{"id":8044,"date":"2021-12-28T10:09:51","date_gmt":"2021-12-28T10:09:51","guid":{"rendered":"https:\/\/aata.dev\/?p=8044"},"modified":"2021-12-28T10:09:53","modified_gmt":"2021-12-28T10:09:53","slug":"graham-nash-framing-photographs-in-new-book","status":"publish","type":"post","link":"https:\/\/aata.dev\/index.php\/2021\/12\/28\/graham-nash-framing-photographs-in-new-book\/","title":{"rendered":"GRAHAM NASH framing photographs in new book"},"content":{"rendered":"\n

GRAHAM NASH framing photographs in new book<\/strong><\/p>\n\n\n\n

by Norman Warwick<\/strong><\/p>\n\n\n\n

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On air sign background<\/figcaption><\/figure><\/div>\n\n\n\n

Hot Biscuits Jazz Show takes us to the New Year with a feature on Zoe Gilby<\/a>‘s `Living in shadows.` Vocalist, Zoe Gilby (Parliamentary Jazz Vocalist of the year 2019) along with multi instrumentalist Andy Champion<\/a> embarked upon this new project, released earlier in the year. A distinctive sound, following in the tradition of great English alt pop and prog rock whilst also reflecting their background in jazz. If this sounds interesting then share it with your friends. Join us on Wednesday, or Thursday at 9pm, (GMT) or late Saturday at 11pm (GMT) at www.fc-radio.co.uk<\/a> For archives of my past shows go to www.mixcloud.com\/stevebewick<\/a><\/p>\n\n\n\n

As a member of Crosby, Still, Nash and Young, Graham Nash recorded a handful of tracks that were perhaps expansive enough yo sit comfortably on Steve\u00b4s weekly jazz show mentioned above. I\u00b4m not sure that Steve would agree that they would qualify as jazz, and I would bow to his judgement, but even the suggestion reflects on what an eclectic and musician and artist Graham Nash really is.<\/p>\n\n\n\n

Nash joined<\/em> The Hollies,<\/strong> a British pop rock<\/a> group formed in 1962. One of the leading British groups of the sixties and seventies they were known for their distinctive three-part vocal harmony style. Allan Clarke<\/a> and Graham Nash<\/a> founded the band as a Merseybeat<\/a>-type music group in Manchester<\/a>, although some of the band members came from towns further north in East Lancashire<\/a>.<\/p>\n\n\n\n

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They enjoyed considerable popularity in many countries (with at least 60 singles or EPs and 26 albums charting somewhere in the world, spanning over five decades), although they did not achieve major US chart success until Bus Stop<\/a> was released in 1966. The Hollies (right with Graham back row, centre) <\/strong><\/em>had over 30 charting singles on the\u00a0UK Singles Chart<\/a>\u00a0and 22 on the\u00a0Billboard\u00a0Hot 100<\/a>.<\/p>\n\n\n\n

The Hollies are one of the few UK groups of the early sixties, along with the Rolling Stones<\/a>, who have never disbanded and continue to record and perform. In recognition of their achievements, the Hollies were inducted into the Rock and Roll Hall of Fame<\/a> in 2010.<\/p>\n\n\n\n

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Graham Nash (left), however, abandoned the group in 1968 to form\u00a0Crosby, Stills & Nash<\/a>, (and Young) <\/p>\n\n\n\n

Although he’ll forever be best known for his musical contributions (as a member of The Hollies, with Crosby Stills And Young, and his solo work), Graham Nash is also an extremely talented photographer who has been documenting his life and surrounding subjects for decades.

And with the arrival of the book A Life in Focus: The Photography Of Graham Nash<\/a>, some of his best images have been collected. Many are faces music lovers will recognize: Jackson Browne, Mama Cass Elliot, Alice Cooper, Neil Young, Joni Mitchell…Joni Mitchell,\u2026.and lots more Joni Mitchell. But there are also shots of everyday people and places made extraordinary through his lens.<\/p>\n\n\n\n


Nash spoke with Greg Prato for Songfacts shortly before the book’s release to discuss the stories behind some of the most striking photos.<\/p>\n\n\n\n

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One that stands out is Neil Young looking like he’s about to either write a brilliant song or smash his guitar over Nash’s head. As Nash explains, he later found out that Young was moonlighting on his\u00a0After The Gold Rush<\/em>\u00a0solo album (right)<\/em><\/strong> at this time.<\/p>\n\n\n\n

Along with a breakdown of the photos, Nash also tells the stories behind some of his classic songs, including “Teach Your Children” and “Wasted On The Way.” And, he gives a very candid account of how he felt when listening to Mitchell’s 1971 album,\u00a0Blue<\/em>, written soon after their breakup.<\/p>\n\n\n\n

Greg Prato (Songfacts)<\/strong>: You give a lot of visual detail in your songs – “<\/strong>Marrakesh Express<\/strong><\/a>” is a great example. Can you talk about how your eye for photography influences your songwriting?<\/strong>

Graham Nash<\/em>: I want to capture moments in both music and in photography. I want to be invisible. I want people to smile when they’re listening, or looking at an image.<\/em><\/p>\n\n\n\n

I want to bring joy to people. I am not interested in negativity and bad comments. I’m not interested in any of that. I’m almost 80 years old \u2013 in three months, I’ll be 80. And I always wanted to be curious about the world. I’ve always wanted to make people feel better about themselves, and I’ll do that until the day I die.
<\/em><\/p>\n\n\n\n

It took me a while to listen to Blue again after the first time because there’s two or three songs on there that I’m part of\u00b4.<\/em><\/p>\n\n\n\n

What’s a song you wrote that was influenced by a photo?<\/strong>

\u00b4I had a show at a museum many, many years ago. I never have told any gallery owner how to hang my images. They know their space way better than me, and I’m always curious as to how they put images together. And in this particular show, two images had been put together. One by a woman named Diane Arbus of a boy in Central Park with a [toy] hand grenade. And the other next to it was an image of Krupp, who was the German arms manufacturer for both World War I and World War II, who were in a way responsible for millions of deaths.<\/em><\/p>\n\n\n\n

And these two images together made me realize that if we didn’t teach our children a better way of dealing with our fellow human beings, we were fucked. Humanity was in great danger. So, I had just finished Teach Your Children. And when I saw how this gallery owner had placed these two images together, it made me realize that I was on the right track\u00a8.<\/em><\/p>\n\n\n\n

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When Songfacts\u00a0<\/strong>interviewed Bill Withers<\/strong><\/a> (left) , he talked about how you were in the studio offering support when he recorded “Ain’t No Sunshine<\/a>.” What do you recall about that?<\/strong>

photo 4 \u00b4I was in the studio where we cut the first CSN record \u2013 it’s on the corner of Selma and Cahuenga Boulevard in Los Angeles. I was taking a break, probably smoking a joint outside, and I heard this music coming from one of the other studios. I was curious, and I walked in. And there was this African American with a guitar, sitting on a chair, with his foot on a box. That was the rhythm he was creating.

He finished the song, and I said, “Who are you, man? That’s a fantastic song! What’s going on in your life?” And he says, “Well, I’m kind of giving up. I can’t seem to break through. Nobody seems interested. Maybe I’ll just give up.” And I said, “Wait a second. I don’t know who the fuck you are, but you cannot give up. What you have is an incredible gift. You should recognize that and get on with it.”

And he loved that. Twenty or 30 years later, I was filmed with Bill in my house in Encino talking about that moment. But yes, I did encourage Bill\u00b4.<\/em><\/p>\n\n\n\n

As Nash recalls, the first time he sang with Stephen Stills and David Crosby was in Joni Mitchell’s living room (Stills places it in Mama Cass’s dining room). Mitchell and Crosby had dated, and he also produced her debut album. Soon after Crosby, Stills & Nash formed, Nash and Mitchell started dating. They moved in together in a house in Laurel Canyon, the setting for Nash’s CSN&Y song “Our House<\/a>.”

Nash and Mitchell broke up on June 6, 1970. He remembers the date because he wrote a song about it right away and played it the next evening at the Crosby, Stills, Nash & Young show at the Fillmore East with Joni in the audience. That song, “Simple Man<\/a>,” appeared on Nash’s first solo album, released in 1971.<\/p>\n\n\n\n

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photo 5 There’s a lot of Joni Mitchell (right) in the book. She’s a painter,\u00a0and also a very visual songwriter. How do your songwriting styles compare?<\/strong><\/p>\n\n\n\n

\u00b4I would never, ever try to compare any of my work with any of Joni’s work. I think she’s a genius. I think in a hundred years’ time, when people are looking back at this century and what happened in music, they are probably going to remember The Beatles, Jimi Hendrix, Bob Dylan, and they’re definitely going to remember Joni Mitchell\u00b4.

<\/em>What is Joni Mitchell’s greatest song?<\/strong><\/p>\n\n\n\n

Nash<\/em>:<\/em> There are so many brilliant songs. I tend to go towards a simple song, and one of my favorites is “<\/em>A Case Of You<\/em><\/a>.” I think it’s an unbelievably beautifully recorded, simple folk song. It’s beautiful.<\/em><\/p>\n\n\n\n

Sidetracks And Detours would interject here to add that the favourite Joni Mitchell song here in our office is River, and that actually our favourite interpretation  of the song is a recording by Kirsty Almeada and The Troubadours, that included jazz pianist John Ellis and has been referenced many times on these pages, in articles that remain in our easy to negotiate music archives.<\/p>\n\n\n\n

How did you feel when you heard her song <\/strong>River<\/strong><\/a>? I’ve heard that the song was influenced by you.<\/strong><\/p>\n\n\n\n

It took me a while to listen to Blue again after the first time because there’s two or three songs on there that I’m part of. And “River” is a beautiful, beautiful song: “I wish I had a river I could skate away on.”<\/em><\/p>\n\n\n\n

When Joni and I were breaking up, we both knew it was going to be difficult. We both loved each other tremendously. We had spent a couple of years lighting up rooms when we walked in. It was painful. It took me a while before I could re-listen to\u00a0Blue.<\/em><\/p>\n\n\n\n

What was the lyrical inspiration behind the Crosby Still and Nash song, \u00a0Wasted On The Way?<\/strong><\/p>\n\n\n\n

How much time the three \u2013 sometimes the four \u2013 of us had wasted. We had wasted a lot of time arguing with each other and debating how we should do this or do that, and that’s what I wanted to say: We wasted a lot of time. CSN&Y only did what, three albums?<\/em>2<\/sup><\/em><\/a>\u00a0We had wasted a lot time, and I just wanted to make my partners realise that.<\/em><\/p>\n\n\n\n

Better Days. [From your 1971 debut solo album,\u00a0Songs For Beginners.]<\/strong><\/p>\n\n\n\n

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Better Days was written for Rita Coolidge (left)<\/strong>. I first met Rita the night that me, David [Crosby], Rita, and a couple of other people put the vocals on <\/em>Love The One You’re With<\/em><\/a>. I asked Rita out and she said yes. Then Stephen [Stills] called her and said, \u00b4That date that Graham made with you, he can’t do it because he’s sick. But I’ll take you\u00b4. .<\/em> Better Days is about my relationship with Rita Coolidge and Stephen.

<\/em>Wounded Bird? Also on\u00a0Songs For Beginners.
<\/strong><\/p>\n\n\n\n

Wounded Bird is a song I wrote for Stephen and Judy Collins. When Judy and Stephen were together, it made perfect sense to us all, but I wanted to just insert a word of caution that sometimes love goes in a different way than you think it does. And so it’s just a word of caution to my friend Stephen about his relationship with Judy.<\/em><\/p>\n\n\n\n

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Let’s discuss some specific photos from your book, starting with the self-portrait (right)<\/em> of you at the Plaza Hotel in New York City.<\/strong><\/p>\n\n\n\n

That was taken in September of ’74. It was at the end of the Crosby Still Nash & Young tour of stadiums.<\/em>3<\/sup><\/em><\/a> We were about to go to London to do the final show at Wembley Stadium. I had been doing a lot of drawing and snorting a lot of cocaine \u2013 the same as everybody else. It was a tense time and a strange time.<\/em><\/p>\n\n\n\n

I was drawing a picture of myself in the bathroom at my suite in the Plaza Hotel, and then I realized that what I was looking at would make a great picture. So my girlfriend, Calli Cerami \u2013 a beautiful woman \u2013 I asked her to bring my camera in, and I worked out the exposure and worked out the composition and said, “Would you do me a favor? Stand right here and just take that picture that I can see.”

So, she actually pressed the trigger. It’s my self-portrait because I set the whole thing up, but Calli actually took that picture. So, I’ve been plaguing myself with, “Is that a self-portrait? What is that exactly?” But it is my idea and my composition and my exposure settings, so I’m taking it as a self-portrait.<\/em><\/p>\n\n\n\n

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\u00a0 That’s Cass (left)<\/strong> on the phone to Crosby. I was visiting her at a house just off of Mulholland Drive in Los Angeles. You know, in a really strange way, Cass is the reason you and I are talking right now \u2013 she understood what David and Stephen were trying to do.<\/em><\/p>\n\n\n\n

David had been thrown out of the Byrds, [Buffalo] Springfield had broken up, and she knew I was unhappy in The Hollies. And she knew what I sounded like. I believe in her mind, she knew what we would sound like if we sang together, and I have a feeling that is one of the reasons why she introduced me to Crosby, who introduced me to Stephen. And on every album since, we have given a special shout-out to Cass.<\/em><\/p>\n\n\n\n

That’s her painting a portrait of me. Which, if I turn my chair around \u2013 which I just did \u2013 I am looking at that portrait of me. I have it.<\/em><\/p>\n\n\n\n

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The photos of Neil Young (right) rehearsing for the\u00a0D\u00e9j\u00e0 Vu<\/em>\u00a0album?<\/strong><\/p>\n\n\n\n

I’m a courageous photographer. I like to be invisible and I have courage. But I’m always a little apprehensive of shooting pictures of Neil. I know how private he is, I know how weird he is, I know how strange he can be. I know all that. But I wanted to take some pictures, and those pictures that you see were taken in five minutes. What I didn’t know was that Neil would rehearse with us for several hours on D\u00e9j\u00e0 Vu, then leave, go to the studio, and start making After The Gold Rush. Fantastic. What a musician.<\/em><\/strong><\/p>\n\n\n\n

CSN seems to get credit for being one of the bands that set the stage for what is known as “yacht rock.” I wrote\u00a0<\/strong>a book about it<\/strong><\/a>\u00a0a while back, and some of the interviewees agreed. What do you think of that term? It’s a style of music that has very prominent vocal harmonies and has a lot of subject matter pertaining to boats and sailing. From CSN, it then led to such artists as Steely Dan, the Eagles, the Doobie Brothers, Christopher Cross \u2013 artists that had that similar approach and sound.<\/strong><\/p>\n\n\n\n

Well, we were only trying to do what we could do best. We knew that we had good songs, we knew that we could sing, we knew that we could make records, because The Byrds, Springfield, and The Hollies were good record makers. But I was very proud of the work that I’ve done with David and Stephen, and with Neil.<\/em>
<\/p>\n\n\n\n

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I’m obviously getting to the end of my life, but I’m very proud of what we did. I’m always trying to make music, make you feel how I felt when I very first heard The Everly Brothers (left)<\/strong> in 1957. When I first heard “<\/em>Bye Bye Love<\/em><\/a>,” my life changed instantly. I knew what I wanted to do with the rest of my life, and so did my friend, Hollies co-founder] Allan Clarke.<\/em><\/p>\n\n\n\n

Nash will be discussing the book further at two appearances: December 5 at\u00a092Y<\/a>\u00a0in New York City, and December 8 at\u00a0Bookends Bookstore<\/a>\u00a0in New Jersey.<\/p>\n\n\n\n

Meanwhile, you can order A Life In Focus: The Photography of Graham Nash at\u00a0insighteditions.com<\/a>.<\/p>\n\n\n\n

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There was a further insight into the thoughts of Graham Nash in an article posted at Paste on-line, written by Brad Wagner (right)<\/em><\/strong> , who is also a music video-film maker and editor.<\/p>\n\n\n\n

When Graham Nash enters the bar at Berlin Under A in New York City\u2019s East Village, the Paste<\/em> team succeed for the most part in holding ourselves together, challenging as it may have been. I mean, that\u2019s Order of the British Empire-receiving, tens of millions of records-selling, Joni Mitchell-dating Graham Nash<\/em> standing right there! After a disarming handshake and a light chat, we are miked up and on our way into a delightful discussion about the role of artistic expression in keeping this Renaissance man moving forward. Watch the interview video embedded at the bottom of this article.<\/p>\n\n\n\n

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\u201cI\u2019m having a good time,\u201d Nash says. \u201cI think because I\u2019m still having a good time that I\u2019ll probably be able to live a little longer. I\u2019m not giving up. I\u2019m not retiring. I have no interest in retiring.\u201d The energy and pleasure Graham gleans from this constant creative engagement is evident within a few seconds of meeting him, and it\u2019s evident in the pages of\u00a0A Life in Focus<\/em>.<\/p>\n\n\n\n

The early conversation between Wagner and Nash centres on Graham\u2019s knack for capturing the natural expressions of his subjects, unaware they are being photographed more often than not. In his constant \u201cquest to be invisible,\u201d he has landed on a few strategies that help him hide his lens in plain sight. Most important among these strategies is to Always Be Carrying. No matter the make or model\u2014whether he\u2019s packing the fanciest Hasselblad or an outdated iPhone\u2014as long as the camera is a constant presence, it tends to fade into the scenery and his images show some of the most photographed people on the planet, unguarded.<\/p>\n\n\n\n

The book, writes Wagner,  is full of satisfyingly candid photos of the artists associated with Nash, including Mitchell, Stephen Stills, David Crosby and other characters from the early \u201970s Laurel Canyon scene. It is also full of landscapes, cityscapes, still lifes and thoroughly unexpected candid pairings, like Alice Cooper and Philip Seymour Hoffman in the same frame at the Kentucky Derby.<\/p>\n\n\n\n

For the journalist, the unpredictable nature of this collection is one of its biggest assets. As soon as he thinks he senses a theme to a few consecutive images, he turns the page to find surprises like an interestingly lit sewer-grate or a tangled heap of folding chairs. Of course, the book needn\u2019t be enjoyed cover-to-cover\u2014the way Wagner apparently chose to do on multiple occasions\u2014but the dynamic shot selection is a pleasure regardless of how you navigate.<\/p>\n\n\n\n

Graham\u2019s ability to see beauty in ordinary settings is another key to the work. \u201cLook at the composition of this microphone on this chair,\u201d Graham says, pointing to my mediocre audio cabling work off-camera. \u201dI know that I could take a picture of that and show it to you, and you\u2019d go, \u2018How cool is that?!\u2019 I see<\/em> differently, and I hear<\/em> differently.\u201d<\/p>\n\n\n\n

Which naturally brings up the topic of Nash\u2019s near-synesthesia, a cousin of true synesthesia, notably experienced by Wassily Kandinsky. \u201cWhen I look at the image and I look up at the full moon, and I look up into the whisky grey clouds, I can imagine<\/em> violins playing! I\u2019m not hearing a melody \u2026 But I can imagine\u2014very clearly and very easily\u2014music in photographs.\u201d<\/p>\n\n\n\n

As the two men wrap their discussion and prepare to go separate ways, Graham opens the neatly wrapped package he brought along with him. It is a gorgeous black-and-white print that Wagner initially thinks is a photo centered beneath the Eiffel Tower, looking straight up. Of course<\/em> it is not that. It ends up being a close- up of an ordinary cardboard four-cup coffee tray, to everybody\u2019s delight.<\/p>\n\n\n\n

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The primary sources for this article include an interview conducted with Graham Nash by Greg Prato and published in Songfacts and a piece by Geoffrey Himes, a writer we have spoken of and quoted from several times on these pages.His article on Nash was published\u00a0 in the always interesting Paste on-line magazine<\/strong><\/p>\n\n\n\n

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Greg Prato (see right, illustration)<\/em> writes along a cat-walk of styles, as a book formatter, editor and cover designer as well as the author almost thirty books on music and\/or sports. As a freelance journalist he is also a press release writer and composer of many liner notes. His books on music include A Devil On One Shoulder And An Angel On The Other: The Story Of Shannon Hoon and Blind Melon, Touched by Magic: The Tommy Bolin Story, Grunge Is Dead: The Oral History of Seattle Rock Music, No Schlock . . . Just Rock!, ‘The Eric Carr Story, MTV Ruled the World: The Early Years Of Music Video, \u00a0and Too High To Die: Meet The Meat Puppets,’<\/strong><\/p>\n\n\n\n

His profile on the Songfacts site, alongside this illustration say he is <\/strong>a journalist and published author from Long Island, New York, Greg takes his rock n’ roll very seriously.

Greg is at high risk for Metal Neck, but has thus far retained his cognition. Some of his interview subjects include <\/strong>Judas Priest<\/strong><\/a>, <\/strong>Scott Weiland of Stone Temple Pilots\/Velvet Revolver<\/strong><\/a> and <\/strong>John Lydon of the Sex Pistols\/PiL<\/strong><\/a><\/strong><\/p>\n\n\n\n

Another major reference point was a conversation between Geoffrey Himes and the singer-writer-photographer published at paste On Line<\/strong><\/p>\n\n\n\n

In our occasional re-postings Sidetracks And Detours are confident that we are not only sharing with our readers excellent articles written by experts but are also pointing to informed and informative sites readers will re-visit time and again. Of course, we feel sure our readers will also return to our daily not-for-profit blog knowing that we seek to provide core original material whilst sometimes spotlighting the best pieces from elsewhere, as we engage with genres and practitioners along all the sidetracks & detours we take.<\/strong><\/p>\n\n\n\n

This article was collated by Norman Warwick, a weekly columnist with Lanzarote Information and owner and editor of this daily blog at Sidetracks And Detours.<\/strong><\/p>\n\n\n\n

Norman has also been a long serving broadcaster, co-presenting the weekly all across the arts programme on Crescent Community Radio for many years with Steve, and his own show on Sherwood Community Radio. He has been a regular guest on BBC Radio Manchester, BBC Radio Lancashire, BBC Radio Merseyside and BBC Radio 4.<\/strong><\/p>\n\n\n\n

As a published author and poet he was a founder member of Lendanear Music, with Colin Lever and Just Poets with Pam McKee, Touchstones Creative Writing Group (where he was creative writing facilitator for a number of years) with Val Chadwick and all across the arts with Robin Parker.<\/strong><\/p>\n\n\n\n

From Monday to Friday,<\/strong> you will find a daily post here at Sidetracks And Detours and, should you be looking for good reading, over the weekend you can visit our massive but easy to navigate archives of over 500 articles.<\/strong><\/p>\n\n\n\n

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The purpose of this daily not-for-profit blog is to deliver news, previews, interviews and reviews from all across the arts to die-hard fans and non- traditional audiences around the world. We are therefore always delighted to receive your own articles here at Sidetracks And Detours. So if you have a favourite artist, event, or venue that you would like to tell us more about just drop a Word document attachment to me at <\/strong>normanwarwick55@gmail.com<\/strong><\/a> with a couple of appropriate photographs in a zip folder if you wish. Beiung a not-for-profit organisation we unfortunately cannot pay you but we will always fully attribute any pieces we publish. You therefore might also. like to include a brief autobiography and photograph of yourself<\/strong> in your submission. We look forward to hearing from you.<\/strong><\/p>\n\n\n\n

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songfacts\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 en.wikipedia.org\/wiki\/SongFacts<\/p>\n","protected":false},"excerpt":{"rendered":"

Graham\u2019s ability to see beauty in ordinary settings is another key to the work. \u201cLook at the composition of this microphone on this chair,\u201d Graham says, pointing to my mediocre audio cabling work off-camera. \u201dI know that I could take a picture of that and show it to you, and you\u2019d go, \u2018How cool is that?!\u2019 I see differently, and I hear differently.\u201d<\/p>\n","protected":false},"author":2,"featured_media":8062,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[45],"tags":[],"class_list":["post-8044","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music"],"_links":{"self":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/8044","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/comments?post=8044"}],"version-history":[{"count":1,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/8044\/revisions"}],"predecessor-version":[{"id":8063,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/8044\/revisions\/8063"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media\/8062"}],"wp:attachment":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media?parent=8044"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/categories?post=8044"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/tags?post=8044"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}

A Life in Focus: The Photography of Graham Nash <\/a>is available in stores and on the internet now. Paste on line offers readers the opportunity to sit Sit in on their conversation with the artist  (featuring music by The Breaks Inc.) and to hear a 1979 Nash performance from the Paste<\/em> archives.<\/p>\n\n\n\n