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      • Atlantic Records 40th
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      • Maverick
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      • “Light of Day”
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      • Miriam Nieves / Maritza Figueroa
      • Stacy Hart
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      • Bob Koester
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      • Uncommon Ground: Farmer Allison
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      • Hazzard Free Farm
      • City Farms
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Dave

September 19, 2010

In March of 1995, a publicist called me (when publicists still did that) and asked me if I wanted to do a photo shoot with a young band on her label. They were playing at the Aragon Ballroom, opening for Hootie and the Blowfish. I met them at sound check, took them out on the fire escape and did a quick 5 minute shoot. Dave asked me if I was coming back to see the show that night, and I said I would try, although the Michael Jordan led Bulls were in the playoffs and I never missed a game!

So, the next time I saw the band they were playing the following year at Farm Aid in Louisville, KY. Someone from the Farm Aid staff asked me to gather up the Dave Matthews Band and Hootie and the Blowfish, take them on Willie Nelson’s bus, introduce them and get a picture of all of them. They all got along and shortly after that Willie asked Dave to become a part of the Farm Aid board. So, every year, Dave, a master showman, by himself, or with his friend Tim plays in front of 20 thousand people with just an acoustic guitar- and thoroughly entertains them!!

In 2005, Farm Aid did a book on the history of Farm Aid and I was asked to fly out to Seattle and do a photo shoot with Dave and his wife Ashley for the book. We pulled up in front of a small unassuming house, were greeted at the door by Dave, were given organic beer and organic donuts, and spent the next two hours in their yard talking about everything from music to organic tomatoes.

This brings me to last night and the night before. People have said for years that it takes a really great band or artist to jump from the arena level to the stadium level. The Stones did it in 1981,The Jackson Five in 1984, Bruce Springsteen in 1985, Madonna in 1987 and U2 in the early 2000’s. All of those artists successfully figured out how to stage a show that would not make the people in the back feel they were in another state. Combine that with the fact that they are all great performers, and you have a great night of music. Add the Dave Matthews Band to that list. Over the last few years they have started playing stadiums. Over the last two nights Dave and the band played three hours per night for over 78,000 fans, many of whom had waited outside since early morning to get the front row standing room spots against the barricade. I talked to a couple as I was packing up at the end of the show who had driven from New Jersey, and had seen 120 Dave Matthews shows over the last few years! The band was smoking hot both nights, incredibly tight, but still leaving room to stretch out during the songs with some great solos. Dave is the perfect front man, thanking the audience between songs, cracking a lot of jokes, but still playing and singing with everything he has from start to finish.

Oh…. one more thing. Dave seems to have figured out how to control the weather, too. When Jason Mraz took the stage at 7PM last night the sky was gray, there was a slight drizzle and it was sweatshirt weather, and more was expected. When the DMB took the stage at 8:15, the sky had cleared, the moon was out and it had gotten warmer!

It is nice when nice guys finish first!

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Brian Wilson

September 12, 2010

One of the advantages of this career is that I find myself in situations where I can talk to some really cool people one on one and find out what they really are like. One example of this was the two years that I spent as Brian Wilson’s road manager. One of the greatest songwriters and arrangers of our time, he is a very humble guy who always likes to talk about his music and influences. Of course, one of those was legendary producer Phil Spector (Every night Brian and the band would do the Ronettes “Be My Baby” which Brian would always introduce as his favorite song. He told me several times that it was the most perfectly produced songs that he had ever heard. One of the highlights of that time was bringing Ronnie Spector backstage after a New York show to meet Brian and seeing her sit on Brian’s lap and sing Be My Baby to him!!

One night after sound check, he and I were sitting in his dressing room watching a baseball game. Between innings, I asked him which bands were the most influential to his career. The answer made perfect sense but was kind of surprising. The answer was The Four Freshmen www.4freshmen.com/

So it was kind of cool when I got word that one of the Four Freshmen wanted to come back to say hi in Las Vegas. Never found out which one he was, but Brian was thrilled.

This brought to mind all the bands of today that were, and still are, influenced by Brian. First up is the Barenaked Ladies, who were so enamored with Brian that they wrote a song titled “Brian Wilson.” When we were in Toronto, Steven Page of BNL called and asked me if he could come to the show. I left him a pair of tickets in the 4th row, along with a note telling him to make sure that he was in his seat for the start of the second set. I stood on the side of the stage and watched him standing with tears in his eyes as Brian and the band started out the set (as they did every night) with his song written about his idol and sung by his idol.

Toward the end of my time with Brian, we participated in a TNT special taped at Madison Square Garden called “A Tribute to Brian Wilson.” Many artists participated, including Elton John, Billy Joel, The Go-Gos, Matthew Sweet, and Ricky Martin. The night before the taping, I went out to dinner with a bunch of band members and we started a discussion of the lineup (nobody could figure out the Ricky Martin thing). The discussion turned to who should have been invited, and someone made a great comment. The two biggest bands in America at that time should have been there. Who were we talking about? N’SYNC and Backstreet Boys of course! Makes perfect sense to me. Five guys, great harmonies, teen idols!!

Driving around in my car this week I heard a song on the radio that was so obviously a Brian influenced song. Performed by Broken Bells, (James Mercer of the Shins and Danger Mouse) the song is filled with those beautiful Beach Boys harmonies! So, the influences continue.

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Free speech!!

September 5, 2010

A few weeks ago, the Chicago Reader published an article entitled:

The Picture Police

Do festivals like Pitchfork and Lollapalooza have the right to restrict photography in a public park?

http://www.chicagoreader.com/chicago/pitchfork-lollapalooza-photography-public-property-laws/Content?oid=2165520

The article talked about a fan who bought a ticket to Pitchfork, and was refused admittance because he brought his camera bag with him. When the guards searched the bag, they stated:

‘Bad news. It’s not your lucky day.'”

The guard was referring to the Nikon D5000 camera with detachable lens in Vaca’s bag. It turned out Pitchfork had a rule—no “professional” cameras, no detachable lenses. “I didn’t know that rule,” says Vaca. “Or believe me, I wouldn’t have brought that lens.”

He told his girlfriend to go in, and proceeded to walk to a deserted area, where he threw his camera bag over the fence to her. He got caught!! She was kicked out, and they both went home. GOD FORBID he had taken a picture of a band that day- maybe the world would have come to an end.

The article went on to quote Mike Reed, the  director of the festival, who said:

“All artists have different policies of how they’d like to be represented, photographically speaking, and most only want high-quality photographs coming from approved media outlets. Point & Shoot cameras allow fans to get the shots that they want of themselves and the artists they’ve come to see, but don’t allow high-quality photos they could later sell to profit off the band’s appearance.”

So many things wrong with that statement!!

1. Anyone who reads this blog regularly remembers me describing the scrum of “Approved” photographers who were ushered in to the photo pit to shoot one song of Pavement and then asked to leave the premises. No good pictures could have come out of that!

2. So Mike is saying that the only pictures that the bands want taken are really lousy ones with point and shoot cameras!

3. As the article goes on, the subject turns to whether the festival has a right to disallow freedom of speech on public property that they are renting from the city for the weekend. Many competing viewpoints are discussed, but the only point not discussed is:

Since when did we become the enemy? Why is it that the only people that have the equipment and the ability are not allowed access? What are the legal rights if the event is free on public property? I believe that they can restrict access to the barricaded photo pit, but I wonder what would happen if a group of photographers were to go to a free public event, get there early with reading materials and food, and set up right in front of the stage with all of their professional gear and shoot the performance without asking for a photo pass.

Two nights ago, I went down to the Chicago Jazz Festival to photograph Ahmad Jamal. Upon arriving, I was given a photo pass and told that I would be allowed to shoot the first seven minutes of his set from a seat in the front row, which had been reserved for photographers. There were several open seats in the second row. I thought about moving back a row, and removing my photo pass and shooting the whole set, but decided not to cause a scene and instead left and went to a really cool party!

4.  Recently an English blog I read had an interesting article:

http://smallaperture.com/what-is-a-professional-camera/

A writer went to a music festival that posted these rules:

‘Cameras are normally permitted for personal use. Cameras with detachable telephoto lenses will not be allowed through the three arena entrances. Professional cameras and video/audio equipment are strictly prohibited. Live video/audio recordings made without the permission of the artiste/promoter are prohibited.’

He went on to bring up a great point. Have they checked out the zoom capabilities on a high-end compact camera?

Last summer, Stevie Wonder played a free concert in downtown Chicago on public land. Photographers were told that they could only shoot one minute of the show, and needed a signed letter from the publication that they were working for to be given a pass. The daily papers said they weren’t going to cover the show, so, of course they were allowed to not sign any contracts, but still only allowed to shoot for one minute (Ironic, because both papers sent freelancers, who could then turn around and send their images to any agency they wanted as soon as they were published!)

Anyway, a friend of mine was riding his motorcycle downtown with his Canon G10 in his pocket. He parked and walked into the park. He found a seat in about the 10th row, took out his camera, and proceeded to shoot anything he wanted. With the excellent zoom lens and the ability to shoot RAW files, he was able to shoot magazine quality photos throughout the concert!

So maybe we should all go out and buy “Amateur” cameras! It would certainly be good for my back!!

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A few things!

August 29, 2010

In the latest issue of Rolling Stone there is a Lalapalooza wrap up. In the first paragraph, there is a great quote from Emily Haines of Metric (according to Wikipedia a Canadian band) who, when asked to comment on the tough decision due to the fact that the Strokes and Lady Gaga were playing at opposite ends of the festival at the same time, said “It’s sort of like the Beatles versus the Rolling Stones.” YIKES!!!!!!!!!

On one end, you have the Strokes, a bunch of rich upper east side kids who, had a buzz  around their first album, and as far as I can tell a few charted hits, and then kind of disappeared, sort of reforming for Lalapalooza, probably never to be heard from again. Are they the Beatles or the Stones?

On the other end is a Madonna wannabe with 17 trucks full of equipment (including one semi trailer for her clothes). Minimal talent, and a penchant for self promotion! The most telling part of the article talked about how a great portion of the crowd started leaving after the first few songs of her set. Funny, I don’t remember many people leaving before the end of a Stones show!

Oh well, guess it is the perspective of youth!

Speaking of youth, I just received three CD’s in the mail that I did the cover photos for this year.

1. Pinetop Perkins and Willie Smith for Telark. Pinetop is a very young 97 years old, Willie is a youngster at 74 years old. Both played for many years with the Muddy Waters Blues band. They still perform and records regularly, and record in a lot of different bands. Willie’s son Kenny is one of the most consistent drummers in the blues!

2. James Cotton for Alligator. A very young 75 years old! I have photographed James for three different Alligator covers through the years, and he is always a great guy to hang with!

3. Dave Specter for Fret 12. The youngster of the bunch, Dave has been recording for only 20 years! He also co-owns one the coolest new venues in the Chicago area (SPACE in Evanston, Il.) Great place to hear music, great pizza in the front room, and a full service recording studio in the back!

Speaking of youngsters, I just photographed a new news team for the CBS affiliate in Chicago. Billboards went up this week around the area for the new team, both more than 70 years old, but legends in the Chicago news business. Welcome back, Bill Kurtis and Walter Jacobson.

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What a week!!

August 22, 2010

For the last year I have been complaining about not getting access and not shooting a lot. Well, this week brought back the good old days

Saturday 8/14:

Spent a lovely evening with John Mayer and the Avett Brothers. Spectacular show, great lighting, and John is playing guitar better than ever. He just bought a new camera, so we discussed RAW versus JPEG at length before the show. A great way to spend a Saturday night.

Tuesday 8/17:

OZZFEST!!! Made me feel young again. A little bit deaf, too. I was there to photograph Ozzy, but someone backstage asked me to shoot a band called Nonpoint, and I am glad I did- great band and a lot of dreadlocks flying through the air. I was just going to relax till Ozzy- but then Rob Halford walked by, and I couldn’t resist. Arguably the greatest metal singer around, and one of the nicest guys in the business. So I got off my butt for some kickass metal. Then came the grand finale. The Prince of Darkness. As usual the show started with video clips of Ozzy mixed into popular culture (Twilight and Jersey Shore). Then he appeared on stage, looking and sounding better than he has in years, spraying the audience with both water and foam. I managed to keep my camera dry this time, and got some great shots.

Thursday 8/19:

Went to New York for the day to see my friend Benj’s photography show opening at Morrison Hotel Gallery. Benj is the bass player from O.A.R. and has been shooting for as long as I have been working with the band and this was his first show. Great time catching up with him and the rest of the band. Also met legendary music photographer Mick Rock for the first time. Wacky, great guy!

Check out Benj’s work at http://www.benjgershman.com/

Friday 8/20

Got up in the morning and flew back home to get ready for SLAYER and MEGADEATH. Yikes!! Louder than a jet plane, amazing lights and sound and a sold out crowd of metal maniacs! A perfect Friday night. Was talking to Kerry King (Slayer guitarist) before the show and he was telling me about almost losing all their gear in a tornado the month before in Europe and them saw and heard a great 3 hours of music. (sounded like we were in a tornado most of the night!

Saturday 8/21:

Spent the evening with my friends the Black Crowes, who have slowly evolved into one of the greatest live touring bands on the planet. Every time they come to town, they seem to have added another person to the band (they are up to 9 now). The music, now a mix of acoustic and electric, runs the entire gamut of their catalog, along with some tasty covers (Do Right Woman was especially great).

Finally the week ended and I went home and slept for about 10 hours! (Although if this kind of access was available all the time, I could get used to it!

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Keeps on getting worse!!

August 15, 2010

In the last couple of weeks the rights grab people have been increasing. From the Press gazette in London:  http://www.pressgazette.co.uk/biography.asp?contact=6

Photographers covering musician Jay-Z’s recent appearance at the Wireless Festival in London were apparently asked to sign away their copyright to the multi-millionaire rap artist. Press Gazette has been given a “photographer’s release and grant of rights form” which a photographer, who asked not to be named, was handed at the recent festival.

In the form photographers are asked to sign away their copyright in exchange for having the right to photograph the rapper, whose real name is Shawn Carter.

The form states: “You agree that any and all photographs and images captured or obtained on any media, known or future, are not for commercial sale, or distribution in any form, except for use in the below mentioned publication. “You further agree that this permission is for a one-time use only, unless agreed in writing and attached to this document.All copyrights and other intellectual property rights shall be entirely Artist’s property; free of any claims whatsoever by you or any person, firm or corporation.”

The article goes on to say that most journalists think that the contract is legally unenforceable. I agree with them on this point, but that is not the point. More than likely Jay-Z is not going to sue some poor starving photographer because he sold a picture of him to the wrong magazine. First off, he would look like an idiot and a bully. Secondly, he would have to prove damages (basically having to say that a picture of him in a publication would hurt his career, and unless the picture showed him doing something really stupid, would probably be impossible for him to prove.)

The article goes on to say:

National Union of Journalists freelance officer John Toner, who represents photographers for the union, advises members never to sign such forms.

He said: “Our advice would be that it’s not worth anyone’s time to work on the basis of this contract. We have devised our own contract which photographers are starting to use with some success.”

“Management are ripping off photographers and trying to get them to agree to terms that they would never expect for their own artists.

“If a photographer is confronted by one of these contracts we would urge them to contact their publisher as a first port of call, because they don’t want photographers signing these contracts either.”

This brings forth another point. If one is working for a publication, the photographer has no right to sign their name to a contract representing the publication without the publications attorneys looking it over and signing off on it. Also, most large publications (newspapers and magazines) expressly say to their photographers that they cannot sign any kind of contract on the publications behalf.

Final thought: Someone wrote a comment to this writers post. He had a very funny idea- Photographers should present musicians with a contract stating that if the photographer downloads music or buys a CD produced by the artist, the photographer then has rights over that music. It’s the same thing…

Last final thought: I recently heard that Iron Maiden, a band that used to love having people photograph them, now has a similar contract.

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The end of photojournalism

August 8, 2010

During my discussion with my publicist friend a few weeks ago, another subject that came up was the fact that many young photographers were more than willing to give their work away for nothing. I talked to a photographer yesterday who told me that he had negotiated a deal in which he was the house photographer for a venue in his town. In return for shooting all the venues shows, he signs over the copyright to all of his photos to the venue, and cannot use them for anything himself. I asked him why he did it and he told me that he was given tickets to all the shows. So I suggested that he was working for nothing, and he begrudgingly admitted that that was true.

Last week a friend of mine sent me an article from an English website run by EPUK  (Editorial photographers United Kingdom and Ireland). The article was written by Neil Burgess, who runs his own picture agency, NB Pictures. In it he says:

Magazines and newspapers are no longer putting any money into photojournalism. They will commission a portrait or two. They might send a photographer off with a writer to illustrate the writer’s story, but they no longer fund photojournalism. They no longer fund photo-reportage.

Even when photographers create brilliant stories and the magazine editors really want to publish them, they cannot pay a realistic price for the work.

Last week Newsweek published a three page story about the Huffington Post, saying that they may have figured out the future of journalism.

Seems to be what they have figured out is this: Steal content from other sites (they are called an ad-supported news Aggregation website) and get writers to work for them for free! The Huffington Post has 88 full time paid employees and 6,000 unpaid bloggers! Many writers

From the New York Times March 29, 2010 issue:

Amateur photographers, who put their photos up on Flickr and then receive a contract with Getty Images illustrate the huge shake-up in photography during the last decade. Amateurs, happy to accept small checks for snapshots of children and sunsets, have increasing opportunities to make money on photos but are underpricing professional photographers and leaving them with limited career options. Professionals are also being hurt because magazines and newspapers are cutting pages or shutting altogether.

So, in conclusion, I guess we have to now work for nothing to make a living. Somehow that equation doesn’t quite work in my mind.

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Cartier-Bresson

August 1, 2010

The career retrospective of Cartier- Bresson’s work opened in Chicago, last week, and I was waiting in line! Well worth the wait. The show shouldn’t be missed. All of my blabbing about the decisive moment was on display in about 200 images on the walls at the Art Institute. Every image was a decisive moment. It seems that he, like Forrest Gump or Zelig was present at every major world event in his lifetime, and always was able to capture the essence of the event. From images of world leaders to an image of two dogs humping on the street (which would have been a throwaway photo were it not for the third dog looking over his shoulder in jealousy at the other two), he captured moments in time with perfect composition (remember, no cropping allowed).

It reminded me of an assignment that was given out to a photographer each week by the Chicago Reader in the 1980’s. It was called 1000 Words. The deal was, you had to submit one photograph that told a complete story. The caption could only have the date of the image and the address- the photo had to tell the story. All for $100.00. The first time I got the assignment, I spent several sleepless nights trying to formulate a plan. At the last minute, I was invited to sit in the bleachers at opening day of the Cubs season. I got out there to find heaps of snow in the seating area. Took a photo and I was done. Pure dumb luck!! The image later ran in a calendar of the best of 1000 Words, so I guess I was on the right track. That assignment taught me how difficult it was to tell a story in photographic images. A lesson that was tipped in last week by seeing some of the most beautiful images in photographic history on the walls of a museum in downtown Chicago. I hope looking at the exhibit will make me a better photographer!

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Pitchfork Music Festival

July 25, 2010

Last week, the Pitchfork Festival took place in Chicago. Three days of 90+ heat and music from noon to 10PM in a dusty field! Can’t think of a better event to not go to!! And I almost made it. Then….. a client asked me to shoot one band at Pitchfork. Luckily, they were the last band on the last day. So I made my plans to shoot Pavement, the legendary California band that was making a comeback after being “on hiatus” for many years. They were going on at 8:30 on Sunday night, so I arranged to have my passes waiting at the back gate at 7:30. Of course they weren’t there so it took me  ½ hour to find someone in charge to get my passes, another fifteen to meet up with the band’s road manager, get permission to shoot the whole show, and relay that to the head of security for the stage. 15 minutes to show time and I was standing next to the stage at the gate leading into the pit, talking to a friend of mine. I saw her eyes get huge looking over my shoulder. I turned around and saw a sight that was either really funny, or the saddest sight for any photographer in the business. Remember those westerns from the 60’s where cowboys were driving herds of cattle across the country? Dust was flying, and the cowboys were riding herd to make sure that there were no strays. Picture eighty photographers charging across a dusty baseball infield, with security guards herding them toward the gate we were standing in front of! When they arrived, the cowboys, oops security guys, divided them into two groups and announced that the first group of 40 would shoot the first song. During the second song, that group would leave from the other side and the second group would be herded in to shoot the third song. I watched these two groups push and shove each other to try to get a usable shot, and then be pushed out the other side, and was really glad I was not part of that impossible scene. After everyone left I wandered in and shot the rest of the show. So three days of music and I spent 2 hours at the event. Great way to enjoy the Pitchfork Festival!

By the way, Pavement was great! For a band that hasn’t played together for quite a while, they were amazingly tight, and their songs stood the test of time. Most of the audience, who were probably 8 years old when the songs first came out were singing along to most of them.

Coming up in two weeks, Lallapaloza! With any luck, I will be able to shoot one less band there than I did at Pitchfork!

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Conversation with a publicist

July 18, 2010

Last week I had an hour long phone conversation with a long time friend, one of the legendary publicists in the business. The conversation started with her asking me to photograph one of her clients (imagine that, a publicist asking a photographer to work with one of their bands). It continued with (as usually happens with me these days) a discussion of the state of the music business as it relates to photographers.

We were in agreement about most issues, all of which I have talked about here in the past. Then she brought up a great point that I have always been loath to discuss. “You know,” she said, “some photographers are real assholes.” YIKES, she is so correct.

We went on to discuss that sometimes (most of the time) it is easier to just eliminate the whole problem by restricting all photographers than to single out and eliminate the Aholes. Can’t tell you how many times I have wanted to scream when a photographer walks into the pit and puts his bag on the front of the stage. That stage belongs to the band- not the photographers!! The photo pit is a work are- if you are not working, move to the side. Just had a conversation this week with the head of publicity for a number of festivals in Chicago. We are discussing a plan where only working photographers are allowed into the photo pit. Another big problem is the fact that we are standing between the band and the paying customers (usually the ones that have paid the most money for their tickets). Every time there is a complaint from a fan that photographers are blocking the view of the fans by standing on the barricade, that is one more strike against us, and one more step toward the day when we will no longer have any access to do our jobs.

There is already a venue in Chicago (named after the city in fact) that makes all photographers shoot from the wall on the far right hand side of the venue, because they had too many complaints from paying customers. I now have to go through a half hour process every time I go there to get the access I need to take the pictures that I am getting paid to take!

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