2006-06-29 | NINa
and Brian Backlash |
NINa: You were a live guitarist for Ministry. Did you ever consider joining Ministry as a full member, after you disbanded Skrew?
No. I did some stuff with those guys a couple of years after I finished Skrew. I did that film AI and wrote some stuff with them, a video etc, etc. That was really the extent of my involvement with Ministry.
I don’t know, it just really seemed that by the time I was working on the last Skrew album I was kind of not so interested in doing the whole heavy guitar thing so much. I found it boring for quite a time. I started playing slide guitar w/ these old winos, like old blues acoustic stuff just because I was bored with what I had been doing for so long. We would busk on the street for spare change, just for fun really. I guess I needed a break from the action. It was really cool of Paul and Al to invite me to work with them though, There were some fun times.
NINa: Ministry lost a bassman who worked out a half of the band characteristic vibe. The latest news is you work together with Paul again what sounds very promising. What is the project name?
Yeah, that’s a very good question. Project name! What’s the project name? Well, I’ll tell you what the projects name is not. It’s not Caliopenis vs. Cocktopus, it’s not Cutter the Colour TV, it’s not Spiral Star, it’s not The Devil and Damnation, and it’s not Black Like My Heart.………… is it? There have been rumours on the internet that it is to be called Aatami Rikollinen and the Fucking Cops, Aatami Rikollinen is how I am referred to in Finland, ya’ know by the press and the hotel detectives. Actually there is a line of effects pedals that we are putting into production that already has a name, these are pedals that we have designed, well Josh (synth genius in the band) has designed, it’s stuff that we use live and in the studio, he’s the tech geekiest one of us being a synth player and all. They are called Mal-Echo which we actually may end up using for the name of the band as well.
Brian Backlash: You're reportedly working with Paul Barker (ex-Ministry) in your current project. The two of you have on and off history of working together in the past - but what transpired for Barker to join you full time?
Well, it’s actually funny how this whole thing started. I was sitting at home one day, I think it was the day after Thanksgiving, ya know the holiday we celebrate here in the US about screwing the native Americans out of their land and then committing genocide on them. It really says a lot about democracy, does anybody really believe that shit anyway? Sorry. Well, my phone was out because we had a storm the night before and so all of the sudden there was a knock at my front door and it was Josh (synth player in the band) and Paul. I didn’t even realize that they knew each other. It was really kind of surreal. I wasn’t expecting anyone and here are these two characters showing up unannounced. It kind of felt as if there was going to be an intervention done on me but since I was already straight at the time I knew that couldn’t be it. They said they were going to start a band and that they wanted me to be the guitar player. So I said, “Yeah, okay.” See, Josh and this other guy started talking about forming a real band, as opposed to what so many people are doing now days which is side projects or solo kind of things. Josh was a friend of mine, a kind of savant when it comes to electronics and Jaeger Meister, he has been responsible for several Blackouts and a few holes punched in my flesh as well, anyway, I had introduced him to Barker at one point and they had talked about synths or some other tech kind of stuff. Talking about filters and capacitors and all that kind of stuff which just makes me think of shiny things and pie, I don’t get it but anyway…….So Josh had Paul’s phone number and he used it. He probably got the number under the guise of asking a question about gigabytess of memory or flux capacitators but really wanted to call it while he applied Vaseline to one of his two pet pugs, either Sid or Tito. Make a long story short (Is it too late for that?) they had called Paul about starting a band. They met for coffee or beers or something and then they got a rehearsal space. They then tried to get in touch with me but my phone was out and I don’t do cell phones. I think they are evil, cell phones I mean, not Paul and Josh. So they just showed up. I think that is why this project has turned out to be so cool. Because we just went in as a bunch of friends to jam and we ended up with something that I really dig as do the rest of the guys.
NINa: You wrote me Paul has been rehearsing the vocalists for the new project recently. Is there any winner?
Yeah, we have all been hunting different vocalists for the band and we have heard some really great singers but only recently did we find a guy that we are all happy with. So in answer to your question, yeah, I think that there is a winner but I can’t reveal his name due to the fact that there is still some stuff to be worked out. I will say this about it though, I’m really excited because I think we might have the right person. This is gonna be so much fucking fun!
NINa: Your project includes a guitarist, a bass player and a vocalist. Are you looking for a drummer to flesh out a four piece line up?
Actually, at the moment it’s Guitar, Bass, and a synthesizer guy named Josh Holly. Then with a singer it will be four, but then there is the issue of playing live and we don’t know if we’ll use a live drummer or not and also there are usually two different guitar parts that I’ve played during the songs so, maybe another guitar player? I don’t know. I guess all that shit will become obvious as the time comes for those things to be considered. I’ve always wanted to work with a Glockenspielist too so……..we could end up with a whole tribe up on stage.
Brian Backlash: How is your current project different from your older work?
Well Bri my friend, I’ll tell you exactly how this project is indeed very different from previous projects. It’s a very good question you ask and quite a smart sweater you are wearing as well I might add.
First and foremost, I would have to say that the emotional content behind this material is less self-loathing than the previous stuff I am known for. This material is smarter as well I guess less heavy handed. The other stuff I have done was all about “beat you in the head and face with a blunt object until your last breath bubbles bloodily forth in a deep red froth from your tattered lips.” This stuff is more like-“ Loving someone to death, Ya know setting someone up for the ultimate pain. Giving and giving to your girl until she is just absolutely sure that she has met the one that she wants to spend the rest of her life with and then setting it up so that she finds you fucking her sister or something like that….” This material is just much smarter. It came about in a very natural way. Just a bunch of guys in a room making noise as opposed to a preconceived idea.
Secondly, this project had some rules that I developed for myself in particular. I made up a tuning on the guitar that makes little or no sense and I decided that I wouldn’t use any Barre chords in any of the songs. It really turned out to be a great idea because now I am using that tuning in everything that I do. I’ll give anyone that can figure it out a dollar.
Lastly, I think that the most important difference between this project and other previous projects is that I really genuinely like the other people involved. We are friends. That’s kind of cool. I can have a conversation about interesting ideas with these characters as opposed to the relationships being based on just music or drugs. Know what I mean Bri?
NINa: Can we expect to see a single or an album to be released before the end of the year?
Not the end of this year probably. Shit happens so slowly in the music world. I’m not sure why that is but it seems as if the music business moves at a snails pace. That’s cool anyway because we all have commitments through at least the beginning of Fall so….I would guess not until the middle of 2007. Fuck! Sounds like a long bleedin’ time from now dunnit?
NINa: Without a shadow of a doubt, Skrew, along with Ministry, 16Volt and Pitchshifter were the best industrial metal bands of the 90's. When Ministry was experimenting with different styles, Skrew released 4 records and worked out its characteristic vibe on each of the albums. Which Skrew release were you the most pleased with?
Haaaaaaa! Well done NINa, smart and funny too! Yeah well thanks for the kind words but I don’t know about the idea of Skrew, Ministry and Pitchshifter being really very similar at all other than the fact that we all used samplers as well as guitars. I guess I never thought about that. I mean I get what you are saying but I kind of always had a problem with being called industrial metal. For me Pitchshifter had such an individual sound as did Ministry. Completely different. I think the majority of what became called industrial metal was for the most part, pale NIN rip off. Of course I probably have no right to say such a things because I didn’t really listen to “Industrial” after 1989. I really wasn’t into any “industrial” stuff beyond Throbbing Gristle or pre-Too Dark Park skinny puppy, that kind of stuff.
As for Skrew records. Well…………I don’t think I was ever pleased with anything that I ever did. I mean for me the act of writing and recording was just about evacuation of emotional shit. So as far as that goes the process totally served it’s purpose. I guess enough people were into it that we got to put out records and go on tour and all that but, beyond that. I don’t know. I mean each of the records has aspects to them that are meaningful to me, but they also represent a time and space in my life. Sooooooo……I don’t know how to answer this question. Sorry.
Brian Backlash: I think industrial metal is a musical style that can go stale and cliche very easily. How did you keep a band like Skrew so fresh?
Yeah, I totally agree with you Comrade Backlash. I suppose that there was a lack of genre consciousness on my part. I didn’t ever play music in order to become a rockstar or sell a shitload of records or even to become king of the scene. I think that my purpose in any aspect of creativity is to express something that I have inside of me in a way that is satisfying to me. That’s the difficult part. Becoming satisfied is such a difficult thing for me. I’m a pig, I always want more and more. I never ever seem to reach a state of satisfaction. I guess if I had been more concerned with appearing like an Industrial guy then the music might have suffered but I didn’t ever give a shit how I was perceived so………I did what I wanted, how I wanted, and when I wanted. I wasn’t concerned about any formulas of what I thought might bring popularity or whatever. Look, I’ve always been an outsider, and even in the scene in which most people tried to categorize me, I didn’t fit in really. I’m an individualist to the motherfucking max! I guess that’s why you have a song on the CD Angel Seed like the song ‘Crawl” as well as a song like “King of the Hole” as well as a song like “Angel Suck”, those songs all sound as if they could have been done by three different bands but it was actually all me, just one guy.
NINa: Do you think there would be interest in new Skrew material for 2006 in your opinion?
Yeah, there might be. I have had some interest from people trying to get me to do some stuff in the last year or two. People calling and trying to suss out the scene. Throwing numbers at me about touring, etc., etc. Actually, I have a shitload of material that could be considered Skrew songs but to be honest, I would have to have a real commitment from a label that was really into it. I mean to have had the experience with Metal Blade that I had for so many years of getting no support really, I just wouldn’t be willing to do it unless there was some label that really was into it and understood it and wanted to support it appropriately. I’m just as happy to write and record and play the stuff for myself as opposed to going out and beating my head against the wall for the sake of frustration. Besides, I’m totally into this stuff that Barker and me and Josh have been working on for the last year. I’m completely psyched to make this happen right now.
NINa: What are the advantages and disadvantages of having three live guitarists and two drummers?
Adam’s Top 10 List of Advantages for Having Three guitarists and Two Drummers Live:
10. Two drummers smell so much better than one!
9. With three guitarists there is never any shortage of Drugs.
8. When one drummer gets off the bus in the middle of Germany in the middle of the night without telling anyone and gets left behind, you still have one drummer to pretend he’s playing along with the sequencer.
7. When that same drummer shows up at the airport an hour late and without his passport for a flight to Holland and a tour of Europe… oh wait this is a list of advantages.
6. Lists get boring too quickly. Let’s just skip to number 1.
The number one reason that having two drummers and three guitarists is an advantage:
1. Ours go to eleven!
It’s just so much heavier and wasn’t that what we were after at the time?
NINa: I got a CD in the past named Testify 01. It was one of those
industrial metal ventures worth of learning deeper. Then it turned out that you produced their next album called "Mmmyaoooo". When did you first meet and who suggested to work on the album together?
Yeah, that was a lot of fun, doing that record. Actually I don’t remember how it came about but I do remember talking on the phone with Myk Jung who I still keep in touch with and talking about why they were interested in working with me. I also remember staying with Myk’s family for part of the time doing that record and it was also really cool. They were really good people. We took a break in the middle of that recording over Christmas and I took a train to Munich to stay with this girl friend of mine there, which was also really cool. Yeah, that was a lot of fun.
They really wanted to get a heavy guitar sound and to really take their sound to the next level, which I think we did. I remember slapping feedback tracks all over their stuff and when I would record the feedback sections they were looking at me like I was out of my mind. Here is this tattooed dreadlocked monster from Texas standing at the mixing desk with a guitar in his hands pressing the headstock against the rail and just twisting the shit out of the technology in order to give depth and warmth to this thing. Then we’d just print the effects on the guitar and they loved it. But they really did think I was mad. I’m sure their engineer did anyway. He was a nice guy, Matthias was his name and he couldn’t work on Thursdays because he played Badminton that day. I just kept thinking, “that’s not rock!”
Brian Backlash: You've worked with some phenomenal producers, from Phil Owen and Neil Kernon to the infamous Critter. How does a producer help craft an album? What is the biggest variation you encounter with producers?
Yeah, producers. Well in my mind the term producer could mean so many different things. On the first album Phildo didn’t really do as much producing as he did social directing. So for Phil he really used his talents to the utmost of possibilities. He actually spent a portion of the record on the back couch in the control room at tracks with his eyes looking in different directions and vomiting in a garbage can. Critter was a lot of fun to work with. He’s just this big loveable critter. I guess that’s how he got the name. Super talented guy and he really saved my ass on that record because I was not in good shape at all at that time. We went into that record with no songs really written, straight off the road from 24 weeks of touring. I think the week before that last leg of the tour ended in Chicago one of the guitar players just decided to fly home from Seattle or somewhere, before the tour was over then he acted surprised when I kicked him out of the band. He just up and decides he’s had enough and he has his girlfriend fly him home. So many stories that I could tell you about that time, just crazy shit.
We also had a really great time with Niel Kernon as well. Fuck, what a cool guy. I learned a lot from him. We did that record in the Texas desert as opposed to going back to Chicago. Such a great place, incredible studio, amazing experience. Niel had done so much, everything from cannibal corpse to Dokken to Sex Pistols demos, etc, etc. He is just a wealth of information and a great guy. We had a lot of fun. Then someone that you didn’t mention was Bill Metoyer. Bill is also really a cool guy and a lot of fun to work with. What a recorded history he has as well. Fuck!
I guess though I would have to say that the relationship between a producer and the artist is one of the producer helping the artist achieve his vision. I think that on every recorded project I have ever worked on it has really been a cooperative effort for sure. Luckily most all of the “producers” I have worked with have also been exceptional engineers as well ‘cause I suck at that part of the game but I do have an absolute idea of what I wanna do and I think that with each record that really became actualized in a much more focused way.
NINa: Are you familiar with the bands Rorschach Test and Nihil?
No, I’m sorry I’m not. I think I may have heard the name nihil from Niel Kernon though. Like I said before, I’m not really into this kind of Music and really never have been. I mean, I like a lot of different kinds of music just not much of any of it. Does that make sense? I mean, most if it says nothing to me in any way what-so-ever. Although I did recently hear this new Acumen Nation record called A-Core and holy shit it is fucking heavy as fuck! It also is about something, it has something to say. It sound amazing as well, I think it comes out in the next month or so. You have to hear it, I haven’t been this excited about a heavy industrial record in many years! I’m trying to talk those guys into letting me play guitar or bass on tour with them. Fuck that shit is heavy!
Brian Backlash: Do you find that you're still inspired by the same subject matter now, as you were when you were younger?
Aha! Very good question comrade Backlash. The answer to that is yes, revolution has always been a very important theme to what I think and create about. I mean whether it’s about personal revolution or cultural revolution or literal political revolution, these things are soooooooooo important to me. This is what I write about, and I think at this point in time it couldn’t be more relevant than ever before in my life.
NINa: When did you meet Chemlab's Jared Louche the first time?
I think I met Jared for the first time at some friends apartment in NYC, he was really obliterated and talking about some sort of physiological transformation that he was experiencing as a result of participating in a spirit seeking ritual with a homeless woman who was originally from the brazillian rainforest but had more recently been living in some bushes in central park. We discussed Jungian theories of spiritual transmogrification as well as
the culinary and nutritional value of a good Kischke and where these could be found on the lower east side. I seem to remember he was also holding and sharing some really good opium.
NINa: If someone asked me what song I'd like to use for foreplay I would point out an awesome 'Megahurtz' remix for the Chemlab release "RockWhore vs DanceFloor". Having the predatory Skrew guitar riffs in my mind I was surprised reading the name Grossman and Dwayne Dassing credited to the remix. What lead to the decision to remix 'Megahurtz' instead of, let's say 'Derailer', 'Exile on The Mainline' or another of Chemlab's heavier tracks?
Hey, that’s so cool of you to say Nina, thank you. Yeah, I really didn’t want to do a “heavy” song, I asked Jared to let me do the something slow because I just really wanted to do something different than the usual kind of “remix.” I mean, I just want to have a different experience than doing the same stuff time and again. It’s totally cool that you caught the vibe of what I wanted to do too. Although I have to say that the version we did is really unfinished but I was reliant on somebody else for their studio and well, the work ethic and ability just wasn’t really there but I like how it turned out anyway.
Brian Backlash: What for you, is the most influential industrial record? Conversely, what's been the most influential NONindustrial record you've heard?
Hmmmmm. Difficult question BB. Most influential for me in terms of influencing my career? Or most influential on the Genre. I think the stuff that really got me into the idea of using sampling and sequencing in my music was probably some of the Crass stuff in terms of the sound sculpture that they did, maybe some of the early Throbbing Gristle stuff I had heard as a kid as well. Most influential industrial on the genre has to be NIN. I mean, come on.
99% of the stuff you hear is direct rip off. It’s unfortunate too because I think Trent Reznor is a very talented guy but who ever sets the standard in the sales department is going to get copied by people who have nothing to say and just want to be a rock star. Too bad right?
Now, as for the Non-industrial influential records in my life I think it would be all about early Black Flag up through the zenith of their career which is the Damaged record, then there is all the early PIL stuff, Sonic Youth up to and including Daydream Nation, Alice Cooper’s Billion dollar Babies was a big one for me when I was in third grade.
Brian Backlash: You've toured all over the United States for many years. What are some of the best cities to play in?
Some of my favorites are Seattle, Montreal (though not in the US it is on all US tours), I like playing NYC, I like playing in Minneapolis, pretty much all the northeast is fun. Atlanta is always cool too.
Brian Backlash: Do you have any 'guilty' music pleasures?
No, I don’t have any guilty music pleasures. I don’t feel guilty about what brings me any kind of pleasure at all. I like jazz, especially Be-bop, I like contemporary classical (I’ve been listening to the String Quartets of Ernst Bloch recently) I like pop music (Radiohead, stuff like that.) I like hip hop, I collect Am radio hits of the “70’s as well. The only kind of music that I don’t really get is Country Western. Like I said before I like a lot of different kinds of music just not much of any of it.
NINa: What did you mean you were giving your fourth record the title of "Angel Seed XXIII"?
I’m a little embarrassed to say that I’m not too sure of the origins due to the fact that at the time I was doing a lot of drugs and to be honest much of that time is a bit of a blur to me. I mean, I think the idea was something about the fact that I have a number that seems to represent much in my life and that number is 23. I think the idea of angel seed evolved from the idea of being born and starting out in a perfectly neutral and positive way but then becoming tainted by the world. I like that record.
Brian Backlash: You've been making music for many years - has your approach to song writing and recording changed much in that time?
I don’t know, I suppose in some regards the way that I create has developed into a more efficient practice and of course the technology has really developed since I first stepped into a recording studio but in some ways the preferred method of recording has stayed very similar to the way it was done when I started. I like slamming shit to tape and really hard. I mean, there is no plug in that can duplicate that, not yet anyway.
NINa: You've appeared onstage with Ministry in Steven Spielberg's AI: Artificial Intelligence in 2001. Have you ever known why Spielberg chose Ministry for the movie?
Who knows why things happen the way that they do in Hollywood. I heard all kinds of rumours about that. I heard that both Al and Spielberg were Masons, I heard that it was a request of
Stanley Kubrick who’s movie it was before he died. I heard that there was a remix of Jesus Built My Hotrod that Spielbergs kid was really into. I really couldn’t tell you. I can tell you this though: I had a fucking blast doing that and made a fair wad of cash doing it too.
Brian Backlash: What do you feel your biggest impact on music as a whole has been?
I have no idea if I have had any impact on music at all to be honest. I’d be more interested to hear your opinion of that. Maybe that would give me a better idea.
NINa: How did you hook up with Jurgen Engler (Die Krupps) in DK.com? In my opinion their music was much worse than Die Krupps...
Haha, what a nightmare that was. That fucking guy, well let’s just put it this way. He is very talented at using people for what they have to offer him and giving nothing in return. That record was an abortion. Seriously. It started out as a good idea, he contacted me about doing something that was to be like Roxy Music meets the year 2010. Me and this guy named Julian who had played with Nitzer Ebb wrote a bunch of what I thought were interesting songs which Jurgen controlled the life out of turning it into the crap that you hear on the record. His wife wrote all the lyrics. I still haven’t seen a dime for my work on that stuff.
Brian Backlash: How do you think you've improved as a musician over the years?
I’m not sure improved would be the appropriate term as much as evolved. I guess my musical abilities have mirrored my evolution as a human being. Know what I mean? I mean when I was 20 years old I was all about my cock, as I have matured, that shit has been balanced somewhat by my brain and my intellect. So now my cock is tempered by my intellect and experience. I just wouldn’t be at all satisfied with doing the same thing now that I did 10 years ago or even 2 years ago, let alone when I was playing hard core at 16 years old. I played in this band about two years ago with some friends just for fun and it was total Punk RAwk! With an emphasis on the rAwK part. It was fun for about 10 minutes, kind of like reminiscing about high school. We did a record and shot a video. Like I said It was fun for a minute.
NINa: There is a song called 'Warsaw' on "When Obscenity Becomes The Norm" album by Angkor Wat with cool bass line and guitar solo. Where did the song title idea come from?
I think that song was about the revolt by the Jews against the Nazis in the Warsaw ghetto in June of 1942. It really represented the whole idea of revolt, of uprising in a very physical way. See it’s the whole idea of revolution again.
Yeah, that stuff was very “cock” oriented. Fretboard gymnastics, and complicated arrangements, at least for us back in those days. The cool part is that there is an Englishmans voice in the middle section of that song. That is my stepfather Tony who died in 2001. It’s so cool that he is on that. He was this cool old English guy who played boogie and stride on the piano, he punched me in the mouth one time when I was being an asshole teenager. He was a really cool cat.
Brian Backlash: What is your favorite album cover, any band, any era, and why?
Fuck man, you don’t mess around do you Brian Backlash? That’s a tough fucking question. I’m gonna show up at your house someday during dinner and make you do a bunch of algebra or calculus.
Album covers, Jesus crunked up Christ! I really dig the Mingus album cover on his album Underground. It so cool. I remember seeing that when I was a kid and just thinking it was soooo cool.
I also love the inside gatefold of the Santana album Abraxas. That was actually really influential on me artistically speaking.
NINa: Which guitar is your favourite one and what guitars did you use playing with Angkor Wat, Skrew and Ministry?
Historically I have probably played Gibsons the most. I really love the Gibson SG, I really love the ES 175 a lot as well. I played Jacksons on the last Skrew record, they were really cool but the model that I played and still have a couple of are based on Gibson designs. Recently I have been playing this Ibanez that looks like a cross between a Fender Jag and an old Sears Teisco Del Ray. It’s a really great guitar. Most of the heavy stuff I have recorded has been with the Gibson SG.
NINa: Adding samples to the metal music wasn't very common when you founded Skrew. What gave you the idea to throw away the clear metal vibe in the name of using samplers? Were you influenced by someone in this regard?
Well, I guess it goes back to the idea of not really identifying with any one genre to any great degree. At least not since I went through puberty. I mean, I started using sampling and sequencing on Angkor Wat records because I was using it in the films I was making in University. I just figured that the more colors I had on my palette, the more complete of a picture I could paint. I didn’t give a fuck what the metal authorities had to say about it. I remember being told by a couple of Metal bands in the ‘90’s that Skrew wasn’t metal enough to take on tour. Then a couple of years go by and both of the bands that I am referring to were totally trying to look and sound industrial. It’s easy to be a follower, but it takes much more to be a leader.
NINa: I think it was a natural way that Ministry and Skrew crossed their ways in the 90's, both are the pioners of industrial metal music. Al Jourgensen was a guest on the Skrew record Burning in Water, Drowning in Flame. A few years later you were playing guitar on Ministry's Animositisomina. What are your views on Al as a co-worker, musician, man?
Al is a nice guy, he’s a complicate guy as well. He’s talented and funny and smart too. Paul as well is a great guy and he really became one of my best friends back in the early 90’s. I guess he and I have a little bit more in common in terms of the way that we work and our outlook on being productive, maybe that’s why we have been working on this project together recently.
NINa: The past of industrial metal includes excellent bands like Skrew, Testify, Ministry, 16volt, Pitchshifter, Godflesh to mention the headliners... It has never become popularized or overused like grunge or nu-metal. Do you think guitar driven industrial requires a unique attitude to establish a band?
Grunge was a fashion that was popularized by magazines like Rolling Stone and People. I’m not sure what Nu-metal is. I know what Nu-tella is. I love that shit.
I don’t know Nina, I think as soon as something becomes identified by a label in the collective consciousness then it is over. As far as starting a band goes, well it takes a determination and an ability to work towards a goal, I never had the intention of putting aband together for anything other than making music, all the other stuff just kind of came. I had not intention of getting a record deal, or anything like that. All that came because I was interested in creating something that held some meaning for me.
NINa: Are there any bands (besides the ones above) that are working now that you'd like to recommend to us?
The only thing that I can recommend at this time in this genre of music is the Acumen Nation stuff. Their new record is just fucking incredible. You should check It out when it comes out in the next month or so.
Brian Backlash: If you had to describe music in one word (other than music), what would that word be?
For me that one word would be “Art” Unfortunately for most of the world I think that opinion is in the minority. I think for most people it is more about “Fashion” or “Label” or “Identity” or even worse “Comodity” or “Product.”
NINa: Is there anything else you'd like to tell our readers about?
First I want to thank you Nina and Brian for a really cool thought provoking interview and second I want to say to the readers that they should not take anything that I say or that anyone says as the absolute truth. People should be smart and do their own investigation, gather their own information, form their own opinions and ideas. So many of the messages that we receive are absolute bullshit and have a hidden agenda. Here is an idea that you (the reader) should investigate. “Milk is good for humans and needed for a proper and healthy diet.” This is bullshit and a lie! This is also just an example of how the Government and big Business will lie to you to control you behavior and more importantly your spending. This is just an example, but use this example to educate yourself. You have the ability to gather information from more sources via the internet, at least for the time being.
Pictures come from Adam Grossman's archive, all copyrights reserved by © the authors.
Many thanks to Jared Louche (Chemlab)
whose help made this interview happen. Jared, we are more than grateful :)