Put the bodies in the bag. Next move: drive out to the desert.

10.37 pm 5/17/2012 Repost this

This morning with two great mates, we trekked into the deepest darkest San Fernando Valley - as we had been granted an invitation to enter into the remarkable office/studio/archive of legendary photographer and director Norman Seeff.

To say that I walked away inspired would be such an understatement. I left there exhilarated.

Far beyond his exquisite and technically superior photography, is his work regarding exploration into the creative process.

A remarkable man - Norman had the foresight to not only photograph his subjects, but to have his assistants roll film (and later video) on the photo shoots. He doesn't just throw it into auto-focus and snap pictures willy nilly - he engages his subjects in intense and heart-opening conversation, working in and out of his diopter while fearlessly prying open their protective emotional layers, manually focusing with pin-sharp precision while getting them to open up about their deepest thoughts and feelings - and right when the emotional response is written in their eyes - click - he captures the truest essence of their souls, on 35mm film. And he's done this for over 400 shoots since 1975.

As someone who has made a living interviewing people for the better part of my career - I was completely humbled by his skill and ability - pummeled back into my box like Tyrion slapping Joffrey. His way with people, his willingness to push buttons and boundaries, to confidently ask his subjects to reveal parts of themselves they'd otherwise keep hidden - he is a true master at interviewing - yet this doesn't even begin to describe his photos.

After leafing through some of the enormous gallery prints hung on the walls (all blown up to around 4ft x 3ft from a 35mm neg!) we were ushered into a back room where Norman himself was working on editing some footage for the upcoming exhibit "Who Shot Rock 'n Roll" at the Annenberg Space for Photography here in LA. Instantly you could sense his warmth, his intelligence and his aura in the room. We only spent a short while with him, after which he invited us to sit in his edit bay to peruse some footage of his photo shoots over the years -including a longer version of this session with Ray Charles..

If I ever question what it is that I love about photographing or interviewing people, you're welcome to slap me upside the head with a giant reel of that footage. I am so grateful to do what I do for a living, even if it is a teeny tiny itsy bitsy fraction of the size of what Norman does.

Norman has opened up selections of his remarkable archive for sale, at very reasonable prices. The link is below - I picked out Steve Martin, and the photo here of Steve Jobs, among others.

Now if you don't mind - I'm off to load some film holders and pack my camera bag..

http://normanseeffphotography.com/wordpress/artforall/

Not only does he have the nuclear launch codes, but he drops the mic like Beyonce at the end.

What a BOSS.

« Previous Post | Pop & Hiss Home | Next Post »

Coachella 2012: Azealia Banks has arrived

April 14, 2012 |  5:35 pm

7

0

One thing Azealia Banks needed to prove when she walked onstage for her Saturday afternoon set at the Coachella Music and Arts Festival -– her first official gig in the U.S. -- was how deserving she is of the massive hype that’s been thrown her way.

Since her introduction into the post-Nicki Minaj world of female rap through the deliciously profane firecracker of an anthem, “212,” the Harlem spitfire has become a major darling on rap and indie blogs that have grown disenchanted with Minaj’s syrupy pop hits. This without a barrage of tracks, as evidenced by a set that ended 20 minutes earlier than expected. 

COACHELLA 2012 | Full coverage

With a black-and-white-striped two-piece jumper and long purple-black tresses, Banks immediately proved why thousands of Coachella-goers had lined up for choice vantage points well over 30 minutes before her scheduled set time.

She was four bars into her single "... up the Fun” when she flexed just how skillful her rhymes were: precise, full of grit and wholly original in a way that can't be learned or rehearsed, despite what a few of the new ladies (er, Kreayshawn) on the scene might think. 

Her set conjured up a sweet era of mid-'90s rap when under-appreciated fem-cees like Foxy Brown, Da Brat, Charli Baltimore and Rah Digga along with singular forces like Missy Elliott, Lauryn Hill, Queen Latifah and, yes, even Lil Kim, represented the girl who got down, dirty and raunchy but never dived too deeply into the waters of pop in search of hits.

And it seemed that Banks herself has grown tired of the fixation on pop rap. Her brand is unapologetically street -- even when she ventures into the dance world, it's less Euro discotheque and more gentlemen’s club bounce. And when she experiments with singing, like she did on a brief a capella take on the Zutons classic "Valerie," her voice proved a bit more elastic than her peers', making you briefly wonder what she might have learned from Ms. Hill.

Listen to the rawness of “Barbie …” and you can't help but think she's issuing a few shots at the new crop of girls arriving in today’s more image-conscious female terrain where natural hair colors and designer duds aren't enough. “Long weave, lipstick, I be on that barbie …, pretty in the face but a … look plastic,” went one barbed lyric.

With a smile and makeup running down her face after she effortlessly delivered bar after bar, Banks knew she had earned the ultimate co-sign: thousands of cheers.

If that wasn’t enough, she sent the crowd into chaos when her DJ spun “212,” signaling one of the most profane choruses likely to be sung in unison since Cee-Lo Green’s  hit “ … You.” Judging by the amount of fans who had the most biting (and unprintable) of her lyrics printed on T-shirts and hats, Nicki should be on the lookout.

RELATED:

PHOTOS: Coachella 2012

TIMELINE: Coachella through the years

SHARE: Tweet us your photos and stories

MOBILE USERS: All you need to survive Coachella

— Gerrick D. Kennedy @gerrickkennedy

Photo: Azealia Banks onstage at day two of the Coachella Music and Arts Festival. Credit: Karl Walter / Getty Images for Coachella.

Twitter: @PopHiss

Facebook: Los Angeles Times Pop Music

More in: Coachella, Coachella 2012, Gerrick D. Kennedy

7

0

MORE FROM THE TIMES

• Kim Novak says she's bipolar, regrets leaving Hollywood
• Fish oil: Is it any good for us?
• 'American Idol' vs. 'Voice': Is Jessica Sanchez the best performer?
• Freeway pursuit ends in youth's death as LAPD fires 90 shots
• Reports: Robin Gibb gravely ill in hospital

Comments (0) | Archives (0)

This really is the filthiest song you'll hear - almost ever - but god damnnit if this woman's energy isn't just amazing.