Alchemist Photography

Artist Statement
 
All of these photographs are unique, one of a kind silver prints. The process begins with a finished photograph (all darkroom manipulations, burning, dodging etc. complete). Next, they are moved through many solutions. In the end, they achieve tonalities that are expressive of my emotional response to the subjects I am compelled to photograph.

Ocean water is at the core of this process. What occurs is an exchange of halides that takes place after stripping open the silver via bleach and then introducing different salts occurring in ocean water. The process chemically alters the silver of that photograph. The first ocean water that I used was from Long Port, NJ. As a child, this was the ocean where I first swam, and for me, an obvious starting point. Since then, I’ve used water from Point Lobos, Bandon, OR, the California coast above Morrow Bay and from the ocean off of Venice CA.
 
Fortunate to attend the final Owens Valley Photography Workshop in the fall of 1990 and participating in various workshops throughout the years, what has become clear to me was that the photographs I was most moved by were executed with a pallet truly personal to the photographer.

Over the years I’ve been on a journey in search of my own pallet. This journey is ongoing. As materials change I, continue to change as well. Insights provided to me while engaged in this process give me a greater understanding, not only for the photographic, but also of relationships and reactions occurring daily throughout my life.     
 
Edmund Simmons

Alchemist Photographic Art Show
Website

Lollapalooza 2009: August 7-9, 2009 Aug. at Chicago’s Grant Park.: Tickets On Sale Now

Passes are $205

LINE UP
* Depeche Mode
* Tool
* The Killers
* Jane’s Addiction
* Beastie Boys
* Kings of Leon

* Lou Reed
* Ben Harper and Relentless7
* Thievery Corporation
* Snoop Dogg
* Rise Against
* Andrew Bird
* TV on the Radio

* Vampire Weekend
* The Decemberists
* Neko Case
* STS9 (Sound Tribe Sector 9)
* Animal Collective
* Band of Horses
* Of Montreal

* Arctic Monkeys
* Coheed and Cambria
* Ben Folds
* Fleet Foxes
* Silversun Pickups
* Kaiser Chiefs
* Crystal Castles
* Bon Iver
* Santigold
* Atmosphere
* Dan Auerbach
* Cold War Kids
* Deerhunter
* Lykke Li
* Robert Earl Keen
* Peter Bjorn and John
* Heartless Bastards
* Gomez
* Glasvegas
* Federico Aubele
* Dan Deacon
* Passion Pit
* Zap Mama
* The Raveonettes
* The Gaslight Anthem

* The Airborne Toxic Event
* White Lies
* Ra Ra Riot
* No Age
* Asher Roth
* Los Campesinos!
* Bat For Lashes
* Chairlift
* Gang Gang Dance
* The Virgins
* Amazing Baby
* Portugal. The Man
* The Knux
* Ida Maria
* Delta Spirit
* Friendly Fires
* Manchester Orchestra
* Constantines
* Ezra Furman & The Harpoons
* Hockey
* Miike Snow
* Alberta Cross
* Hey Champ
* Sam Roberts Band
* The Henry Clay People
* Davy Knowles and Back Door Slam
* Cage the Elephant
* Living Things
* The Low Anthem
* Blind Pilot
* Langhorne Slim
* Other Lives
* The Builders and The Butchers
* Eric Church
* Joe Pug
* Kevin Devine
* The Greencards
* Carney
* Thenewno2

Fall Out Boy with Metro Station, Cobra Starship, All Time Low and Hey Monday will play a Radio 104.5 and Q102 concert at Festival Pier Penn’s Landing in Philadelphia on May 1, 2009.

Cobra Starship is best known for the catchy hit “Bring It On” from the cult film “Snakes on a Plane.” They have released two albums, “When The City Sleeps, We Rule The Streets” and “Viva La Cobra!”

Fall Out Boy mix pop-punk and emo to create an original sound that has had a great influence on modern rock and roll. Bassist, Pete Wentz, leads the band. They have released several albums including the chart topping “Infinity On High” featuring the number one single “This Ain’t a Scene, It’s an Arms Race.”

LOS ANGELES — One of the most influential music producers and engineers, Phil Spector, was found guilty of second-degree murder. In his first trial, the jurors could not reach a verdict. The second trial ended with a guilty verdict and now Phil faces 18 years to life when he is sentenced in May.

Phil is the originator of the “Wall of Sound”. The Wall of Sound is a recording method in which the artist is stands in front of a huge stack of speakers. In the 1960′s he pioneered the “girl group” sound. Throughout his career he worked with acts, such as, The Ronettes, The Crystals, Darlene Love, The Righteous Brothers, John Lennon, Ike and Tina Turner, George Harrison, The Ramones and The Beatles. His hit songs included “You’ve Lost That Lovin’ Feelin’”, “Unchained Melody”, “Imagine” and “Let It Be”.

Instead of frowning on technology and the Internet, Epic Records has decided to embrace it with a new format for albums. The latest trial is with the band The Fray. Sony, owner of Epic, has launched a new iTunes “pass” for $17.00. The pass allows the user to gain access to songs, videos, pictures and backstage bonuses. Earlier this year, Depeche Mode launched it’s iTunes pass.

However, the idea is probably too little, too late, for the music industry. Independent artists have been doing similar marketing plans for years… not only that, they often give it away for free. Even well recognized names like The Smashing Pumpkins and Nine Inch Nails have been posting free MP3 downloads, fan pictures from concerts, videos and blogs.

Maybe it’s time the record labels started being innovators?

By Sara Moore
American Forces Press Service

WASHINGTON – Music is considered by many to be a universal language, and for some military veterans, it is the only language that allows them to describe their experiences in combat and their struggles afterward.

Military musicians normally would struggle to have their voices heard in the cutthroat music industry, but a fellow veteran has given them a chance to get their music released and in the hands of fans worldwide.

Army Capt. Sean Gilfillan, a reservist who served four years on active duty and a tour in Iraq, started To the Fallen Records in 2006. The record label, which takes its name from a tattoo Gilfillan bears to commemorate fellow servicemembers who died in combat, signs only musicians who are military members or veterans.

Gilfillan said he was inspired to start To the Fallen by the many musicians he met during his time on active duty, and the powerful message their songs had. After he left active duty, he met his wife, and seeing how interested she was in the music made him realize it might appeal to a larger audience, he said.

“It’s so emotional,” he said. “It’s so personal, and we don’t see this stuff on TV or on the radio. Unfortunately, we only hear about the attacks and how many people are killed and when bad things happen.”

The couple started the record label to bring music from servicemembers to the civilian world and to bridge the gap of understanding about military life and combat.

“If civilians hear military music, they might understand. They’re never going to be in those shoes, but they can at least empathize and understand what three tours really does to someone, to someone’s family,” Gilfillan said. “Not only that, but war … what happens during war, during patrols, and what it takes to actually psyche yourself up to go out to war, and the struggles when you come home with [post-traumatic stress disorder], with relationships, and how every normal everyday struggle is made more difficult by you being away for so long.”

Since its inception, the record label has grown into a platform to showcase all military musicians, even those not talking about combat. But the bottom line, Gilfillan said, has always been quality music.

“If the music isn’t good, if the quality isn’t there, then we won’t feature you,” he said. “It has to be radio quality.”

In its first year, the record label saw almost instant success, being featured in Rolling Stone magazine and the New York Times and releasing its first three CDs, which were compilations of hip hop, country and rock music. Today, the label has a database of about 2,000 artists and 200 producers it works with, Gilfillan said. It also maintains a database of recording studios that offer discounts to military members.

Establishing a credible record label is very important to Gilfillan, he said, because he wants to give the military musicians a chance to establish a fan base, which is key to any musician’s success. He said he follows the military’s philosophy that no one person is more important than the organization.

“To the Fallen will always exist,” he said. “The artists might change, I might change, but the label will always exist. So, hopefully the name builds enough prestige where any artist being linked to the name will get a leg up.”

To the Fallen sells its music online at its Web site and that of the Army and Air Force Exchange Service, and physically, at Green Beans Coffee, which has stores in Iraq and Afghanistan. The label is working on several new projects, including a reality TV show based on military musicians.

Another new project Gilfillan and his wife are working on is in creating a nonprofit group that will use musical therapy to help rehabilitate wounded veterans. The group is in early development, but the vision is a place where wounded veterans can learn about the entire musical process, including recording and production, and use it as therapy, Gilfillan said.

“We would kind of just recruit and train our own military musicians and give them a trade and, in return, we would do musical therapy for anyone who needs it,” he said. “I really believe in musical therapy as a viable way to recuperate.”

To the Fallen already donates part of its profits to charities that benefit wounded troops, and once the nonprofit organization is established, money would go into that also, Gilfillan said. But more important than the money, he said, is giving military musicians an opportunity to get their music out there and letting the world hear the quality of music servicemembers create.

“These are not hokey artists,” he said. “This is real music.”

The Recording Industry Association of America (RIAA) claims to have the artists / musicians best interest at heart. However, over the years they have proved that this is not the case.

The RIAA has launched countless lawsuits against almost anybody and their grandmother… literally:

The Electronic Frontier Foundation, American Civil Liberties Union and Public Citizen oppose the ability of the RIAA and other companies to “strip Internet users of anonymity without allowing them to challenge the order in court”.[12][13]

The RIAA’s criticized methods of identifying individual users has led to the issuing of subpoenas to a dead grandmother[14], an elderly computer novice,[15] and even those without any computer at all.[16]

The RIAA has also brought lawsuits against children, some as young as 12.[17]
– Wikipedia

The RIAA says they are trying to protect the intellectual property rights of the artists. But, by trying to control and restrict the distribution of music, the end result is limiting the expose of most lessor known artists. As an example, take a look at peer-to-peer music software. The RIAA has attacked many of these, such as, Napster. After Napster was sued, millions of people were unable to “legally” share music that artists wanted available to the public. The RIAA has also sued peer-to-peer software makers Kazaa, BearShare and Limewire.

Here is one of the RIAA’s more recent press releases:

Music Community Calls for Swift Action To Enhance Global IP Protection As Part of Special 301 Process

WASHINGTON — Representing diverse sectors of the music community, the American Association of Independent Music (A2IM), the American Federation of Musicians (AFM), the American Federation of Television and Radio Artists (AFTRA), the National Music Publishers Association (NMPA), the Recording Academy and the Recording Industry Association of America (RIAA) today issued a joint statement in response to an annual report by the International Intellectual Property Alliance (IIPA) under a section of trade law known as “Special 301.” Under Special 301, USTR is required to identify countries that fail to provide adequate and effective protection for U.S. intellectual property and to take appropriate actions, including the possible imposition of trade sanctions and the loss of certain trading privileges.

This year’s report, available on the IIPA website at www.iipa.com, outlines problems in a wide variety of countries but particularly stresses continuing problems in Russia and China, and emerging issues related to digital distribution in global markets.

Said the music community:

“In these troubled economic times, it is more important than ever that the U.S. government take meaningful steps to ensure that the most competitive parts of the U.S. economy—those that contribute to positive balance of trade payments—can effectively compete in global markets without facing unfair competition. The copyright industries generally, and the music community in particular, are among America’s most competitive sectors, and our contribution to the public welfare goes well beyond our economic contributions. We convey aspects of America that entertain, that reflect our diversity, and that showcase our country’s creativity. As Friedrich Nietzsche famously said: ‘Without music, life would be a mistake.’

“Unfortunately, the piracy of America’s creative genius by certain elements in other countries—particularly Internet-driven infringements—is drawing us towards life without music. Or perhaps more accurately, life without the capacity to sustain the livelihoods of those Americans who earn a living through the creation of music. For far too long, too many illegal enterprises—and businesses—have generated ill-acquired gains from the theft of America’s creative assets. It is time to end this sad chapter of illegality and irresponsibility. We, various voices of the music community, call upon global leaders to develop and implement policies and practices that reflect an appreciation of the value of creativity. Tolerance of organized criminal syndicates in multi-territorial enterprises engaged in the distribution of pirate product must end. Even more importantly, global leaders must ensure that their legal regimes do not permit or encourage willful blindness on the part of companies that provide access to infringing materials. ISPs in particular must be encouraged to play their part in preventing the use of their networks for the distribution of infringing materials. If legitimate companies are permitted to operate services that effect one of the greatest misappropriations ever witnessed, then there is little hope for creators to earn a living from their creations, or for America’s creative sector to continue to drive this country’s economic performance.

“Aaron Copland once remarked that: ‘To stop the flow of music would be like the stopping of time itself, incredible and inconceivable.’ From where we sit, it appears all too conceivable, and we call upon the U.S. government to do everything in its power to address the barriers that we confront in markets around the world that are drawing us to this ‘incredible’ outcome. Today’s submission to the USTR by a group of copyright organizations under the umbrella group of the International Intellectual Property Alliance (IIPA) provides a comprehensive examination of many of the most urgent issues confronting the creative sector. Resolving these problems would be a good place to start in rebuilding the foundations for a thriving creative community, both here and around the globe.”

About A2IM:
A2IM launched on July 4th, 2005 to represent the needs of the Independent music label community. Currently, the organization counts over 225 music label members and 100 associate members (companies who don’t own masters but rely upon, provide services for, or otherwise support Independent music labels).

A2IM is a not-for-profit trade organization serving the Independent music community as a unified voice representing a sector that comprises over 30% of the music industry’s market share in the United States (and 37% of SoundScan digital sales). The organization represents the Independents’ interests in the marketplace, in the media, on Capitol Hill, and as part of the global music community. A2IM is headquartered in New York City. The organization’s board of directors is comprised of the following: Concord Music Group President Glen Barros; The Beggars Group CEO Lesley Bleakley; Razor & Tie Executive Vice President Dan Hoffman; Alligator Records Founder & President Bruce Iglauer; Roadrunner Records Executive Vice President Douglas Keogh; Bar/None owner Glenn Morrow; Lookout Records co-owner Molly Neuman; Tommy Boy Records Entertainment founder and CEO Tom Silverman; Amaechi Uzoigwe A2IM Board Chair and co-founder Definitive Jux. More information can be found at www.A2IM.org.

About the AFM:

Founded in 1896, the American Federation of Musicians of the United States and Canada (AFM), AFL-CIO, is the largest organization in the world dedicated to representing the interests of professional musicians.

With more than 90,000 members, the AFM represents all types of professional musicians, including those who record music for sound recordings, film scores, videogames, radio, television and commercial announcements, as well as perform music of every genre in every sort of venue from small jazz clubs to symphony orchestra halls to major stadiums. Whether negotiating fair agreements, protecting ownership of recorded music, securing benefits such as health care and pension, or lobbying legislators, the AFM is committed to raising industry standards and placing the professional musician in the foreground of the cultural landscape.

About AFTRA:
The American Federation of Television and Radio Artists, AFL-CIO, are the people who entertain and inform America. In 32 Locals across the country, AFTRA members work as actors, journalists, dancers, singers, announcers, hosts, comedians, disc jockeys, and other performers across the media industries including television, radio, cable, sound recordings, music videos, commercials, audio books, non-broadcast industrials, interactive games, the Internet, and other digital media. The 70,000 professional performers, broadcasters, and recording artists of AFTRA are working together to protect and improve their jobs, lives, and communities in the 21st century. From new art forms to new technology, AFTRA members embrace change in their work and craft to enhance American culture and society. Visit AFTRA online at www.aftra.com.

About the NMPA:
Founded in 1917, the National Music Publishers’ Association (NMPA) is a trade association representing American music publishers. The NMPA’s mandate is to protect and advance the interests of music publishers and their songwriter partners in matters relating to the domestic and global protection of music copyrights.

About The Recording Academy:
Established in 1957, The Recording Academy is an organization of musicians, producers, engineers and recording professionals that is dedicated to improving the cultural condition and quality of life for music and its makers. Internationally known for the GRAMMY Awards — the preeminent peer-recognized award for musical excellence and the most credible brand in music — The Recording Academy is responsible for groundbreaking professional development, cultural enrichment, advocacy, education and human services programs. The Academy continues to focus on its mission of recognizing musical excellence, advocating for the well-being of music makers and ensuring music remains an indelible part of our culture. For more information about The Academy, please visit www.grammy.com.

About The RIAA:
The Recording Industry Association of America is the trade group that represents the U.S. recording industry. Its mission is to foster a business and legal climate that supports and promotes our members’ creative and financial vitality. Its members are the record companies that comprise the most vibrant national music industry in the world. RIAA® members create, manufacture and/or distribute approximately 90% of all legitimate sound recordings produced and sold in the United States. In support of this mission, the RIAA works to protect intellectual property rights worldwide and the First Amendment rights of artists; conducts consumer, industry and technical research; and monitors and reviews state and federal laws, regulations and policies. The RIAA® also certifies Gold®, Platinum®, Multi-Platinum™, and Diamond sales awards, as well as Los Premios De Oro y Platino™, an award celebrating Latin music sales.

Peter Gabriel has been a long time supporter of witness.org. The Witness program is about human rights. One of their main thrusts has been to empower people that witness human rights violations. A primary means to this end is to provide individuals with cameras so that they can document injustices.

For instance, one of the more recent projects involves helping stop violence against women living near the USA and Mexico boarder.

ABOUT WITNESS.ORG — “See it. Film it. Change it.”

Mission
WITNESS uses video and online technologies to open the eyes of the world to human rights violations. We empower people to transform personal stories of abuse into powerful tools for justice, promoting public engagement and policy change.

SEE IT.
WITNESS donates video cameras and provides technical and tactical guidance to human rights groups around the world. We work with our human rights partners to bring their compelling stories and images to the attention of people with the power to make a difference – knowing that for many people, seeing is believing.

FILM IT.
WITNESS is a global pioneer in the use of video for advocacy. We have supported and trained human rights defenders worldwide to create video documentation.

CHANGE IT.
WITNESS’ partner videos are a critical new tool in the human rights landscape, catalyzing the public, governments, of courts, and political institutions to act.

by RomBox.com

If a tree falls in the forest, and no one is there to hear it, did it make a sound?

This old teaser of a question comes to mind with the allegations of plagiarism against Coldplay. Before they became a number one selling artist, would anyone accuse them of stealing a song? Now, that almost everyone has heard of them, they sell out concerts and sell millions of albums, the lawyers come chasing like they are some sort-of ambulance.

In July of 2008, a band called Creaky Boards ironically said the Coldplay song Viva La Vida was stolen from their song The Song I Didn’t Write. Later, Creaky Boards admitted the allegations were mostly a publicity stunt.

Then, in December of 2008, Joe Satriani came out to explain why he was suing Coldplay for plagiarism saying the same song Viva La Vida was stolen from his song If I Could Fly.

“I felt like a dagger went right through my heart. It hurt so much,” Joe said. “The second I heard it, I knew it was If I Could Fly.

“Almost immediately, from the minute their song came out, my e-mail box flooded with people going, ‘Have you heard this song by Coldplay? They ripped you off man.’ I mean, I couldn’t tell you how many e-mails I received. Everybody noticed the similarities between the songs. It’s pretty obvious.”

Hmmm… I wonder if Joe stole it from Creaky Boards or Creaky Boards stole it from Joe. Of course, there are many people who would claim the white man stole the blues.

Lollapalooza 2009 will be held in Austin and Chicago. The lineup will include: Kings Of Leon, Jane’s Addiction, Depeche Mode and the Beastie Boys. The full lineup is ecpected to be announced in April.