Tag Archives | Interviews
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In the last couple of weeks I learned that Karsh Kale, Tim Sköld, Ogre and HoodooEngine had released or were about to release new albums. I dig them all so I do what I do sent out the emails and made the phone calls. There were other musicians, labels and festivals I wanted to feature on the show as well but they didn’t happen due to availability and time constraints and before I knew it, this week’s show had been distilled into a gem of greatness.
I discovered Karsh Kale right about the same time I discovered the Asian Massive (or Asian Underground) scene. Over the years I watched the careers of Karsh Kale, Asian Dub Foundation and others grow over the years and it’s a wonder that I haven’t had someone like Karsh on the show earlier.
An interview with Douglas Rushkoff via Technoccult:
“When Video Toaster for the Amiga came out everyone was really excited,” he Rushkoff said. “We believed that we could use it to create deeply alternative states of consciousness using lights and colors and things.”
“Today, those technologies are used by companies like Fox News to make you pay attention to what they want you to pay attention to, or to make your eye fall on a particular ad. Stuff like that.”
But he says if you know how the program works, you’re less likely to be hypnotized by it. “There’s two ways to experience magic,” he says. “And I don’t mean stage magic.” You can either experience it as a spectator, watching a priest or guru. Or you can participate. “Having a guru will only take you so far,” he said. “You have to become the guru.”
But it’s not easy.… Read the rest
Kevin Zeese is an attorney and former candidate for U.S. Senate with a law degree from George Washington University. He contributes to a website attacking the agenda of the national Chamber of Commerce (StopTheChamber.com) and ran for office within the Green Party.
Zeese is concerned that malevolent business interests will have undue influence on elections, due to those interests’ expanding ability to influence elections anonymously. On the phone, he took great pains to differentiate the national hub from your local, garden variety chamber of commerce, which Zeese insists can very well represent the interests of local businesses. The local chambers, he said, had attempted to distance themselves from the national hub, the distinction for him lying in his instinct that the national was undermining decentralization of interests.
I asked him, “So I guess I’d just like to start off by asking you to describe in your own words why you think the Chamber of Commerce apparently has a problem with you or doesn’t want you to speak your mind?”
With this, Zeese laughed with glee, and, catching his breath, said, “Well, that’s a good way of putting it.”
I had the opportunity to conduct a series of interviews with one of the more inventive illustrators and writers working in comics today, David Mack.
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I still remember the first time I encountered his graphic novel series, Kabuki. I was just browsing around a Barnes & Noble, buzzing on caffeine, and this beautifully illustrated hardcover book found its way into my hands.
It’s not hard to be taken in by the art, really, it is both graceful and bold — but I actually laughed out loud when I started reading it — there was a section where the characters were talking to one another, and then moving through a building. Now most sequential artists would draw panel after panel of them walking and talking, West Wing style, maybe breaking it up with different angles and whatnot so it’s not just a bunch of talking heads. But you just give us a top down view of the building, and little talk bubbles as they wind their way around the maze.
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Klint Finley: What possessed you to undertake this process of creating a collage painting for every line of Bill’s original Dream Manual?
Michael Skrtic: The Dream Manual appeared first in 1984 or 1985 in a magazine called The Negentropy Express, which was an APA (an amateur press association) by the Society for Creative Thought. I was one of the founding members of the Society for Creative Thought and I was immediately taken with Bill’s original text and the original short little collage things that he did to accompany the text. It sort of followed me around since then. In the early 90s, I had just moved to Stockholm and I was looking for a project. I thought, ah, I know what I’ll do, I’ll colorize Bill’s original collages, so I blew them up and I colorized a couple of pages, and then I got involved with something else.
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In 1994 I was approached by a Swiss-based international company, Gordon & Breach, who wanted to start an international art magazine – World Art. I accepted but didn’t really want to let go of 21C and so organized a take-over of the magazine. Accordingly I ended up editing and publishing a revised version of the title from 1994 to 1999. Given we were suddenly international in scope I made the most of it and approached folk I’d been a fan of for some time, amongst them such people as J.G. Ballard, William Gibson, Kathy Acker, Bruce Sterling, Rudy Rucker, John Shirley, Mark Dery, Andrew Ross, R.U. Sirius, Claudia Springer, McKenzie Wark, Darren Tofts, Michael Moorcock, Thurston Moore, Erik Davis and others. To my utter amazement they all responded enthusiastically.
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Klint Finley: I guess I’ll start with, just to get it out of the way, the announcement has been put out that Pan Sonic has split up, so was this an amicable split?
Mika Vainio: Well, let’s say that we don’t have any plans to start again, but maybe we do one day. It’s still open, but I don’t think, at least for a couple years, we will not do it.
So are you willing to talk anymore about the reasons behind the split or do you want to leave it at that?
Yeah, why not. There has been no argument or bad spirit or anything like that. It’s just that after, we’ve been doing this for over 15 years, it’s time to stop and concentrate on our own solo things. […]
The record business has been going through a lot of transitions lately through music piracy through the Internet and there’s also the economic crash that makes it harder for people who might want to pay for music to actually pay for music.