“The so-called Left-Right political spectrum is our creation. In fact, it accurately reflects our careful, artificial polarization of the population on phony issues that prevents the issue of our power from arising in their minds.”
”Photography for me is not looking, it’s feeling. If you can’t feel what you’re looking at, then you’re never going to get others to feel anything when they look at your pictures.”
One of Bisbee’s finest, Coleman here is never afraid to take off his shirt at the local saloons. Stay tuned for tomorrow’s addition to the ‘Image A Day’ project. This month it’s nothing but portraits, and I have plenty more to share.
“If a photographer cares about the people before the lens and is compassionate, much is given. It is the photographer, not the camera, that is the instrument.”
Years ago, when I was in college, I took it upon myself to do a photo documentary revolving around body modification subculture. I spent all of my free time in a local piercing and tattoo shop, going to weekend performances, and learning about both the contemporary execution and history of scarification and flesh-suspension practices. I hopped a ride to Los Angeles with the owner of the shop to attend a performance by a group called CoRE (Constructs of Ritual Evolution) at The Key Club on the strip.
I sat in the back seat of the car during most of the drive, hungover from a night of moaning about relationships and chatting about art with an old friend, and drinking way too many whiskey and sodas; I pretty-much felt like hell during the whole ride. On the long stretch outside of Yuma, in the front seat, the driver and his girlfriend sparked a joint, but all I could do was close my eyes and try not to feel nauseous. We rolled into Los Angeles after dusk, headlights scattered through red-flag smog-laden air, with about an hour to spare before the show.
The opening act was Society 1, a metal band founded by Matt Zane, a man concerned enough about his image enough to have removed his year of birth from his wikipedia page and edit-out his participation in the Los Angeles pornographic film industry. I don’t really understand why, of course; the attitude of metal is to not give a fuck about that kind of thing.
Society 1 performed a solid set and Zane was unforgettable. Halfway through the show, he sang while sitting prostrate, center stage, facing away from the audience, while hooks were installed in his upper back. He performed the second half of the show suspended from the flesh, microphone in hand, swinging above the audience. It doesn’t get more metal than that, kids. Definitely an experience I won’t forget.
A ran across this character in Arizona several years ago at a saloon. He and his crew were all very gracious and made some great music. It almost sounds deceptive to apply the term “country” to these guys, but that’s what they insist they absolutely are, eschewing all of the confusing classifications of music in this modern age. I can dig that. But this isn’t the kind of country you might imagine, what with pop country, americana, and other folk sub-genres . JP Harris has an edge, and I think it’s pretty apparent when you look at him.
A while after I met him, I was foolishly angered when one of my Facebook photographs – today’s photograph, in fact – wound up in an article without my permission. I was pretty hot-headed back then and didn’t react kindly, but I’m hoping there isn’t too much love lost (but hey, it’s difficult to tell). It’s hard to accept how little currency a photograph carries these days, but in a world where everybody is in the picture-making business – in a world where everybody has a camera in their pocket, on their phone – it’s just one of those things.
In the final analysis, “Facebook” means “free to all.” I don’t have to like it – just as musicians, I’m sure, have to suck it up when dealing with digital distribution and file sharing – but I guess that only means that I have to continue to adapt and try to find new ways of building value in the images I make.
JP Harris was born only a couple of weeks after me, in the year of our lord 1993. According to the bio I found on his website, “he left home on foot at the age of 14, traveling via thumb and freight train, living the next 4 years mostly from a backpack, a tarp, a bedroll. Eventually landing in the northeast, he worked as a farm laborer, equipment operator, lumberjack, luthier, and carpenter.”
It ain’t about the age of the model – it’s all about the mileage. And JP Harris has lived at least a couple of lifetimes in his thirty-four years.
His first all-original album, “I’ll Keep Calling,” won “Best Country Album of 2012” in the Nashville Scene. He won the same honor at the Independent Music Awards, landed a cameo on NPR’s ‘American Routes,’ and collected accolades in various print publications. Rolling Stone has named JP Harris one of 2014’s “Country Tours Not To Miss,” as well as one of “21 Must-See Country Acts at SXSW 2015.”