Die Suppe

Ich betrachte die Schwarzweiss-Fotografie, so wie ich sie betreibe, als eine Farbfotografie. Grau ist für mich eigentlich eine Farbe und ich bin auf diese Position des Graus erstmals 1976 bei der Serie Berlin-Wedding gekommen. Es war ein ganz bewusster Schritt, die Bilder noch extremer ins unermessliche Grau zu treiben, sodass Schwarz und Weiss eigentlich nicht mehr vorkommen. Grau ist für mich eigentlich eine Farbe der Differenzierung, so komisch das klingt. Schwarz und Weiß sind ja zwei feste Standpunkte, rechts und links. Und ich dachte, dass die Welt sich nicht klar definiert, sondern sich in vielen Nuancen darstellt. Das habe ich versucht, in die Fotografie einzubringen. Indem ich Schwarz und Weiß völlig eliminiert habe, habe ich das sozusagen auf die Spitze getrieben und im Grunde genommen eine Antithese zu der Vorstellung formuliert, wie sie allgemein üblich war. Ich habe mit diesen grauen Bildern für mich die Fotografie noch einmal neu erfunden. Es gibt von mir Bilder, die sehen aus wie eine Suppe, aber es war eben auch die Suppe, wie sie im November da war.

— Michael Schmidt, Die Farbe Grau

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Country Death Song

had me a wife, I had me some daughters
I tried so hard; I never knew still waters
Nothing to eat and nothing to drink
Nothing for a man to do but sit around and think
Nothing for a man to do but sit around and think

Well, I’m a-thinkin’ and thinkin’, ’til there’s nothin’ I ain’t thunk
Breathing in the stink ’til finally I stunk
It was at that time, I swear I lost my mind
I started making plans to kill my own kind
I started making plans to kill my own kind

“Come, little daughter,” I said to the youngest one
“Put your coat on, we’ll have some fun
We’ll go out to mountains, the one to explore.”
Her face then lit up, I was standing by the door
Her face then lit up, I was standing by the door

“Come, little daughter, I will carry the lanterns
We’ll go out tonight, we’ll go to the caverns
We’ll go out tonight, we’ll go to the caves
Kiss your mother goodnight and remember that God saves
Kiss your mother goodnight and remember that God saves.”

I led her to a hole, a deep black well
I said, “Make a wish, make sure and not tell
And close your eyes, dear, and count to seven

You know your papa loves you; good children go to heaven
You know your papa loves you; good children go to heaven.”

I gave her a push, I gave her a shove
I pushed with all my might, I pushed with all my love
I threw my child into a bottomless pit
She was screaming as she fell, but I never heard her hit
She was screaming as she fell, but I never heard her hit

Gather round, boys, to this tale that I tell
You wanna know how to take a short trip to Hell?
It’s guaranteed to get your own place in Hell
Just take your lovely daughter and push her in the well
Take your lovely daughter and throw her in the well

Don’t speak to me of lovers with a broken heart
You wanna know what will really tear you apart?
I’m going out to the barn; with a never stopping pain
I’m going out to the barn to hang myself in shame

— Violent Femmes, Country Death Song

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What if it was True?

[Verse 1]
Oh my, oh my, oh my
What if it was true?
And oh my, oh my, oh my
Tell me, is it true?
Did he, did he, did he
Die upon that cross?
And did he, did he, did he
Come back across?

[Chorus]
Jesus walking on the water
Sweet Jesus walking in the sky
Sinking sand, took my hand
Raised me up and he brought me up
I can hold my, my, my head high

[Verse 2]
Will I, will I, will I
Be true to my birth?
And will I, will I, will I
Give what I’m worth?
Oh yes sir, yes sir, yes sir
I come when you call
And yes sir, yes sir, yes sir
Jesus, my all-in-all

[Chorus]

[Verse 1]

[Chorus]

— Violent Femmes, Jesus Walking on the Water

 

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Accept

“First, and emphatically, I accept the flat plane of the picture surface as the primary frame of reference of the picture.”

—Aaron Siskind, “Credo,” 1950

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