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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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