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Transcription: [00:04:02]
but not, of course, the lyrics have, have grown very important to me and, and in fact, the lyrics have a lot to do with, with why I, I pursued the, the photographs. There's a lot of, there was a lot of difficulty with getting permission and, and, you know, where I could really work freely, and those first few concerts I was, I was maybe working a little more surreptitiously. Um, I was grabbing pictures, so to speak. You know, shooting quickly, feeling I didn't have like all the time in the world and I better shoot now 'cause I'm gonna get, you know, thrown out of here or something like that. But it wasn't until actually that there was open communication between myself and the theater and the artist, and I was kind of given this, um, this really kind of amazing, this, you know, total access, um, especially given the fact, um, that I, I don't know if you realize it but I, I only work from the stage and, and when I actually decided early on that I was going to do this work, part of that decision was that I wanted to try to photograph from the point of view of the artist, um, and most other images I've seen, um, which is mostly in magazines and things, you know, they're mostly taken from below the stage and, you know, they're basically pictures of them, and I really wasn't interested in taking pictures of them as much as I was taking, interested in taking pictures about them and about the music. And the crowds are so fantastic, I also wanted the crowd as my background rather than the stage as my background. When I'm in the darkroom making these prints, I am absolutely blasting the music of the performers that I'm printing. And I guess, in a way, that helps psych, psych myself up to try and make the prints right. And you'll see that some of the prints are darker than others, some of the prints are, have more contrast, some of them are, you know, they're imprinted with