❞If you’re not using a quarter or a peso, use a regulation triangular pick. The small edge, which is designated as the picking side, should be turned away from the instrument, so you are actually picking with the fatter side, the shoulder. It gives you a wider grip and offers that meat connection: When the pick slides off (the string), the edge of the thumb can graze that twine and make it whine.” – Billy Gibbons
❞I’d been sent with two writers in tow by a local free new wave paper to photograph the guitar phenom who was about to become David Bowie’s right hand man and leave Oak Cliff behind for good. This small, unassuming Texan stood up there with his battered Strat and his beautiful, huge hands and let loose a flurry of chords that flew around us and enveloped us in… disbelief? Shock? It was the second coming of Hendrix, Muddy Waters, and something so unique and alive there was nothing to compare it to. And this was a sound check? He was playing for us, for his bandmates, Whipper and Tommy, and his man Cutter, he was playing for himself, he was playing for a ride on the train to glory, he was playing because he just couldn’t hold back from the sheer need to wring and wrench those sounds out of his hands, his heart, and his soul. I was in heaven: I’d dreamt of capturing Hendrix on film but I was several years shy of that goal. Here was a man who made me forget I couldn’t be Jim Marshall, that my Leicas had been denied their shot at immortality. This music man would fill that classic 35mm frame with a talent enormous enough to match any headcutter who ever filled a club with his riffs and his voice—he and his instruments’ voices—and sear that sound onto the film and into our brains with an unmatchable intensity. The desire to raise my photography and my (as Ansel Adams would call it) fluency with my instrument near his level was almost unbearable. It was truly the turning point in my work—that special moment when everything becomes clear and sharp and intuitive—and it was because of Stevie Ray Vaughan. Something about him, his playing, the way he gave, made that possible for me. Through some wonderful gift and the size of his spirit, I hear him still. And this, this first witnessing of the sound that shot right through us—this was just a sound check?” — Tracy Anne Hart’s first meeting with Stevie Ray Vaughan
BuzzFeed: The show sets up a world in which evil men conspire to do terrible things to women and children, and that less bad men are in charge of trying to stop them. (Or, as Rust would put it, the “world needs bad men — we keep the other bad men from the door.”) Seems accurate to me. Is that your worldview, or is that just the show and the characters?
Nic Pizzolatto: Well, that’s certainly the view of Cohle, but nothing in him represents my views on anything. I think True Detective is portraying a world where the weak (physically or economically) are lost, ground under by perfidious wheels that lie somewhere behind the visible, wheels powered by greed, perversity, and irrational belief systems, and these lost souls dwell on an exhausted frontier, a fractured coastline beleaguered by industrial pollution and detritus, slowly sinking into the Gulf of Mexico. There’s a sense here that the apocalypse already happened. And in places like this, where there’s little economy and inadequate education, women and children are the first to suffer, by and large. There’s a line in a Sherlock Holmes story where Holmes explains to Watson that the evils of the city pale in comparison to the horrors of the isolated countryside, where who knows what terrors exist in the lonely farmhouse, cut off from civilization and beholden to no oversight? I always sensed that. (x)