From A to B: Auckland to Trounson Kauri Park
Sea-faring peoples of the South Pacific were the first to navigate by the stars, and their ancient skill is still passed down from generation to generation in places like Micronesia to this day. It is my life’s work to study the voyages undertaken by those who set out to sea in canoes, without maps or compasses, unable to even see the distant islands they were aiming for.
Without large and sturdy trees, the canoes that transported people across oceans could never have been made. Such trees were the products of dynamic and healthy forest systems, fed by rainwater that was absorbed in the Earth and flowed back to the sea in rivers. The sea, in turn, served as a bridge to other lands, and the canoes carried their navigators to new forests, from which new vessels were made. …»
Hosono’s journeys on the musical saucer 3
Volume 3 of our Journey’s on the Musical Saucer series with Haruomi Hosono which featured writings on Hosono’s returns to places once encountered during his rich musical career and travels.
A Journey to India: Hosono and Yokoo, “Cochin Moon.”
1978 was an important year for Haruomi Hosono. The evolution of his exotic sound, already evident on the 1975 release “Tropical Dandy” and “Bon Voyage Co.” of the following year, reached its peak with the release of Harry Hosono and Yellow Magic Band’s hit album “Paraiso” in April, 1978. In February of that year, the idea of Yellow Magic Orchestra was conceived by Hosono and fellow musicians Yukihiro Takahashi and Ryuichi Sakamoto, and the group’s debut album came out in November. The catalyst for the metamorphosis from “band” to “orchestra” was an almost accidental trip to India with writer Tadanori Yokoo. …»
Hosono’s journeys on the musical saucer 2
Volume 2 of our Journey’s on the Musical Saucer series with Haruomi Hosono which featured writings on Hosono’s returns to places once encountered during his rich musical career and travels.
In 1979, Dr. John told Haruomi Hosono, “Watch out for the music business!”
Still excited about first hearing Van Dyke Parks’ “Discover America” (1972), a few months later Haruomi Hosono listened to Dr. John’s “Gumbo” (1972) for the first time. “Eiichi Otaki told me that a great record had been released and that it was all I needed to hear in order to understand what the New Orleans sound was all about. Well, he was right! (laughs)” Not only Ohtaki and Hosono, members of the the 70’s Japanese rock band Happy End, but for music fans worldwide, “Gumbo” became a showcase album of the New Orleans sound- a sound not easily heard by non-locals at the time. Hosono’s connection to New Orleans goes way back. …»
Skateboard File V: Daisuke Tanaka
Skateboarding needs art as much as it needs skaters. One of the pros and artists operating at the intersection of the two forms is Daisuke Tanaka. Although more affectionately known as “DEE,” Tanaka goes by a few other best-not-published nicknames you will just have to ask him about; another one of them, “Diskah” was given by West coast pro Matt Rodriguez. Daisuke “DEE” Tanaka grew up in West Tokyo and his continued balance of painting, photography and skateboarding through exhibitions and appearances in skateboard films has made him one of the most recognized faces in the skate community.
“Since I was a kid, I had been painting with my mother, who had done a lot of ceramic painting and my dad actually worked for a paint company so I had endless supplies. I actually wanted to be a comic artist but I ended up getting so involved in skateboarding that I somehow forgot about that dream. …»
Hosono’s journeys on the musical saucer 1
Volume 1 of our Journey’s on the Musical Saucer series with Haruomi Hosono which featured writings on Hosono’s returns to places once encountered during his rich musical career and travels.
Van Dyke Parks: “Don’t give the steel pan to Hosono.”
On October 4, 1972, Haruomi Hosono flew to Los Angeles to record overseas for the first time with his popular 70’s Japanese rock group, Happy End. Back then, it was rare for Japanese musicians to go to LA for recording. The Sunset Studio was the gathering place for the ‘hip’ guys, so after hearing about me Van Dyke Parks came along. He ended up producing …»
Alone at the North Pole, Mitsuro Ohba
I wrote my will at the North Pole. I figured that it wouldn’t be too strange if I died there. Ice can flow 30 kilometers in one night, and bears can sneak up on you. At times I felt as powerless as a small bird with its legs pulled off. I could hardly move under my own power. All I could do was pray. Out there, I realize how weak I was. Three times I was defeated by nature trying to reach the Pole. I went feeling too sure of myself, and going to the North Pole with the attitude that “I can take on anything” is dangerous. I was lucky to only lose some fingers and toes. Others have died. When you fail three times …»
Skateboard File iv: Sb Editor Senn Ozawa
The current issue of Sb, The 2010 Photo Annual, bears an attention-grabbing gold reflective font and runs the musing title, “A life with a piece of wood and four wheels.” More than a quote, this phrase is enough to adequately echo the Sb editorial ethos of portraying skateboarding. Featuring a series of thought pieces on the aforementioned adage from a diverse array of contributing pros and photographers such as Taro Hirano, Deshi, Anthony Van Englen and Honma, Ozawa establishes the issue’s tone with a pensive pen in the opening editor’s note, “Today, the fascination and power of print is endangered and I would like to restate the appeal and excitement of printing photos on paper, or should I say, printing skateboards on paper.” …»
