Joe Strummer (Mellor) died around this day 17 years ago, not too old but old enough to leave an exceptionally eclectic legacy of undeniable mightiness.
His silver form hangs proudly in a 150 year old grain barn in provincial Japan in a beloved photo by (Vancouver treasure) Bev Davies from the US festival (the last show with Joe and Mick) in 1983 & has recently made friends with another version of himself from the same year, running the London marathon captured by Steve Rapport (former UK, now Pacifica, California and just releasing a book full of Joe/The Clash photos #PreOrder).
Hopping the stage and singing “White Riot” for the encore in 1984 (yes yes I know ya purists “out of control” wasn’t the *real*… oh forget it… and no way I could’ve got to the show at the Kerrisdale Arena a few years before with The Special’s playing and you know I would’ve loved that but born in 1970 is great for many things)
Take what you can take
and stage diving in front of Joe will always remain near the top of my list of “noteworthy life accomplishments” – I was 13, took the bus in from the suburbs, and stuck my dorky glasses in my jeans pocket and headed into the pit, completely overcome and immersed by this massive sound *and* songs which “really said something”.
I “celebrate his whole catalog ;)” from the 101’s, to The Clash, to Earthquake Weather etc, to the Mescaleros, to filling in with the Pogues, to hanging out at campfires at Glastonbury. And hear his legacy living on through voices from Billy Bragg to Don Letts and so many others.
Route 19 revisited
West Way to the world
The future is unwritten
PS if you need even more The Clash goodness, dig up a BBC audio video collage style film made on the streets of London around 1979, it’s so weirdly awesome great. (I’d’ve pasted here but I can’t figure out new word press blog thingie blah blah blah)
Oh here it is:
Oh yeah, dig this Joe Strummer & The Mescaleros – Live In Roseland Ballroom, New York / familair classics with the Mescas world beat flair
Yeah i know the pics aren’t great but just to document my trip to Subpop HQ, Seattle (of course)… in March 2010 – I was in the city for a conference, gig, start-up internet-y meeting or some thing, I remember eating some Hawaiian/Japanese hybrid at an izakaya and a few other activities but importantly, visiting Subpop.
Note: This was the third company I had SubPop (OlyWa, Zhonka, Hootsuite) as a customer and received a warm familiar welcome and buncha questions about social marketing for bands/labels strategy. Felt useful.
Carrying on anyway,… i had visited the old HQ years ago (with Banghi and scored a Sebadoh “Zippo” and other treats) but this time got the full tour, especially loved the walls various photo strip booth and instant-photo collages – So many faces from bands I know and appreciate over decades, I’ll present it in a style that’s right out of my playbook.
Plus various walls of silk screen posters (silkscreening done on site), walls of stickers (yeah my style!), bunch of other neat stuff like original invoice for the Nirvana 7″, original loser ads, the framed “Wood Records” for bands it sold fewer than a gold record, some of the gold/platinum records are displayed in the toilet, and, at-the-time-just-recently framed and hung properly B&W Charles Peterson (who rocks the instagram like whoa) classic photos.
I left with a box of CDs, bunch of posters and other ephemera, most importantly it Mudhoney double signed by fcking legend Mark Arm of Mudhoney who works as a shipping warehouse wrangler (and to whom I asked a stupid question about his other band Monkeywrench) PS thanks Dean.
Digression: Remember back when Subpop was a column in the fine alt/news-weekly “The Rocket” (thanks Marty) and Olympia/ Evergreen was sort of where Poneman/Pavitt started it up, and most of the bands first came through, a lot more to say about this but you probably know already… (see also: Go With the Flow).
My frequent collaborator and co-conspirator on many adventures Kris Krug has a new website. KK is a Vancouver-area based photographer (he lives on idyllic Galiano Island) with creds ranging from conferences to rare bird docs on remote islands to sojourns in distant countries spreading goodness.
We’ve done many projects together over the years including Frederick Varley Vancouver-address photo essay, trip to Jamaica, several SXSW and Gnomedex geekfests and all sorts of goofing around in unusual circumstances.
Kris Krug’s Flickr archive is majestic and his new website is a replacement for his previous iterations which were hijacked via an SMS hack in 2018. So frustrating and a reminder to solid up your security (including SSL) and ensure you are working with a reliable host and domain registration provider (i use Laughing Squid and Gandi for the record).
There are many posts in this archive under the Kris Krug tag as well including lots of Olympic social documentation stuff around the True North Media House project, TEDx events at which we were the “official” documentation squad, longboard hockey for Heads Magazine and a panel about Rock n Roll photography with legend bev. davies.
In-depth discussion with rock art photographer bev. davies including: hippie days with Neil Young and Joan Anderson (Joni Mitchell), shooting punk pioneers DOA and Subhumans, Motörhead in a park, David Bowie in a stadium, Brian Jonestown Massacre flipping off crowd and so many more. Also stories from backstage with Iron Maiden and Twisted Sister, Nardwuar collaborations, Duran Duran posing at soundcheck, and remarks about various Vancouver venues.
Plus insights about role of photographer as artist, conundrums of accreditation and access, reasons for a long hiatus, crafting the perfect shot, shoes versus sneakers, origins of calendars and exhibits, and plans for a book. Recorded August 2010 in Strathcona, Vancouver, BC, Canada.
At the iconic Smilin Buddha Cabaret and Restaurant in Vancouver’s downtown Eastside, legendary punk rock photographer bev. davies (sic) shows the photos in her recent “(Return to the) Scene of the Crime” exhibit featuring photos taken at his landmark venue between 1979 and 1983.
Dave uncleweed Olson — with attorney Lindsay Lazlo Bailey — asks about her process, the stories behind photos, anecdotes about the subjects and flashbacks about the shows.
Plus, they discuss:
* various parenting tips and stories with heavy metal warlords (Bruce Dickinson, Lemmy Killmister, Dee Snider)
* ideas for a book of bev’s photos (form, cost, etc)
* the history of her remarkable calendars with Nardwuar
* some friends who’ve died (RIP Dave Gregg, Brain Goble)
* hollandaise sauce and skateboards ramps
Note: As a fan and supporter of bev’s work, i’ve also interviewed her (along with new-school photographer and activist Kris Krug) at Northern Voice in a talk called “Building a Scene — Rock n Rock Photos” and another interview to appear soon.
It has become second nature for people to capture experiences, events and news using their phones, cameras and computers. We live in a world were journalism is an action — and citizens have stepped up to answer that call to action.
As a result, the story of the 2010 Vancouver Olympic Games is by no means limited to the version being told by official media sponsors. Social platforms like Twitter, Facebook, WordPress and Tumblr are enabling citizens and independent media to provide real-time coverage of the culture, events and community that are part of the Olympic Games. More stories are being told than ever before — and most of them have nothing to to do with the athletic events.
Kris Krüg is a photographer with Static Photography and a prominent member of the citizen and alternative media community in Vancouver. He is out in the city covering the broad spectrum of events that are occurring during the Olympics.
This is his photographic recap of citizen and alternative journalism at the Olympic Games.
Citizen journalists John Biehler and Dave Olson hold up the media accreditation badge for theTrue North Media House. TNMH is a virtual and independent media house operating during the Olympics. It provides media accreditation to citizen journalists of all types and also aggregates their reporting.
Official media accreditation for the Vancouver Olympic Games is issued by VANOC, the organizing committee — and only the official Olympic media partners are eligible. But other forms of accreditation, such as the one offered by True North Media House, have also been created. Robert Scales, who runs the site Vancouver Access 2010, is holding up his British Columbia International Media Center accreditation badge. This center is created and maintained by the British Columbia government, and is home to a wide variety of Canadian and international media. A few spots were also offered to independent media and bloggers.
Among other things, the IOC noted that “any reproduction and distribution of images of the Olympic Games and IOC identifications by any means, including over the World Wide Web, without the consent of the IOC is unauthorized.” They further claimed ownership over the Olympic rings and actually over the word “Olympics,” itself. Perhaps most offensive to me personally, the IOC had written in their heavy handed letter to Giles that any images of the Olympic Games actually “belonged” to the IOC.
The letter was signed by Howard M. Strupp, the IOC’s Director of Legal Affairs and suggested that Giles needed to conform with their requests (which were a bit vague) by October 8th. Rather than remove or relicense his images on Flickr, Giles instead posted his letter to his Flickrstream. It was first picked up by Duncan Riley over at the Inquisitr. I blogged about it. Boing Boing picked it up.TechDirt blogged about it. It started going viral. Giles also got in contact with both Electronic Frontiers Australia and Creative Commons Australia to try and figure out what his best course of action might be.
From the tone of the original heavy handed letter, it initially sounded like the IOC was actually objecting to Olympic imagery appearing on Flickr at all, having cited the images as unauthorized and saying that the images belonged to them (contrary to U.S. copyright law at least).
The IOC after receiving a bit of heat from the web though quickly back pedaled and clarified that their position was not that they wanted Giles to remove his photos from Flickr, but rather they wanted him to relicense his image from Creative Commons to all rights reserved.
After writing in to the IOC I was contacted myself by Mark Adams at the IOC who clarified that position and Giles was also contacted by the IOC with this information as well. To their credit, I found Adams very professional in his email correspondence with me. Adams told me that the the main objection that they had was that Giles’ image had been used for a major commercial book promotion in London. On his blog Giles confirmed that his image had been used (without any compensation to him) as an advertisement at a book store in London in conjunction with the launch of the 2010 Guiness Book of World Records.
As of tonight, the issue is still not entirely resolved. Although the IOC seems much more diplomatic at this point than they did in the harsh C&D letter that they originally sent Giles, they still seem to be insisting that he change the license on his photos to all rights reserved.
Giles, on the other hand, would like to retain a Creative Commons non-commercial license on his photos. All of his Olympic photos are licensed CC non-commercial as it stands now, with the exception of the Usain Bolt photo (the same photo used by the bookstore in London) that is licensed just regular CC. Giles had removed the non-commercial restriction on this license originally at the bequest of wikipedia so that they could include the image on their site.
To me Giles’ position to retain his CC non-commercial license on his images makes perfect sense. I think he should not cave in to the IOC and change his Olympic photos to “all rights reserved.” The Creative Commons non-commercial license is perfectly suitable to protect the IOC against unauthorized commercial use as the non-commercial portion of CC would prohibit this. If the IOC is going to insist on Giles making this change, this move would worry me for a number of reasons.
First, the CC license (despite the fact that Flickr allows you to change back to all rights reserved) technically cannot be revoked. it is an irrevocable license. From Creative Commons:
“Creative Commons licenses are non-revocable. This means that you cannot stop someone, who has obtained your work under a Creative Commons license, from using the work according to that license. You can stop distributing your work under a Creative Commons license at any time you wish; but this will not withdraw any copies of your work that already exist under a Creative Commons license from circulation, be they verbatim copies, copies included in collective works and/or adaptations of your work.”
Further, it seems like an uphill battle to me for the IOC to go after this popular license. At present there are almost 140,000 images licensed as CC images on Flickr for the search term “Olympics.” While admittedly, many of these images are not of the Olympic games, when you restrict a CC search to “Olympics” and “China” you still get almost 20,000 CC images. Many of them of very high caliber, professional type images of the games.
Even if the IOC gets Giles to relicense his photos, this does nothing to stop other people from using these other images. Unless the IOC is prepared to play a lengthy game of whack-a-mole, this problem is only going to reappear again and again.
Especially in light of the fact that social media is more popular than ever, future Olympic Games will only mean a far greater number of CC Olympic Images make their way online. And we haven’t even gotten into all of the CC Olympic images available at other places like wikipedia — for example, this image of sprinter Michael Johnson from the 2000 games in Sydney.
Rather than try and fight the CC license, the IOC should take a deep breath, relax and learn to accept it. The liberal nature of the CC license means that images of the games receive even greater distribution. This is the best free PR that money can’t buy.
Trying to stomp out every single photographer with a CC license will only backfire against the IOC. Can they hunker down and take an RIAA approach to images of the games? Sure they can. But if they do, they ought to expect the same sort of hatred that is shelled out to the RIAA when they go about threatening photographers the way the RIAA threatens grandmothers.
Might the IOC miss out on a few dollars here and there because some publisher chooses to go with a free CC image rather than try and license one from them? Sure. But it’s a small price to pay to ensure the goodwill of photographers and fans all over the planet.
The Olympics belong to all of us — to the fans, to the athletes, to every person on the planet, and yes, this even includes photographers like Richard Giles. I think the IOC has taken a good first step to try and diffuse this messy PR case that they’ve made for themselves. They should take the next logical step and tell Richard Giles that they’ve rethought his situation and are willing to accept a CC non-commercial license.
Photos are an integral part of building a music scene and attracting audience but there’s a chasm between amateur snapshots and pro photos which truly capture the band’s aesthetic. This panel explores how bands and photographers can work together (technically & creativity) to produce images which enhance the artist/fan relationship.
What do photographers want from bands when shooting them?
What can bands do to be better subjects for photographers?
What are characteristics of a great band or concert photo?
How can photographers get great shots at shows with low light and fast action?
What are the differences between shooting for love or money? Does it change your shots?
Who are you shooting for? Yourself, the bands, the fans, the future?
Everyone has a camera of some kind – how does this change the reasons/importance of your photos?
What are rights licensing options for photographers?
How can photographers build an audience by sharing and using Creative Commons?
How can photographers build relationships with promoters/bands/labels?
Moderator Dave Thorvald Olson is a writer, podcaster and documentarian who frequently appears in media from High Times to CBC to BBC discussing counter-culture, art, hockey, and public policy.
I’ve seen hundreds of rock shows, published punk rock fanzines, followed the Grateful Dead plus Elvis died on my 7th birthday. I presented this panel at Northern Voice conference in Vancouver BC – recap with video, slides, photos, reviews and live blog.
Also, I gathered up exceptional Panelists:
Bev Davies photographed most every punk rock band in, or through, Vancouver in the 1977-85 from DOA to Dead Kennedys to The Clash plus “emerging” major acts like U2, Motorhead and Madonna. Her intimate and distinctive B&Ws, which appeared regularly in the alternative press together form a compelling chronicle of Vancouver’s music history.
Kris Krug regularly shoots bands along with fashion shows, tech conferences, Olympic Games and international travel. Known for his cross-processed style, he shares his shots with Creative Commons licensing, regularly organizes photo walks and contributes to conferences including TedX Shanghai, Gnomedex, PopTech, Petcha Kutcha and Northern Voice.
More about Rock N Roll Photography panel:
Photos are a key component of building a music scene or movement as well as engaging audience for a musical act, but there is a huge difference between some snapshots and photos which capture the band’s aesthetic and essence. Plus, photographers shooting for magazines or freelance don’t always want to share the licensing which allows the band to use the shots for their own promo use.
This panel with noted rock n roll photographers explores how bands and photographers can work together to produce images which thrill the band and inspire the fans. Beyond the technical points of photography, moderator Dave Olson will discuss how the manner of working, point of view, and setting are key contributors to quality results and ask the panelists how they find inspiration, develop a unique style, capture atmosphere, and form working relationships with the artists ~ plus technical tips to get in the pit and make a great rock shot.