Alessandra Sanguinetti Interview As an editor and photographer, I spend as much time as I can viewing and reading about other major photographers. Amongst my favourites are those that make up the Magnum agency. I was recently sent this interview which I found fascinating for any photographer to read… Alessandra Sanguinetti talks to Allie Haeusslein about her new book, inspired by a childhood fascination with cult classic, Wisconsin Death Trip. At age nine, Alessandra Sanguinetti stumbled across a copy of Michael Lesy’s Wisconsin Death Trip on the bookshelves of her family’s home in Buenos Aires. The macabre, cult classic of historical non-fiction, first published in 1973, portrays Black River Falls and its environs at the turn of the 20th Century. Interweaving contemporaneous images from photographer Charles Van Schaick with clippings from local newspapers and other ephemera, the book offers a harrowing depiction of strange goings on in the rural Midwest. Sanguinetti credits this early encounter as the moment she first acknowledged her own mortality and that of everyone she loved. Nearly 40 years later - and over a century since Van Schaick made his images - she ventured to the fabled town, photographing Black River Falls and the surrounding region. From 2014 to 2022, Sanguinetti documented the people, places, and rituals of these communities, blending a tender curiosity with an underlying gothic sensibility. Some Say Ice, published this fall by Mack, appropriately takes its name from Robert Frost’s Fire and Ice (1920), a pithy, apocalyptic poem envisioning the end of the world. Stoicism characterizes every face, young and old. Timeworn buildings with wood-clad interiors populate the eerily unpeopled roads. The pictures are suffused with a bitter cold and the sensation that time stands still. And throughout, intimations of death and violence feel inescapable. The haunting, uneasy narrative that unfolds in Some Say Ice captivates with its enigmatic tempo and tenor, speaking poignantly about the kinds of communities and lives that rarely make headlines in the US. Allie Haeusslein: What impact did seeing Wisconsin Death Trip have on you as a young person? Alessandra Sanguinetti: Many books around my childhood home made a big impression on me. Among them, books of photographs by Chim (David Seymour), Dorothea Lange, and Jacques Henri Lartigue, along with The Best of Life [also published in 1973, pulling together iconic photographs that appeared in the golden days of the weekly illustrated magazine] and, of course, Wisconsin Death Trip, which as you know inspired Some Say Ice. The edit of Wisconsin Death Trip has a kaleidoscopic feel to it, like a house of mirrors, which makes it very immersive. I distinctly remember the dread filling me when I saw a photograph of an impossibly old woman followed by an image of a dead little girl in a coffin with a faceless man standing by her. I suddenly and without question understood that death was real and would happen to me. My response to this realization was to ask for a camera. What are some of your earliest memories with that first camera? At what point did you realize you wanted to spend your life making photographs? It was a Kodak Instamatic with those old flash bulbs that would burn out after one pop. The film and flash bulbs were really pricey in Buenos Aires, so I’d have to make a roll last for months, thinking very carefully about what I photographed. I’d photograph kid stuff: my favourite things, best friend, stuffies, family. . . The camera had a square format, which I’d tilt sideways so the frame was in the shape of a diamond to show how special the subject was to me. The first picture I made that taught me photography could go beyond the literal was of a storm rolling into the horizon at our farm. I remember the thrill at seeing the print, how the photo captured that feeling of excitement and exhilaration of wind picking up and the sky darkening. Thinking back to your first arrival in Wisconsin back in 2014, how were you received by the people in these towns? The kinds of portraits you made require willing collaborators, so you must have developed strong trust and rapport within the communities you visited. Wisconsinites are very proud of their state and their way of life, so, from the start, people were very welcoming and thought it perfectly natural that I’d take an interest. I began photographing in schools, nursing homes, farms, police stations, churches, and at community events. Through these encounters, I developed more personal relationships with people and was invited into more intimate settings. How did you gain access to spaces that are normally quite private, like schools, nursing homes, and even police stations? The project began with the support of the Milwaukee Art Museum. Before my first visit, when I started contacting schools and other organizations, being able to provide the museum’s formal letter of support opened many doors. Once there, I developed relationships and friendships that led to others and have outlasted the project. Through these relationships, you were invited into the most personal of spaces - people’s homes. Did you feel a greater responsibility in these contexts, to how you were depicting these subjects and spaces in the work? I always feel a great sense of responsibility when photographing other people’s lives, be it strangers or family. In working on the final edit of a project, both the way someone is depicted and the context of their image are big considerations that determine my choices. There were quite a few images I was attached to in this project, but ultimately decided against in the final edit of Some Say Ice. I felt the subjects were overly reinterpreted and I’d not left enough space for them, or I saw that without the whole backstory, which the viewer would not have, the image could be misconstrued. Even being as careful as you can, there’s always a chance someone will not agree with how they are presented, and it can hurt. But that’s a risk we all take when putting things out in the world. Looking at all of the project’s portraits, I immediately noticed you capture people with deadpan expressions, never smiling or outwardly emoting. Why was it important to present your subjects devoid of emotion? When you’re by yourself, you usually are not smiling or making facial expressions. It doesn’t mean you’re devoid of emotions - quite the opposite. You’re just not displaying them. To encourage people to be more present in that way, I worked with my small camera as if it were large format. I used a tripod and slow shutter speeds to make everyone slow down and create a more ritual-like mood. The Damn Truth Live Live Rooms, Chester, 23 October 2022 A VERY SPECIAL NIGHT The Band Lee-la Baum (lead vocals/guitar) I am based in Chester where top-quality music concerts have been few and far between, but I am witnessing a slow but steady improvement due to a particularly adventurous promoter who has been active here over the past few years. And this despite the paucity of suitable venues. Over the past weeks I have enjoyed a wonderful show by America’s top-flight The Handsome Family in the bijou St Mary’s venue in the centre of the city. This old church offers a beautiful environment along with sound acoustics, especially effective for singer/songwriters. The Live Rooms, situated within a short five-minute walk from Chester’s vintage rail station, is a venue more suited to rock music and in recent times has hosted some of the best blues acts around. Due to the venue’s logistics, sound quality is not the best but with judicious sound management it just about passes muster. I like surprises. The Damn Truth was unknown to me - never seen ‘em, never heard ‘em - but that word ‘blues’ and the band’s home country of Canada dictated that I had to cover the show. I’m so glad I did. I often wonder whether support acts exist to illustrate the quality of the feature act. That’s not always the case of course and I can remember a support act performing in Manchester some years ago who so impressed me I emailed a friendly independent and major record company about them but who weren’t interested. The band was Mumford & Sons… That said Scarlet failed to impress and did indeed illustrate the differences between the mediocre and the best. Still, the near-capacity audience seemed happy enough… Even before The Damn Truth mounted the stage I felt that something quite special was about to take place. Perhaps it was the precise stage set, perhaps it was the feeling in the air of great expectation, perhaps it was the sight of the lead lady Lee-la Baum…who knows. And the surprise? What unfolded over the next hour-plus was the finest, the most passionate and most inspiring rock concert I’ve seen in ages. The opener said it all! ‘This Is Who Were Now’ opened the set in one explosive fashion with drums leading the chase and the most passionate vocal I’ve heard in years. The perfect opening line included some volcanic guitar riffs but it was that vocal performance that sealed the deal in no uncertain way. Immediately I felt a strong audience connection and a feeling that the band wanted nothing more than delight the paying punters. An opening, strident guitar introduced ‘Full On You’, a song that combined country, blues and heavy rock superbly as a tale of failed love rung out. Baum’s angry vocal and a couple of amazing guitar riffs sealed the deal. The mood became darker, moodier and blusier with the outstanding ‘Lonely’ (one of Baum’s most expressive vocals of the night) before a few moments of outstanding musicianship arrived. It’s rare to experience drum solos but on the night drummer Dave Traina provided one of the most special moments of the night that I wish could have lasted a lot longer. It received rapturous applause, including from me. Mid-paced rocker ‘Only Love’ followed with another fabulous vocal and telling harmonies before the deathly pace of love/hate ballad ‘Look Innocent’ arrived accompanied by the most passionate and expressive vocal of the night. In addition, the song came with one of the strongest melodies of the show. By this time it was plain for all to see that this band is one close unit that feels their music more than most. Baum used her fine shape expressively to interact with the audience and band-brothers. I don’t think I have ever witnessed such a skilled and complete frontwoman as this - ever! The demand for an encore was inevitable as the audience demanded more. ‘Love Is Bindness’ and ‘Heart Is Cold’ concluded the night; a very special night in my 2022 event calendar. With the world and this country in the dreadful state it’s in The Damn Truth for one night gifted major respite and, for me, proved that brilliant musicians and music can still be found as long as one keeps looking. The setlist was diverse in pace and mood and nothing short of inspiring. This is one show I will never forget and think my images tell the whole story. Setlist This Is Who We Are Now Encore: Newton Faulkner Live
Feels Like Home Tour Floral Pavilion, New Brighton, 11 October 2022 Supported By Sam Richardson Back in 2012 I was introduced to Faulkner’s music via his WRITE IT ON YOUR SKIN Lp. Back then my interest in UK singer/songwriters had been awakened by several great local performers. Faulkner’s music and performance further boosted my interest, despite the fact that UK radio appeared to be ignoring some quite brilliant talent which really hampered public awareness. David Gray is but one example of talent ignored by the media at large when he initially released the wonderful WHITE LADDER Lp. But the broadcast media led by the BBC eventually woke up and promoted several singer/songwriters including Faulkner whose 2007 release HAND BUILT BY ROBOTS and several singles from it (including a classic cover of Massive Attack’s ‘Teardrop’) sold very well. But despite being a Faulkner admirer I have never managed to witness a live performance, until now. He was performing at the Floral Pavilion in New Brighton, Wirral, a venue I have never visited and knew little about. The venue proved to be a pleasant surprise. Situated on the banks of the Mersey and looking out across to Liverpool’s night-lights, this modern venue offered everything a visitor would need including several friendly and helpful staff, and adjacent free parking aplenty. Inside the venue offered seating at different levels for over 800 punters and a stage for for a musical king. Acoustically, it proved to almost perfect. Unusually, the venue was packed for the show’s unknown support act, singer/songwriter Sam Richardson. It’s not unusual for support acts to be rather disappointing, but not so on the night. Richardson arrived as a stranger but left as a friend. His connection with the capacity audience was immediate and genuine. His folk songs strongly flavoured with a country vibe pleased everyone. Along with a powerful but fluid voice came his guitar playing which was special. Every song required a welcome explanantion laced with truckloads of humour. The audience loved it…Richardson has a way with words and melody with one song in particular causing quite a stir. ‘Fighting With) A Wrecking Ball’ was my pick of the set with its rocky edge, passionate performance and strong melody. Audience nicely warmed, Faulkner eventually entered to a rousing welcome. Glen Hansard For Ukraine
GLEN HANSARD SHARES INTIMATE PERFORMANCE OF EMOTIONAL NEW SONG ‘TAKE HEART’ FEAT. MARKETA IRGLOVA + UKRAINIAN REFUGEES DONATE TO UKRAINIAN ACTION: https://www.ukrainianaction.ie/donate PHOTO CREDIT: MIKOLAJ ROTOWSKI While out on the road this February, Glen Hansard saw a post online of Patti Smith performing in Brooklyn and was moved when she said: “People, take heart. Things will get better, and if they don’t - we’ll make them better! We call for the transformation of waste, our government is full of it; politics is full of it. Transformation of waste, it’s the oldest preoccupation of man. People, tonight were coming out gold.” Russia had just begun its invasion of Ukraine and like everyone else Hansard was feeling bewildered and helpless. Upon arriving home, he found his neighbour Marina had taken in two Ukrainian families who had emigrated to Ireland. As Hansard joined in to help and try to make their transition easier, he began hearing stories from Maria, a mother of one of the families. With Patti’s words - “People take heart, it will get better” - still knocking around his head and conversations with Maria fresh in his mind, the inspiration for ‘Take Heart’ spilled onto the page and out of his guitar. Hansard is joined on the song by Marketa Irglova and three Ireland based Ukrainian refugees on backing vocals. Listen to it and watch an intimate performance of it below: Watch + Listen to ‘Take Heart’: https://youtu.be/oXPzYZ87Sjw When Hansard returned home from that tour in February he knew he wanted Ukrainian voices on the recording so he reached out to his local Red Cross who connected him with three refugees: Anna, Alex and Olena, who then helped sing an important line in the song: “Povernit’sya do mene / povernit’sya do mene / povernit’sya do mene / do mene Neushkodzhenym,.” which translates into: “Return to me / return to me / return to me unharmed.” Irglova’s inclusion was natural on a number of levels for Hansard as he was aware her parents back in her native Czech Republic had taken in multiple families from Ukraine. Irglova, now living in Iceland had been back this summer to visit and was equally moved by the issues at hand. Reflecting on ‘Take Heart’ and its powerful recording experience, Hansard said: “This song is a single flower placed at the foot of all this devastation, a candle lit among the millions placed helplessly at the doors of embassies or left burning in windows; it’s a prayer sent up into the great cloud of goodwill that circles the globe. It’s a thing that didn’t exist and now it does, an offering, thanks to Patti, Alex, Anna, Olena and Markéta who heard it as I was working on it and joined in to make it stronger. This is for them, and to all those who lost or are missing loved ones on every side of this brutal war.” If you wish to send support to Ukrainian refugees, more information can be found at https://www.ukrainianaction.ie/ https://glenhansard.com/
Within Temptation & Evanescence WORLDS COLLIDE CO-HEADLINE TOUR EVANESCENCE & WITHIN TEMPTATION NOVEMBER 2022 UK SHOWS ALMOST COMPLETELY SOLD-OUT LIMITED TICKETS & VIP PACKAGES AVAILABLE HERE: https://www.worldscollidetour.net/ WATCH NEW VIDEO OF AMY LEE & SHARON DEN ADEL IN CONVERSATION ABOUT THE TOUR HERE: https://www.youtube.com/watch?v=Lo8iMYZQMSI After being rescheduled repeatedly due to the effects of the Covid pandemic, the long-awaited co-headline tour from two truly iconic rock bands finally kicks off next month. With almost every show close to selling out, and only limited tickets and VIP packages remaining, the UK & European tour from Evanescence and Within Temptation is proving to be one of the hottest tickets in rock this year. Anticipation is mounting for their incredible live shows after a summer of blockbuster performances. Both bands stated earlier: “As the world is slowly reopening again, we have been feeling optimistic about the tour actually taking place in March and April. However - a lot of countries still have restrictions in place, and we are forced to make a decision right now for logistical reasons.” “We are aware that many fans are preparing to make their plans to attend the shows, some of which involve travel, and given the uncertainty as to exactly when certain countries will lift their restrictions, we are left with no choice but to reschedule the tour, hopefully for the final time.” All existing tickets & VIP packages will remain valid for the rescheduled dates and all venues remain the same. For more information, please visit www.worldscollidetour.net Rescheduled dates 2022 November: WED 9th Munich, DE Olympiahalle (tickets valid from original April 15 show) December: THU 1st Esch-Sur-Alzette, LU Rockhal (tickets valid from original April 26 show) Follow Within Temptation https://www.within-temptation.com/ Follow Evanescence https://www.evanescence.com/home/ Iron Maiden New Triple Vinyl Image By John McMurtie IRON MAIDEN New Triple Vinyl Release to Commemorate the 40th Anniversary of Seminal Album THE NUMBER OF THE BEAST Warner Music (BMG for the USA) have announced the release of a commemorative triple black vinyl album in honour of the 40th Anniversary of IRON MAIDEN’s seminal third album, THE NUMBER OF THE BEAST, which was also the first to feature Bruce Dickinson on vocals and was to become the record which catapulted the band to international stardom. Included in the new vinyl package is BEAST OVER HAMMERSMITH - available now officially for the very first time on vinyl - featuring the live concert from March 1982’s now legendary Hammersmith Odeon London show from the Beast On The Road World Tour. Recorded only days before the release of THE NUMBER OF THE BEAST album, it’s remarkable to think these now classic songs at that time were still brand new, unfamiliar and being heard live by fans for the very first time. A real piece of history in the making. The Tracklisting: Disc 1 - The Number Of The Beast Side 1: Invaders Side 2: The Number Of The Beast Disc 2 - Beast Over Hammersmith Side 3: Murders In The Rue Morgue Side 4: Another Life Disc 3 - Beast Over Hammersmith Side 5: The Prisoner Side 6: Sanctuary The package features exclusive liner notes written by Maiden founder and bassist Steve Harris as well as restored and expanded artwork taken from the CD format of BEAST OVER HAMMERSMITH, previously only available in the Limited Edition Eddie’s Archive boxset originally released in 2002. Image By John McMurtie Steve Harris comments, “On this vinyl release we get the chance to put ‘Total Eclipse’ in its rightful spot on the album for the first time. The reason it didn’t make it in the first place was that it was all a mad rush when we were finishing the record and we had to get the ‘Run To The Hills’ single out before the tour and we basically had to pick a B-side and it was between ‘Gangland’ and ‘Total Eclipse’ and we just picked the wrong one, really! I think ‘Total Eclipse’ is a stronger song and the album would have been stronger if it had been on there.” To pre-order the album click here: http://IronMaiden.lnk.to/NOTB40th |
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