Friday, April 20, 2018

My latest interview
From Itchy Silk

Glen E Friedman is a social activist and the photographers’ photographer. His name resounds with clarity inside (and outside) photography and it pulsates with a verve even stronger than it was in 1976 when he started making images of those vibrant sub-cultures: cutting his teeth with Skateboarding and progressing into Punk and Hip-Hop as each began to surface to significance, no doubt in part, thanks to his “voice”.

Like so many who have become an integral part of the fabric of a given period, Glen E Friedman’s interest in photography started as a hobby. The documentation of these sub-cultures ‘quickly’ became a ‘passion’ as it appealed to his need/wish to give his ‘vision a loud voice’. The decibels of that ‘vision’ are set firmly on high.

Iconic, generation defining images of names and important moments from those sub-cultures ensued. But Glen E Friedman’s impact however goes far beyond documenting sub-cultures. It is fair to say that in many respects he helped shape youth culture in those periods where his photographic documentation was intense.

Now in 2018 while his name remains a constant in the photographic world his socially active voice seems even louder and clearer. Indeed, Glen E Friedman seems more intent to push ideas with an anti-establishment bias. Perhaps in these times where ‘we’ are bludgeoned to death by mass media’s agendas on everything from whether to bomb the fuck out of Syria or not and in times where the obfuscation from politicians is even more pronounced-we need an anarchic voice for us to collectively state; ‘fuck your truth we will find our own truth.’

Can you name a moment, image or person that created your initial spark for the creative disciplines and indeed what was it about that moment, image or person that helped light the fire?

No, I cannot, except to say, when I felt that something was going on around me that was happening nowhere else on earth that I have heard of, it inspired me. I was excited and stoked. I wanted others to feel it the way I did. It felt revolutionary because it was!

As a photographer what was it about your formative years that helped to lay the foundation for your interest in photography-in hindsight were you destined to pursue this career?

No, not at all-photography was a hobby, but it became a passion very quickly once I realized it gave my vision a loud voice. Once I noticed it articulated my visions to solid proof I got energized and confident, that what I was seeing and what I was doing with the tool (camera) was worthy and maybe even somehow important.
Do you ever wonder who or what Glen E Friedman would be if he were not in photography-what could you have been?

Not really. I don’t have the time to think about it in such personal abstract ways. When I ponder or wonder it’s about more worldly things like what if humans don’t fix the environment, what or why did we as a species even evolve as we have, what’s going to happen to us is my biggest curiosity?

The youth cultures/counter cultures you captured appeared to have some ethereal and concrete cause how did you capture that essence in your work and what images do you think best showed that?

I captured, or should I more accurately say I framed those moments in my own idealized way because they inspired me. I saw urgency and importance, and I saw and learned that to really inspire others they needed to be framed properly. It helps outsiders relate and helps practitioners to respect and cherish. It was and is about accuracy and beauty, not just mere show and tell-it’s about going beyond the standard ‘capture’ school of thought. Fuck that mediocrity you got to go beyond to be heard, to be seen, to change.

Your bio talks about your ‘science of defiance’ with figures like Ice T. How important was that period in terms of Hip-Hop and the socio-political climate at the time-what was the essence of what you were trying to capture?

I was attempting to help others tell their stories, to share their culture with the outside world. It was about bringing; understanding, consideration, education, love, and integrity. “Keeping it Real” was the slogan. I became one of the biggest proponents of this idea. I believed, lived and enjoyed the art and action that I saw going on around me immensely. Sharing it with the quality of images the culture deserved it was my personal responsibility at that point. I had had success prior with the cultures of, Skateboarding and Punk Rock and exposing and inspiring others. It expanded even further, past my own first-hand experiences to those of my new friends and the new music that was teaching and inspiring me.

Click HERE: for the rest of the interview

Tuesday, April 17, 2018

SkateBoarder magazine on my Instagram

TONY ALVA on the contents page of SkateBoarder magazine in 1977. I think this was the first time a photo of mine made it onto the contents page, i was stoked, so was T.A. , even got him to slap a SkateBoarder magazine sticker on his board. You’d be hard pressed to find any magazine stickers in T.A.’s boards back then. SkateBoarder, the original bible of skateboarding, and its culture, is being inducted into the “Skateboarding Hall of Fame” @skateboardinghalloffame this year, so I’ll be out west for that and get another chance to be up there, i promised to keep the speech short this year😉, give the other old dudes a chance. Should be a fun event, as usual. SkateBoarder magazine was not only the first, it was the best. It was the template for the rest and the bible of the 70’s Skateboarding revolution. . . . This photo was made at Brett Adams one hit ¼ pipe ramp up on Oakmont Drive in Brentwood, about as exclusive of a block you can find anywhere in Los Angeles, in fact i brought Ice-T up there around 10 years later and made the photo of him and his Slant-nosed Porsche (and Darlene laying on top of it) just a few hundred feet up the road in front of some big fancy gate. #SkateBoarder #MadDog #TonyAlva #Originals #Leaders #skateboarding #TailTap #OneWheeler #BackYardRamp #inspiration #1977 #Session #WLA #Brentwood now if you zoom in to see it was the February 1978 issue of the magazine which means it hit the stands at the beginning of January probably and the photo was taken a few months before that. Also the caption takes a dig at another magazine trying to use Alva to gain acceptance and popularity, but we had him back in here as strong as ever after missing a few months. “Our boy” referencing the loyalty with the sticker on the board 🤙🏽 watch the SkateBoarder magazine short form documentary on iTunes now!

A post shared by glen E. friedman Ⓥ (@glenefriedman) on

Monday, April 16, 2018

Happy Birthday Ian Mackaye!

Happy Birthday to one of my favorite people I've ever known.
Let's watch a little talk from a couple of years ago.

myself and Ian 20years ago, here in the East Village!
Half Frame photograph made by Cynthia Connolly

Sunday, April 15, 2018

FCC approves SpaceX’s ambitious satellite internet plans

Starlink is well on its way to serving customers on Earth

The Federal Communications Commission today granted SpaceX a license to operate an array of broadband internet satellites, marking the first time the government agency has given the green light for a US-licensed low-Earth orbit broadband service. SpaceX co-founder and CEO Elon Musk has been discussing a micro-satellite constellation for providing broadband internet for years, and in 2017 the company began accelerating its efforts by meeting regularly with the FCC and applying for a license that would allow it to operate in an unused portion of the FCC-regulated broadband spectrum. The company plans to call the service Starlink.

Earlier this year, SpaceX launched the first two of its planned 12,000-satellite constellation. It appears that the company is starting out with a 4,425-satellite array, with the FCC requiring it launch at least half of those units within the next six years. “With this action, the Commission takes another step to increase high-speed broadband availability and competition in the United States,” the FCC said in a statement to CNBC. SpaceX is slated to start launching operational satellites for the network starting next year, when it will be going head to head with competing space internet provider OneWeb.

”We appreciate the FCC’s thorough review and approval of SpaceX’s constellation license. Although we still have much to do with this complex undertaking, this is an important step toward SpaceX building a next-generation satellite network that can link the globe with reliable and affordable broadband service, especially reaching those who are not yet connected,” Gwynne Shotwell, SpaceX’s president and chief operating officer, said in a statement given to The Verge. SpaceX hopes Starlink may become a big revenue generator that can help offset R&D and operations costs for the rocket company. Financial projections, disclosed by The Wall Street Journal last year, show SpaceX expects more than 40 million subscribers for Starlink by 2025, equaling roughly $30 billion in revenue.

Friday, April 13, 2018

Lions ate suspected poacher

file photo.
Lions near South Africa's Kruger National Park ate a suspected poacher over the weekend.

"It seems the victim was poaching in the game park when he was attacked and killed by lions," Limpopo police spokesman Moatshe Ngoepe said. "They ate his body, nearly all of it, and just left his head and some remains."

Police found a hunting rifle and ammo near the body.

(BBC News)

Thursday, April 12, 2018

La ZAD: Another End of the World Is Possible

"I had never come to the zad before" is collaboration between occupants of the zad, film director Leo Leibovici, The laboratory of Insurrectionary Imagination and star of "American Horror Story" and "Falling Water", Lizzie Brochéré. The short film invites us on an intimate journey through the liberated territory of the zad of Notre-dames-des-landes, against an airport and its world, in search of hope in these tempestuous times.

It is also an invitation for all to come to the zone on the 10th of February to celebrate the movements victory against the airport with a carnivalesque celebration of 50 years of struggle and the future of the zad. For more details see:


Learning from 50 Years of Struggle at Notre-Dame-des-Landes

On January 17, 2018, the French government announced on television, via the voice of Prime Minister Edouard Philippe, that it had given up on pursuing the highly controversial project of building a new airport at Notre-Dame-des-Landes (NDDL). This decision capped five decades of political, economic, legal, environmental, and personal struggle. The airport was to be located approximately 30 kilometers north of the city of Nantes in western France; instead, the site became la ZAD—the Zone a Défendre (Zone To Defend). What began as a small protest camp grew into a world-famous space of autonomous experimentation that lasted almost nine years.

At the very moment we are publishing this article, a massive police operation has invaded the ZAD to evict it. The French government was prepared to lose the fight to build an airport, but no state willingly cedes autonomy to anyone within its territory. The ZAD’s moment of triumph as a single-issue struggle may have spelled its doom as a space of contagious freedom.

Yet the state alone could never destroy such a vibrant project. As we will explore in detail below, dynamics that emerged from within the occupation enabled the police to resume the offensive. In some regards, this pattern is built into the life cycle of movements based around concrete objectives; but in other regards, what took place at the ZAD is avoidable, and we should make a point of learning from it if we hope to create permanent autonomous zones.

The similarities to the story of Standing Rock are obvious. In the US, starting in April 2016, thousands of people mobilized to block the construction of the Dakota Access Pipeline through North Dakota. Following months of clashes with the police, President Barack Obama announced that the Army Corps of Engineers would deny the permit for the last leg of the pipeline; protesters declared victory and many left the camp. Within a couple months, Donald Trump’s administration reversed the decision, the police evicted the last stragglers in the camp in a brutal raid, and the pipeline proceeded after all. The ZAD and Standing Rock offer cautionary tales about the perils of victory.

As one zadist wrote presciently to the occupiers of Standing Rock at the peak of the latter movement,

“All the things you dream of: do them now, while your enemies are reeling, trying to figure out their next angle of attack. There won’t ever be less repression, less police and private security, less drones and dogs. I personally regret not pushing harder before our possibilities shifted, not taking things to the fullest expression they could have reached. I hope you won’t have these same regrets.”

In the following text, we trace the history of 50 years of resistance to the airport at NDDL and analyze the internal dynamics that set the stage for today’s police raid.


Check THIS too!


Thanks, Seth!

Wednesday, April 11, 2018

The Messthetics's Debut Record Is So Much More Than a Fugazi Reunion
according to the Washington CityPaper

from the Washington City Paper:

Listen to the debut record from the trio of Brendan Canty, Joe Lally, and Anthony Pirog.

Few things perk the ears of local music fans more than rumors of a Fugazi reunion. The band was the harDCore scene’s most visible and influential unit, helping to shine a national spotlight on the DMV’s punk scene for the better part of 20 years.

But Fugazi have been on an indefinite hiatus for almost as long as they were active, and the likelihood of a reunion seems like a pretty long shot. That doesn’t mean their members are resting on their laurels. The latest example of this is The Messthetics, an instrumental project that reunites Fugazi’s potent rhythm section, drummer Brendan Canty and bassist Joe Lally, with guitarist Anthony Pirog.

Before The Messthetics came to be, neither former Fugazi member was sitting around idly. Canty has kept busy producing records for other artists, performing in various bands, and doing film work for such notables as Eddie Vedder and Wilco. Lally returned to the area in 2015 after having spent eight years living in Rome, where, among other things, he immersed himself in the odd-metered rhythms of traditional Mediterranean music.

Pirog is the youngest member of the band, though the Northern Virginia native has been a familiar voice in the local scene for some time. He’s well-respected in D.C.’s jazz and experimental music communities and has earned critical praise with his own ensemble and with Janel & Anthony, a duo that includes his wife, cellist Janel Leppin. Pirog also received positive notice for his participation in recent concerts held in tribute to D.C. guitar legend Danny Gatton.

In keeping with Dischord Records’ DIY aesthetic, Canty recorded The Messthetics debut in the band’s rehearsal space, and its first single, “Serpent Tongue,” snaked its way online in January.

The 5/4 meter on “Serpent Tongue,” combined with the distorted guitar riff, lends the song a progressive lilt that permeates throughout several tracks on the album. Other songs that take on a fusion bent with a punk intensity include “Quantum Path” and “Crowds and Power,” the latter of which is the sole muscular tune in the album’s much less aggressive back half.

Regardless of the song’s mood, Canty and Lally anchor the material with an insistence that propels the music forward. The boom-thwack of the drums and the brooding bassline on “Mythomania,” the opening track, have a locomotive effect over which Pirog is free to explore his instrument’s sonic palette. Similarly, the syncopated groove on “Once Upon A Time” gives structure to the languid melodies floating above it.

Pirog is a master at using effects to manipulate his sound, but the tasteful way in which he deploys his enhancements is what sets him apart from most pedal stomping guitarists. He tends to use his sweeteners in a subtle way that adds color to the more industrial songs and soft texture during the record’s quiet moments. All of this comes together on “The Inner Ocean,” the album’s longest track. At six minutes, the song slowly builds to a crescendo before it comes back down to calmer waters.

In many ways, The Messthetics split the difference between what one would expect from a sonic alchemist like Pirog and a rhythm section most often associated with the punk world. The result is hard to categorize, but the comparisons to various power-trios of yesteryear and ’70s prog-rock make sense. There’s a lot for the listener to digest because these are three veteran musicians who know their strengths and know how to utilize them to maximum effect.

Tuesday, April 10, 2018

New Interview with WE EAT ART podcast

We talk to Glen E. Friedman about photographing skaters, punks and rappers, how to photograph character, the point of wide-angle lenses, working together with the subject to get the perfect picture, how he decided to stop photographing guns, collaborating, mythmaking, politics, and contemporary art. Plus Ice T as art-director, the Beastie Boys learning from Glen, photographs of Jay Adams 40 years apart, King T's wraparound shotgun cover, Shepard Fairey as collaborator, Noam Chomsky and Pussy Riot posing for photos and more.

Sunday, April 8, 2018

Rockin' Sunday with
CHAIN AND THE GANG "Experimental Music"

Everyone’s experimenting nowadays…

Experimenting with your reality, your bank account, your future…

The silicon valley overlords, the politicians, and the old time tycoons all play fast and loose in the lab…with your life.

They think you’re just some DNA or data; some plasma to poke and pound at their whim. It’s time to strike back. Fire with fire. Chain & the Gang - the “Down with liberty” Group - are experimenting, too, with lights, sounds, words, and action. We are the “control group” in the experiment; the “total control group.” At war with their science. Noises, thoughts, ideas, and action, spliced, mushed, mashed, crushed, and heated up… Experimental Music.
released September 29, 2017

Singer: Ian 'Chain' Svenonius
Guitar: Fred Thomas, Danny Kroha, Shelley Salant, Ben Collins
Bass Guitar: Fred Thomas, Shelley Salant
Piano: Amber Fellows
Organ: Amber Fellows, Ben Collins
Drumkit: Madie McCormick
Percussion: Fred Thomas
Back Ups: Danny, Fred, 'Chain'

Recorded Live to 4 Track at World Class Tapes in Ann Arbor, MI

Produced/Arranged by Fred Thomas
Mixed by Fred Thomas and 'Chain'

A life/ like/ Radical Elite Happening
all rights reserved