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banana rag was my public voice when I

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tried declared myself the town fool of

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Victoria it was a way of putting it in

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print that I could circulate it rather

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than simply having to walk around and

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tell everybody and it went to the public

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schools which was a bit alarming for the

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school board because I didn’t ask

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permission I just went so some people

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were very upset but some principal said

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hey come on in so that was how it

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started and just to generally let people

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know what I was up to not that I had

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much circulation oh and the other

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connection was of course with the mail

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art people that I received the notice

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the image bank request list which then I

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sit from that i sent my banana rag out

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to people in the mail our network and

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that’s what was my original connection

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with that network well the image bank

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request list came from michael morris

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vincent tres off and gary manova they

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were at that time known as image Bank I

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think Gary lanova quick quit at some

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point anyway i received the list and

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what the list consisted of with names

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and addresses I didn’t know who these

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people were and their request lists for

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lips skies fifties cars whatever they

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were into and I knew nothing about any

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of it but I was isolated and I thought

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well this might be an interesting

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connection so I clipped all of the

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requested images went through magazines

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and so on and put together an envelope

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for each person that I thought had

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images for included a copy of the banana

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ragged said I’m interested in receiving

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images stories newspaper magazine

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articles relating to bananas and that’s

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what began the deluge but it hasn’t

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stopped

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in the beginning I had no conscience

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consciousness about graphic design and I

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didn’t have computer or probably didn’t

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even have a typewriter so I

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hand-lettered the issues and I did my

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decorative from little curlicues it was

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all very I don’t know whether it was 60s

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or what the what the aesthetic was but

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that’s what I was doing and I did

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include photographs but I didn’t know

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about screening so the whole thing was

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rather crude in terms of its graphic

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qualities and I had to go right to like

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an eighth of an inch of the side paper

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and I used the big what you call it the

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legal size paper so that was the

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beginning incarnation and then I used

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that method for the first six or seven

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issues I can’t remember the numbering

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maybe even up to eight because then

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after I had left Victoria i was in san

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francisco and i did an addition that was

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postcards of some of the material that

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I’d received from the image bank request

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lyst people so each each card featured

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an artist’s work like I know one of the

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cards was a doctor brute card so it had

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a big visual on one side and then on the

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other side it was you know postcard to

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and some other smaller stuff so that was

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the SEC the next change and then I

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started typing the issues and press

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letter letter press letter what letter

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a’ setting the headlines and that went

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on for quite a while I’m just trying to

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think when when the next evolution and

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of course i changed the letterhead on it

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in the beginning it was very heavy with

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all my little graphic stuff and then

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then i got to using different fonts

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and a different illustration and then I

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went to type setting and I think even up

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until I don’t think i was actually

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computerized myself until I was back in

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Canada in the 80s so I presumed and that

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the lettering was letter set the

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headlights were letter set and then once

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I got computerized and everything you

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know and I scanned my pictures and made

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that you know but it evolved all the way

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along in it and it went out to a larger

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and larger mailing list as as I

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connected with more and more people

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