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mego42 · 3 years ago

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good girls appreciation week 2021: day 2 // places and spaces: pwp in the paper porcupine

for places and spaces day, i’m going back in time to celebrate one of my fav show locations: the paper porcupine, specifically the back room.

if there is one thing above all else i am a truly desperate heaux for, it’s a good art room. what can i say? i spent my formative years haunting them and there’s something about a paint/ink/god knows what splattered work table that does it for me. add in a mechanical printing press? nirvana, truly.

so without further ado, allow me to rec some fics that use the space as god intended.

one thing that always stands out to me about this fic is how well it captures the snap, crackle and pop between beth and rio

it opens with them literally giving each other the silent treatment while still hanging out alone for hours on end in the paper porcupine while beth prints for weeks

yes that weeks includes the mutual stubborn silence

iajs that’s the kind of petty that really makes this ship shine

and then when they break, the nasty, bitter reckoning that spills out only serves as foreplay for a hookup that perfectly captures that half bitter antagonism, half desperation to reconnect dichotomy that characterized their s3 dynamic

in addition to a fantastic hook up, the back and forth banter and energy is really what makes this fic shine

1000000/10

fav quote:

“You��re a shit shot,” he says instead, so close now their chests are grazing with every intake of breath.

“I had a shit teacher. Kinda full of himself.”

Read on AO3

is it that i love pp back room hook ups or the post 213/rio’s return from the dead angsty tension? who can say, really

(both, both is good)

whatever it is, have another!!! this fic is specifically a take on the missing scene from the infamous 304 money-making promo i mean montage

what DID they do while they waited for the pulp to dry?????

the tone of this one leans a little more heavy than the previous rec as beth and rio grapple with the bitter weight of everything between them and how it’s made that much more complicated by how present the good parts of their history are as well, and how much they can’t/don’t want to escape either

idk guys, that juxtaposition is the specific flavor of angst i live for

i also love love love that in this one rio’s the one poking at the open wound of their relationship and i love that it’s the key to beth unlocking and airing some of her own grievances. communication! who knew!?

fav quote:

“I like watchin' you work.”

Me too. She wants to say. I like you watching me too. She wants to say. But her mouth is dry and her voice doesn't work so she‘s silent.

“I fuckin' hate that I like it.”

Read on AO3

how do i love this fic, let me count the ways (jk we’ll be here all day bc i love it a lot)

remember how i said my favorite flavor of angst is the kind that runs on a combo of bitter and poignant memory? well boy howdy does this fic nail that like whoa

while this fic is much more sprawling than just hooking up in the pp, that is both where it starts-ish AND a returned to feature including an A++++ negotiation for a new and better blender

points deducted for mention of the keyhole sweater (I KID!!!!!!!) (not about hating the keyhole sweater, it looks so itchy idk why, but about the points deduction)

basically, to cap it off, this is one of my fav rio pov fics, it does such an incredible job capturing this completely exasperated, vaguely pissed off about it, but also kind of desperately into it vibe that feels so exactly right for a later s3 era rio starting to realize how deep his feelings for beth may in fact go and losing his mind about it and i love it a lot

plus the anti-beth list of hook up criteria remains i think one of my favorite things in any brio fic ever, so

and this is all just ch 1, i’m still not ready to talk about ch 2 but just know i think about the bit in the shower a normal amount

fav quote:

No women between 5’7 and 5’10, ‘cause Elizabeth’s height fluctuates dependin’ on her shoes.

No women with doe eyes, doesn’t matter the color, ‘cause she’s all he sees when he looks into ‘em.

They can’t drink bourbon or tequila shots, and shit, it’s not even the things she likes, but the things she doesn’t, too—which means no women nursin’ a chard or a rosé, either.

If they’re got a flower printed or embroidered or embossed anywhere on their person, they’re out.

He’s left women in parkin’ lots for drivin’ vans, and said goodnight ‘cause they carry a large brown purse.

Read on AO3

like i was gonna leave the iconic brio try butt stuff fic off of the list

what i really love about this fic, aside from the fact that it’s hot af, is how well it captures the competitive aspect of beth and rio’s dynamic and how they’re always playing a game and trying to score points against each other

in this version it’s on the playful, almost, dare i say, affectionate end of the spectrum and the way it’s woven throughout gives the fic an extra spark that makes the story an absolute delight

this is also like, the peakest of peak beth, i.e. blurts out something she didn’t mean to and then not only will she gnaw her own arm off before admitting a mistake or defeat but she’s actually gonna flip this whole thing around and lean in as hard as she can and be the absolute best

i also love how rio immediately gets on her level and takes it just as seriously as she is but still finds ways to tease her, without like, teasing her (this makes sense shut up)

what i’m trying to say is the characterization is flawless throughout and captures all of the best things about them and their dynamic perfectly and i love it thank you and goodnight

fav quote:

It’s playful, more of a game than anything else. It’s just that he tends to be a bit more agreeable when she’s sucking him, just a bit more willing to be persuaded when he’s inside her. Usually, she’s asking for something small, like a new blender or a larger supply of singles, something she knows he won’t say no to. Beth has fun with it, daydreaming up some pretext or another while she’s printing. It’s easier this way, to pretend that what they’re doing is nothing more than a transaction.

To pretend it really is just business.

And if he lingers when they’re done—to kiss her and hold her and laugh with her—well, it means nothing if she doesn’t think about it.

Read on AO3

#i don't want to hear it about the bullets megan i told you sometimes my brain doesn't do narrative #ggaw2021 #nbc good girls #good girls nbc #beth x rio #brio fic #fic recs #my edit #i guess #i am not saying i themed this entire day's content around wanting to make a cute banner with banging porcupines #but i'm also not not saying it #i think i'm very funny and that's what matters

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strvwberryblcnde · 4 years ago

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👫 teddy/lana

send a 👫 and I’ll write four headcanons i have about our muses’ relationship.

ok so. lana has a habit of sharing food as one of her many love languages i think. she jst likes.... giving ppl things even if it means she’ll have less. she’d let a wolf make a meal out of her n eat every last piece if she loved him n she knew he’d feel full. bt of everyone i feel like teddy hs always been the one she does this w most.... like even when they first met in the cafeteria she gave him spoonfuls of her greek yogurt n honey. whenever she’s eating fruit (which is a lot she’s obsessed w strawberries n peaches n grapes n tangerines n oranges) she’ll ALWAYS give him half whether tht’s segmenting up pieces or dividing bites evenly between them n Without Fail it’ll always b half tht she gives him whereas she might give other ppl like.... a bite or a piece or two bt......... it’s rly specific each time tht she gives teddy half. it isn’t even intentional it’s jst like a subconscious thing bt if we were to slide on spectacles n analyse this in an english class fr it’s Meaning then. looks at u then looks away. i think this represents the way tht teddy hs always felt like another half of her. they’re one in the same. in a lot of ways they’re very similar mayb even................ TOO similar n that’s why it’s been sch a fking.... bastard of trying to work things out ever bc they very much hv the same rampant commitment issues n bad timing n fears of never being gd enough. i feel like in the past a guy she ws dating (noncommittally as lana tended to do these things) wld have even noticed this n it would have bugged him a lot just like... how close she was w teddy in general............. n he would’ve one day brought it up in the middle of a fight he’d picked jst cutting away from what they were talking abt to be like. u only ever give me one bite but u would give teddy all of it if he asked u to. tell me i’m wrong. n she’d scoff out a laugh in disbelief looking around like omg...... all this over a fruit...... what are u even sa-- n he’d cut her off n be like. literally tell me i’m wrong lana. n she wouldn’t even b able to after going quiet n rly realising what it was he was actually Saying. he’d storm out. relationship over. icons of always being a little bit in love w each other n not even noticing it until someone else points it out <3

god. sighs dramatically at the idea i jst had. i cn imagine in la verse lana being rly drunk getting bk from a date one time n inevitably it was just some random loser since she’s back to dating Trash in this era bc she just truly cbas trying after her breakup w dom n............. it would be like a parallel to tht one time they’d fallen out over him sleeping w imogen when she ws upset w him bt crawled into his bed drunk at a party just to lie w him for a little while despite everything...... she wld have gone to his instead of hers on some drunken automatic pilot n somehow got into his room n..... she’d clamber in n flop nxt to him n maybe it wld be funny at first if he woke up n was like lana what the fk...... are u doing here.... so disorientated n confused.......... n she’d just be joking initially bt very clearly drunk like making fun of her date talking abt how he kept complimenting his own hair n calling himself a tesla in a sea of prius’ n checking himself out in every window they passed n then the laughter wld slowly trickle off n she’d go kind of quiet fr a moment n maybe teddy wld assume she ws passing out bc she’d drank sm bt after a short silence she’d perk up with a mumble out of nowhere n, barely conscious of what she’s saying, b like “why didn’t u wait for me like u said u would”. n if he was like.............. huh? she’d have her eyes shut n just b murmuring half awake then open them sleepily to look at him n rly quietly be like........ “u promised”. mayb she’d even reach out to gingerly trace his face bt then her wrist wld go slack bc she was rly tired n she’d just wriggle closer n tuck her head to get comfy n be like “warm” then promptly fall asleep. JSGSFKGHFHGKHGSFKH. literally jst jolting him awake w this rarely serious n genuine conversation then passing out. jst the worst fk teddy’s life bet he lay there staring at the ceiling fr so long after tht one <3 lana wouldn’t remember this in the morning either she’d wake up like why am i here........ did we meet up last night............ teddy jst like >_> u crashed here it was nbd.

i picture the first week they moved to LA lana wldn’t have admitted it bt she wld be feeling rly homesick............ radcliffe was very much like the first place she truly felt was her home n she’d miss all of the ppl there n just the general area A Lot............. one night i can see her jst wanting to spend with teddy to have like a sense of familiarity in an unfamiliar city (even if she’s spent a decent amt of time there over the yrs bc of jameson records hving studios etc bt still) n i’m imagining them like. breaking into an indoor swimming complex that her n her friends in high skl used to break into in the summers when they vacationed yrs ago.... maybe lana still has a key cut tht works from a connection she made bk then idk <3 it doesn’t matter <3 n they’d inevitably be drunk n just messing around n splashing each other n doing handstand competitions n all the typical..... fun frivolous childish antics lana n teddy tend to get into whenever they’re around each other.... truly jst transformed into big kids whenever they’re in the other’s company..... inspired a little by this gifset jst in terms of the playing around underwater vibe. anyway. mayb they mostly dry off bt they end up climbing up onto the rooftop after n it’s a baking summer night anyway so it isn’t like they’ll catch a cold being damp bt they share a big fluffy towel n bottle of rum between them huddled overlooking the lights of the city. n maybe somehow it gets onto lana admitting how much she misses home n how it’s kind of weird being here especially bc she’s further from caleb. she’s never been this far from him since he was away in the army n we all kno hw tht turned out. mayb she’d go a bit quiet after saying this bt then i think she’d take his hand w their fingers laced together n she’d rest her head on his shoulder n be like. at least i’ll always have u. it’s like i took a piece of home w me. we’ve always had each other like that. then she’d perk up n lift her head n be like let’s make a deal. i’ll be ur home if u’ll be mine. ok? n make him pinky promise. i dnt think she’d quite consider the sentimentality in tht bt 😔 she nvr rly does she jst says what feels natural without attention paid to the deeper meaning tht motivated it n.... sighs. looks at u then looks away....

this is inspired by tht scene in don’t trust the b in apartment 23 where she’s like “look. that video of me getting rawed by my best friend means the world to me.” KJGFGJKSFHKGHKSFGHKFSHKGSHGK god. inevitably in lana n teddy’s prime when they were literally hooking up 24/7 in earlier college yrs they made.............. a few videos. i mean it’s jst realistic. it’s jst common sense. probably even a feature length film at one point. n i had this idea where bc teddy’s trying to get into acting etc mayb if he gets an agent his agent is like.... do u have any dirt u need to take care of? loose ends to tie up? incriminating files to delete? sex tapes? n if he was like... ya..... mayb his agent wld have asked him to delete them if he still had them on his computer or w.e i mean i kno lana wld n wouldn’t have deleted them she wld have been proud of their work of art...... bt maybe he told lana abt this just laughing abt it n the atmosphere ws lighthearted at first bc she’d find it rly funny too like ommmmggggggg i’m a skeleton in ur closet tht is so fun if u get famous i cld be blasted all over perez hilton that’s kind of sexy..... bt............... mayb she’d as a joke be like. mayb we shld watch it one last time before u delete it. kind of like a funeral service. a goodbye party. sailing out the flaming viking raft n paying our respects u know??? n they were joking bk n forth bt then she’d be like. seriously tho mayb we should? growing more accustomed to the idea actually being a genuine one even tho tht is fking. the WORST idea i have EVER heard in the world like i do NOT know how lana wld think she has the self control to do that bt in her head she’s like. teddy n i are jst best friends now... it’s fine........... we’re open w each other it’s just a bit of fun.......... n then i can imagine if he went along w this it’s like a game of chicken they’re playing w each other where they’re both like fking hell shd we do this.... dnt wna seem like I’M the one tht thinks i can’t handle it........ n it’s some back n forth like nick n jess in new girl where they’re daring each other to have the threeway w the landlord. bt then like not even.... a minute into watching it as they’re both silently holding their breath n crunching popcorn they mde for the occasion (insisting on acting like it ws just a normal movie night) lana wld literally have to be like. slams laptop shut. UMMMM i forgot.... i....... have a very important meeting......... n teddy’s just like. meeting? u don’t have a job... what are u ta-- n she’s like A MEETING A VERY IMPORTANT MEETING...... very blatantly squirming around as she slowly gets up n tries to head fr the door... n teddy’s like.... taking the excuse without much question too like... ya i have to run lines actually i jst remembered gt an audition coming up..... n they’re both like ya haha... maybe some other time.... or maybe just delete it it’s whatever.... anyway we gtg haha... bye.... ttyl...... lana wld literally hv to SPRINT out of there to go home n. deal w how flustered this made her i won’t lie. she bumps into parker n is all flushed in the face n is just like CAN’T TALK BYE n takes off sprinting again like some kind of freak. it’d b a train wreck. i jst think that’d b rly funny tho n dare i say it? it’s canon.

#lana jameson | teddy lawrence #meme #excvlsior

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heisenbergchronicles · 6 years ago

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APPRECIATION & INTERVIEW

Better Call Saul episode posters by Matt Talbot After 4 nearly years, I thought it was time to catch up with Matt Talbot about his Better Call Saul poster project. The last time we talked during Season 1, Matt was deep in the hustle of making his name as an illustrator: juggling a full-time job, freelance projects, as well as band. Finding time for personal projects like this one can be a significant challenge. (Not to mention surviving the death of your tools: During Season 1 his Mac laptop died, and this season, his Wacom tablet bit the bullet). But despite these challenges, the 43-year-old New Hampshire native has persevered to create a clever and thoughtful series of episode posters that has garnered considerable attention, and brought with it new high-profile clients and art exhibitions.

First, congratulations on all of your success and recognition with this series of posters. It’s well-deserved. What’s been the most gratifying feedback you’ve received? Thank you! Every interaction I’ve had with anyone from the show has delighted me. I've been surprised by all of the cast and crew members who have said nice things – every note I’ve gotten has meant a lot to me. That being said, Michael McKean randomly tweeting at me that he has my poster for Chicanery hanging in his home blew my mind. I was eating dinner when my phone showed the notification and I literally jumped up from the table. I’ve been a fan of Michael’s since I saw Spinal Tap in the ‘80s and never in a million years would I have guessed I’d make something he valued enough to hang in his home.

Tell me about your contributions to Gallery1988 exhibitions. How does that process work? It's a pretty simple process. They invite me to be part of a show, and I make something to send them. I’m very excited for the opportunity to show there, and I feel like it’s a milestone in my art-making career.

Across the 4 seasons, which BCS posters are your favorites? Which one are you most proud of? I’m particularly fond of Rebecca, Rico, Marco, Switch, Sunk Costs and Something Beautiful. Oh man, it's hard for me to evaluate my own stuff. I tend to like the posters where I find a way to get a different take on something they did in the episode. I would say that “Sunk Costs” is also one of my favorites because I did something differently than how they shot it, and because Mike is so recognizable even from the back. I was also pleased with “Off Brand” because it was when I finally figured out how to draw Bob Odenkirk.

How has your process for creating these posters evolved over 4 seasons? When I started this project I had a vague idea that I would focus on scenes rather than portraits or likenesses, but that didn’t even last half a season! The characters were too good not to include. In that way, the posters have evolved in my willingness to draw characters, and also, hopefully, my ability to draw them.

My process is now something like: Watch the show on Monday; think about it on Tuesday, figure out what stood out to me and do a thumbnail sketch or two; draw it on Wednesday night; post it Thursday afternoon. I’m a bit faster at drawing these now compared to when I started. And I’m a bit more decisive on choosing which subject matter to depict.

There have been quite a few changes on the visual side of Better Call Saul over the last 2 seasons. New directors (Minkie Spiro, Daniel Sackheim, and Andrew Stanton), a new cinematographer Marshall Adams, even new cameras. What are your thoughts on how the show’s visual grammar has evolved? Has any of this impacted your posters from Seasons 3 & 4? I try not to just redraw literal scenes from the show, and I don’t need to tell you that they shoot the show in an incredibly beautiful way. I mean, they always, always, pick the best angle, the best shot to capture something. For that reason, it’s sometimes hard to to come up with another take on a moment from the show.

That being said, the visual style hasn’t really impacted my posters as much as the evolving subject matter has. The show, I think, is substantially darker than it was in the early going. It was easier to depict Jimmy’s hi-jinx in the first couple seasons. But with Chuck’s deteriorating mental state, the cartel stuff, Mike going deeper into Fring’s world and of course, Jimmy’s loosening sense of morals, the funny moments are harder to spot. That’s lead me to some more somber layouts and color choices.

We didn’t discuss this in our first interview. Which typeface are you using in your posters, or is this custom typography? The main logo and episode titles are set in Sign Painter, from the excellent House Industries.

The Heisenverse is known for it’s color theory and use of color. How has that impacted your color choices in these posters? I’ve kind of adhered to their blue=good/red=bad symbolism, but I also try to balance out colors between episodes and not repeat myself in sequential posters.

Many of your posters (especially ones this season) use a monochromatic, or simple palette of 1-2 colors. Tell me more about why you chose that approach. Is this a signature of your style? I’ve seen this approach in a lot of your work. You know, in the early seasons, I was trying to use simpler color palettes, but I wasn’t very disciplined and I got away from that. I’m trying to stick to a more consistent style in season 4. It is a conscious decision. I also feel like with the week-to-week nature of this project, it helps quickly set apart each poster. And, I really do love limited color palettes. Giving myself color constraints helps me figure out different ways to solve layout problems.

I’ve heard other illustrators say that Bob Odenkirk’s facial features are tricky to capture. Do you share that sentiment? Which characters are more challenging to illustrate? I do agree with that. I had a really hard time with him at first. I kind of think I have a better handle on it now, but I’m always trying to get better. I feel like if you can get his mouth right, it goes a long way.

I found Hector hard to capture both times I drew him. Mike, on the other hand, is just pure fun to draw. Jonathan Banks is so distinctive and iconic.

What’s been the most difficult poster thus far? Why was it challenging? Maybe it’s because a lot of time has gone by, but I can't think of one that stands out as having been really difficult.

Francesco Francavilla did alternate posters for some of his Breaking Bad posters. Inevitably, when artists look back at their work, they consider revising or redoing it because of a variety of reasons – their point of view has changed, their skill/style has evolved, or maybe they were never truly content with the final product. Looking back at 4 seasons worth of posters, are there any that make you want to scratch the revision itch? Yeah, more than I would care to admit. I would really like another crack at Amarillo. I know I could do a better job and that drawing is just super flat. In season two, I decided to to experiment with style and I kind of wish I hadn't. I like Cobbler, but I wish I had drawn it in my normal style. I would redraw Nailed for sure. Oh man, if I start going down this road it's not going to end well, so I'll just stop.

You mentioned earlier this season you were excited to draw Track Suit Jimmy. Who or what haven’t you drawn, that you are eager to illustrate? Howard! It bums me out to no end that I haven't drawn him, but it just hasn't worked out. And I need to include Kim more. It's kind of criminal that her face only appeared for the first time in a poster this season.

What’s your opinion of Season 4? Tell me about your favorites – episode, scene, character. I think season 4 is brilliant so far. The Kim/Jimmy relationship has deepened so much this season, and feels so real, but full of inevitable heartache. Oh, the flash-forward to Breaking Bad’s timeline was amazing. Mike doing his audit in the Madrigal warehouse. Really, anything Michael Mando does on screen. It's hard to pick. I so enjoy the deliberate pace of this show.

Where’s your favorite place to discuss the show? I honestly don’t talk about it too much online, though I lurk in a few places and read a lot. I actually discuss it mostly with my wife!

I know you get this question a lot, so let’s cover it here so folks understand: Do you have plans to sell any of this work online? I really appreciate that people like it enough to want to buy it or hang it, but I don't plan to sell the Better Call Saul posters online. I’m doing this for fun, not to make a buck off the show, and I don’t own the rights to sell it anyway.

What’s next for Matt? Do you have any other poster or illustration projects in the works? Is you band performing soon? I have several more pieces for Gallery1988 shows coming up. I’m pulling together an art show at a local brewery for whom I design all of their labels and stuff. I’m patiently waiting for a t-shirt I designed for one of my all-time favorite movies to be announced. And for the past several Octobers, I spent the month drawing a horror poster per day. I’m not sure if logistically I can do that again this year, but I’ll probably fit at least a few in. We’ll see how it goes. Sadly, with all of my illustration work, I haven’t had any time for music making, but someday I hope to get back to that!

Follow Matt: Web site / Tumblr / Twitter / Dribbble / Instagram / PosterSpy

– Interview by Shayne Bowman, Heisenberg Chronicles

#better call saul #artist interview #matt talbot #mine #heisenberg chronicles #illustration #fan art #posters #favorites #mattrobot #bcs season 4 #gallery1988 #g1988 #house industries #sign painter

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nulfaga · 6 years ago

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2-11 for Nene? (skipping 1 bc that ones always hard as fuck)

ghjgjhdkfjh this whole thing was hard as fuck but u right

2. What is the thing they feel the most guilty about?

probably lying to her mom about being an assassin... like she meets her mom again on a job when she’s in her 20s and her mom like genuinely apologizes for being so cold; “i thought the gods had given me an ill-omened child but you just functioned a little differently and i was always proud of your intelligence” like. you don’t really come back to that by saying “Actually Mom You Were Right I Kill People For A Living Now”

3. What is the worst pain they’ve ever experienced?

On the same job that took her to hammerfell to see her mother, her assassination target managed to basically slice open her abdomen and gut her. the pain itself could have been worse, it was like a nasty cramp if anything, but being as squeamish and afraid of death as nene is and seeing your fukn... u get the picture... it was like the worst thing, period.

4. Describe their worst nightmare.

idk if this question is like, a bad nightmare that she’s had, or like a “nightmare scenario” type of thing... i think its the first one

on the whole nene is an extremely sound/deep sleeper and gets her 8 hours with no hassle or interruption, but when she does have nightmares theyre about her being powerless to act on the world and the things in it...but the worst ones are when the people she knows and (thinks she) loves are in them acting strangely and saying nonsensical things and doing the most vile shit to her and she has to wake up and unpack what the fuck that means lmao. she has those maybe twice a year?

5. List 3 fears; one “surface level” fear, one “repressed” fear, and one “deep dark” fear.

surface: ruining her reputation, giving people the idea that she’s soft or inconsistent

repressed: really, really loving and knowing someone

deep: the fact that you can never ever see into other people’s minds and anyone could turn heel in a second no matter how much you love them or how much you think they love you (this one is 89% from her mother)

6. What is something that never fails to make them feel sick?

blood & bodily fluids, pretty handy for an assassin right lol

7. What feature (physical or otherwise) do they hate most about themselves?

not that she hates being short, but she hates that her brother towers over her. one thing she doesn’t miss is hearing “—or what, you’re going to come up here and fight me?”

also the scar on her belly from when she was attacked in hammerfell, not least because it left her infertile

8. Do they have anything that triggers them?

im going to refer back to the blood thing fjgfgfhhfg but also she’s just easily overstimulated by light and sound in general. it’s why she tends to love the db sanctuaries; dim, quiet except for the comforting chatter of her d. siblings. & those lil skeleton dudes? iconic!

9. What is their greatest physical weakness?

idk she’s kind of an all-rounder? i guess the scar since it still cramps up or twinges sometimes and if she got knifed there again it would probably kill her

10. What is their greatest mental weakness?

oof. shes moody, manipulative, obsessive, cold, sarcastic, guarded, etc etc etc ad infinitum but the biggest way to Get her is to very subtly make her second-guess herself and the people around her cus she falls into doubt spirals at the drop of a pin. ofc the outside world would never know but

11. Do they have any vices?

she smokes and drinks but she has an iron will and rations it out...she doesnt go after like a high necessarily shes the type of person who drinks black coffee and water exclusively. its more like, 1) fits the image shes trying to cultivate and 2) can help put a target at ease. also 3) lighting her lovers cigarette by leaning in close with hers is something she finds really amusing for some reason. little safe gestures without any commitment behind them. she never touches skooma or sleeping tree sap or anything tho

#neneldi velvassius #i love her a lot can u tell #now im off to draw Smexeh Greywyn :3 #saisahan

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artdjgblog · 6 years ago

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Innerview: James Hoskins / World of Forms

April - August 2011

Art: Jean Fouquet / The Taking of Jerusalem by Ptolemy Soter / ca. 320 BC

Note: I’ve had the pleasure of being interviewed by James Hoskins several times over the years, as being a live-in designer for his Kansas City band Elevator Division back in our basement dwelling days. These nuggets in particular are fairly significant in my initial retirement / death of DJG Design and transition into personal art. The following is a two part interview for a blog feature. The first part is via email Q&A, the second morphed out of a discussion over coffee a few months removed.

PART I:

1) What do you feel are the biggest challenges to working a "day job" while being an artist? What are the benefits? Has maintaining a day job affected your art in any way, positive or negative? If so, how?

Anyone who has something cooking at home base is applicable to the challenges of a day job (I'm certain the interviewer can attest to this). And I think it's easy for one to think he or she has something special waiting on them while in the monotonous thick of the daily grind. But, you have to keep a level head. I believe in a healthy balance of being a human first and an artist second. If right, you can mix the two. Sort of a "Have Brain, Will Travel" mindset. Anything and everything is good meat and day job placement should be no stranger. I am always a working artist, yet I don't wish for myself to be the work of art nor play God with it.

As an artist in an office or cleaning an office (the two climates I've been kicking at the past decade), I try to intake what I can, smell what roses I can find and bring back home to the table inspiring meat. Of course, as a janitor, I was literally bringing things home! (Probably not so much fun for roommates or wife, me thinks.) Anyway, my nature has always managed to maintain employment or casual servant/observant at places where I'm still able to keep locked inside, somewhat. I've just never had any means to climb another man's ladder. Rather, I show up, stay on the ground and help out the best I can while still tinkering within. I believe every man is wired a certain way. I'm a starving artist in the sense that I am always hungry to create and nothing can stop me, not even a day job.

Of course, owning up to a day job doesn't come without trials. As I grow older the major seemingly stackable factors are time and energy. A year, even five years, is sucked away so fast now and I can no longer do the all night artistic marathons like I could at 22. But, at a younger age I was also dealing with design deadlines for clients. Something that isn't a factor now that I've gone the route of solo artist. I'm still making as much stuff, just on my own time 'n' dime and staying smart with getting to bed early/getting up early. Still, there is never enough hours in a day or life span to amount for what I'd like to leave behind in this life. I guess I am content but there can always be more content! 2) Why the change from graphic design to visual artist? What led to the change? What is your new vision/direction? Lack of time and energy, the want to develop and explore elsewhere, loss and change of who I once was to who I am now, poor business skills, the soul sucking of self-promotion and marketeering, the changing of the design guard, technology takeover, everybody being a designer now, personal betterment, a shift in heart/gut...many factors stack up to my decision. I explain further in a letter to the public on my web site. It was a grueling three year process and those close to my calls can now nod collectively. Though, as the human I am, I'm no stranger to inner struggle and I'm a pretty emotional being. I guess that's why my voice is what it is in speaking through art? I realize now that all the inner back 'n' forth from 2007-2010 was the result of something dying within. And when I kind of came-to around the first of February 2011, I found an immense feeling of freedom. I guess compared to most in my position as a graphic artisan for hire, I displayed an unlimited amount of freedom in the last decade. Just something inside me was shifting and I had to listen and let it take shape or be consumed completely. It's hard to explain and most people are either genuinely supportive or sorta saddened and confused by it. I'm feeling good about it and really it's not that drastic of a deal this side of the decision. Also, my stuff will still be seen on a few things here and there for others if it feels fit and my voice is right. Everything I've ever done has been leading to this. I'm excited. I'm still making art. I always will and always expect there to be many a shift in me. Ultimately, my goal is to make art full-time and I'd like to eventually have an agent or someone to help me in the areas I lack so I can better focus on what I should be doing. But, for now, my goal is to not think and just make. From day one I've never set restrictions on how I make art. I do have certain ideas I've been kicking around for a long while. My back burner has become a bonfire the past 8 to 10 years! We'll see though, as it's a process that can't just be point-click-ship and I don't really like to leak out too much beforehand. I'm currently piling things up and plan not to reveal much for a while. It's nice to just sit and play mother hen. Though, I can say I'm working on exhibitions, books and online printing/purchase shops with the work that I've produced up to my artistic shift. Just chipping away at the boulder, mostly. What I don't want to be is the guy who lives in the future on past merits. I'm proud of what I've accomplished, but there is a lot of gas left in my tank and I'm looking forward to a hopefully long and fruitful life in and outside of the arts. It's nice to take a breather though and sorta have a time out. It allows a man to slow down, see and appreciate what he's already got and the foundation to the black and white up ahead. 3) What advice would you give to other artists? It could be practical, artistic, or spiritual. This is your chance to wax eloquent. I believe in just following your heart and gut. And if you have to work a day job, do it, and don't stop creating. Turn frustrations into fruit. So many people give up or are all blow and no go. Even if time/energy/life doesn't budge, do what you can and when you can. Document everything and leave your dots down here. Find the tap and drink from that. There is a vast, unlimited reservoir there for the taking. There are so many things going on and on top of each other right next to you. Be true. The best and most pure art is of the moment and can't be repeated. Crawl back into why you began creating in the first place. Listen to yourself or your elf...or that thing ticking and walki-talking above you. Ear wax eloquence. Amen. 4) If there's anything I didn't ask that you really want to say, say it! If you're happy and you know it clap your hams.

-djg

PART II:

01) "One's passion can become a monster sometimes."

No matter what you're doing, there are certain limits. There is a monster in all of us and we feed it in different ways. A practical discipline and taming comes into place. There is one monster in particular people are especially over-feeding, the online world. Kids of the future will never have their umbilical cord cut. We're all becoming our own iCons of self-promotion and iBrand building. I'm guilty to a degree (I have tons of stuff online and am slowwwly thinning things up a bit) and there have been times where I've tried to take a step back. It's hard. One big thing that has helped has been making art and nesting up on it and not immediately putting it online for those few that care. It's become the norm to constantly be beating brows but I'm less and less impressed with where we're headed and I tend to butt heads with it. I have to take it in small doses as an overload of focus on "me" takes away from the purity and intent of creating art and community. I guess it depends on the individual, and again, the balance. Some people are good at it, but I wasn't wired for it. I have noticed myself doing better with it since retiring my DJG DESIGN name and approaching things differently. I love sharing my art as much as the next guy, but sometimes the artist can become the work of art as opposed to the bigger thing they're channeling. That's a dangerous beast I'd like to avoid. 02) "I never want to be someone who milks the same cow. Because I'm changing every day, and it would be untrue to myself for my art to stay the same and not reflect that change." Though I try not to set rules, there's probably an umbrella of look and feel to the way I'm creating. But, I've never been concerned with that as what shakes and bakes the viewer, or me. Ultimately, it's up to them if they're up for opening up to it. If not, no big deal as we can't all see the same way. We all see through different shades and with our own set of wiring. As humans we should be evolving yet never enveloping and I find that whatever mood or feeling I'm in per given day, that's what is fueling my creativity and how I make. It's all part of the process. Even still, I wouldn't feel right doing the same thing artistically every single day and/or finding the spaghetti that "sticks" and always waking up and doing that. That's what day jobs are for, I guess?! I tend to find it odd when artists have detailed artist statements already mapping out what they do, what they intend to do and what it all means. Some are cool and all but there are many days out of the week where I'm not impressed by them. Boxing in a corner can pigeon hole or suck fun and discovery out of art for me. That's just never been on my personal radar or to-do list.

03) "With technology, anyone can be a designer. That leaves me without a place. I wanna make art with my hands."

I'm not against others exercising their creative chops and I'm not against advancement in the art of computer graphics. There's a place for it and I use a computer as a tool when need-be. But, there are times where technology (and just because it's there, accessible and convenient) takes over causing other areas to be void. It can put an artificial filter on things. It can also cause everyone to undermine and undervalue art per our era of instant commentary. Everyone is a professional commentator and judge. There also seems to be founder's rights flung across quickly in a world where everything has been done under the sun/son. I want an experience that lends time to chew on before sending it out to the world and I don't want one in which it's critiqued, commentated upon and microscoped within the first 5 seconds and then moved on and buried like the road out west. But, that's just the way of the beast that many people find is best these days. We can't just accept that "E.T." came to Earth like Elliot did and form a special bond and find love in that, in him, we have to roll in and put him under with our holy thunder. We're reducing everything down to a science and I dont think everything needs to be put under, tagged and bagged. You can scratch 'n' sniff everything down (but I would love to see true scratch 'n' sniff technology on something like an iPad!). But, why not just make things because you feel something hit you a certain way or came down on you and out and leave it at that. I appreciate an exploration and searching with childlike eyes and pouring out what needs to be said within while transmitting something much bigger. And sometimes I can tap into that with digitally slick oil spills. However, when approached like a business man because he's got a machine to desktop decorate, it typically has the greater ability to lose something, at least to me. I guess I've never had a business man's mind? But, there are always two sides and there are some who are great at business and art with heart. "Have heart, will translate and travel", isn't working as much as it once was. I guess the happy medium I'd like to see more of is still in the shop. There are some out there finding it and that's great. And I don't think I'm too far off with all of this falling somewhere in the, "What if God instantly installed within us a machine-like activation button to love and instantly know a tangible Him and make the purest of choices in His name and all that." I'm no scholar, artistically or Biblically, but that's some meat I tend to chew on a great deal. We're swiftly headed towards an age of the union of man and machine and that scares me. Interesting though as it brings to mind the fascinating dichotomy of a movie/character like WALL-E, a man-made machine who also has a heart. I found myself in WALL-E and his little world as it reminded me of my own...until the humans came along plugged into their machines. Personally, I don't think they should have gotten Earth back. But, I guess this is a morale tale to maybe trigger something within us? Or, maybe they're showing us that we can smash our cake to the ground and still eat it too. I believe in forgiveness, rehabilitation, a second chance and all that...but I've my own ending in mind for that one. I'll just make my own director's cut. 04) "I like to notice squirrels and butterflies - these little worlds that are buried beneath all our junk. That's a theme in my art - the human element buried in 'junk' - found objects that others have thrown away." It amazes me what we pass by every second, even in our own homes. There is so much to our daily landscapes, inside and out. There is so much buried on top of each other and many different worlds interacting and conversating. I feed off much of this junk (natural and man-made) and try to tap into it as much as I can on my journeys or while in the act of making art. I don't really consider myself a political or "message" artist by putting the amount of found objects and trash into my work like I do to prove a point. I just see the potential or beauty in something and run with it. Naturally, I miss being a janitor because I got paid to rummage physically and mentally. Our things are our souvenirs. The documentary "Wasteland" fits in well with all this...art/trash/life/love/God. I grew up in rural Missouri. Animals were at my feet. Living in a big American city, it's nice to get this when I can and mostly with squirrels playing, butterflies flapping and the occasional praying mantis buzzing by or quietly creeping. Walking to work is a big plus for bookending my day job life stuck inside artificial air. I'm thankful for the shelter, but I just can't help but think it wasn't meant to be this way. But, we should also smell the roses when and where we can. About a year ago something in me said to take a different pathway home from my day job for the first time in over 5 years. Because of this I happened upon a tiny, sightless baby squirrel on the sidewalk on one of the hottest days of summer. He must have fallen from the tree nearby but I couldn't see a nest or any other squirrel activity. He was scared to death. So was I. I was conflicted though on what to do in the whole nature vs. nurture category. But, I couldn't let him suffer or become food for another animal or even stepped on or ran over by a human. It was quite the emotional experience (for both the squirrel and me) but I brought the little guy home and my wife took him to an animal rehabilitation center the next morning. I still wonder a great deal about that squirrel. A few months ago I was walking to work and apologized to a tiny bunny in a tiny patch of yard because we had built all this concrete and junk in his way. I told him to be careful. The next day around the same spot I saw a smashed bunny in the road. It was sad. Were we in his way or was he in ours? 05) "With the squirrels, are we in their way, or are they in our way? The same with the Internet, is it in our way or are we in its way?" I love watching squirrels and other critters. Especially in the city. It's a treat. Though, I can't help but look at both perspectives of it. While driving long distances my wife and I love to play "Hawk Spot", the art of spotting hawks on the side of highways. It's interesting to see them stoically surveying what we've built. There are so many just sitting there, watching us driving to destinations. We should probably take a good look at the information highway the same.

06) "I'm not anti-technology, but I've never been completely comfortable with it. I just need to put some of myself into my art." I'm a fan of hands-on media. Just the other day I was watching an '80s horror movie and loved the tangible effects created. "Woah, Freddy just totally crawled out of that dude's body!" Today, more than likely, these would be computer generated. It's not that I don't find an esteemed art or appreciation in computer imagery. I think there definitely is when it's done well. But, it's becoming so easy now to do it that after a while it starts to dumb and numb everything down. I prefer something I can tell a human made it. I'm both excited and a bit bothered that another "Jurassic Park" movie is in works. And my only bother is the possible loss of the late Stan Winston's wonderful ideas with the dinosaur puppetry. In design school (Missouri State University) I was placed on a computer and I just couldn't get passed the screen barrier. I struggled so much that I considered changing emphasis, perhaps even a retreat from the arts altogether (which, I had no clue what would be). I stuck with it and eventually had to rediscover myself and my love of creating in the first place. I had to crawl back inward, get my hands dirty and only see and utilize the computer as a tool. It helped too that my instructors all came from Eastern European/Russian backgrounds and with a great push for art/design history. All of this inspired and influenced my work as well. I began seeing and tasting differently. I found my former self again, the boy who just enjoyed making art and fused with a whole new sense of discovery. I was hungry. I still am! However, I didn't feel comfortable with consuming a life in an actual design company as another person behind a computer shuffling images around like a desktop decorator. They're not all bad guys, just not for me. I would come back from visiting design firms with a complete sense of failure and disgust. It just wasn't for me and I had to listen to that. I wanted to make my art and my way and without anyone owning me. I wanted to lock myself in a room, pour myself into the work and pour the work out...make art and share with people in a different way. I've always looked at design as an artist first. I've never really considered myself a designer. And of late I've morphed and felt more comfortable with just going the way of the visual artist. But, I don't really care for the classification of "artist" either. I just do as I do. My recent morph has confused a lot of people but I don't see much of a change. I will still do design if it's a good fit for both my voice and a client's. I just need to be a healthy human first. 07) "Our collections help us see our own timeline of growth and development. We don't have that with the Internet. Everything is electronic-instant-throw away. Everything's a la carte. Maybe that's good for the environment, but it's bad in another way." I can see positive aspects in technology with the hunting and gathering of culture. Blogs and online areas of round-up are like lockers of curing meats. But, I'm so thankful to grow up when I did as kids growing up right now don't know a life without the internet or instant gratification or instant audiences. I'm also thankful to grow up where I did in rural Missouri, yet still have have access to finding pop culture and not to mention parents who allowed me to do so. In the end, it's not the culture/media/things that get man across his or her desired county line, but there is something special about them. There is no denying the things we love help define us. I just never want that to be why and who and what I'm living for. But, when there are unlimited resources at man's side all the time, they start to become the controller. Something to chew on... My parents have many Amish families/communities living around them now. Apparently, they use more technology than my dad does. I'm slowly warming up to the idea of music floating in space, the mp3. Though, I still don't find a connection to it like I do with something in my hand, with art accompanying...the total package and the intent of the artists who made it. There is something special about that. I like that there is more access to music that I may not have heard otherwise, but after a while it becomes too much of a good thing. I listen to something and then forget about it because I've got so much to eat. "I haven't quite absorbed that one yet." is a great line from the movie "High Fidelity." I've a big appetite for consuming culture, but I still find myself not spending enough time with things like I used to because there is so much and/or I know it will always be there so it's easy to put it off and just keep eating because I can. Also, I'm getting older and there is more in a day now than there once was, yet the days are so much shorter. I love and appreciate how a band like Radiohead can all of a sudden come from behind their computer curtains to drop a new album digitally the day after they reveal they've even got a new one to drop. But, it actually stresses me out and knocks some of the fun out of it for me. There was something special about saving up money, cutting a college class, driving to the record store salivating after months of wait and cryptic campaigns, making my purchase, sitting in my car, cracking the seal, looking, listening, smelling, smiling, going home with it, making popcorn, getting under the covers, hitting PLAY...making something special of it. And then seeing your own timeline on that album years later and seeing the ebb and flow of the musical landscape in your head, in the air. The complete package. I have fond memories of many albums (and movies). I still try to get the hard copies from certain bands (Radiohead definitely), but there is something missing...maybe that's a theme they're embracing and experimenting with all-around in their music and marketing too? Also, the idea of the album is being pushed and pulled these days. I think there will always be a place for the complete package, regardless, but I'm still iffy about where things are headed. And I'm not even going to get into the loss of the video store generation, something that has a deep grain in my formative years and still helps fuel my art today. I realize that every generation changes or breaks the mold and what we have serving the majority now will be obsolete very soon. But, I just personally prefer a want to be in an impressionable age of real user activity, not an impressionistic one. In the end all of this stuff means nothing in comparison to people starving to death from actual food (not cultural food). I've too much to be thankful for. 08) Difference b/w being force fed music and art and being hungry and finding "food." I slipped into the poster business at a unique time right before social media boomed. The passing of information via poster or tangible object isn't completely dead, but it is out in the cheap seats as people receive and share information online and/or have it force fed to them instead of satisfying a hunger in what I find to be a more meaningful way. Almost like an angelic stumble. It is fascinating the number of people you can reach and share with a single item of imagery and information online. I get that. Still, too much of a good thing isn't a good thing. It's overload in a new way to where so much of it is just filler. But, I can flip the coin and see there is so much filler in the window or bulletin board of a coffee shop. But, I love it when something substantial can smack a person out of the flesh of day to day overload and touch them in a certain way that becomes more personal. This creates a more special kind of world wide web to me. I guess it's like when a bunch of seeds are cast into the wind and only a small percentage of those "take" and sprout future seeds. I just find the experience of a poster or piece of art in person to be more genuine. I used to come away from places like Urban Outfitters so frustrated for pop culture and discovery. There's been a nostalgic branding of what is deemed cool and hip. I've come to accept it. I just don't get it and maybe I do when for convenience's sake. Maybe I'm just mellowing out more the older I get with these filters of cool. It's just not worth it in my typically short-changed day to be so concerned with it anymore or even trying. I'd just rather blow holes in my own jeans because I wore them out. Satisfaction guaranteed! 09) "I can't get attached to music as much when it's floating in space. I like having it in my hand." I like going to a museum to see art, not downloading a PDF of it." I'm slowwwly warming up to the idea of the mp3 or movies on demand. I appreciate it but still find it odd and at times very fleeting. It's easier to forget about something when it's downloaded out of thin air and stored in a data bank and there any time you want it like a self-serve drive-thru. I finally got home internet and instant Netflix this year. Really cool and all, but I find that I still don't get too jazzed by it as it is always there waiting. I can see circumstances where vehicle video monitors would come in handy. Though, more and more I see parents switch them on for short distances. We're numbing ourselves straight out the chute. After attending a live musical production recently the parking lot was suddenly illuminated even more by screens on the backs of seats. Are we that bored? Just the other day I saw a truck drive by with a whole batch of little dogs stretching necks to look out. It was quite something and touched me more than most humans do. We don't seem to appreciate the air we breathe or recognize a blue sky unless it's in a Pixar cartoon on the back of the seat in front of us. 10) Almost born at home b/c of a blizzard. Mom had to be transported by a tractor through snow drifts. Hometown: Chillicothe/Wheeling, MO/Farm. Why am I here? What's my purpose? These are questions I've always asked myself. 1979, my birth year, seems like an old world compared to now. I guess a far removal from any day and age has such a haze. Same applies to the melting of a big blizzard. But, as far as I can tell, we're all the same coming in as we are going out. As in, we all get the bite in the same. I'm fascinated by coming into the world. Actually, it perplexes me more than the being here and going out. Maybe because it's a memory that can't be weighed? Why me and why that time and place? Yeah, you can boil it down to a mom and a dad, but there is something more to it. Something kinda freaky-beautiful-mystery. It all adds up to who and what I am now and I still can't make much sense. I'm nobody special, but I was made and I made it and I'm making things to counter react. That's saying something. We've all got something to say. I don't know. Most people seem to go without bothering about this stuff. They just put on their boots and start marking or mucking up their timeline. Not a bad way to go about it, I guess. But, I've always carried this stuff. I guess it lends to why I do as I do and the next guy does as he does? I was in line at Target and the cashier was well "with child" as her stomach hung over the counter and the scanner area. Pregnant women are intimidating, but this was also fascinating. All I could think about was the little thing inside hearing a part-time to full-time parade of "beeps" and "blips" and odd mumblings about prices and products. What a weird thing before you have to come out of the comfort. 11) "Art is my way to communicate what's going on inside.... I don't know if I really believe in cliches, cause their all true. It's like guilty pleasures." For a long time I've felt something inside of me and around me that I've needed to say and I say that with my art. And if it doesn't make much sense to the viewer, then no big deal. If it sounds cliche to the viewer, then good for them. I wasn't blessed with a vocal personality on the outside. I've always adapted more with the back row corner crowd. I don't know, art is my outlet for sharing. It's weird though as I've had social phobia since I was first put around other humans yet spend so much time alone making art that it causes me to have more social problems. But, the art actually helps me. It's a weird world I live in. Eventually, I'd love to do art for a living, but in the end it will never be about that. I will be making art no matter what until my number is up. I don't believe in the term "guilty pleasure" unless it's really affecting your life and others in the process like an addiction to drugs or other activity. If you like the new Katy Perry single because it's catchy pop then so what? Why feel guilty about that? It baffles me that we have to put up precursors of cool to protect and project our cultural DNA. I think there is truth in cliches and at some turn they can become classic. I guess my main beef is when people go for cheap shots, lowest common punches or don't push themselves or their own voice intertwined. But, then again it just depends. I still giggle like a schoolboy when people get punched where it counts in movies. 12) "I'm a believer in God, and I have faith through Him. If anyone is creating, they've gotta believe there's something bigger than all this, whether they believe it's God or not. I've always liked the idea of finding God through childlike eyes, and that I can tap into that through art and discovery." My favorite and most purest of makers are folk artists. There comes a truth in that with the connection to something bigger in their work. They have something to say, are typically prolific and hardworking, art oozes from them. I see a very special kind of balance within to Him. One that is seen worked out through images and the act of creation to help further an understanding and taming. They have to create and say what needs to be said. I'm no folk artist, nor anywhere near, but I find a kinship with these kinds of creators. The way a child creates, looks at the world and plays is vital resource material as well. And not just for an artist, but for everyday living/profession. We should all be more like children. I can't connect with much of the adult world. Even as a child it didn't make sense to me. I was so freaked out about dating and marriage in the first grade. It's sad to me when we get caught up in games that push purity away. I'm no purist or saint. I think we're all tainted at birth. We come out of the cannon and are instantly thrown into the thicket. But, art and looking at things with a spiritual lens just helps me reconnect and see Him a bit clearer. I can't not see Him. Anybody channeling something within to make something on the outside is tapping into something big. There's a reservoir out there that all of our individual reservoirs are connected with. It is there. I'd be another wreck on the highway if it wasn't for my belief in all of this. 13) "I grew up in a very white bread church with no instruments. A lot of artists chuck their childhood or religion to the curb. I'd rather tap into it. You learn a lot of important life-things in your early years." I won't go too far into this, but it's weird when we set man-made restrictions upon the simplest and purest of things like worship. I've never understood that. God can be found in everything and the world isn't painted black and white. Again, this is like putting a microscope to it and staking a one way flag. Stuff like this causes many a more colorful outlook to run. I've never understood how people can just stop being childlike or creative just like those that decide to bury their past. It's kinda like knocking the foundation out of a building. I wouldn't do as I do without those early years. But, I can admire those who can re-invent themselves with what they've built. I love playing Legos. I just find it sad when we chuck things to the curb. But, I can also see why as life and other lives can be pretty darn hard on some folks. 14) "I love the idea of a timeline through my art - to see how I was developing and growing." It's important to have a human identity, to say something of value in art and that goes with anything we're pursuing and leaving behind. And it's neat to see this physically in something like a body of work with art. I look at stuff from years ago, heck, even last week, and think, "Wow, what inspired me to do that? Something was thumping in me and had to come out like that!" I also love how each thing leads up to the next, like marks on a height chart or a traveled map. Everything in life got me to the end of this interview... -djg

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