitled I', 2002. Aquatint on Rives Lightweight Buff paper (12 x 15 cm). Moderator: ART HuNTER.

It’s not as though much in Wes Park’s current state makes endless sense to him. He isn’t always sure who he’s supposed to be, what he’s supposed to do or where he’s supposed to go. Yet, through it all, he has found the constant guiding force of creativity. No matter the day, no matter the insecurities, his art is his greatest friend. 

He makes art not for glory, opting instead to do so for the health of his heart, for happiness to constantly be within his existence. Every sunrise can be a misguided mess, a day without a pathway for Wes, but, he knows his music will overturn that. He knows his creations will bring him peace. He knows, through all the confusion, that his creativity will guide him to a new plateau, one previously desired, yet never grasped as of the present.

Our first question as always, how’s your day going and how have you been?

Today was tough. I have midterms this week and I’m starting to get really busy with school, but otherwise, I’m doing pretty well. Could be a lot worse.

Have you been enjoying school and all it entails? Have you found the new city to be enjoyable?

It was really odd adjusting to school away from home at first. I think i got the hang of things and the general rhythm of campus life pretty quickly, but the midwest is way different from so-cal, so it’s a big change. Definitely enjoyable though. It’s nice to see snow in the winter.

To start, how did you find your original location to be influential to your introduction into music and becoming a musician as a whole?

My friends back at home were the biggest influences to me doing music in the first place. I think as early as like 8th grade we’d share cool bands we found. My bud Rohit, he goes by the moniker Dark Tape right now, really got me into a lot of the music I listen to today, so I can only thank him for that. In high school, I met Harrison (Harry Teardrop) and we started a band together called Sundive. He was a huge inspiration and that’s about when I really got serious into writing and producing music. It was kind of like back and forth, sharing each other’s demos and figuring out cool riffs, and from then it was almost like a persistent goal to just get my stuff out there for people to listen to. Also, my childhood friend Tony always backed me up on guitar, so I could always count on him. I haven’t found anyone like these awesome people back in Irvine.

But when was it that you realized music was a legitimate path and calling for you? Was there a moment or spark that you realized you had to pursue this as more than a hobby?

Just watching my favorite musicians travel and get paid to do what they love was always an attractive idea for a future in music. Even still hearing feedback from people about how they can connect to my music is a really motivating and rewarding aspect that keeps me going. I definitely had an aha moment when I met Harry in high school since he really stepped up the production quality game and kind of externally motivated me to get my music online. I think since then when I was 16, I always wanted to be like a rockstar or pop star or something sweet like that. Music is still technically a hobby to me, but I probably spend more time working on music than on studying and doing homework.

As a whole with your music, what is the largest goal and vision? What is it you’re working towards and hoping to build?

My biggest goal is probably to get a large enough following to travel to interesting places and play music for people. Honestly, the dream is to tour with my old bandmates as our own separate projects. Right now I’m just trying to get better at writing/producing cause I want to put out songs that I’m really proud of. The goal is still in the back of my mind always, but I’m just trying to get into a chill habit of working when I feel like working or when I’m inspired to. Not burn me out and get discouraged or tired of making music.

To shift gears a little, where do you find your current artistic inspirations stemming from? What artists, events or ideas have inspired your new pathways?

Currently, I’ve been REALLY into that new Kero Kero Bonito album ‘Time n’ Place’. It really opened my eyes to experimental noise and power pop sounds that I’m trying to incorporate into some of my new tracks. My roommate also got me really into Japanese City Pop. I love how catchy the synth melodies are and I started playing around more with synths. And generally, I have a playlist of current jams that I listen to for inspiration (Mitski, Beach Fossils, Homeshake, etc.) Oh yeah and also my friend Deaton Chris Anthony’s live performances are super inspiring. Like HELLA inspiring.

Those are amazing people to pull from. What would you say of all time is your favourite album and artists and how did they truly affect you?

My all-time favorite album is probably Ella Fitzgerald sings the Cole Porter Songbook. I used to spin it every night in high school before going to bed, and I learned a lot about cool chord progressions and variations from the instrumentation. I also always loved how genuinely sweet and romantic the lyrics are in vocal jazz, which kind of inspired me to experiment with that. I think also Beach Fossils was really influential when it came to guitar music, especially their album Clash the Truth. Their entire discography is great, but the drum parts, driving basslines, and perfect guitar tones are especially dope on that album. I think for like 2 years I was trying to emulate the sound of Clash the Truth in some way.

It seems like you have great care and love for instrumentation, is that something you focus and put special effort within your sound? Or are you more in the base of caring for lyricism and aesthetic.

Definitely. I think I prioritize instrumentation and how well different parts play with each other a lot more than just going for an aesthetic since it’s really satisfying hearing very singular parts come together into something totally new and full. And I think the aesthetic aspect really comes naturally once its all orchestrated, so it was never something I had a primary aim for when writing. I do focus on lyricism a lot, but I still think I'm really lousy at poetry and writing lyrics. I’m trying to practice more and be more honest with myself, so we’ll see where that takes me. But for the instrumentation, do you ever hear like one small part of a song and it makes you shiver? Like all you want to do is repeat that one section over and over and over because it’s so perfect? That’s what I’m trying to do.

Absolutely, those moments are so beautiful, is there one you think of a lot when you talk about those moments?

YES. In one of Deaton’s old songs, Nylon Heart, the ending is awesome. It's just like FM piano and sparkly chimes and cymbal swells while he's saying “I’ve fallen in love, I can't get up” and then it ends on this very pretty chord on the keys.

That song is so good. With specifics to lyricism, where do you draw inspiration for that side of your music and how do you approach lyricism as a whole?

Believe or not, I used to never write lyrics down. I used to freestyle and just use the 3rd or 4th take, like on Washington Square Park and Midnight Low, I literally made those lyrics on the spot. Now I tend to just write about what's on my mind in a journal, then organize them into coherent lyrics for songs. A lot of the time I feel like it's essentially me venting. But again, I gather most of my lyrical inspiration from vocal jazz since it's so romantic and kind of gooey. Like there’s this one Ella Fitzgerald line on the Errol Garner song Misty that always stuck with me, “walk my way and a thousand violins begin to play.” stuff like that where it's very real but also dreamy, imaginative, almost like watching an old movie.

Would you say that’s what you’re trying to do with your new music? Create a film style quality? Or is there a different motive and purpose to the new sounds and avenues?

Yeah, I guess. My music is pretty much a soundtrack to my life at this point, but I’m still very much willing and open to experiment with new sounds. I don’t know, it’s kind of up in the air where I could go next. I don’t really have a definite motive, but I  guess subconsciously I’ve been slowly shaping a narrative of my life and the people around me through the songs I’ve been putting out.

Do you have any work set in stone to come out though? And if so, how does it differ from past works?

I have nothing set in stone, but I’m trying to conjure up enough good work for an EP soon. I have a couple tracks finished and I’m pretty happy with the direction I’ve been taking, I just don’t feel like I have enough just yet. For the new stuff, expect a lot of noise and distortion and a lot more synth. It’ll be a big departure from my slower repertoire from past years, but I think it still sounds very much like me.

What fears or anxieties have you found existent while in this next stage of your work and career? What is it you’re unsure or nervous or questioning still?

I’ve always feared that my work wouldn't amount to anything big, and the potential of kind of flopping and falling out has always been a HUGE anxiety of mine. Like watching my friends around me blow up and get noticed is super inspiring, but I kinda feel like I’m missing out, you know? That’s kind of on me since I’ve been severely slacking though. But I think that I shouldn’t really worry about things and just let whatever happens play out. I’m really unsure about how people will react to my new music, but I’m definitely not afraid to do new things since I’m having so much fun and satisfaction on my own just music as it is.

Is there, through this new mindset and ignited creativity, a message or ideal that above all you hope resonates with listeners of your work?

Yeah, I really want everyone to express themselves! To find something, anything, they can use to express themselves and share it with the world. Don’t be afraid to put yourself out there, there are a ton of people out there who share your anxieties and fears. That’s what I’ve learned myself and it's been amazing. If there's anything you could take from my music, it's probably that.

If money were no object, where would be one location you would play a live show at?

I would kill to go to New York and play a show with a bunch of friends. If money and logistics were completely out of question, then I would want to go to Korea and play a show so my parents can come watch!

That’s so sick, do you find your Korean heritage to be something you draw from? Or is it something you hope to pull closer to with time?

I really want to create a really strong tie between my music and Korean heritage. I think the connection is really lacking currently, which is a bit disappointing since I identify myself so closely with that cultural background. I was raised in a pretty ‘korean’ household, so I’m really familiar with like all the foods, slang, cultural norms and stereotypes. The catch is I’m god awful at speaking Korean, and it’s kind of embarrassing being a phony. But I’m working on it! I definitely want to experiment with Korean lyrics in future songs once I overcome my embarrassment.

Honestly as longs you're trying to get closer to it, it matters. To go back to live shows, what are some of the performances you’ve seen in your life that have had a significant impact on you and your work?

Saw Wavves in 2015 with Rohit. From then on always aimed to have a super fun and hype shows. I also think I said before that Deaton’s live sets are really inspiring. I can’t really say much about his live set, it’s hard to explain and it wouldn’t do justice to how good it is. I saw Homeshake too I think last year around May or something. They play very tight live and Peter uses his sampler creatively live. I’m trying to find a sweet spot somewhere in between really outrageous and really tight and clean.

If you could recommend one film to everyone reading this currently, what would you tell them to watch and for what reason?

I guess not a movie per se, but I’ve been watching Cowboy Bebop lately. you should watch it, it’s really fun and has great aesthetics.

Always meant to get into it, always been a Dragon Ball guy at heart. To wrap up, do you have anyone or anything to shoutout or promote? The floor is yours!

Shout out to my band Sundive, the boys Harry Teardrop, Tony, Dark Tape. Shoutout to my buddy Deaton! New album dropping soon. And listen to my song Holding flowers it came out in February, but it’s the latest single as of this interview. Hopefully, I get around to finishing up an EP. Thanks so much for the interview, oh and let's give a quick shoutout to Christina Applegate.

Follow Wes on Twitter and Instagram 

Listen on Soundcloud and Spotify

Evaluation

Final Major Project

I was quite excited when we first got handed the brief for our final major project, titled curiosities. There was no clear set task to work to, meaning we could come up with our own interpretations of what we find interesting and want to know more about. However, this could also pose a problem, as the requirements of the brief are not as clear as previous projects. There are no clear guidelines to follow, as everyone is following a different project proposal. You also have to find your own artists and designers to research, as they have to be helpful to your specific work. Initially, as a class, we brainstormed a list of words to help give us ideas within our brief, such as ‘extraordinary’, ‘intriguing’, ‘unique’, ‘desire’, and ‘mystery’. These were the main words that I took and used within my project. This peer discussion helped my find my original idea, and made me develop an understanding of what the brief of ‘curiosities’ could be about.

My original plan was to create a set of illustrations of certain everyday objects, as I am curious about the sentiment behind things. Ordinary, plain objects that do not have any monetary value are often held dear within people’s hearts, giving them more value.This is usually due to the history of the object, and how important memories have been created with these objects within them. Ultimately, exploring how backstories can add sentiment and value to an object or memory. Originally, I wanted to create a series of rotoscoped animations, as well as illustrations, to portray the objects coming to life within the memory they are held in, for example, I wanted to create an animation of a zombie cabbage patch kid due to a story I heard of one being found from being dug up in the garden after being missing for months.

However, as the project progressed, I wanted to centre my work more around tattoos, as this is the career path I want to go into. Going forward, I used my curiosity for the sentimental value behind objects in a more specific way, as I also directed my work towards the curiosity I have for the reasons why people get specific tattoos. I, myself, have tattoos, with personal reasons behind them, and realising that most people’s tattoos have a reason and story behind them made me very curious and interested in the stories behind them, as well as making me want to create my own designs based around the stories people have told me. In the end, I chose the specialism of illustration, as I created a series of tattoo flash based upon stories and life experiences that people have told me. The purpose of my project was to ultimately show a range of different reasons why a person would get a tattoo, and how sentiment and memories are influential enough to make someone get a tattoo of something that is overall worthless to most people. Furthermore, I want people in society to realise that certain tattoos they may view as pointless and bad, will have meaning to others, making them special.

As a class, we were told to research such artists as Eduardo Paolozzi and David Carson. Comparing these artists, I found that they created pieces of collage with miss-matched imagery to create new meaning within their work. I wanted to do the same, by bringing together things from childhood and creating them within an adult setting (tattoo designs). This then creates new meaning, as it loses its naïve imagery. I also took a lot of inspiration from David Carson and one of his quotes, “Don’t mistake legibility for communication”, as none of my final designs have text that helps to portray the meaning behind the illustrations, as the meaning should be understood by the person getting the tattoo. Additionally I researched Michael Craig Martin, who also influenced me due to the fact he was able to transform seemingly meaningless objects to iconic, recognisable line drawings and illustrations. This linked in nicely to my project by allowing me to create designs which were based upon ordinary objects but became eye catching when illustrated. I also researched Joseph Cornell, who was a pioneer of assemblage. Cornell had an interest in childhood, which links to my project as I also created work around infancy. One of the most relevant artists to my work however, was Sailor Jerry, as he was one of the pioneers of tattooing. Within my work I used Jerry’s method of bold line work and colours, as the pieces are designed to be going on skin which means the lines are needed to be of certain thickness and the colours bright enough to hold when the tattoo is healed. As a class we also took a trip to the design museum in Kensington, where we viewed a range of different installations, including a wall of history where everyday items such as the telephone and television sets were displayed. However, these things are only viewed as ordinary to us as the design of such products were so innovative and successful that they became iconic and recognizable,as well as a staple in people’s homes. Within my project I wanted to show that even though some things may be ordinary to other people viewing the design, the memories will make the tattoo designs more valuable for the owner of the tattoo. Within my work I also developed and took inspiration from artists such as Art Spiegelman and John Pound, the creator and artist for the parody series ‘Garbage Pail Kids’. My tutor had originally told me about this series due to the fact my first Cabbage Patch Kid pieces reminded him of them. I became inspired by this series due to the fact that I was creating parodies myself of the Cabbage Patch Kids, as I was drawing them as skeletons and zombies. Furthermore, i created a piece inspired by the art style of John Pound on the Garbage Pail Kids art, using rough, painterly brushes, but still keeping my work digital, to hopefully provide some messiness and brutalness to the piece. However, my work also resembled the work of Eric Carle, so in the end I also ended up researching him.

As well as researching online, I also relied heavily on primary research to create my pieces. This is because I wanted to create pieces of illustrations based on people’s memories, so I went about collecting stories from various people about different items / memories they hold dear to their hearts, whether it be in person or on the internet. The main stories I took inspiration from was the Cabbage Patch Kid doll, which was lost for months but then dug up in the garden, stories about being LGBT and coming out, rebellious and heartwarming teenage memories, such as the story of a girl falling through a shed roof when trying to get out of the allotments, and many different pets and animals, such as a chicken called Nugget and a lamb called Timmy who acted like a dog. I also created a piece of my guinea pig who recently passed away, who was called Jerry, as I am actually wanting to get a tattoo in memory of him. I created the ‘Sailor Jerry’ by illustrating Jerry in bold lines and colours, along with a pipe and an anchor to give the piece a nautical feel. Furthermore, I created the tribal seal piece for my mother, as an actual tattoo design she wants to get in the future. I drew this due to the memories we share of going to see the seals at Ravenscar, as that is “a memory [she] will treasure forever”, showing that some of my designs will definitely be used in real life situations.

Within the FMP, I believe my experimentation was quite wide and varied. Although I stuck mainly to digital work on procreate, I experimented a lot within this app, with colour, textures and themes / subject matters . I also used the process of using a tattoo gun, although I did not develop this skill much as I wanted a refined outcome at the end. I believe I used my time quite well to develop my work, as I managed to create 4 flash sheets as well as extra designs that weren’t on the flash, along with the design for a tattoo studio sign and a few rough pieces made with prosthetic skin and a tattoo machine. I believe my main process of using Sailor Jerry style lines and colours was a good choice, as all of my pieces look like they belong together as a part of a series. Not only this, I was really passionate about the whole concept of my idea, as I myself have a lot of tattoos and also want to become a tattoo artist when I leave college. I love that idea that most tattoos have an interesting story behind them, and becoming a tattoo artist can allow me to create a piece that tells a tale to the viewer. What I also believe to be a good creative decision of mine was to base my designs on actual stories told by real people. This means that they already have a valuable story to be told behind them. This also meant that the designs I created had to be quite polished and tasteful, due to the fact I was going to show them to the person who had originally told me the story that I was to illustrate. This then lead to me refining my illustration skills, as all tattoo designs have to be high quality if they want to be paid for and put into someone’s skin. Not only this, I have started developing the skill of using a tattoo machine, which will come in handy when I (hopefully) become an apprentice. Creating these pieces digitally was also a conscious decision, due to the fact that it is a lot easier to photoshop a digital piece of work on to the body than it is a traditional drawing. This means that all of my designs can be placed on a photo of the body quickly and easily to see how the design would look before choosing it indefinitely.

When creating work for the FMP, I encountered quite a few problems. Firstly, I had the problem of coming up with various designs for just one memory, such as the cabbage patch doll. Often within tattoo parlours, customers can be very picky and ask for multiple redraws of a design, as they want it to be perfect as it is being tattooed on them. Bearing this in mind, I created multiple pieces with a variety of different outcomes, no two alike, so the different designs would satisfy a range of people. As well as this, I often find it difficult to portray texture within my work. However, in this project I used the illustrations on the Garbage Pail Kids to inspire a piece of textured work, so I managed to successfully add coarseness within a piece. Within the FMP we as a class had all come up with our own personal time plans, which, in the end, I did not follow, due to the fact that I originally wanted to create rotoscope animations as well as illustrations but ended up creating purely illustrations instead. I also encountered a problem within my exhibition. Initially, I had the idea of hiring a projector and a mannequin so that I could project my tattoo designs on to the mannequin. Unfortunately, when tested this idea did not work, as the projections were not clear enough and warped around the mannequin as the projector was too far away. To overcome this, I instead printed out my designs, and pinned them on the mannequin. This method also allowed me to show more than one of my designs at once, so was altogether more successful than the projector anyway. In the exhibition I also placed some flash sheets up on the walls of my exhibition space too, within sleek, basic black frames in rows next to each other. I displayed both the line work and colour versions of my designs, as some clients looking for a tattoo may decide that they only want an outline / black and grey piece. Altogether I was pleased with the outcome of my exhibition as it looked like a place where a tattoo artist was advertising their work, along with the mannequin standing alongside the flash to allow the customer to imagine where a tattoo could be in terms of size and placement. Above the flash sheets I also created a logo for my very own tattoo studio, complete with a (digitally drawn) neon sign reading ‘Sam’s Tattoo Studio’.

In conclusion, I feel like the most successful outcome of my project was the exhibition. Although I encountered a few problems when installing my work, the outcome looks finished and professional, and I think, personally, the designs I have created would not look out of place being advertised in a tattoo studio. Although some of the meanings of the illustrations I have created may not be clear, this was the original purpose of my project, as my ‘curiosity’ was about the backstories and memories behind certain objects and tattoos, and why people get tattoos of these memories. These designs are for people who want to tell their stories about their objects, as they hold these stories with high regard.